#but the narratives that could go out of them are pretty interesting i think

[fettery-fetterie]

Like I doubt peka experienced physical touch outside being changed. Which like yeah fair whatever

Do you think he'd be aware of the times other people touch him. Do you think he'd wonder "wait so do people just like. Touch? No reason behind they just do?" And everyone else goes "kinda yeah, you just don't overdue it"

He'd feel like. The make-fun-of cheek boops, the hands in his shoulders, the pick your noses, the wink wink nudge nudges, the messing with his hair (he has none but that didn't stop anyone)

How would he feel about the warmth of his own touch, one seemingly unaffected by the burden of the past

How would he feel about the touch of the guide - his guide, the glimpse of light he needed most

How would he feel over touch. Both standard and intimate

Like cmonnnnnnnnnmmn surely he'd feel a lot

[transmutationisms]

oh i would actually be curious to hear your thoughts on lolita book covers in that case. i do get the sense that some of the covers are designed to uncritically titilate and seem to misunderstand the text, but that could obviously be an assumption on my part lol.

oh i agree that the cover designs tend to run counter to nabokov's intentions, both in the text and in the literal instructions he gave about covers lol. they pretty clearly rely on putting some young girl on display, which is exactly what nabokov did not want to do visually; they also tend to suggest dolores as some kind of seductress (sultry gazes, pouty lips, &c). clearly this is precisely the opposite of what the text tells us about her.

however when evaluating these visual choices i find that many people portray them as some kind of originary and culturally polluting act: that is, a narrative emerges that the problem here is people misinterpreting 'lolita', and then publishing it with covers that will do harm to young girls &c. i think this is lazy analysis and fundamentally makes idealist assumptions overestimating the effect of cultural products (books, book covers) on problems, like the sexualisation of children, that are in fact grounded in material relations, such as in this case the status of children as legal property and the total power granted to adults over them. that is to say, these broader conditions are at root the reason that cultural products like the cover of 'lolita' look the way they do, and chalking it up to individuals not understanding the book is never going to get us very far; and also, although some of these covers are pretty egregious, they are the reflection rather than the cause of the sexualisation of children, a problem that would continue to exist even if every edition of 'lolita' ever printed just said "humbert humbert is an unreliable narrator and dolores haze is a child he is preying on" on the cover.

fundamentally i also think this sort of conversation often elides some more interesting points about whom these covers communicate to and what they say. you suggest they are meant to "titillate"; although i would agree dolores is often shown as sexual, desirable, and seductive, i'm not sure that's the same as assuming the cover is trying to arouse the potential reader. for one thing, to put it bluntly, this style of cover tends to be associated more with books marketed to women than to heterosexual men. and more broadly, and this is something the lolita podcast really fails to understand imo, the phenomenon of people reading 'lolita' and relating themselves to dolores is not mutually exclusive with this type of rhetorical construction of dolores-through-humbert's-eyes. that is, often what appeals about dolores is, i think, precisely the fact that through her, people find a way of discoursing about or simply re-enacting the kind of sexualisation that they are already subjected to or have been in the past, whether or not at a level as explicit and extreme as what nabokov depicts.

i'm not really interested in a simple moral condemnation of the people who design these covers; that critique writes itself. they are obviously bad and facile, and reflective of precisely the culture of child sexual abuse that nabokov's text condemns. but if we are interested in the reception of these objects, or interrogating the cultural meaning and implications of their existence, i just think there's a lot more going on here than what the podcast portrays as a simple sort of 'broadcast' model of mass media wherein the 'lolita' book cover and trope is beamed out to unsuspecting innocents who are then exposed to its nefarious elements. dolores appeals to people for lots of reasons, some prurient, some pitying, some openly self-projective, and these are not mutually exclusive with one another nor are they mutually exclusive with readings that reproduce elements of the very lolita character that humbert creates and uses to silence and re-write dolores. we can be uncomfortable with that and refuse to talk about it but if that's the position someone wants to take then i'm not likely to be interested enough in their opinions to, like, listen to their podcast about this book lol.

[ot3]

The Flower That Bloomed Nowhere

What is it, and why you should read it.

(Art by purple)

The Flower That Bloomed Nowhere is a currently updating webserial by author Lurina. It's one of my favorite things I've read in a long while and I'd like to convince you all to give it a chance.

My elevator pitch is this: A time-loop murder mystery directly inspired by Umineko, with a lot of similar vibes to the Locked Tomb Trilogy - partially due to it's meditations on grief and mortality and partially due to it's far-future magical sci-fi world where we follow a fucked up lesbian necromancer on a task she is determined to see through to the end. A deeply complex, unique, and believable world that plays hosts to one of the best interpersonal dynamics I've read.

In a future so far-flung that it is past the heat death of the universe, humanity has constructed a new society that is post-scarcity but not post-stratification. Utsushikome of Fusai is one amongst a class of prodigious young medical arcanists (essentially grad students) who are invited to visit a recently legitimized conclave of top-of-the-line researchers studying immortality. Accompanying Su is her best friend Ran, a fellow arcanist. Over the course of the novel we begin to slowly unravel exactly what ulterior motives have brought them to this conclave and how events in their childhoods and years of working toward their shared goal has warped their relationship into what we now see. This relationship is the crown jewel of Flower's narrative, and getting to peel back the layers of it as you read is a delight.

Like Umineko, Flower is a murder mystery that prevents itself with in-universe Rules that dictate the murders' parameters, meaning there's a lot to chew on for anyone who likes solving mysteries. For those that don't, like myself, Flower offers instead a richly developed world and plenty of open questions about the sociopolitical and metaphysical implications of its own worldbuilding.

Below the cut, I'll go into more detail about the series (without spoilers!) for those of you whose interest has been piqued.

The Flower That Bloomed Nowhere is currently ongoing, updating every few weeks. It's several hundred thousand words, so if you're looking for something substantial to keep you entertained, you've got it. As you might expect from the length, the pacing is decently slow. I don't see this as a bad thing at all, because within this pacing Lurina dripfeeds the readers enough new and interesting information at a regular rate that it never feels like your time is being wasted. But if you can't handle slow burns, I wouldn't recommend this one for you.

If you enjoyed the Zero Escape series and liked that they stopped solving murder puzzles to infodump about fringe science, I think you'll get a lot out of Flower. Characters are frequently interrupting their life-or-death scenarios to have lofty, philosophical and political discussions. It's a ton of fun if you like reading characters argue.

'People have to sleep.' 'People have to work.' 'People have to die.' But those were just vague rules, phrasing I'd used because it had been easier in the context of that conversation. What really mattered, on the day-to-day level, was the idea that it was all for something. If someone invented a elixir that made people not to need to sleep, it would, in retrospect, recontextualize all nights everyone ever wasted sleeping as wastes of time. Not something that occurred for some inherent purpose, but whims of circumstance, a tragedy of when you happened to be born. If you accepted that all unfair things in the world could be removed, if only someone knew how - fatigue, labor, death - then to exist in the world we had now, with all its grotesque imperfections, was to know that you had been violated by fate.

Along those lines it's just got a sense of humor I really enjoy. Pretty dry and cavalier. It manages to keep the mood light without feeling like it's undermining it's own stakes. I'm particularly fond of Su's penchant for telling incredibly depressing suicide jokes that just Do Not Land.

The peer pressure cut into me like a hot knife. I hesitated a little, biting my lip. "Well, uh, okay. I'll just tell a quick one." I swallowed, my mind quickly scrambling. "Okay, so, there's a woman who runs a dispensary for second hand goods. She sees a man come in who's a regular customer. He's kind of a mess-- Has a big beard, a bad complexion. He buys a razor, and tells her he needs it to clean himself up, because he has a date." I could see that I now had Ophelia's attention and that Kam was looking pleased with herself, but Ran was watching me, too. I could see the look in her eyes. It screamed at me, with such vividity that it could be sold at an art gallery: You better not be telling a suicide joke right now, or we're going to have a talk. But it was too late. The wheels were already in motion.

As I mentioned up top, the relationship between Ran and Su is just one of my favorite interpersonal dynamics ever. Period. The author is playing some insanely complicated 5th dimensional yuri chess and I am absolutely here for it as someone who likes characters who are deeply devoted to each other in a way that is deeply deeply fraught. I cant emphasize enough how obsessed I am with what they have going on.

Additionally, as stated, the worldbuilding in Flower is top tier. The author clearly understands how every part of her world functions, which makes the moral quandaries and politics presented all the more impactful because they're very believable. It's hard to talk about Flower's world without spoiling too much of the specifics that get slowly revealed, but it doesn't fall back on any typical sci-fi standard fare and feels like a breath of fresh air amongst recycled and repetitive worldbuilding tropes.

A lot of really fun side characters. Strong voices for all of the supporting cast (♥♥Kamrusepa♥♥) and even though not every character gets their own arc, they all clearly have plenty of interiority. Once again, another thing that makes Flower feel very believable despite it's absurdities.

Autism

"Did you notice anything out of the ordinary with anyone?" She eyed him. "Anyone who seemed tense?" "Saoite, I'm not sure if you've noticed, but half of our class is so autistic that they constantly seem tense. You might as well ask me to find a specific turd in a sewer." "Just answer the question, please," she replied flatly.

Guys it's really good just trust me I don't want to spoil you for the more intricate plot beats but they're doing some crazy shit here. It's never a bad time to support an independent author's project. If you're sick of corporate mass-media and stuff needing to be marketable, getting into independent works owned and supported by individual creators is a great way to push back against that. I highly recommend it.

[not-freyja]

New Zelda Game!

Okay cool, cool cool cool cool, I am calm, I am so fucking calm. Looks like Nintendo is staying true to their word that Wild is not getting another game, so now the questions are, what Link is this, where are we in the Timeline, and what information about the game itself can we pick out of these crumbs?

Whose Zelda is it anyway?

So two options:

New boy.

Legend. It’s fucking Legend again sucks to suck bro

Case for new Link and Zelda:

Less messy for the Lore

That’s it, that is the only argument

Case for Leggy boy and Fable:

LA animation style! While it can be fun to bring back older styles of animation for nostalgia/artistic reasons, that seems like a poor choice for *LOZ* games, which are always on the edge of what a game can do. Moving “backwards,” so to speak, in any aspect, would be a disservice to the franchise. However, doing it to maintain consistency for a particular character, and to use the animation style to make sure the audience knows this is the same character from LA is a very simple but effective tactic.

The map! So that shot was so BOTW and so fun, but the view we got wasn’t just recognizable as “Hyrule,” is was, down to the relative heights on the mountain cliffs against each other, the map from ALTTP/ALBW. Nintendo has never repeated a map without it being the same Link. So! Checkmate motherfuckers.

The character designs. That… that was just Legend and Fable, come on. Look at the dress. Every Zelda has a slightly different costume design, and that was hers. Look at Link. Baby boy!

I want this. Let me have it.

Timeline positioning

Okay so if we assume that this is in fact Legend, the next question becomes, “When is it?” Leggy boy currently has 5 games that are canonically his. (Triforce Heroes could be a random other Link, so while we like to say 6 we can’t *prove it.*) So. Let’s break it down.

ALTTP: canonically his first game, can’t be before this one.

Oracles: canonically happen after ALTTP, and he is very much still a child in here.

LA: the game this one is artistically modeled after. Narratively this fits nicely right after Oracles, and in the canon timeline, fits between Oracles and ALBW, so I think a whole new game being crowbarred prior to this one would be… not great for the narrative.

ALBW: This is trickier. No canon time between LA and ALBW is given, it could be a week, it could be years. It is entirely possible that Echoes of Wisdom occurs prior to ALBW, which would make it a direct sequel to LA, which makes the art style make even more sense. It could also be after?

…hang on a fucking minute, lets get the fucking map.

Left, ALTTP. Right, ALBW

Basically the same map! Duh, it’s the same Hyrule. But. BUT. Bottom right, in the lake. Do you see that?!

ALTTP: no log bridge. ALBW: Log bridge. Now, let’s look at the pretty picture from the EOW trailer.

NO FUCKING LOG BRIDGE!

This is before ALBW. Therefore, the game order for The Hero of Legend is

ALTTP, OOS, OOA, LA, EOW, ALBW, TH(maybe)

*cue manic laughter*

Lore Implications

Ganon.

There being a Ganon at all actually has me pointing my finger at the Oracle games and screaming. The TL;DR in those is that there was a plot to resurrect Ganon, each game Twinrova gets closer, but Link stops them. Now, there were also supposed to be three of those games, which means that it is entirely possible that the third unseen Oracle plot—please Nintendo let Link and Farore hang out, I am on my knees barking like a dog—could have resulted in his resurrection. This is the only explanation I have that doesn’t break the Lore or involve Time Shenanigans.

Also, Link does KO the bitch in that opening scene in the trailer. His presence is either just that—a set-up plot point—or him and Link are currently duking it out in the hole. Fun!

Link and Zelda

Now this game is going to put their relationship in the front in the “I have to save them because I love them” way that we usually see from Link’s POV.

Getting it from Zelda’s POV is going to be very interesting. We might be getting a look into her head, into her feelings and thoughts about the whole ordeal of the Legend itself. I hope so. But also, this isn’t just Link and Zelda, this is *Fable and Legend* specifically. The two that were meant to be be siblings but the dialogue that established them as such was cut from the final version of ALTTP. So. This game has the possibility to do three things

Canonize the Prince Legend thing, like they were going to do in the nineties.

Not address the topic at all, leave it nebulous.

Zelink.

None of these are bad choices, but option two is definitely the safest. Both options one and three will cause an uproar from part of the fan base. I can already see the ship wars. Please don’t do this people. Please.

The Holes 🕳️

What are they? Where did they come from? Ganon’s Trident Where do they go? No actually, where do they go? The Dark World (doesn’t make sense in the Lore)? Lorule (that would be a choice)? The Twilight Realm (I am convinced that Lorule and the Twilight Realm are the same place actually and you cannot change my mind)? Some new never seen before parallel dimension? A non-place, like a gap between realities (sexiest option)? I have no idea!

Fun!

That fucking “Fairy”

Tri? Don’t trust it. Will not trust it. Never trust that a companion in a LOZ game is what they first appear to be. Who does Nintendo take me for? A fucking amateur?!

Anyway, I am about 40% convinced that’s Link. I have evidence, but it is circumstantial.

I AM HANDLING THIS NORMALLY.

[gingerhastoomanyobsessions]

the lords in black are so interesting to me because. they’re so us. we’re watching the citizens of hatchetfield suffer for our own entertainment just as much as they are. we’re their accomplices in all of it

pokotho made hatchetfield into a musical because musicals are entertaining. and we ate that shit up! it’s soooo fun watching a little man scramble as the world around him bursts into song. the musical genre is satirized because pokey knows how the genre conventions work just as well as we do. we like watching musicals so much that black friday and npmd are musicals, too, even though they don’t revolve around pokotho’s plans as much as tgwdlm. we want them to sing. pokotho does too.

bliklotep is the audience and the audience is bliklotep. trail to oregon calls the audience “the watcher with one thousand eyes” and that’s not all, in watcher world blinky seems to be able to see through the eyes of anyone and everyone who loves spectacle. he wants to see the characters go through angst because WE love angst. it’s fun to watch alice and bill express their buried frustrations. blinky wants it to end in bloodshed because he loves tragedy, and let’s face it, so do we. it’s like that one post about how hamlet is aware of the audience and is angry that we don’t do anything to intervene because we want to see how it plays out. personally, I think blinky could have stopped the woodwards if he really wanted (he’s an elder god, after all) but alice shooting him shifted the narrative so that the emotional payoff would be more fulfilling if they escaped. and blinky loves a good story.

t’noy karaxis has blorbos. we joke about it, but that’s really what it is, isn’t it? he’s the fan who watches the movie again and again and again and again to see his favorite character’s dramatic death scene. he’s the guy who writes and reads angst fics by the hundreds because he likes to see his faves cry. he’s the hatchetfield enjoyer who’s on the edge of their seat waiting to see how ted kicks the bucket this time. the bastard’s box is pretty much just an ao3 account filled with whump and hurt no comfort. he’s sadistic AND he genuinely adores ted, because we fans are often cruelest to the characters we love the most. he puts ted through character growth— the realization that his life went the way it did because of his own mistakes, his inability to be vulnerable with jenny before it was too late— and he does that by writing a 56-chapter angst fic that’s still updating to this day

nibblenephim is the fan who voraciously devours every scrap of content that a creator produces and demands more, more, more. let’s face it, the fandom will never let starkid rest until we see this story through to its end. and then someone will demand a sequel series. nibbly is hungry because we will never stop yearning for more stories. he’s simple because that desire itself is simple— as humans, we need creativity like we need air to breathe. nibbly wants more because we want more. and we will never be satiated.

wiggog y’rath is the ruler and the king because he’s the self-inserting writer. I think jon matteson plays paul *and* wiggly for a reason— wiggly is the only lord in black to be played by the same actor in every single show, and that actor also plays the protagonist of tgwdlm. wiggly wants to be the protagonist. he tries to force himself into the human world of hatchetfield because he wants to participate, dammit! he wants to be the bestest ruler that the earth has ever seen! everyone has to love him because he’s going to be their bestest fwiend! when he appears in human form he’s gonna be the prom king! he’s the ebony dark’ness dementia raven way of the hatchetfield multiverse. he wants every human character to bend to his whims and to love him and to put him at the tippy-top of planet earth because he’s the writer and the writer’s main character, you fuckheads, and he can make whatever story he wants, whether the other characters like it or not! if you’ve ever written a self-insert story? congratulations! you’ve been wiggog y’rath.

and the funny thing? I don’t think the lords know that they, too, are as fictional as anyone else in hatchetfield. maybe blinky knows— he sees through the audience’s eyes, after all— but I don’t think the others do. if they did, maybe they’d be a little less tyrannical. a little bit nicer.

but then the starkid writers wouldn’t have much of a story to tell, would they?

[dark-fics-4-you]

step bro rafe who plays football or hockey. idk it just seems hot🙏

Number One Fan

I’m gonna combine this with this request: Something with step bro rafe where the reader calls him rafey and it turns him on but she doesn’t know…

(This can be read as a continuation of my previous step bro!Rafe fic, but i’m not sure if I want to make a bunch of drabbles or one connected narrative so we’ll see what happpens ¯\_(ツ)_/¯ )

Next chapter

Warnings: drinking, relationship between step siblings, rafe is having unpure thoughts👀

The stadium was packed with college students and fans, roaring as the whistle blew.

You were close to the field, eager to get a good view of Rafe. He was the star quarterback of East Carolina University, and for good reason.

He had led the team to victory in all 10 of their last games.

The score was evened out, with only a few seconds left on the clock, everyone was eager to see what would happen next.

When the whistle blew again and the ball was passed to Rafe, you cheered loudly.

He dodged two players, dancing around them before running all the way to the endzone.

Everyone on the crowded bleachers jumped to their feet, cheering and screaming at the touchdown, but no one was louder than you.

“Go Rafe! Go!! Woo!!!”

You beamed proudly as you watched him pump his fist in the air, fist bumping his teammates as they congratulated him.

You were one of the first people to rush to the field, running up to your older brother and practically jumping on him in your excitement to hug him.

“Oh my god, Rafey! That was such a good game!” You squealed. “You were awesome! That last touchdown was amazing!”

Rafe flashed you a grin, perfect teeth winking in under the bright lights of the stadium. “Thanks, Y/N/N. You know I win every game just for you,” he joked and you giggled along.

“Hey, some of my teammates and I are gonna go out for drinks after we get cleaned up, wanna tag along?”

“Sure!” You smiled up at him. You were always happy when he included you in things he was doing, which admittedly was a lot of the time.

“Perfect, sugar. Here are my keys,” he tossed you them. “Why don’t you bring the truck around to where the locker room exit is, you can wait in there till I’m done. Okay?”

“Yeah! Sounds good!” You parted ways, heading to the truck but you didn’t notice how his gaze stayed on your back as you walked away.

~~~~~~

“That’s a pretty hot piece of ass you had hanging around you, Cameron,” one of Rafe’s friends joked, suggestively nudging the blond with his elbow.

“Shut up, Wilson,” Rafe snapped. His stomach lurched at the comment. He didn’t like the idea of any of his friends trying to sleep with you.

In fact, he didn’t like the idea of anyone trying to sleep with you. The very thought made him sick.

“Hey, I’m just saying, I wouldn’t mind if she came around more, amiright?” Wilson asked the other guys around him that had seen you and they all laughed and nodded.

“Knock it off, seriously,” Rafe warned. “She’s not interested.” He could feel his irritation rising, his face heating up.

“Damn okay Cameron, chill. We were just joking,” someone else interjected.

“Well I’m not fucking laughing.” He pulled on his shirt before slamming the locker door. “I don’t think I’m gonna go out tonight anymore. See ya at practice.”

A few guys complained, “come on Rafe, we didn’t mean anything by it.”

But he was already halfway out the door.

~~~~~~

“Change of plans,” Rafe said as he climbed into the driver’s seat and you clicked your buckle.

You looked at him inquisitively. “Oh?”

“We’re gonna go out, just the two of us. None of the guys.” He started the truck, pulling out of the parking lot and towards the road.

“Oh, okay.” You said in a confused tone. “Why are they not coming?”

He was silent for a moment and you glanced at him again.

“Rafey?”

“I just decided that I’d rather go out with my favorite girl instead,” he said with a smile, ruffling your hair and you grinned.

“Oh, okay!” You said happily. “Ooh could we go to this bar that I know, it’s on Seventh street.” You babbled away about the bar you wanted to go to.

Rafe shifted in his seat, trying as hard as possible to hide his growing erection, nodding along but he was finding it hard to pay attention to anything you were saying, attention shifting between watching the road, and turning to examine your features.

He pulled up to the bar and you hopped out of the car. You both showed your ID’s at the door and found a booth to sit at, Rafe pulling you in to the same side he was on so you could be closer.

A waiter came to get your drink orders, you got a fruity cocktail and Rafe got a beer, and Rafe ordered a plate of loaded nachos for you to share.

Your drinks came quickly and you offered Rafe a sip of your cocktail, which he took before offering you a sip of his beer.

You took a quick swig, face scrunching up at the flavor. “Bleh, I still have no idea how you like beer so much, Rafey!” You giggled, leaning against him in the small booth, his arm wrapped around your waist.

“You get used to it if you drink enough, Y/N/N.” The blond laughed, grabbing a nacho off of the plate in between the two of you.

“I just think it’s so gross,” you shook your head, smiling.

“Please, you’re one to talk. I still remember that time you tried to make mixed drinks for us at that party and they sucked so bad I nearly threw up.” He chuckled.

“Shut up! I got better afterwards!” You laughed hard at the memory. “So mean, Rafey,” you said with a fake pout.

“Not true, I’m always nice to you, Y/N/N,” Rafe sounded surprisingly earnest. “You know I would do anything for you.”

“I know, I know,” you finished your cocktail, catching the waiter’s eye before ordering a second.

You leaned back, melting into your step brother’s arms.

“You’re my favorite person in the whole world,” Rafe whispered quietly. “You know that, right?”

There was a strange moment when you met his eyes, odd feelings washed over you. The intensity in his look stirred something in you that you couldn’t identify.

“Yeah I know, Rafey. You’re my favorite person too.”

He smiled at that, pulling you closer to his warm body. You cuddled against his chest, enjoying the circles he was tracing lazily into your back with his fingers.

Your second drink arrived and you downed it quickly, feeling a little beyond tipsy by the time the two of you stepped out of the bar.

He drove you home, comfortable silence most of the way. You felt warm and the alcohol in your system made you feel much more affectionate.

Rafe opened the front door of the house for you, allowing you to lean on him drunkenly as he guided you inside.

When you reached the top of the stairs, you paused, not wanting to go to bed alone.

“Would it be okay if I slept in your bed tonight, Rafey?” You asked, looking up at your step brother with hopeful eyes. “I just feel more comfortable when you’re by me.”

“Sure, Y/N/N.” Rafe smiled at you, leading you to his room.

You kicked off your shoes, taking your shorts off before dropping them on the floor. “Do you have a shirt I could wear, Rafey?”

His eyes fell on you, noting your bare legs and the pink panties you had under your shorts. His mouth felt dry, and it took him a second to remember you had just asked him a question.

“Um, yeah I should have one…” he searched in a drawer, before tossing you the oversized shirt.

You pulled it on, unclipping your bra underneath the shirt before putting it with your shorts and top.

Rafe kicked off his shorts, stripping to his boxers before pulling his shirt off over his head. He stepped towards his door, flicking the lights off.

You crawled into his bed, breathing in his smell in the sheets, scooting over when he followed.

Usually when you slept in Rafe’s bed, you were the one who pressed to him, hugging his back as he faced away from you, but this time, you were surprised when you felt the warmth of his chest press to your back, arms wrapping around your waist as he pulled you closer to him.

As you dozed off to sleep, you were none the wiser that your step brother was beside you, hard as a rock, and imagining things that were far from brotherly.

Chapter 2

[a-b-riddle]

I'm just going to ask this because I need to get it out of my head. This is all in regards to your Poly141 x Reader series going on. I'm just going to recap things first.

-Price got verbally eviscerated because of all the times he got short/snapped at the reader because he came into their bookstore that they bought with their own money, put their own blood, sweat and tears into fixing up and had THE AUDACITY to call them immature for trying to break things off cleanly like a MATURE adult in a space that's RIGHTFULLY THEIRS because he couldn't be an adult admit how he shouldn't of been treating the reader like one of his men.

-Soap showing up trying to apologize and then thinking with his dick because of how the reader got dressed up for a dinner date and got a taste of his own medicine when the reader just hit it and quit it without so much as a thank you, or a goodbye kiss and basically told him to clean up, get dressed and kick rocks.

-Gaz shows up after weeks of just flaking out of any dates and just being a ghost (ironic considering Ghost's callsign) trying to talk to the reader in person when the reader had tried for months to just get a glimpse of him only to be told he couldn't right now but could another time. Then the reader just tell him, 'yeah sorry no. I don't have time for you and your mates nonsense at the moment, just swing by to get your stuff when it works for you'.

-Ghost showing up whenever the reader is in trouble and getting them away from danger only to disappear shortly afterward and give the reader radio silence. The one time that the reader tried to seek him out for just a SHRED of comfort and he just told them, 'You're only good for what's in between your legs love, you knew what you were getting into. You should've known better.'

With all this mind, I want Ghost to have everything and the kitchen sink thrown at him. I want him to be told in no kind words that his words and lack of realizing how fucked up the things he said to the reader were was the straw that broke the camel's back. I want the reader to hurl everything that they didn't say to Price to Ghost. I want him to realize in no unclear terms how if he didn't fuck up so royally and had actually attempted to give the reader a fraction of what he was being given, things would be so much better. And for some extra salt on the wound, have the reader tell him that they suppose that when it comes to his line of work, he's pretty good at breaking anything and everything he touches. It's just a shame that for anything that involves a softer touch, he winds up breaking it beyond repair.

I just love narrative/reflective irony and can't wait for the next part and wish you well for making it to the end of this ramble. 🥰

I'm throwing up.

I am so happy that y'all got it without me having to say it. YES! She is giving everything back that they gave her. John's outbursts, Johnny's lack of aftercare and Kyle's flakiness.

I will say this which I think is interesting. Simon said something hellllla shitty and unforgivable. Like it was mean and something once you say you can't take back. I will ask this and feel free to go back and re-read.

What else did Simon do? Before the phone call, what else did Simon do to reader? We know Simon wanted to hurt reader. Why? Did he plan

Spoiler below, read at own caution

Or was he just sick of being the only one out of the four guys to actually contribute to the relationship and knew he needed to be the one to drive it home that there isn't a future with them? Reader refers to Simon several times as her body guard or guard dog... But never a boyfriend or partner.

In flashbacks, we see that Simon only ever came over at night. You'll find out why in the next few chapters, but as much as I love y'all hating on Simon, I cannot WAIT for y'all to get to the why.

And remember kiddos, hurt people hurt people.

[writingwithfolklore]

Level Up Your Descriptions

I learnt a tip for resume writing that I find applies pretty well to novel writing too. Essentially, you shouldn’t write on your resume that you took orders and handled cash at the till at your restaurant job because people already know what a server does. You should write the unexpected or unique things you bring to the job.

Same with writing descriptions in fiction. There are certain things that people are going to automatically assume about others, about a place, about a thing. For example, you wouldn’t say, “she grabbed out brown coffee” or “the car drove on four wheels.” Because when we think coffee, we already think brown/beans, and when we think car, we already think four wheels.

                This seems obvious, until you consider that mentioning that the café is warmly decorated, cozy, and is full of writers working on manuscripts and people catching up over coffee is… exactly that. While maybe a baseline of information like this is appropriate, all you needed to say was ‘café’ and we’re already in this image. For a setting or person that doesn’t mean much to the story, this could suffice.

                However, for an important element in the narrative, you’re going to want to bring your descriptions beyond that assumed/obvious baseline.

                We know an elderly person is going to have grey hair, shuffle slowly, and speak in a creaky voice. We might not know that their purse seems far too heavy for them, and they have a distinct smell of gunpowder that follows them into rooms.

                I’m reading a book right now by Jasper FForde called ‘Jack Spratt Investigates The Big Over Easy’ and it’s full of interesting and unexpected descriptions. Here is one of my favourites:

                “The years had been charitable to Mrs. Spratt, and despite her age she was as bright as a button and had certainly not lost any of her youthful zest. Jack put it down to quantity of children. It had either made her tough in old age or worn her out—if the latter, then without Jack and his nine elder siblings, she might have lived to one hundred ninety-six. She painted people’s pets in oils because ‘someone has to,’ collected small pottery animals, Blue Baboon LPs and Jellyman commemorative plates. She had been widowed seventeen years.”

                Think of what things make a person or space you know well unique, and try to imbue those details into your work. What makes a place look lived in? What sort of objects or feel or smell does it have? What distinguishes your best friend from others in a crowd?

                Feel free to share a description that's really stuck with you!

[thatgirlonstage]

Okay I’m too tired to keep listening to Dark Heir but I’ve got a whole bus ride home so I’m going to spin Black Butler thoughts at you all.

(Idk how coherent this is, I’m sorry if it’s rambly my brain is SO dead but it wants to Talk so)

I’m thinking about… the gradual build of Sebastian’s fear that he could actually lose Ciel, as we go:

The asthma attack in Circus Arc: not ultimately serious, but a danger to Ciel’s wellbeing Sebastian had not been aware of and cannot easily fix

The fight on the Campania, where Sebastian is very seriously injured himself, to the point where he’s in danger of losing Ciel to Undertaker because he can’t physically stop him from being taken,

Which leads into THIS fucking moment in school arc:

which is entirely fueled by Sebastian’s fear that Undertaker will snatch Ciel out from under him, AGAIN, because he did it before

AND THEN GREEN WITCH ARC HAPPENS, where Sebastian gets within literal minutes of losing Ciel to the gas, and WOULD HAVE if Sieglinde hadn’t been there or hadn’t been willing to help them

And still in Green Witch Arc, even AFTER Ciel has physically survived, Sebastian nearly loses him anyway because he backslides so dramatically into a PTSD episode that it nearly voids their contract

All of which is why by the time you get to the Blue Cult Arc, Sebastian is so genuinely afraid he might not be able to protect Ciel that the scent of blood from a single needle prick makes him do. This.

And now, with bizarre dolls getting ever more advanced and better at hiding from Sebastian’s senses and the whole police force mobilized against them, I’m very ready for Sebastian in Brighton to be doing everything short of wrapping Ciel in 19th century bubble wrap. I’ll frankly be shocked if he lets Ciel out of his sight for more than five minutes.

But the thing is. The thing is. Narratively, there isn’t much further you can ratchet up the stakes for Sebastian (at least until you get to the moment of truth with the contract and eating his soul, which is a different conversation). Ciel being put in danger or hurt again isn’t going to do all that much to alter their relationship at this point. Sebastian is already about as whipped as the poor guy can get.

What would be a change, is Ciel nearly losing Sebastian.

There’s been—for obvious reasons—much less risk and fear on that front. There has been some build for it:

Red Butler Arc, encountering reapers, Ciel sees Sebastian fight an enemy who can actually hold their own against him for the first time (and while I don’t think this is confirmed, I suspect Grell’s chainsaw eating his shoulder is the first time Ciel sees him get injured for real (as opposed to allowing himself to get shot and playing dead just for the sake of being a dramatic bitch))

Curry Arc, Agni successfully fights Sebastian to a tie (which is why I’m VERY interested to see if Soma turns back up in the Brighton arc as well, feat. angry Kali powers)

[The murder arc is a fake out, because Ciel knows he’s fine the whole time]

On the Campania, Ciel sees him get very badly injured. This is the one and only time Ciel has real cause to fear for Sebastian’s safety, as such.

And since then, while Sebastian isn’t quite untouchable, he hasn’t really suffered any serious injury or physical danger to himself. There have been defeats or fights that didn’t end perfectly for him—such as the school arc fight—but Sebastian hasn’t been existentially threatened. Ciel, I think, still has pretty high confidence that worst case scenario, Sebastian can always just pick him up and make a run for it (indeed, part of the reason things got so bad on the Campania was because they were trapped on a boat). And even if Sebastian couldn’t save him, Ciel—to the extent it’s even occurred to him—doesn’t have a lot of reason to think he couldn’t save himself.

This is now the second time Ciel has lost everything—his title, his name, his home, his safety, his dignity and respect. The first time was worse, obviously, but he’s got to be feeling the similarities.

The first time, Sebastian pulled him out of his despair by offering him the power to escape.

Now, the second time, he at least still has Sebastian by his side. A Sebastian who is going to be laser-focused on protecting Ciel from all possible threats.

But what happens if Ciel thinks he might lose Sebastian too?

[patolemus]

Sterek fic recs: Fake Dating AU Edition

Because @oldefashioned requested a fake dating rec list, here it is. These are all very funny, as fake dating fics ought to be, so I hope you get a good laugh out of it.

1. Not Your Disney Romance by Wrennefer (Wrenegadeone)

After a long-forgotten agreement of an arranged marriage between Derek and the daughter of another pack's alpha resurfaces, Stiles takes it upon himself to become the most amazing fake fiancé that a clueless, desperate alpha werewolf could wish for.

Notes: Domestic pack, my beloved. Stiles and Derek are precious here, I LOVE THEM!! The visiting pack, not so much, but who cares about them?? It's all pretty lighthearted, all things considered. It's completed.

2. Electricity In the Contact by ladyblahblah

In which Derek has been invited to the Greater Pacific Northwest Alpha Symposium (that's not what it's called, Stiles, stop saying that), and showing up unattached would mean an arranged marriage. When the rest of the pack objects, he agrees to let Stiles come along to pose as his mate. Derek is reasonably sure that he's not going to make it out of this weekend alive.

Notes: Werewolf convention fics are so good! I actually haven't found all that many, considering how common a trope it is, and it's a tragedy because they're always so well done! This one is no exception, and the mini-world building is also great! It's completed.

3. can’t be hateful, gotta be grateful by HalfFizzbin

"Be cool, Dad, we've decided to con Grandma." (Or, the one where the Stilinski men drag Derek to Thanksgiving dinner at Grandma's and she gets the right wrong idea.)

Notes: this one is just *cheff´s kiss* wonderful! It's all pretty domestic and the humor is on point. College student Stiles and the Sheriff are strong armed into spending Thanksgiving with Stiles' grandma, and they find nothing better than to bring Derek with them. Pining and misunderstandings ensue and thus comes the fake dating. It's completed.

4. Gravity’s Got Nothing on You by zosofi

“Three weeks,” Derek says. “Still don’t want to,” Stiles says. “I’ll pay you,” Derek says, and that… that has Stiles interested. Alf’s Antique’s may be a great job, but it’s not a high-paying job, and half of Stiles’s tuition is coming from financial aid, so… “How much,” Stiles asks, “are we talking here? Because I know your family, dude. And it’ll be kind of awkward after.“ “My family thinks you’re some sort of fucking gift to the world,” Derek seethes, like he’s jealous, “they’ll probably be pissed at me when we break it off, so don’t worry about that. Five hundred bucks.” “A thousand,” Stiles says, because screw ethics. Also, the Hale family is loaded. Derek can deal.

Notes: this had such a chokehold on me when I first read it. Absolutely wonderful. Enemies to lovers?? Maybe. Assholes to assholes-in-love, is a better descriptor. There's werewolves, and magic, and it's awesome! It's completed.

5. He’s Not Mine by Sonnee

Derek comes home to find an abandoned werebaby on his front porch and Stiles volunteers to help him out. Surprisingly, that is just the beginning of his problems.

Notes: again, it's all very domestic, like most fake dating fics ought to be. It's a kid fic, Sterek are mates, we have all the love. Not much else I can think to add... it's completed.

6. Real life isn’t a movie (life doesn’t make narrative sense) by dearericbittle (dutchmoxie)

Somehow accidentally insulting a hot guy in a coffee shop leads to pretending to be his boyfriend in front of a house full of werewolves. Stiles Stilinski is living his best life and making the most of his Hallmark movie moment.

Notes: this one had me cracking up because it's so funny! Stiles is living his best life, for real. Derek... suffers. But it's okay, because he gets a boyfriend out of this whole thing! They are disgustingly sweet in that assholish way they have. It's completed.

7. You look like my next mistake by Vendelin

“So, are you dating someone new? Someone who doesn’t mind that you’re frigid?” Kate cocks her head to the side, smiling as though she just asked him about where he bought his shoes. His entire body sighs in defeat as his shoulders grow square. Just as he opens his mouth, someone comes up to stand beside him, snaking an arm around his shoulders. When he glances to his side, expecting to see Isaac, his brain seems to malfunction. Because it isn’t Isaac. It’s Stiles Stilinski, the lacrosse talent of the year, a senior who Derek has seen multiple times from far away, but never ever talked to. In which Derek is a nerd jock, and Stiles is a frat guy, and Derek falls for him even though he knows he shouldn't.

Notes: this one had me HOWLING it's so good!! Frat boy Stiles, my beloved. It's technically not fake dating because it turns into an actual relationship pretty quickly, but it starts as fake dating so I'll take it. Stiles is an absolute sweetheart in this one, I love him! And Derek is shy, and insecure, but he's so great, and everyone gets a happy ending except Kate, which is always a good thing. It's completed.

8. All’s Fair In Orgasms and War by bleepobleep

AVN BREAKING NEWS-- DIAMOND VISTA RIDGE BREAKS HIS CONTRACT WITH HALE HOUSE "We haven't seen much of our favorite rock hard stud from Hale House ever since that indie twink dethroned him as champion in Orgasm Wars, but it's just been confirmed that Diamond will no longer be working for the legendary studio famous for producing some of our favorite werewolf-on-human works. Don't fret, Diamond fans, it looks like he's been spotted cozying up to True Alpha Studios! Apparently he couldn't get enough of that one human and then followed him home. Could it be true love? Keep your eye on this studio-- us at AVN think we're about to get a lot more of Diamond in a very new way!" ~ The one in which (almost) everyone is a porn star, and Derek just wants to curl up with his fluffy blanket and watch the Hallmark channel, but work and falling in love gets in the way.

Notes: okay but is this fake dating? Maaaaaybe. It's kinda complicated. Basically everyone here is a porn star and the pack has this studio where they cater to werewolves and have a whole thing about established relationships, which is where the fake dating comes up. It's surprisingly very fluffy, considering this is a porn au, and Derek is the softest goober in this one. Stiles is completely enamoured. It's completed.

9. Wanted from the You Are series by Asterekmess (Livinginfiction)

With the Hale pack finally settled and safe, it only makes sense that something would happen to screw it all up. To top it all off, Stiles has to pretend to be Derek's mate, or face a pack of angry Alphas. He's doomed.

Notes: Alright so this series is wonderful. The world building done for the Alpha pack is also great, and that's the center of the second part (which has the fake dating). I do recommend reading the first part before jumping on to Wanted because it is a direct continuation. Also, it's an amazing au! It's completed.

10. For Love is Not Ours to Command by weathervaanes

Where Derek's skills at thinking on his feet mean that he and Stiles have to act. For the sake of Stiles' dad, of course, for the sake of the pack. No personal interest interference at all, whatsoever. Right. -0- “Why does my dad say that you and your boyfriend are a bad influence on me?” “What?” “Yeah, what boyfriend? Dude, you are not allowed to not tell me crap like this. You didn't think I'd like be a douchebag or something. Right?” “No, wait, what? I have no boyfriend.” “He says you were with him at the police station.” Stiles blinks. “Uhm. Oh shit.”

Notes: Stiles just wanted to find dirt on Raphael McCall to blackmail him. Somehow, he got himself a whole ass boyfriend. It's complicated. That's it, that's the fic. It's completed.

11. Stiles Stilinski, Boyfriend Extraordinaire by MareLoup

“Beacon County Sheriff's Department, this is deputy Mahealani speaking.” “Oh thank god!” “Stiles?” “I, uh, I need some advice.” “Advice?” “Yeah. So, hypothetically, say you met your boyfriend’s mother and sister for the first time ever. Completely by accident. In the grocery store. And they convinced you to help them make a dinner to surprise aforementioned boyfriend when he got home after work. What would you do?” Danny paused, and then, “Stiles, you don’t have a boyfriend.” “That’s not the point! And I said hypothetically.” “Stiles...what are you doing right now?” *** Stiles never imagined he’d be in Derek’s kitchen cooking a surprise dinner with Derek’s family while they waited for Derek to get home from work. Partly because their visit was a complete surprise. But mostly because Stiles didn’t have a boyfriend. Or even know who Derek was. But he’d already come this far and Papa didn’t raise no quitter!

Notes: this is to date one of my favorite Sterek fics. I laughed so much while reading this, I'm not even joking. The whole thing is a comedy of errors gone right. Stiles somehow finds himself pretending to be Derek's boyfriend, only he has no idea who Derek even is and why his family knows Stiles at all. His inner monologue is one of the funniest I've read, and his slow descent into (good natured) madness is wonderful. It's completed.

12. Love Like An Ache In The Jaw by Anonymous

“So let me get this straight,” The sheriff massages his temples, “You found a magic book, and performed a magic spell that has backfired and magically bound you to Derek Hale, rendering you both in agony if you’re not in the same room.” Derek and Stiles exchange a look. “Um. Yes.” Stiles says sheepishly. “Right. And just to be clear, when we’re talking agony… exactly how agonizing is the agony?” Derek clears his throat. “Sir, I’ve had a pole stabbed through my chest and held there for an hour. This was… similar.” - In which boredom, magic and dumbassery come together to produce a Christmas miracle slash disaster. Oh, and Stiles' grandmother who knows absolutely nothing about the supernatural happens to be in town. Oops.

Notes: another hilarious one. Stiles does Stiles things and ends up magically bound to Derek. No one is amused except Stiles' grandmother, who's having the time of her life, here. It's completed!

[annabelle--cane]

there's a lot going on in the mag 58 supplemental, this one little scene does a lot of heavy lifting to set up martin and tim's arcs for the rest of the show, but I want to focus on these lines particularly because of how therapy comes back as a symbol in s4/s5.

broadly, in the context of the meta plot and not the individual statements, seeking therapy in tma is representative of trying to improve oneself and get out of a bad situation. later, when taking melanie to therapy, georgie suggests that jon should get some as well but, when asked, says she wouldn't be willing to escort him like she does with melanie, showing how she does wish the best for jon in theory but doesn't think he actually wants to get better, or at least that she's not sure enough to involve herself with him.

that view of jon doesn't come from nowhere, because here we have an instance of him rejecting that same offer, symbolically rejecting help in favor of digging himself deeper on his own (obligatory disclaimer that irl therapy is a very personal thing and says nothing about one's overall character, this is just an examination of a motif in fiction). the word choice of "he just says no" imo implies that martin has suggested this multiple times and jon keeps giving the same answer, continually reaffirming that he does not want outside assistance to pull him out of this spiral.

the fact that martin's the one advocating to go soft on jon despite repeated refusals for more sympathetic help is interesting to me, because I would guess that this conversation was instigated by jon aggressively confronting martin about trevor herbert two episodes earlier. we know he was stalking all three of his assistants, but that is the biggest and most threatening outburst we get from jon in this period, and in this conversation it is still martin being defensive and apologetic vs tim being frustrated and pissed off.

I've said recently that I'm pretty sure martin believed jon was self harming and/or suicidal at this point, so I can see why he would be particularly willing to give jon slack and try to prevent any big conflicts, but that still contributes to his current narrative role of "guy who is treated the worst but ignores it because he's also the guy who cares the most." in that way, he's a foil for georgie; she cares, sure, but not enough to ignore (perceived) risks. martin pushes for jon to get therapy even as he lashes out and rejects help, and georgie won't involve herself when jon asks if she'd be willing to help him see a therapist.

this motif comes back around for a final complication in s5, when laverne, melanie's therapist, winds up as part of her cult. melanie's effort to get better and get out did have lasting effects, she is separated from the watcher/watched system and is coping a whole lot better than she would have before, but those personal efforts still weren't enough to fully get her out of the whole mess. no amount of individual action could remove her from this structural problem, her therapist helped her a lot but also now thinks she's a prophet.

which also comes back to the above scene. tim and martin both write off elias as useless in this situation, so they start sniping at each other and talking about how to stop jon from doing what he's doing without even really lingering on how the guy who is actually in charge and has power over them all is making it worse by neglecting his managerial duties. I'm sure jon could have done with some therapy at this point, but that would have only dealt with, like, 10% of the archive gang's current problems.

[ohnoitstbskyen]

Oh no. Sir I believe I'm going to need you to explain that Dragon Age 2 opinion, that is a BLAZING hot take

I really don't think it is. Although of course all of this is personal opinion, not some sort of divine proclamation on high about which video games people are allowed to prefer, so take please it in the spirit it is offered.

Origins is a worldbuilding walking tour as much about explaining its own in-universe lore and fantasy history as it is about either its characters or the actual story that is happening in the game. It's a cool world! With some great lore! But also it is built entirely around Generic Fantasy Plot Structure #1 and never particularly seems interested in innovating, or surprising the player. On top of which, a lot of its setting and lore is pretty weakly sketched and doesn't really get developed into something either visually or narratively compelling until it gets built out in later games.

And while Inquisition has some genuinely fantastic characters, everything else about the game suffers very badly from the plague of BioWare Magic™, i.e. the production was an absolute mess up until the last minute when five hundred extremely overworked and underpaid creative geniuses somehow managed to wring a functional experience out of the trainwreck. It was made with fucking Frostbite of all things, jesus christ, it's holding together with spit and duct tape.

Now, Dragon Age 2 shares a bunch of the problems of Origins and Inquisition. It too bears the hallmarks of "our executives couldn't plan a healthy game production cycle if their lives depended on it" with a lot of unfinished content, half-assed sidequests and a truly frustrating over-reliance on a combat system that isn't half as engaging to use as it needed to be.

But Dragon Age 2 also has something neither of its siblings could ever even hope to match: an actual compelling protagonist.

Like, listen, I know people adore their headcanons about their Wardens and Inquisitors, and it has made for some truly amazing fanworks, but Hawke is literally the only actual character out of all of them. Hawke has conflicts, problems, needs and drives that actually inform and push the story forward, they have a family and a history and a reason to give a sh** about the central conflict of the narrative.

In Origins and Inquisition both, your character becomes the main character of the story entirely because of fate and random chance. You are the Chosen One and you are the only one who can Save The World because you're the last of the super special elite fantasy Hero Squad, or because you got some green magic stuck in your hand by being in the wrong place at the wrong time. Because the character is a complete blank slate onto which the player is expected to project themselves, random chance and circumstance are the only tools the plot can use to position them as main characters. There is no character to drive them to it.

In Dragon Age 2, Hawke becomes the champion because they're trying to build a new life for their family in Kirkwall, and end up embroiled in the chaos and politics that befall the city as a natural consequence of living in it and dealing with the conditions of it. Hawke and their family's needs and wants drive their actions, and push them to engage in endeavors that influence the course of history. They have agency (in the conceit of the narrative, at least) over how their life turns out, they make choices that have consequences, rather than being dictated into the position of Main Character by a literal looming apocalypse that permits no other course of action.

And I'm not about to sit here and claim that Dragon Age 2's story is perfect or that every character is a masterpiece or that every plotline is amazing. No, there's plenty of scuff and jank and things that have aged poorly and unresolved plot threads and all the rest of it.

And I am definitely not forgetting the godsdamned DLC where BioWare threw it all overboard by inventing a Special Bloodline Plot where oops it turns out Hawke actually IS a special chosen one specially chosen by a special fate to have a special role in Saving The World because they're special because of fate and destiny and blah blah, I still think that was phenomenally stupid (especially when Corypheus wasn't even Hawke's goddamn main villain to deal with what was any of this supposed to add to their character ffs BioWare)

But even with all its problems, the simple fact that Hawke is a character you can give a shit about independent of your own projection as a player - the fact that Hawke isn't just an empty bland blank slate with no personality, no traits, no wants or needs or drives - that has made Dragon Age 2 infinitely more memorable to me than either Origins and Inquisition. I think about it to this day. I think about Hawke to this day. I care about what happens to the character in a way that I just simply could never bring myself to do with either my Wardens or my Inquisitors.

[theriverbeyond]

Just finished ch 23 in my Nona reread and i think Ianthe dismissing Blood Of Eden as "terrorists" is especially jarring because of the evolution of how BOE is presented in the text

like first in GtN, Gideon never mentions who or what she could be fighting if she had succeeded in her dreams of joining the Cohort. she wants to be part of the "invasion force on whatever", and her fantasies of violence are exclusively oriented around perceived personal freedom and making Harrow feel bad

And then in HtN, Blood of Eden is finally named as the Empire's enemy, but they're very specifically never called "terrorists". they're "insurgents" per both John and Judith, which not only has a wholly different definition (revolutionaries!) it's also an interesting intentional choice on the part of the *writing*. It would make in-universe character sense for Cohort Captain Judith Deuteros to call BOE "terrorists" in the personal notes she takes while prisoner, and it would make in-universe character sense for Emperor John Gaius to call them "terrorists" when he is explaining to Harrow that they are The Enemy. and i feel like it is narratively important that Blood of Eden is very intentionally *not* presented to us the readers with the kind of aggressive dehumanization/dismissal connotation combination that the word terrorist has.

and then like, obviously, the first BOE character we meet is a hot MILF with a gun. and sure she's trying to kill God, but Augustine and Mercymorn also try to kill God like 3 pages after we (properly) meet Wake so it's not like killing God is presented as a negative thing.

So going into NtN, I feel like the general impression of BOE is revolutionaries who hate the Empire and hot ladies with guns. which as far as impressions go is like, pretty positive, and that impression is only emphasized in the first 300 or so pages of the book. You have more hot women, you have more hot women with guns. There are factions of BOE that hate Our Protagonists more than the ones we meet, and there's infighting and hostages and burning suspected-necros in the park, but the BOE members we meet are explicitly sympathetic to the characters that we the audience care about, so the "scarier" parts of BOE are in many ways de-emphasized to the reader. We're *also* given an up-close-and-personal view of how bad it is for the people living under the Nine Houses' rule/resettlement via Hot Sauce and the gang, which further solidifies BOE as *at least* bordering on (if not outright!) "someone to root for", even for resistant readers.

and then Ianthe shows up and calls them terrorists and it feels a bit like a slap to the face. It serves to emphasize and perhaps consolidate what has been building for the series, which is essencially that the protagonists of the previous books are on the wrong side. Necromancy is on the wrong side. the Empire is doing bad fucking things and they are calling the revolutionaries who resist them "terrorists" as a way to delegitamize their resistance and dissuade support, something that no longer works on the *reader* because of the way Tamsyn Muir has hansel-and-gretled the fuck out of that story arc. send post.

[mikesbasementbeets]

ok. look at these.

look. that's the same look. right?

let's take a closer look. to do that, i'm gonna have to zoom in a bit on the first one. because, as you can immediately see, the shots are slightly different. the first is a little farther away, showing both mike and el, walking next to each other, whereas the second is much more intimate, a closeup on mike's expression as he looks at will's face in the foreground. a minor but telling difference about the levels of emotional intimacy in each scene.

so, moving past that first element of contrast, let's look at each shot in full, because in both of these scenes, mike goes on a bit of a face journey before he gets to that final smiling expression, seen above.

personally, i think studying actors' body language and micro-expressions is inconclusive at best, but i won't deny that these look similar. however, it's pretty clear to me that they aren't the same.

toward el, i see confusion, intrigue, maybe pleasant surprise, followed by a glance down (to emotionally process and/or watch his step), and then a nervous but friendly smile.

toward will, i see awe, relief, and overwhelming affection, followed by a shy glance down and a slight schooling of his slack jawed expression into a warm smile.

but, again, that's just my interpretation, and i can't say with any certainty what the intention of all of finn's micro-expressions are. but from my perspective, even a surface level viewing of these two expressions depicts a very different emotional experience. however: there's no denying the connection between these two scenes. they clearly mirror each other, just like a lot of things about mike's relationships with el and will mirror each other. i don't think that's an accident.

whatever you think his sexuality is, mike is undeniably in a romantic narrative with el. beginning in season one episode three, when the concept of their romantic relationship is introduced, the narrative arc mike and el share is heavily focused on that relationship. the first scene above actually happens in that same episode (s1e3), not coincidentally almost directly afterward. and the former scene, with mike, lucas, and dustin behind the baseball field, provides very interesting context for several reasons:

first: bear with me, because we're going back to look at the context behind this context. this is only episode three of the show, but already there's a lot going on, both in text and subtext.

and since we have the entirety of their relationship so far presented to us on screen, when lucas accuses mike of looking at el romantically, we're easily able to go back and figure out where he got that impression: we can examine every time lucas has seen mike look at el at all.

the first night, after finding el in the woods instead of will, and while insisting that the next day she'd be gone and they could focus on will again, mike's behavior is directly reminiscent of benny's. taking el in, and providing her with shelter, food, and clothing.

the next day, after learning that she's in danger and changing his mind about pawning her off on his mother, mike infers that she might know something about will. when lucas arrives, he exclaims that she recognized him and knew he was missing.

later, when lucas tells her that will is their friend, she asks what that means and mike explains. a friend...

and then she displays that she might really be able to help them find will. and mike looks at her like this:

each and every one of these interactions is directly related to will. but lucas, through the omnipresent lens of heteronormativity that surrounds boys' interactions with girls (especially a group of boys who have no experience with girls... more on that in a bit), only seems to consider the fact that mike's behavior, which is undeniably about will, is being directed at el.

throughout season one (and beyond, in more subtle ways), will and el are repeatedly connected to each other through the trope of mistaken identity. will is abducted on the same night (and due to the same series of events) that el escapes the lab. hopper, in his investigation into will's disappearance, keeps running into clues about el. and mike, lucas, and dustin, sneaking out in episode one to search for will, find el instead.

later in the season, hopper eventually realizes the truth of his own more overt mistaken identity arc: while he was under the assumption that he'd been following will's trail, he'd actually been following el's. interestingly, the realization is triggered by one specific distinguishing difference, which tells him beyond a doubt that he's been looking for two different kids: their art.

though much more subtle (aka hidden in the subtext), mike's arc with his feelings about will and el follows a very similar pattern. the main difference, though, is that in season one, the swapping of places is eventually reversed but never acknowledged as such, and mike ends season one with el now missing and will back in his life, but a lingering sense of something yet unresolved.

second: (i'm not going to deep dive into this one here, because it's a whole analysis in and of itself, but i need to mention it because it is relevant) this scene introduces the recurring motif of superheroes being directly connected to mike's feelings for el, which is an association we see follow them all the way into season four and become a defining metaphor for their incompatibility.

third: lucas is the character who first introduces mike's romantic feelings for el into the narrative. and instead of giving any indication that lucas' interpretation is correct, mike's reaction is... difficult to read. his response is immediately defensive, both verbally ("what are you talking about?" "shut up, lucas,") and physically (leaning away and shielding himself when lucas hugs him). we can infer from the original character descriptions why mike might be defensive about this subject:

obviously, this description is only a vague impression of what Mike Wheeler became, but it's clear that the core elements of his character outlined here did come to fruition on screen. here, mike's insecurity is linked both to the bullying he undergoes, and to his inexperience/ineptitude with girls. and it's presented as key to his character motivation (the original concept of his character arc put forth here is very straightforward: at the start, mike has insecurity centered around bullying and is romantically inexperienced. by the end, mike has courage against monsters and romantic experience.)

in any case, this scene is the first hint of this aspect of mike's character in the show itself (the earlier scene of bullying in the show focusing on mike consoling dustin over what he’s being bullied for (“i think it's kinda cool. it’s like you have superpowers or something!”)... see my last point here… mike holds the idea of superpowers in high regard, and they are consistently connected with his feelings about el. something about the mistaken identity through-line feels apt here: mike mistakes his feelings of admiration for el as feelings of romance.) in this scene, mike is confronted with both romance (in direct relation to himself for the first time in the show) and bullying.

but due to the way this is shot, it's impossible to get a read on what mike is truly feeling. it reminds me a lot of another scene, actually...

in both of these scenes, mike's genuine emotional reaction is hidden from us. in the first, lucas forcibly hugs him, teasing him about how much he "loves" el, and in effect introducing the idea of el as a romantic prospect to mike. in the second, el hugs mike tightly, her hand still around his neck from their kiss and his arm trapped in between them, similar to the way he shields himself from lucas. we're then shown that he's signed the card on the flowers squished between them "from, mike." hm. so... not love, as lucas suggests.

we come to learn over the course of season four that this is something mike is actively struggling with: his inability to "love" el in the way that she wants, expects, and deserves. this scene, introducing that season-long arc, conceals mike's true emotional state and motivations from us, again, mirroring the first introduction to their entire romantic plot line way back in season one.

(an aside: lucas' "if you love her so much, [then] why don't you marry her?" aka the inciting event of their romantic arc, is a based on a conditional statement with the hypothesis that mike loves el. as mr. clarke might posit (in, say, season one, episode one): what's the difference between an experiment and other forms of science investigation? ...well, an experiment is a controlled test of two or more variables against a hypothesis. does that remind you of anything happening in mike's romantic narrative? something about...... [murray voice] experimenting sexually?)

anyway. then, after extracting himself from el's embrace, mike finally drops his bag(gage) and opens his now empty arms to will, before preemptively cutting himself short with a punch to the shoulder.

...did someone say internalized homophobia?

and then immediately upon being introduced to argyle, mike is called out for his presentation here not being genuine. ("it's a shitty knock-off,"/"i really thought it was ocean pacific...") we're being told that something about mike's performance is not what it seems (and may even be a case of one thing being mistaken for something else).

and speaking of homophobia...

fourth (and finally): this scene, of lucas' teasing mike about his "love" for el, which i'll remind you again is tied directly to lucas mistaking mike's behavior regarding will as being solely about el, is quickly interrupted by an onslaught of homophobia, during which mike is specifically targeted (read: tripped) by the bullies.

the juxtaposition is immediate and obvious: mike's friends lovingly teasing him, even embracing him, over a crush on a girl vs. bullies maliciously taunting them about will being killed for being queer and then physically harming mike.

(there's also something to be said about the later scene in which these bullies force mike to drop his bike in the woods and chase him to the edge of the quarry, mirroring exactly how the cops assume will must have died... and, to be clear, i'm not saying that mike himself is being bullied for being queer in the way will was. no, mike's queerness is invisible to those around him in a way that will's isn't, so his relationship with it and the ways it affects him are hidden in subtext.)

which brings us directly to the following scene in the woods. el asks about mike's injury (sustained from the aforementioned bullying, thereby linking these two scenes even more concretely) and with a little prodding ("friends don't lie"), he opens up to her about what happened, and about being bullied at school. she listens, tells him she understands (this also follows her recent flashback of brenner's abuse in the lab), and they share a "cool," "cool," and a smile.

so... let's quickly jump over from here to the van scene with will. something similar, yet notably different, is happening in this scene, leading up to that infamous smile at the end. mike is sharing his insecurities with will now, but instead of will prodding him to open up, mike, prompted only by will's "she's gonna be okay," begins rambling so much about his insecurities (while speaking in superhero metaphors) that he eventually cuts himself off, saying it's "stupid." instead of letting him brush it off, will guesses exactly what mike is afraid of: "you're scared of losing her." he gives him The Painting (a symbol of his love for mike) and a long speech about feeling lost and different, while insisting upon mike's value (you're the heart, leading us, inspiring us, etc). and then they share a "yeah?" "yeah," and a smile.

so we can see the similarity in the way the shots are set up, the progression of the conversations, and mike's visible reactions. but we can also see distinct differences, all of which together inform a significant difference in emotional weight between these two scenes.

while mike's conversation in the woods with el takes place in the third episode of season one, at which point mike has known her for less than 48 hours, the van scene is in the second to last episode of season four, and is the fourth of five heart-to-hearts mike and will have this season alone (and following three previous seasons and beyond that years of close friendship). it is also arguably the climax of their shared arc this season. on the other hand, mike and el's season one moment is part of the introduction to their storyline, and the introduction to their romantic arc. in this moment in the woods, mike is looking at el romantically (did you think i was gonna argue that he isn't? because no, he definitely is). in fact, this is the beginning of mike's entire romantic arc, which sets out to address the foundational insecurity that is key to his character. we, as an audience, right alongside mike, have just been told (by lucas) that mike has romantic feelings for el. and then we are presented with this scene. we are supposed to view this as romantic. because mike is starting to view it as romantic.

had stranger things been one season long, then the climax of their romantic arc would have been the kiss they share in the cafeteria, followed by the denouement of el's symbolic death (the gay implications of which i could write another whole essay on...). but the end of season one was not the resolution of mike's full romantic arc. by the nature of the five act structure (which is what stranger things has, being five seasons), the entirety of season one serves as exposition for our full narrative. which means, in effect, that the entire arc of mike and el's season one relationship is there to serve as groundwork, a foundation for mike's complete five season arc. season one, starting from before he even meets el, all the way through to when he eventually kisses her and then loses her, is only act one of that arc. the first act of five act structure is when the driving conflict is presented. so in the context of the entire show, for us as the viewer, mike's narrative arc surrounding the romantic aspect of his insecurity begins with his season one "romance" with el.

and we know that this insecurity is an element of the full five-act narrative, rather than being presented and wrapped in the course of the mini "self contained" narrative of season one, because we can see plainly, three seasons later, particularly during mike's heart-to-hearts with will, that this insecurity has not yet been resolved. we know this, on a basic level, from having watched mike and el's relationship struggles progress, but it is still explicitly laid out for us in season four. and will is consistently the only person who genuinely hears mike out, encourages him to open up, and addresses his insecurities, instead of brushing him off, like most other people in his life (including will at some points) have done. will understands him in a way el only claimed to in season one.

looking back to the character outline: mike has now "kiss[ed] a girl" and even "had a girlfriend" and still hasn't resolved his insecurities even remotely. in fact, after the first season arc wraps up, this romantic relationship becomes the main source of that insecurity. his difficulty navigating a real romantic relationship with el is the basis of their arc in season three. and by season four, mike is consciously struggling with being unable to tell el that he loves her. despite will's reassurances that things will be okay (which stack onto lucas' constant relationship advice in season three), mike keeps circling back around to it. because he can't move forward on the path he is on.

he has reached a point of no return, like a “fight you can’t come back from.” he is unable to find the security he is searching for in his romantic relationship with el... and this is where we arrive back at the van scene with will.

if the scene in the woods marks the beginning of the introduction of mike's romantic arc, then the scene in the van marks the beginning of the conclusion of mike's romantic arc. if the introduction of his romantic arc (season one) presents his insecurity, then the natural conclusion of that arc (season five) is security. throughout season four, mike lays out for will the insecurity that his relationship with el still brings him. he is unable to find that security with el, and, in the van scene, finds it with will instead.

or, should i say, begins the journey to finding it. because, especially after the lie that brings them into that moment, and then traumatic pizza dough freezer incident, we're still at the beginning of the conclusion. there's still a lot to resolve, but season four (alongside mike, who now understands what he's been going through) finally began moving the subtext of mike's arc into the actual text. and this moment indicates that season five will take that next step to fully, textually, actualizing it.

so, getting back to the parallel we're looking at here: each of these scenes is a catalyzing moment in mike's romantic arc. in season one, when lucas suggests that mike has a crush on el, and then what follows is a conversation with el where she is (to quote lucas) "not grossed out" by him, he actively begins his journey toward resolving this character motivating insecurity. he looks at el and he sees the possibility of romance.

and just look at him. he looks excited. hopeful. a little nervous. but... i want to remind you again: mike has known el for less than 48 hours at this point. this is the first conversation they've had in which they've related to each other as equals. for their entire relationship before this and afterward, outside of their romantic interactions (and also. often. disturbingly. concurrent with their romantic interactions...), mike's role has been as el's protector, a makeshift father figure, the elliot to her E.T. here, though, el tells mike that she understands him.

in season one, mike is twelve years old (read: pre-pubescent). he has no personal understanding of or experience with romance. dustin starts to comment in s1e2, "you're letting a girl...?" and ted later scoffs "our son with a girl?" and outside of the queer coding, what we can take from both of these (which draw back to the original character description) is that mike has no experience with girls whatsoever. (outside of, you know. family. but that's not what this post is about.)

and again, this scene happens almost directly after lucas first introduces the idea of romance between them, both to the narrative, and to mike himself, who, very significantly, up until this point, has shown no romantic interest in el. the sequence of these events is not a coincidence. 1. lucas assumes mike has romantic feelings for el. 2. el and mike have a moment of personal connection and understanding 3. mike "boys only" wheeler puts these two together and assumes the connection between them must be romance. but the expression on mike's face here isn't a representation of already existing romantic feelings. there's no basis for those. again, this moment represents for mike the potential for romance.

which... makes his expression in the van scene hit even harder. because unlike el, will isn't a stranger he barely knows, but rather his best friend of ten years. and it isn't lucas telling mike how mike feels. it's will professing his own feelings about mike, in direct response to mike's self-professed insecurities. (ding ding ding, are your alarm bells going off?) mike's expression at the end of this scene, if we're viewing it as a reprise of his season one expression, is a representation of hope for his romantic future. but this time, heading into the resolution of mike's romantic arc, with all of the knowledge and context we (and mike) have gained over the course of the past four seasons, it's directed at will.

ok. so. with the basic connection between these two scenes established, i'm gonna move a little bit sideways here. at the end of their romantic arc in season one, el disappears from mike's life and will reappears in it, effectively swapping their places (remember that we've been dealing with the mistaken identity trope between these two), and leaving the question of mike's romantic security glaringly unresolved.

and we know why - this is a five act narrative we're watching - but just within the context of the season one arc... the climactic moment of mike finally asking the girl to be his sister kissing the girl was preceded by her locating will in the upside down (leading to his rescue) and followed by a resolution in which she disappeared... and will took her place. at the end of the season, mike is left in the same place he started: playing games in his basement with will, his first attempt to resolve his arc of romantic insecurity, with el, ultimately ending in tragedy.

after season one, this arc picks up again, but this time will is the one present in mike's life. and mike's behaviors toward el in season one, during which they were undergoing a romantic story arc, begin showing up again in his behavior toward will. but unlike with el, mike's particular (read: romantic) behavior toward will happens without outside intervention, and in fact, often in spite of outside intervention. now, this isn't to say that all of mike's behavior with el was a result of others' influence. when el reveals to mike that she is on the run from "bad people," mike is immediately protective and caring toward her. however, as i've already explained, this caring behavior (which, again, we know right off the bat is not romantic because it directly mirrors the way both benny and hopper care for her) doesn't turn into romantic behavior until lucas introduces that idea.

on the opposite side of the spectrum, right from episode one of season one, mike's behavior toward will is fully self motivated, even in the face of opposition.

and as we move through season one and beyond, we can see that mike continues to rely on constant guidance in the way he cares about el (particularly and most consistently from lucas).

stranger things is, at it's horror filled core, a coming of age tale. like many of our other characters, mike's full character arc, romantic and otherwise, is about self-actualization. from the very conception of the show, his insecurity is presented as a central character flaw to overcome, while also being directly linked with his romantic fulfillment. the overcoming of this fatal flaw, the resolution of his romantic arc, and his final achievement of self-actualization are all inextricably intertwined.

the reprisal of this specific expression of romantic hope as we enter the end of mike's romantic arc is not an indication that mike is in the same place emotionally at the end of season four as he was at the beginning of season one, just with a different person now. instead, it is an indication of his romantic arc coming full circle. mike began in a position of hope for his romantic future with el, only to have the actualization of that hope (their romantic relationship) gradually degrade his romantic fulfillment and self-esteem. the longer mike and el are together, and the more serious their romantic relationship becomes, the worse mike's insecurities become. this is, i would argue, directly related to the fact that mike's pursuit of a romantic relationship with el is not due to his own genuine desire, but instead a combined result of heteronormativity (lucas assuming mike's feelings for el to be romantic), compulsive heterosexuality (mike's subsequent assumption that his feelings for el must be romantic), forced conformity (mike's attempt to resolve his insecurities firmly within these heteronormative boundaries, under the assumption that a rejection of these boundaries is unacceptable), and the trope of mistaken identity that has been following will and el since season one.

and of course i don't know with any concrete certainty what season five will contain, but based on the narrative so far, and optimistically expecting a satisfying resolution to his character arc, the actualization of his romantic hope regarding will is going to lead to true romantic fulfillment and coincide with his self-actualization (a big part of which is coming to terms with his sexuality).

now, i'm not going to conclude this whole analysis by saying, "and that's why mike is gay!" because while i think this all is a good indication of that, based on all of the context and my impression that this narrative is being presented in a way that focuses on the subtext and deeper symbolism of each of these relationships rather than being a case of specifically el vs. will, you might still have a different interpretation than me. that's fine. however, i am going to end by insisting (me when i argue with the wall), based on everything i've laid out, that this parallel and others like it (ie parallels between byler & miIeven's romantic arcs) are not evidence of mike's feelings, specifically whether they are genuinely romantic or not. this parallel serves as a narrative device in his romantic character arc... the conclusion of which is mike realizing and coming to terms with the fact that he is actually in love with will, and not el.

just to be very clear, i'm not saying these parallels alone are proof against mike being bisexual, but i am saying that they are not evidence in support of his being bisexual. again: they do not indicate that mike is romantically attracted to el. what they indicate is that will and el are foils in mike's romantic arc.

before i finish, i want to address a couple misconceptions:

1. the fact that mike actively and willingly participates in a romantic relationship with a woman means he can’t be gay. this is straight up homophobia. gold star bullshit. no.

2. mike and el being presented in a romantic light means that they have genuine romantic feelings for each other. this is a misconception of the way narrative tools are used to tell a story. going right back to my first point: it is an irrefutable fact that many gay people have romantic relationships with the people of different genders (read “the opposite sex”) before they come out/realize their true sexuality. it is also a fact that many of these gay people fully believe their feelings to be genuinely romantic before realizing that they are not. as i've already gone over, mike is twelve years old when his romantic arc begins. on the surface, his relationship with el is presented as romantic. he participates in (and even initiates) romantic behaviors because he believes that his feelings for el are romantic. in seasons one and two, mike is one of our main POV characters. we can see a romantic tilt to the way some of their scenes are shot because, to mike, while they are happening, they are romantic (keeping in mind what i said before about mike having no experience and therefore no personal knowledge informing his perspective, AND keeping in mind that many of these on-the-surface "romantic" scenes are also consistently subtextually linked (read: paralleled) to familial relationships for both of them... and i haven't even touched the cultural context surrounding homosexuality in 80's. there's so much nuance informing the way this story is being told). and we, as the audience, are supposed to read them as romantic on first viewing, because otherwise the season five plot twist, revealing the truth of mike's feelings, would not work.

it is not a coincidence that the active degradation of their romantic relationship (outside of all of the other context, parallels, symbolism, family coding, etc, that are there to hint along the way that things are not as they might seem) begins full force in season three, at the exact point when the two actually enter a real relationship for the first time, and also when our characters are entering puberty, the time during which a person's sexuality (in a general sense, but also in regard to sexual orientation) begins to fully emerge. after his season one arc with el, mike underwent another season-long romantic arc: this time, with will. it's more subtle, because (i believe) mike doesn't realize yet that it's romantic, but it's there. then at the end of season two, mike makes a choice: he encourages will to dance with a girl and he dances with el, re-writing their tragic ending from season one, but now leaving his romantic arc with will frustratingly unresolved, again mirroring the sense of unresolution from season one: mike has swapped out the end of each romantic arc with the wrong love interest.

and then in season three, now having had the experience of both romantic arcs, and now, for the first time, with both will and el right there beside him, all we can see anymore is the overt contrast between the two relationships, depicted most blatantly through the same type of visual and narrative "parallel" we've been looking at here.

but at the end of this season, instead of making a choice, mike's choice is made for him. he has a romantic moment with will, and then el kisses him, confusing the resolution of these two romantic arcs once again.

mike's season four arc closely mirrors his season one arc (searching for one love interest with the other by his side, mistaken identity trope abound), but with important distinctions: 1. mike is a little older, a lot more experienced, and has a better understanding of both the context of romantic relationships and the scope of his feelings for both el and will. and 2. mike's only real guidance in season four comes from will, and he doesn't simply listen and act based on will's advice, as he did with lucas' in seasons 1&3. now, he fully engages with will's input, pushing back against it when he doesn't agree, and accepting it when he can acknowledge its truth (up until, of course, our fourth (and hopefully final) tragic, incorrectly resolved ending). mike is finally taking control of his romantic narrative in a way he hasn't previously, and the direction it's heading in now is toward security, self-actualization, and will.

so the point of all of this is: nothing is as simple or straightforward as it may seem on the surface. the narrative has always been deeply complex and layered with subtext and symbolism. and most of all, when interpreting the meaning of anything presented directly to us on screen, context matters.

also uh. yeah, mike gay

[atlabeth]

wake up, sunshine

knight!luke masterlist

based on this ask

pairing: knight!luke castellan x princess!reader

summary: you and luke repair some things at your kingdom's annual flower festival.

a/n: have some fluff after i destroyed their relationship in the last fic! also this is based off of the scene from rapunzel because how could it not be <3 title from the all time low song bc it is soooo them "somebody loves you for yourself" <3 they're everything

wc: 2.5k

warning(s): once again luke is kinda angsty but this is much fluffier than usual! princess is nice again, they have a couple sweet moments <3

we’ve been focusing on a lot of rough times between luke and the princess but things aren’t all bad for them!! even though she’s trying to ignore him and being forced to court a prince she isn’t interested in at all and war is imminent, war has not struck YET 

which means that things are still pretty great lol. and things are going to get a little better 

Aurelda’s flower festival always happens at the peak of spring, when all of the flowers (especially the ones only found in your kingdom) bloom, and it is full of revelry and merriment 

You’ve gone every year since you were old enough to walk, and though things have been a bit bleak for you, you’re actually excited about it! that boring prince has gone back home so you don’t have to spend the entire festival entertaining him. 

For the first time in a while, you actually get to focus on yourself and having fun. and you plan to do just that 

Of course, things are still weird between you and Luke — you know it’s your own fault, and you know that’s how it has to be, but you still hate it — but you can’t stop thinking about his words from that night as your lady’s maid helps you get ready for the festival. 

You may not care about what you want, but I do. And my loyalty is to you, princess. Not to your parents. And certainly no prince. 

Your heart twists painfully but you hide any emotion. The last thing you need is your maids spreading rumors. They already gossip about how close you and Luke are. You don’t need any star-crossed lovers narratives going on when your friendship is being put through the wringer of your own accord. 

You’re wearing a more casual outfit than usual—though your parents usually want you adorned in gowns and over the top dresses, you insisted on a simpler dress that cut off around your ankles for the ease of movement. It has plenty of embroidered flowers, of course. 

You planned to participate in every festival activity, no matter what your parents said. You deserved to have some fun after being so serious for the past month. 

You’re stuck in meetings the entire day before the festival, so you’re brimming with unspent energy the second you step out of the palace. Your leg bounces up and down the entire carriage ride, and you talk at (not to) your parents the whole time. 

You’re excited, okay? And you deserve to be. things have been rough lately, and with the prince’s presence, woefully boring. You can’t wait to get back in the middle of your kingdom and see your people. You love your subjects, and you always love when you get to meet and talk to them in person. 

Luke, on the other hand, is slightly stressed. 

As this is his inaugural year as your knight, it is a season of firsts for him, and every first comes with unhealthy amounts of stress. 

His first ball with you, his first time in another kingdom with you, his first festival with you, his first time being at odds with you. 

Luke honestly doesn’t know how you feel about him right now. You’ve put an impressive amount of distance between you and him, and you rarely talk to him outside of necessity, but he sees your lingering glances in his direction. He notices when you don’t rebuke his attempts at friendly conversation.

Luke meant every word that he said. He knows you, and he knows you don’t want this—you at least don’t want to leave him in the dark like this. So he isn’t going to let you go that easily. 

Your avoidance of him may be a good thing, though, because at least it means you don’t see his reaction when you leave your room wearing your festival dress. 

Luke has always thought of you as the most beautiful girl he knows, and that hasn’t changed with time. 

You always stun in your ballgowns and any Aureldan finery, but there’s just something about you wearing such a simplistic dress, heightened by embroidered flowers, that makes him weak in the knees. 

Maybe it’s because Luke has imagined a life away from all of this so many times. You’re not a princess, and he’s not a knight, but you’re devoted to each other the same—you just don’t have any royal strings attached. 

Apart from being a knight, Luke has never really cared where his future took him, as long as it was with you. He knows he would give up all of this and more if it meant he could share a simple life with you. 

Thankfully, he’s composed himself by the time you look at him, though he can’t push away all the lingering thoughts. 

“Are you attending the festival today, Sir Castellan?” you ask.

He hates it when you call him that, but he nods. “Of course. You’re going out into the kingdom—you need security.”

“It is a festival,” you drawl. “Nothing will happen.”

“It is still necessary,” he says. “You can think of me as your knightly escort.”

That actually gets a bit of a laugh out of you, and he suppresses a smile. “My escort. How improper of you.”

“Today is meant to be a day of festivities,” Luke says. “Impropriety may be allowed just this once.” 

Your smile remains as you start to walk together, and Luke knows he could live off of its warmth alone. 

And when you finally reach your destination, your smile gets even bigger.

It’s been far too long since you’ve gotten to be in the midst of your kingdom, surrounded by all your people. This is the part of your position that you love—you just wish your parents trusted you with it more. 

Your parents are busy with their image—they’re speaking later today, you’re sure, and right now they’re discussing things with some kind of village leader—which gives you the perfect opportunity to slip away. 

Luke is right behind you, of course, but it’s always been hard to keep up with you. You’ve grown very skilled at weaving your way through crowds, but thankfully Luke has grown very skilled at keeping an eye on you. 

By the time he catches up to you, though, it’s too late. 

“Princess—” Luke calls in protest, but you’re already off to greet a group of children calling your name. 

You know exactly how to stress him out, running off like that without him immediately behind you, but he can’t find any anger inside of him.

Luke hasn’t forgotten your words. He doesn’t know how he could. 

But in this moment, it’s so easy to see why he can’t just do his duty and let you go. 

The way you crouch down to be on their level, how you listen so intently to everything they say, your dazzling smile. 

Yes, one could say it’s your duty to be kind to your people, but for many royals, that’s not true. You’ve always cared about the people of Aurelda, ever since you were young—that may have been one of the few things that hasn’t changed as you’ve grown. Luke has always admired that about you. 

In this moment, you’re not the crown princess. You’re just you. And it’s hard for anyone not to love you. 

…It’s hard for him not to love you. 

yeah. 

this is the moment that luke realizes he loves you. like loves you loves you. 

And it doesn’t come as much of a shock to him. Luke has always loved you, one way or another. He’s just now understanding the kind of love he holds for you now. 

wants to spend the rest of his life with you, would throw himself onto a sword for you, would do absolutely anything for you type loves you. 

If anything, it brings some form of relief. 

He loves you. You don’t love him, and you’re going to marry a prince someday. Maybe within the year. 

It’s as simple as that. 

except it isn’t, obviously 

because you love him too!! you just don’t know it yet!! and you don’t really want to marry the prince your parents are pushing at you, you just don’t see any other way. 

But it’s not like Luke knows that. he may be the youngest person to ever become part of the kingsguard but he is ~ insecure ~ and he cannot imagine anyone liking him like that, especially you!!! 

Luke comes back into himself when you bound back over to him, and he notices the flower crown balancing precariously on your head. 

You have the biggest grin on your face, and though the gowns you wear at balls and fancier events are great, you’re nothing less than stunning in your simple dress. You’re slightly out of breath and your skin is luminescent with the glow of exertion. He can’t help but smile.  

Have you always been this beautiful? He’s pretty sure you have, but he doesn’t know how he didn’t realize it sooner. 

Luke has loved you for a while, he thinks. Maybe he always has—maybe that’s what the warm feeling he gets in his chest when he looks at you is. Maybe that’s what made his heart clench every time a prince danced with you at that ball. 

Maybe his love for you has always been what’s pushed him forward. 

“Luke,” you said, and once again, you snapped him out of his thoughts. You were absolutely beaming at him, and you wore a flower crown on your head. “Are you there?” 

Luke, he realized. Not Sir Castellan, for what felt like the first time in weeks. 

“I’m always here,” he said. “I’ve got superior training, princess.” 

“Of course,” you said with mock austerity, nodding sagely. “I could never forget.” 

You held up another flower crown, one similar to yours, and your smile grew. “The kids made another one, too. They said it was for my grumpy looking knight.” 

Luke scoffed, but there was no edge to it. “I’m not grumpy. Merely cautious.” 

“Oh, yes,” you said dryly. “I’m sure those kids had devious plans, Luke.” 

That got the slightest of smiles out of him, and it spurned warmth in your chest. “It’s my—” 

“It’s your job to watch me,” you finished. “I know. Just teasing you.” 

“And I welcome it,” he said. “It’s nice to see you like this, princess.” 

“Talking to my people and actually making a difference?” you guessed. 

“Happy,” he corrected. 

“Yes, well…” you trailed off, glancing away for a moment as you shrugged. “I’ve been busy.” 

“And for once, you don’t look like you have the weight of the world on your shoulders.” Luke’s eyes drifted to the flower crown sitting on your head, and his smile grew. “It suits you.” 

“Carelessness or flower crowns?” you asked wryly. 

“Flower crowns.” Luke crossed his arms. “You’re far from careless, princess.”

You rolled your eyes 

“You’ve got to stop talking down on yourself like that,” he said. “Like nothing you say or do matters. Because it does. It may not feel like it, but you’re doing valuable work.” 

“Oh, yes,” you said breezily. “I’m sure sitting in meetings that don’t matter and looking pretty as I stand in the background during my father’s speeches is valuable work.” 

“That’s not what I mean.” Luke gestured at the crowd of people around, specifically pointing at the group of kids that you’d entertained. “You fight for them every day, even if you don’t realize it. You care about these people, princess, which is already more than half of the people in that castle do for them. Why else would they adore you?” 

You bit your lip and glanced away. It was hard to take Luke’s words to heart when you truly felt like you were doing nothing—when it felt like the only thing you could possibly be good for was a marriage. 

But you did argue with your parents near every chance you got on matters of support and aid for your people. It was the least you could do, especially when you knew you would never really have to deal with consequences. 

(There was a reason most of your father’s advisors had to suppress groans every time you would sit in on a meeting. You took pride in your ability to annoy.) 

“Let’s call a truce, okay?”

You frowned. Now it was Luke bringing you out of your thoughts. “A truce?”

“I don’t want you to keep avoiding me, and I don’t think you’re really enjoying it either.” Luke met your gaze. “We’ve been friends for as long as I can remember, princess. Don’t let boring princes come between that.”

You glanced away. “Luke…” 

“I know,” he said with a sigh. “I know your duty, and I know mine. But seeing you today, so carefree and happy—it’s worth more than a million gold pieces to me.” 

You’d been dancing around this topic since the night you pushed him away. It just hurt too much to talk about, and you felt like you didn’t have a right to be hurt—not when you were the one that did it. 

You loved Luke—he’d been your best friend for as long as you could remember. But you would be lying if you said you didn’t hate the time you’ve been spending apart. 

“We’re both getting older, I know. And we both have responsibilities we’re going to take on. God, someday, you’re going to be queen.” Luke huffed a laugh, though his eyes never wavered from you. “But that doesn’t mean that we can’t get through it together. Just like we’ve gotten through everything else together.” 

Luke held out his hand. “So? Truce?” 

You stared at his hand for a moment, unable to meet his eyes. You knew exactly what you wanted to say but you felt like you couldn’t. 

Because dammit, your days felt so dull. You always wanted to talk about your day and how boring your lessons were or the bullshit your father’s advisors have been discussing in meetings, and Luke was always the person you wanted to talk to about it all. He always has been. 

And you pushed him away. 

Before you could doubt yourself, you ignored his hand entirely and pulled him into a tight hug. Luke wrapped his arms around you immediately, holding you close. 

“I’m sorry for avoiding you,” you whispered. God, how you’d missed his embrace—you never felt safer than when you were in his arms. “And I’m sorry for being so stupid.” 

“You have nothing to be sorry for, princess,” he murmured. “And you’re certainly not stupid. Don’t even think that way.” 

You let out a breathy laugh as you pulled away, smiling softly at Luke. “I’m stupid to ever think I could really stay away from you.” 

and for the rest of the festival, you and luke are practically inseparable<3 not just because he’s your guard but because you’re best friends. 

You’re not going to let anything change that going forward. any prince that wants to marry you is just going to have to deal with that. 

(you even get him to wear that flower crown.)

(and though he tries to hide it, he kind of loves it.) 

(mostly because he loves you<3) 

[anthurak]

Something I absolutely love about the alternate-timeline aspect of Scott Pilgrim Takes Off is that it really feels like a logical extrapolation and ‘next-step’ to the genre/trope-subversion and exploration of the original comic.

Remember how the whole idea of Scott Pilgrim the comic is taking a very basic, generic and ‘tropey’ premise; ‘Boy likes girl, boy must defeat girl’s seven evil exes in order to date her’, and uses it as the backdrop and framework to explore, deconstruct and develop its characters.

Like how the biggest conflict at any given point of the comic is never the actual battles with any of the Seven Evil Exes, but rather Scott being forced to confront some major problem with himself or his relationship with Ramona (usually the former). How the true ultimate ‘antagonist’ for both Scott and Ramona isn’t any of the Evil Exes, but rather themselves. Their own long-festering hang-ups and insecurities that they’ve been refusing to confront or acknowledge that have in turn led to them being pretty shitty people over the course of their lives. For as bad as Gideon is, he’s still only a mirror showing all the bad that SCOTT could become.

So with that in mind, it really feels like the anime simply took this idea a step further: What if we took the basic, generic and tropey premise that nonetheless served as the framework for the story and held it together… and broke it.

When the narrative guide and scaffolding that held the original story on a certain course is shattered when the story is just getting started, where does the story go?

It’s actually one of the ways I think Scott Pilgrim Takes Off can be appreciated even if you haven’t read the comic or watched the movie. Even if you aren’t familiar with the story, the first episode makes it pretty easy to guess how this story should play out: Scott meets Ramona, they have their first date, they really hit it off and seem set to become a couple. We’re introduced to what clearly seems to be our ‘Big Bad’ in Gideon and our ‘Starter Villain’ in Matthew. Again, even if you don’t know one thing about Scott Pilgrim, by the time Matthew Patel crashes the party you probably have a pretty good idea how this whole story SHOULD go.

And then Matthew (seemingly) KILLS SCOTT in their first fight!

THEN the second episode ratchets things up even further when all signs point to Scott, our title character, being ACTUALLY DEAD for real. And then Matthew, again the guy who should be the starter villain, goes and beats Gideon Graves, the guy who clearly SHOULD have been the FINAL BOSS of this story!

And then the third episode sees Ramona, the girl previously set-up as the designated love-interest, firmly established as the new PROTAGONIST of the story. With Ramona given both an overarching goal in finding what really happened to Scott, and an ongoing character-arc of meeting and reconciling with each of her ‘evil exes’.

Basically, even if you aren’t familiar with the full specifics of the source material, I feel like Scott Pilgrim Takes Off can still be enjoyed as essentially a show that at first sets up what seems to be a fairly wrote and predictable story before flying COMPLETELY off the rails at the end of its first episode into something quite a bit more unique.