#heathcliff is probably taking up like half of this list

[lu-is-not-ok]

Today on Lu's contentless behavior: Behold, the Limbus Company swear jar doc.

Yes, I reread every bit of text available to be read in Limbus Company just to count all the swear words (or all the words that, if you squint, could technically count as swear words).

Why did I do this?

Because I remembered that no Fuck has been said in LCB as of yet. Enjoy.

[cappymightwrite]

Jon Snow, Manfred & The Byronic Hero: Part 2

Previous Posts: PART 1

Hopefully Part 1 served as a good introduction on the topic and characteristics of the Byronic Hero, as well as how Jon Snow in particular is likely an iteration of this figure. But now we come to the real meat of this meta series — a closer look at Byron's dramatic poem Manfred (1816–1817), and more importantly, its titular character in comparison to Jon Snow. I was originally going to do an analysis and comparison of two key episodes in Manfred and A Storm of Swords, Jon VI, but have since decided to give that its own post... that's right kids, there will be a part 3!

(Detail from Lord Byron, Thomas Phillips, 1813)

So... why Manfred? Why not Childe Harold's Pilgrimage, or The Corsair, or Don Juan, or any other work by Lord Byron? Well, I'll tell you why, my sweet summer children. It's because of THIS:

Manfred/Manfryds and Byrons in ASOIAF, by order of first appearance and publication:

Ser Manfred Swann (ASOS, Jaime VIII)

Ser Manfred Dondarrion (The Hedge Knight)

Manfred Lothston (The Sworn Sword)

Manfryd o' the Black Hood (AFFC, Brienne I)

Manfryd Yew (AFFC, Jaime V)

Ser Byron the Beautiful (AFFC, Alayne II, TWOW, Alayne I)

Ser Byron Swann (ADWD, Tyrion III)

Manfryd Merlyn of Kite (ADWD, Victarion I)

Manfryd Mooton, Lord of Maidenpool (The Princess and the Queen, TWOIAF)

Manfred Hightower, Lord of the Hightower (TWOIAF)

Manfred Hightower, Lord of the Hightower (Fire and Blood)

Like... what the hell, George?

I find this very interesting, very interesting indeed! *cough* intentional, very intentional *cough* And I have to thank @agentrouka-blog for reminding me of the existence of these Manfreds/Manfryds, and thus pointing me in this particular direction. This evidence is, for me, my smoking gun, it's why I feel justified in exploring this specific work. In my opinion, it really strongly confirms that GRRM is aware of Manfred, he is aware of its author — as a literary name, it is pretty much exclusively connected to Byron, it's like Hamlet to Shakespeare, or Heathcliff to Emily Brontë. In fact, GRRM likes it enough to use this name several times in fact, its frequency of use aided by a slight variation on its spelling.

So, as we can see, there are a striking number of Manfred/Manfryds (9!!) featured in the ASOIAF universe, whereas Byron (2) is used a bit more sparingly — perhaps because the latter, if more liberally used, would become far more recognisable as an overt literary reference? Interestingly, though, we can see a direct link between the two names as both bear the surname Swann: Ser Manfred Swann and Ser Byron Swann (note the exact spelling of Manfred here, as opposed to Manfryd). Ser Byron was alive during the Dance of Dragons and died trying to kill the dragon Syrax, whereas Ser Manfred was alive during Aegon V's reign and had a young Ser Barristan as his squire. So, in terms of ancestry, Byron came before Manfred, which makes sense since Lord Byron created the character of Manfred; he is his authorial/literary progenitor, if you will.

But why Swann, though? Is there any significance to that surname? Well, I did a little bit of digging and turned up something very interesting, at least in my opinion. In Percy Bysshe Shelley's poem Lines written among the Euganean Hills (1818), in its sixth stanza, the poet addresses the city of Venice... the “tempest-cleaving Swan” in the eighth line is clearly meant to be his friend and contemporary, Lord Byron, that city’s most famous expatriate:

That a tempest-cleaving Swan Of the songs of Albion, Driven from his ancestral streams By the might of evil dreams, Found a nest in thee;

(st. 6, l. 8-12)

Ah ha! But let's not forget that the Swanns are also a house from the stormlands — stormlander Swanns vs. "tempest-cleaving Swan." It seems a nice little homage, doesn't it? You could also argue that the battling swans of House Swann's sigil are a possible reference to Byron's fondness for boxing (he apparently received "pugilistic tuition" at a club in Bond Street, London). But to make the references to Byron too overt would ruin the subtly, so it isn't necessary, in my opinion, for the Swanns to be completely steeped in Byronisms.

All in all, it would be very neat of GRRM if the reasoning behind Byron and Manfred Swann is because of this reference to Lord Byron by Shelley. How these names and the characters that bear them might further reference Byron and Manfred is a possible discussion for another day! It's all just very interesting, very noteworthy, and highlights how careful GRRM is at choosing the names of his characters, even very minor, seemingly insignificant ones.

(Illustration of Villa Diodati from Finden's Illustrations of the Life and Works of Lord Byron, Edward Finden, 1833)

Now onto the actual poem, and the ways in which Jon Snow could being referencing/paralleling Manfred. First things first, a bit of biographical context. Take my hand, and let's travel back in time, way back when, to 1816, the year in which Lord Byron left England forever, his reputation in tatters due to the collapse of his marriage and the rumours of an affair with his half-sister, Augusta Leigh (plus he was hugely in debt). No doubt, most of us are familiar with the story, but in 1816 Byron travelled to Switzerland, to a villa on Lake Geneva, where he met the Shelleys and suggested that they all pass the time by writing ghost stories.

The most famous story produced by them was, of course, Mary Shelley's Frankenstein (1818) — which may have served as the partial inspiration behind Qyburn and Robert Strong! Byron himself did begin a story but soon gave it up (yesss, we love an unproductive king); it was completed, however, by his personal physician, John William Polidori, and eventually published, under Byron's name, as The Vampyre (1819). But Byron didn't completely abandon the ghost story project, as later that summer, after a visit by the Gothic novelist M. G. Lewis, he wrote his "supernatural" tragedy, Manfred (1817).*

*I've seen it dated as 1816-17, but the crucial thing to rememeber, in terms of Byron's own biography, is that unlike The Bride of Abydos, he wrote it after his departure from England... this theme of exile will come up later.

Manfred is what is called a "closet drama", so is structured much like a play, with acts and scenes, though it wouldn't have actually been intended to be performed on stage. Indeed, Lord Byron first described Manfred to his publisher as "a kind of poem in dialogue... but of a very wild—metaphysical—and inexplicable kind": "Almost all the persons—but two or three—are Spirits... the hero [is] a kind of magician who is tormented by a species of remorse—the cause of which is left half unexplained—he wanders about invoking these spirits—which appear to him—& are of no use—he at last goes to the very abode of the Evil principle in propria persona [i.e. in person]—to evocate a ghost—which appears—& gives him an ambiguous & disagreeable answer..."*

*As in Part 1, more academic references will be listed in a bibliography at the end of this post.

To sum up the narrative for you, Manfred is a nobleman living in the Bernese Alps, "tormented by a species of remorse", which is never fully explained, but is clearly connected to the death of his beloved Astarte. Through his mastery of poetic language and spell-casting, he is able to summon seven "spirits", from whom he seeks the gift of forgetfulness, but this plea cannot be granted — he cannot escape from his past. He is also prevented from escaping his mysterious guilt by taking his own life, but in the end, Manfred does die, thus defying religious temptations of redemption from sin. He therefore stands outside of societal expectations, a Romantic rebel who succeeds in challenging all of the authoritative powers he faces, ultimately choosing death over submission to the powerful spirits.

According to Lara Assaad, the character of Manfred is the "Byronic hero par excellence", as he shares its typical characteristics found in Byron's other work (as discussed in Part 1), "yet pushed to the extreme." As noted above, there is a defiance to Manfred's character, which is arguable also found in Jon. Certainly though, in all of Byron's works, the Byronic Hero appears as "a negative Romantic protagonist" to a certain extent, a being who is "filled with guilt, despair, and cosmic and social alienation," observes James B. Twitchell. I'll come back to those characteristics presently.

As noted by Assaad, "Byron scholars seem to agree on this definition of the Byronic Hero, however they focus mainly, if not exclusively, on the dynamics of guilt and remorse." Indeed, it is only in more recent years that the incest motif, as well as the influence of Byron's own biography, have been more widely discussed. But perhaps the most compelling aspect of the Byronic Hero is his complex psychology. Although trauma theory only really started to flourish during the 1990s, thus providing deeper insight into the symptoms that follow a traumatic experience, it nevertheless seems, at least to Assaad, that "Byron was familiar with it well before it was first discussed by professionals and diagnosed." As we know, GRRM began writing his series, A Song of Ice and Fire, during the 1990s, and character trauma and its effects feature heavily in his work, most notably in the case of Theon Greyjoy, but also in the memory editing of Sansa Stark in terms of the infamous "Unkiss".*

*The editing, or supressing, of memories is not exclusive to Sansa, however. E.g @agentrouka-blog has theorised a possible memory edit with regards to Tyrion and his first wife Tysha.

But if we return back to that original quote, in which GRRM makes the comparison between Jon and the Byronic Hero, his following statement is also very interesting:

The character I’m probably most like in real life is Samwell Tarly. Good old Sam. And the character I’d want to be? Well who wouldn’t want to be Jon Snow — the brooding, Byronic, romantic hero whom all the girls love. Theon [Greyjoy] is the one I’d fear becoming. Theon wants to be Jon Snow, but he can’t do it. He keeps making the wrong decisions. He keeps giving into his own selfish, worst impulses. [source]

As noted by @princess-in-a-tower, there is a close correspondence between Jon and Theon, with each acting as the other's foil in many respects. In fact, Theon does sort of tick off a few of the Byronic qualities I discussed last time, most notably standing apart from society, that "society" being the Starks in Winterfell, due to him essentially being a hostage. Later on, we see him develop a sense of deep misery as well due to his horrific treatment at the hands of Ramsey Snow. Like Theon, his narrative foil, Jon is also a character deeply informed by trauma (being raised a bastard), but the way they ultimately process and express that specific displacement trauma differs profoundly — Theon expresses it outwardly through his sacking of Winterfell, whereas Jon turns his trauma notably inwards.*

*Obviously, I'm not a medical professional — I'm more looking at this from a literary angle, but the articles I've read for this post do include reference to real medical definitions etc.

Previously, I observed how being "deeply jaded" and having "misery in his heart" were key characteristics of the Byronic Hero, as well as Jon Snow — this trauma theory is a continuation of that. Indeed, to bring it back to Manfred, Assaad goes as far as stating that the poem's titular hero "suffers from what is now widely recognised as post-traumatic stress disorder (PTSD)." I am purposely holding off on discussing what the origin of that trauma is, in relation to Manfred specifically, because, well... it needs a bit of forewarning before I get into it fully. Instead, let's look at the emotions it exacerabates or gives rise to, as detailed by Twitchell, and how they might be evident in Jon and his feelings regarding his bastard status.

(Jonny Lee Miller as Byron in the two part BBC series Byron, 2003)

Guilt

Does Jon suffer guilt due to him being a bastard and secretly wanting to "steal" his siblings' birthright? I'd say a strong yes:

When Jon had been Bran's age, he had dreamed of doing great deeds, as boys always did. The details of his feats changed with every dreaming, but quite often he imagined saving his father's life. Afterward Lord Eddard would declare that Jon had proved himself a true Stark, and place Ice in his hand. Even then he had known it was only a child's folly; no bastard could ever hope to wield a father's sword. Even the memory shamed him. What kind of man stole his own brother's birthright? I have no right to this, he thought, no more than to Ice. – AGOT, Jon VIII He wanted it, Jon knew then. He wanted it as much as he had ever wanted anything. I have always wanted it, he thought, guiltily. May the gods forgive me. – ASOS, Jon XII

But I think Jon's sense of guilt also extends to the high expectations he sets for himself, his "moral superiority" in the face of his bastard status, as discussed in Part 1. He feels guilt pulling him in two different directions, in regards to Ygritte: guilt for loving her, for breaking his vows, and potentially risking a bastard, but also guilt for leaving her, for abandoning her, and potentially leaving her unprotected:

His guilt came back afterward, but weaker than before. If this is so wrong, he wondered, why did the gods make it feel so good? – ASOS, Jon III Ygritte was much in his thoughts as well. He remembered the smell of her hair, the warmth of her body... and the look on her face as she slit the old man's throat. You were wrong to love her, a voice whispered. You were wrong to leave her, a different voice insisted. He wondered if his father had been torn the same way, when he'd left Jon's mother to return to Lady Catelyn. He was pledged to Lady Stark, and I am pledged to the Night's Watch. – ASOS, Jon VI "I broke my vows with her. I never meant to, but..." It was wrong. Wrong to love her, wrong to leave her..."I wasn't strong enough. The Halfhand commanded me, ride with them, watch, I must not balk, I..." His head felt as if it were packed with wet wool. – ASOS, Jon VI

This guilt surrounding leaving the women/girls he cares about unprotected also extends to Arya. Yet it was his need to prove himself as something more than just a bastard, by joining the Watch, which initially prevents him from acting, and which also makes him feel guilt for being a hyprocrite:

Jon felt as stiff as a man of sixty years. Dark dreams, he thought, and guilt. His thoughts kept returning to Arya. There is no way I can help her. I put all kin aside when I said my words. If one of my men told me his sister was in peril, I would tell him that was no concern of his. Once a man had said the words his blood was black. Black as a bastard's heart. – ADWD, Jon VI

I think there is a lack of reconciliation between Jon and his bastard status, between what being a bastard implies in their society: lustful, deceitful, treacherous, more "worldly" etc. Deep down, subconsciously, Jon really rebels against it. You can see that rebellion more clearly in his memories as a younger child, less inhibited:

Every morning they had trained together, since they were big enough to walk; Snow and Stark, spinning and slashing about the wards of Winterfell, shouting and laughing, sometimes crying when there was no one else to see. They were not little boys when they fought, but knights and mighty heroes. "I'm Prince Aemon the Dragonknight," Jon would call out, and Robb would shout back, "Well, I'm Florian the Fool." Or Robb would say, "I'm the Young Dragon," and Jon would reply, "I'm Ser Ryam Redwyne." That morning he called it first. "I'm Lord of Winterfell!" he cried, as he had a hundred times before. Only this time, this time, Robb had answered, "You can't be Lord of Winterfell, you're bastard-born. My lady mother says you can't ever be the Lord of Winterfell." I thought I had forgotten that. Jon could taste blood in his mouth, from the blow he'd taken. – ASOS, Jon XII

But Jon knows this truth about himself, he knows that he has "always wanted it", and that causes him so much guilt because he can't allow himself to be selfish in that regard, because to do so would confirm for him his worst fears... that he truly is a bastard in nature as well as birth — treacherous, covetous, dishonourable.

Despair

As he grows up, learning to curb his emotional outbursts from AGOT, Jon appears more and more stoic upon the surface. But beneath that, buried in his subconscious in the form of dreams, you have this undyling feeling of despair, this trauma connected to his bastard status, his partially unknown heritage:

Not my mother, Jon thought stubbornly. He knew nothing of his mother; Eddard Stark would not talk of her. Yet he dreamed of her at times, so often that he could almost see her face. In his dreams, she was beautiful, and highborn, and her eyes were kind. – AGOT, Jon III

These recurring dreams, sometimes explicitly involving his unknown mother, sometimes not, represent a clear gap, a gaping blank in Jon's personal history and his perception of his identity:

"Sometimes I dream about it," he said. "I'm walking down this long empty hall. My voice echoes all around, but no one answers, so I walk faster, opening doors, shouting names. I don't even know who I'm looking for. Most nights it's my father, but sometimes it's Robb instead, or my little sister Arya, or my uncle." [...]

"Do you ever find anyone in your dream?" Sam asked.

Jon shook his head. "No one. The castle is always empty." He had never told anyone of the dream, and he did not understand why he was telling Sam now, yet somehow it felt good to talk of it. "Even the ravens are gone from the rookery, and the stables are full of bones. That always scares me. I start to run then, throwing open doors, climbing the tower three steps at a time, screaming for someone, for anyone. And then I find myself in front of the door to the crypts. It's black inside, and I can see the steps spiraling down. Somehow I know I have to go down there, but I don't want to. I'm afraid of what might be waiting for me. The old Kings of Winter are down there, sitting on their thrones with stone wolves at their feet and iron swords across their laps, but it's not them I'm afraid of. I scream that I'm not a Stark, that this isn't my place, but it's no good, I have to go anyway, so I start down, feeling the walls as I descend, with no torch to light the way. It gets darker and darker, until I want to scream." He stopped, frowning, embarrassed. "That's when I always wake." His skin cold and clammy, shivering in the darkness of his cell. Ghost would leap up beside him, his warmth as comforting as daybreak. He would go back to sleep with his face pressed into the direwolf's shaggy white fur. – AGOT, Jon IV

"That always scares me", he says quite tellingly. From this key passage, in particular, we can see that Jon feels a deep rooted despair at essentially being unclaimed, unwanted... being without a solid (Stark) identity around which to draw strength and mould himself. He's afraid of being a lone wolf, because as we all know, "the lone wolf dies, but the pack survives," (AGOT, Arya II).

This dream points him in the direction of the crypts — "somehow I know I have to go down there, but I don't want to" — which actually does have the answers he seeks because that is where Lyanna Stark is buried. Yet Jon is "afraid of what might be waiting for [him]", and wants to "scream" with dispair because of the darkness. So, this need for a confirmed identity is a double edged sword, which will no doubt be further complicated when his true parentage is revealed.

Elsewhere, Jon's dreams continue to have this despairing quality to them, often involving Winterfell, the Starks, and especially Ned, which is very interesting on a psychological level:

The grey walls of Winterfell might still haunt his dreams, but Castle Black was his life now, and his brothers were Sam and Grenn and Halder and Pyp and the other cast-outs who wore the black of the Night's Watch. – AGOT, Jon IV

Last night he had dreamt the Winterfell dream again. He was wandering the empty castle, searching for his father, descending into the crypts. Only this time the dream had gone further than before. In the dark he'd heard the scrape of stone on stone. When he turned he saw that the vaults were opening, one after the other. As the dead kings came stumbling from their cold black graves, Jon had woken in pitch-dark, his heart hammering. Even when Ghost leapt up on the bed to nuzzle at his face, he could not shake his deep sense of terror. He dared not go back to sleep. Instead he had climbed the Wall and walked, restless, until he saw the light of the dawn off to the east. It was only a dream. I am a brother of the Night's Watch now, not a frightened boy. – AGOT, Jon VII

But it is never "only a dream", is it?

And when at last he did sleep, he dreamt, and that was even worse. In the dream, the corpse he fought had blue eyes, black hands, and his father's face, but he dared not tell Mormont that. – AGOT, Jon VIII

Even Jon's conscious daydreams in AGOT revolve around his dispairing search for a solid identity:

When Jon had been Bran's age, he had dreamed of doing great deeds, as boys always did. The details of his feats changed with every dreaming, but quite often he imagined saving his father's life. Afterward Lord Eddard would declare that Jon had proved himself a true Stark, and place Ice in his hand. Even then he had known it was only a child's folly; no bastard could ever hope to wield a father's sword. Even the memory shamed him. What kind of man stole his own brother's birthright? I have no right to this, he thought, no more than to Ice. – AGOT, Jon VIII

A lot of these early dreams occur in A Game of Thrones, probably in response to his removal from Winterfell... his self exile. But later on in the series Jon continues to have dreams that tie him to the Starks and to Winterfell, ominous and sometimes despairing too. There's honestly too many instances to list, but if you want to understand the root of Jon's existential despair... it's in his dreams.

Cosmic Alienation

Cosmic alienation, now that's an interesting one in regards to Jon, since he definitely hasn't reached this state... yet. Life and his belief in the divine (the old gods) still hold meaning for him, but then he gets murdered by his black brothers. In the show, the writers hint at some cosmic alienation through Jon stating that he saw "nothing" whilst dead, but then they take it no further and generally do a piss poor job of post-res Jon. This characteristic of Manfred coming to the fore in Jon depends on what happens in The Winds of Winter, but I don't think it is at all that far fetched to assume that Jon will return to his body with a darker, altered perception of things.

Social Alienation

In Part 1, I discussed how Jon, like Byron's heroes, could be read as a "a rebel who stands apart from society and societal expectations." On a more psychological level, we can see how this Otherness, stemming from his bastard status, deeply affects Jon and his perception of himself and the world:

Benjen Stark gave Jon a long look. "Don't you usually eat at table with your brothers?"

"Most times," Jon answered in a flat voice. "But tonight Lady Stark thought it might give insult to the royal family to seat a bastard among them." – AGOT, Jon I

In his very first chapter, we see him quite literally alienated from the rest of his siblings, made to sit apart from them, an apparent necessity he seems fairly resigned to. Also in Part 1, I gave examples of instances in which Jon is mockingly called "Lord Snow," as well as a "rebel", "turncloak", "half-wildling", all of which serve to alienate him from the rest of the brothers of the Night's Watch.

Stannis gave a curt nod. "Your father was a man of honor. He was no friend to me, but I saw his worth. Your brother was a rebel and a traitor who meant to steal half my kingdom, but no man can question his courage. What of you?" – ASOS, Jon XI

The above interaction may seem on the surface to be about one thing — whether or not Jon will be of help to Stannis, offer him loyalty etc. — but tagged onto the end we have quite a poignant question: "what of you?" What are you, essentially. Who are you? The truth of his parentage may, in part, solve these questions... but it may also serve to alienate Jon from his perception of himself further. Ultimately, who exactly he is — what he believes in, who and what he fights for, etc. — will be solely his decision to make going forward.

So, the Byronic Hero, certainly in Manfred's case, but also in later iterations, is arguably traumatised by his own past. But regardless as to whether his trauma is related to a mysterious past, a secret sin, an unnamed crime, or incest, aka "secret knowledge", what is clear in Assaad's interpretation, is that the Byronic Hero is "living with the traumatic consequences of his own past and so suffers from PTSD." But why is Manfred traumatised, what is the specific cause of this trauma, or how might it reveal something deeper about Jon's own trauma? Now, here we come to the unavoidable... I'm going to start talking about Byronic incest and the pre-canon crush/kiss theory, and how it potentially parallels certain aspects of Manfred.

I should preface this by stating that I don't think Jon is suppressing trauma because he committed intentional incest with Sansa, but I do think (or at least somewhat theorise that) Byronic incest does come into play regarding his intense feelings of guilt and existential despair.

But still, stop reading now if are opposed to discussions of the pre-canon crush/kiss theory and the literary incest motif as a whole!

(Detail from The Funeral of Shelley, Louis Édouard Fournier, 1889)

Hey there to the depraved! If you aren't already familiar with the theory, here are some previous discussions/metas on the subject:

Full Blown Meta:

A Hidden and Forbidden Love by @princess-in-a-tower

Ask Answers (Long):

Jonsa as a more positive mirror to Jaime and Cersei? by @princess-in-a-tower, with additional comment by @jonsameta

Discussing the theory by @jonsameta

Evidence for pre-canon Jonsa? by @agentrouka-blog

Kissing in the godswood? by @agentrouka-blog

Why don't we read about Jon's reaction to Sansa and Tyrion? by @agentrouka-blog

More on Jon's supposed non-reaction by @agentrouka-blog, with additional comment made by @sherlokiness

A Jonsa "Unkiss"? by @fedonciadale

A hidden memory? by @fedonciadale

Sansa's misremembering by @fedonciadale

Descriptive parallels between A Song for Lya and Jonsa by @butterflies-dragons

Ask Answers (Short) & Briefer Mentions:

Jealous Jon by @princess-in-a-tower

Your new boyfriend looks like a girl by @butterflies-dragons

Like in Part 1, I've tried to cite as much as I could find, but as always, if anyone feels like I've missed someone important or that they should be included in the above list, please just drop me a line!

Now, it's a controversial theory, and not everyone's cup of tea — I think that's worth acknowledging! I myself am not wholly married to it, I'd be fine if it wasn't the case, but that being said, I can't in good faith ignore it when considering Lord Byron and the Byronic Hero. The incest is, unfortunately, very hard to ignore, both in his work and in his personal life. It's pretty hard to ignore in Manfred, for that matter, which is why I've held off talking about it... until now!

All aboard the Manfred incest train *choo choo* !!

First stop, Act II, scene one. Oh, wait, an annoucement from your conductor... apologies everyone, I purposely neglected to mention quite a key detail. Remember "Astarte! [Manfred's] beloved!", (II, iv, 136)? Yeah... it's heavily implied that Astarte is in fact Manfred's half-sister. *shoots finger guns* Classic Byron! *facepalms*

Oh, and that's not all! Let's consider the context surrounding the writing of this work for a moment, shall we? Unlike The Bride of Abydos (1813),* Manfred was written notably after the fallout of his incestuous affair with his half-sister, Augusta Leigh, composed whilst in a self-imposed exile. *spits out drink* Woah, woah there cowboy... what in tarnation?! EXILE?!

*As referenced in Part 1, @rose-of-red-lake has written an excellent meta on the influence of Lord Byron's work (and personal life) on Jonsa, paying special attention to the half-siblings turned cousins in The Bride of Abydos.

Although, as noted by rose-of-red-lake, The Bride of Abydos bears strong parallels to the potential romance of Jon and Sansa, as well as Byron’s own angst regarding his relationship with Augusta Leigh, the context surrounding Manfred seems... dare I say it, even more autobiographical. Because like Byron himself, Manfred wanders around the Bernese Alps, solitary and guilt ridden, in a state of exile heavily evocative of Byron's own — as I mentioned earlier, the beginnings of Manfred occured whilst Byron was staying at a villa on Lake Geneva, in Switzerland... the Bernese Alps are located in western Switzerland. In light of this, I think it's very understandable that some critics consider Manfred to be autobiographical, or even confessional. The unnamed but forbidden nature of Manfred's relationship to Astarte is believed to represent Byron's relationship with his half-sister Augusta. But what has that got to do with Jon?

Look, I don't know how else to put this:

Byron self-exiles in 1816, first to Switzerland, to Lake Geneva, where it is unseasonably cold and stormy — his departure from England is due to the collaspe of his marriage to Annabella Milbanke, unquestionably as a result of the rumours surrounding his incestuous affair with his half-sister.

Displaced nobleman Manfred wanders the Bernese Alps, in a kind of moral exile, where "the wind / Was faint and gusty, and the mountain snows / Began to glitter with the climbing moon" (III, iii, 46-48), traversing "on snows, where never human foot / Of common mortal trod" (II, iii, 4-5), surrounded by a "glassy ocean of the mountain ice" (II, iii, 7). He feels extreme, but unexplained guilt surrounding the death of his "beloved" Astarte, who is heavily implied to also be his half-sister.

In A Game of Thrones, Jon Snow chooses to join the Night's Watch, with the reminder that "once you have taken the black, there is no turning back" (AGOT, Jon VI). By taking the black, Jon arguably exiles himself from the rest of the Starks, from Winterfell, to a place that "looked like nothing more than a handful of toy blocks scattered on the snow, beneath the vast wall of ice" (AGOT, Jon III). But we aren't given any indication that he does this due to incestuous feelings regarding a "radiant" half-sister, akin to Byron/Manfred, are we? And it's not like we have several Manfreds/Manfryds AND Byrons namedropped within the text, is it? Oh wait... we do. *grabs GRRM in a chokehold*

What the hell, George?!

(Lord Byron on His Deathbed, Joseph Denis Odevaere, c. 1826)

But lets get back on track here and take a closer look at that section of Manfred I mentioned at the beginning — Act II, scene one, aka the part where all the incest and supressed trauma really JUMPS out.

So, early in Act II, in the chamois hunter's abode (a chamois is a type of goat?), according Assaad's analysis, Manfred is "hyper-aroused by a cup of wine." The wine is offered in an attempt to calm Manfred; however, to the chamois hunter's great dismay, it instead agitates him and makes him utter words which are "strange" (II, i, 35). Rather than wine, Manfred sees "blood on the brim" (II, i, 25). His sudden agitation and erratic behaviour confound the chamois hunter, who observes that Manfred is losing his mind: "thy senses wander from thee" (II, i, 27). Assaad's analysis of this scene, which she believes "is the most revelatory in the entire play" discloses "a bitter truth: Manfred's traumatic past informs his present life."

We might compare this with Jon, in particular, how his dreams reveal certain bitter truths to do with his past, now subconsciously informing his present. I've already looked a bit at his crypt dream from AGOT, Jon IV, but we see a sort of recurrence of this dream again in ASOS, Jon VIII. The imagery of being in a crypt, somewhere underground, buried, in the dark, a place of ghosts and spirits, is extremely evocative. Indeed, to go back to Byron's own description of Manfred, the setting of a crypt is extremely suggestive of certain bitter truths "left half unexplained", of secrets buried... and we know that's true because the secret of Jon's parentage is hidden down there, in the form of Lyanna Stark.

He dreamt he was back in Winterfell, limping past the stone kings on their thrones. Their grey granite eyes turned to follow him as he passed, and their grey granite fingers tightened on the hilts of the rusted swords upon their laps. You are no Stark, he could hear them mutter, in heavy granite voices. There is no place for you here. Go away. He walked deeper into the darkness. "Father?" he called. "Bran? Rickon?" No one answered. A chill wind was blowing on his neck. "Uncle?" he called. "Uncle Benjen? Father? Please, Father, help me." Up above he heard drums. They are feasting in the Great Hall, but I am not welcome there. I am no Stark, and this is not my place. His crutch slipped and he fell to his knees. The crypts were growing darker. A light has gone out somewhere. "Ygritte?" he whispered. "Forgive me. Please." But it was only a direwolf, grey and ghastly, spotted with blood, his golden eyes shining sadly through the dark... – ASOS, Jon VIII

I don't think it's outlandish to state that, unquestionably, Jon's bastard identity is a source of ongoing pain for him. I talked about the theme of despair in Jon's characterisation and it is very evident in the above, and it stems from this "bitter truth" of not being a trueborn Stark, of not being "welcome", or having a true place. The emotions/mindset this trauma, concerning his birth and identity, evokes in Jon is arguably what brings him, on first glance, so closely in line with the Byronic Hero:

Their grey granite eyes turned to follow him as he passed / The crypts were growing darker = A mysterious past / secret sin(s)

You are no Stark / I am no Stark = Deeply jaded

There is no place for you here / I am not welcome there / This is not my place = standing apart from society and societal expectations / social alienation

He dreamt he was back in Winterfell / He walked deeper into the darkness = Moody / misery in his heart

He fell to his knees / Forgive me = Guilt

He walked deeper into the darkness / Please, Father, help me / He fell to his knees = Despair

These aren't all the Byronic characteristics I've addressed in relation to Jon, but it is a substantial percentage of them, all encapsulated, in one way or another, within this singular dream passage. As far as what is fairly explicit in the text, being a bastard is Jon's "bitter truth", it is the "traumatic past inform[ing] his present life." But what is Manfred's "bitter truth", what past trauma is informing his present? And can it reveal a bit more about another layer to Jon's trauma? Because there is a key distinction — Manfred's trauma, his PTSD, stems from a specific event, notably triggered by the (imagined) "blood on the brim" of his wine, whereas for Jon, we have no singular event, we have no momentus experience, we just have this "truth."

As mentioned previously, Assaad has recognised the character of Manfred as displaying symptoms of post-traumatic stress disorder (PTSD). In Assaad's article, she remarks that "an experience is denoted as traumatic if it completely overwhelms the individual, rendering him or her helpless," and this is quite evident in the interaction between Manfred and the chamois hunter. Sharon Stanley, an educator and clinical psychotherapist, writes that "the word trauma has been used to describe a variety of aversive, overwhelming experiences with long-term, destructive effects on individuals and communities."

So, if trauma is related to an experience, or experiences, is it still accurate to say that Jon experiences trauma, connected to being a bastard? Because there is seemingly no singular or defining root experience, or event that it stems from, it just is… it is a compellation of several moments, revealed to the reader through Jon’s memories and/or dreams. What is being "left half unexplained” here?

Assaad makes reference to the American Psychiatric Association's definition of PTSD, in which it observes that for an individual to be diagnosed with PTSD, they have to suffer from one or more intrustion symptoms, one or more avoidance symptoms, two or more negative alterations, and two or more hyperarousal symptoms. The dreams Jon has certainly suggest something, but it seems like a stretch to say that, like Manfred, he is suffering from PTSD, right? We and Jon are very much aware that he is "no Stark", at least not in the sense that he is Ned's trueborn son, this isn’t something Jon is actively suppressing. By comparison, it is incontrovertible that Manfred committed something in the past, which he deeply wishes to forget and disassociate from:

Man. I say ’tis blood—my blood! the pure warm stream Which ran in the veins of my fathers, and in ours When we were in our youth, and had one heart, And loved each other as we should not love, And this was shed: but still it rises up, Colouring the clouds, that shut me out from heaven, Where thou art not—and I shall never be. C. Hun. Man of strange words, and some half—maddening sin

(II, i, 28-35)

However, we cannot be sure what this traumatic point of origin is, though we know that it is related to something he has done to his beloved Astarte, which subsequently led to her death. Many critics have suggested that his sin is that of incest, and as I noted earlier, that Manfred as a whole is more than just a bit autobiographical and/or confessional in nature. Manfred's incestuous sin therefore re-enacts Byron's incest with his half-sister Augusta. But regardless of the true cause, Manfred is traumatised by his past and cannot overcome it. Is there something in Jon’s past, that may have subconsciously, or consciously, influenced his departure to the Wall — his self exile — which he cannot overcome, and which is closely tied to the issue of and pain he feels due to being a bastard, not just the illegitimacy, but also the negative characteristics it assigns? Is there an event, or experience, we can pinpoint as the origin of Jon’s trauma and potential PTSD?

To circle back to Jonsa, there is some, not unfounded, debate amongst us concerning the validity of the pre-canon crush/kiss theory. I've always found it an interesting theory, but until now, I haven't really given it too much thought. In light of the Byron connection, however, as well as the textual analysis I have for Part 3, I think this scenario, as detailed by agentrouka-blog, seems more and more likely. And I don't say that lightly, I really don't. It is a somewhat uncomfortable speculation to make, even if the interaction was more innocent rather than explicit (this is the side I firmly fall down on), however, it’s ambiguity does potentially parallel Byron’s Manfred and Astarte. This post would be even longer if I included my side-by-side text comparisons, so you may have to trust me for the moment that there are some very striking similarities between Act II, scene I of Manfred, and Jon's milk of the poppy induced dream in ASOS, Jon VI, as well as the actual buildup to that vision.

But, that sounds frankly terrible doesn't it? And it doesn't bode well for his future relationship with Sansa, does it? And what does it mean if Jon is suffering from PTSD due to an incestuous encounter with Sansa? What does that mean for Sansa, Sansa who is doggedly abused and mistreated by men within the present narrative? This is awful, why would GRRM root their romance in something traumatic? Oh I hear you, and these are questions I needed to ask myself whilst compiling this. But you see... now bear with me here... it isn't the actual encounter itself that was traumatic, for either Jon or Sansa, and that is reflected in both their POVs, because, though they think about each other sparingly (explicitly at least), it is never done so negatively. No, the potential PTSD Jon suffers from this experience isn't connected to Sansa, to whatever occured between them. Rather, I believe, it's connected to either the fear, or the reality, that Ned, his assumed father, saw and/or caught him (either Sansa had left at this point, or didn't fully grasp the issue), and this fear, this guilt, this sense of despair, is made evident in this passage:

When the dreams took him, he found himself back home once more, splashing in the hot pools beneath a huge white weirwood that had his father’s face. Ygritte was with him, laughing at him, shedding her skins till she was naked as her name day, trying to kiss him, but he couldn’t, not with his father watching. He was the blood of Winterfell, a man of the Night’s Watch. I will not father a bastard, he told her. I will not. I will not. “You know nothing, Jon Snow,” she whispered, her skin dissolving in the hot water, the flesh beneath sloughing off her bones until only skull and skeleton remained, and the pool bubbled thick and red. – ASOS, Jon VI

That's the traumatic experience, I believe, not the kiss — yep, I strongly suspect there was a kiss. Moreover, Jon's recurring assertion, throughout the series, that he "will not father a bastard" is tied to this in some way, it’s tied to Ned, it’s tied to some sense of guilt and shame. It’s not tied to Sansa. But we'll look at this passage, what it means, what it parallels, and what directly precedes it, in comparison to Manfred, a lot more closely next time.

I'll leave you with a slight teaser though — the parallel that made me really sit up and take notice:

C. Hun. Well, sir, pardon me the question, And be of better cheer. Come, taste my wine; 'Tis of an ancient vintage; many a day 'T has thaw’d my veins among our glaciers, now Let it do thus for thine. Come, pledge me fairly. Man. Away, away! there’s blood upon the brim! Will it then never—never sink in the earth?

(II, i, 21-26)

Note this imagery!!!

Maester Aemon poured it full. "Drink this."

Jon had bitten his lip in his struggles. He could taste blood mingled with the thick, chalky potion. It was all he could do not to retch it back up. – ASOS, Jon VI

In both instances, a drink is offered, with "blood upon the brim", and "blood mingled". In Manfred's case, this is an explicit trigger for him, whereas for Jon? Well, it bit more hidden, a bit more buried, but this moment is, to my mind, the catalyst, because its imagery strongly evokes the colours of the weirwood tree — "blood" red and "chalky" white — you know, the "huge white weirwood" he later on envisions.

*spits out drink*

Maybe the magnitude of this parallel isn't completely evident as of yet, but it will be... or at least I hope it will be, so stay tuned for Part 3!

(Starting to run out of Byron pics so... I dunno, here's Rupert Everret, from The Scandalous Adventures of Lord Byron, 2009)

In Conclusion

To summarise, why is the Manfred connection so monumental to me? Why do I find the pre-canon kiss theory, specifically the scenario detailed by agentrouka-blog, now very hard to dismiss? Because:

The nine (!) Manfreds/Manfryds included within the text, as well as the two Byrons, one of which, the first mentioned in fact, first appears in Sansa's POV. But crucicially the direct link made by GRRM between Byron Swann and Manfred Swann.

The strength of the similarities that can be observed between Jon and the Byronic Hero, but also notably to Byron's Manfred, the "Byronic hero par excellence", according to Assaad. Especially the recurring emotions of guilt and despair, the latter exemplified perhaps most clearly in Jon's dreams.

The prominent theme of self-exile to escape something, something that perhaps cannot be openly stated, present in Manfred, Byron's own life, and Jon's narrative.

Those pesky half-sisters: Augusta, Astarte, and Sansa.

The PTSD symptoms clearly present in Manfred, but left "half unexplained", and seemingly not explained at all in Jon's POV — I'll dig more into this in Part 3.

The "blood upon the brim", and "blood mingled" — more on that in Part 3, I hope you guys like in depth imagery analysis!

Obviously, this is all still just speculation on my part, and it's speculation in connection to a theory that is understandably controversial. I'd be happy to dismiss it... if it weren't for the above. So, I suppose I'm in two minds about it. On the one hand, however you look at it, it's more trauma in an already traumatic series... which is *sighs* not what you want for the characters you care strongly about. But on the other hand, that literary connection to Manfred (and by extension to actual Lord Byron), the way it's lining up, plus that comparison GRRM himself made between Jon and the Byronic Hero... that's all very compelling and interesting to me as a reader, as a former English literature student. So, I don't want it to be true because... incest hell. But then, I also want it to be true because then it makes me feel smart for guessing correctly.

But anyway, we're going to be descending into incest hell in Part 3, so... we'll just have to grapple with that when we come to it. I hope, if you stuck with it till the incesty end, that you enjoyed this post!

Stay tuned ;)

Bibliography of Academic Sources:

American Psychiatric Association, Diagnostic and Statistical Manual of Mental Disorders, 5th edn (Arlington, VA: American Psychiatric Publishing, 2013); online edition at www.dsm5.org

Assaad, Lara, "'My slumbers—if I slumber—are not sleep': The Byronic Hero’s Post-Traumatic Stress Disorder", The Byron Journal 47, no. 2 (2019): 153–163.

Byron, George Gordon Noel, Byron’s Letters and Journals. Ed. Leslie A. Marchand. 12 vols. London: Murray, 1973–82.

Holland, Tom, "Undead Byron", in Byromania: Portraits of the Artist in Nineteenth- and Twentieth- Century Culture, ed. by Frances Wilson (Basingstoke: Palgrave, 2000).

MacDonald, D. L. "Narcissism and Demonality in Byron’s 'Manfred'", Mosaic: An Interdisciplinary Critical Journal 25, no. 2 (1992): 25–38.

Stanley, Sharon, Relational and Body-Centered Practices for Healing Trauma: Lifting the Burdens of the Past (London: Routledge, 2016)

Twitchell, James B., The Living Dead: A Study of the Vampire in Romantic Literature (Durham, NC: Duke University Press, 1981).

[thankskenpenders]

And so that’s it... nearly 200 issues deep, we’re done with the contributions of original writer Michael Gallagher. I’ve been asked in the past about the possibility of writing an article going over Gallagher’s run, like what I did with Penders. And I might still do that. But for now, here’s a shorter postmortem summarizing my feelings on the work of the original writer for history’s longest-running video game comic

I think it’s easy to look back on Gallagher’s silly old stories with a lot of nostalgia, especially after seeing what the series would become in its Dark Age. I can’t blame anyone who feels this way. I feel that way sometimes, too. It was a simpler time, with short, self-contained stories and a ton of puns, and it was a lot more easily digestible than a lot of the teen melodrama and half-baked sci-fi that followed. But the thing is... that doesn’t mean that Gallagher’s writing was good

Gallagher was always an odd fit for Sonic. I can’t really blame the man for introducing lame concepts like Cal and Al that didn’t fit in with Sonic early on because it’s not like he had much to work with in the early days. The guy was expected to write a monthly comic series based on a couple 16-bit platformers with very little story and some snippets from a cartoon that wasn’t out yet. He also had no way of knowing that his work here would lay the foundation for the longest video game comic ever made. I don’t envy his job. Of course he’d do a goofball story where Sonic travels back to caveman times. It’s not like he had much else to do

But as the series progressed and the cartoons and games gave the comic writers more material to work with, Gallagher didn’t really play along. He gave us a few solid, fun stories like Mecha Madness, but for the most part he was off in his own world, trying to sell us on shoehorned characters like the Forty Fathom Freedom Fighters or the Downunda Freedom Fighters who existed almost exclusively to deliver new flavors of lame pun. One time he even worked with Jim Valentino to make a naval-gazing parody of classic Guardians of the Galaxy so they could make lame puns about a comic they used to write (that very few children in 2001 reading Archie Sonic would be familiar with)

People generally pinpoint Penders as the guy who became obsessed with his own pet characters over the main cast as time went on, but really, Gallagher was just as guilty. And honestly, sometimes Gallagher doing it bugged me more. At least Penders had some prominent characters people actually liked, like Elias, Lara-Su, and Julie-Su, as well as some semblance of an overarching plot to work with. Meanwhile Gallagher was over here trying desperately to get people to care about a group of characters he had created exclusively as a vehicle for trite Australia jokes

Gallagher did introduce a few characters who stuck around, but he doesn’t really deserve much of the credit for that. Most notable would probably be Fiona Fox, who would become a major recurring character under later writers... except Gallagher only really invented her robotic doppelganger that Robotnik tricked Tails into falling in love with that one time. He created Knuckles’ grandfather Athair, the one comic character to somehow make it into a cartoon, but Penders helped out with that lore and did more with the character, meaning most people just assume he’s another Penders echidna. He created Tails’ parents, but Karl and Ian were the ones who actually did stuff with them. And he created the Ancient Walkers, who were kind of neat at first but quickly devolved into a tired plot device, only to be killed off by Ian almost immediately to cut down on the deus ex machinas. If you look at the list of characters Gallagher created, it’s mostly just randos he created for the sake of puns

And that’s really what most of it comes down to. Lame puns. I’m totally down for Sonic stories that go for a silly tone. I love Sonic Boom as much as the next fan, and I’ve been having a blast with the extremely goofy Sonic X comics. I’m not a cartoon snob who won’t watch a show that doesn’t have action and drama and lore, I’m out here watching shows like Apple & Onion. But while Gallagher could write good jokes sometimes, he mostly relied on groanworthy newspaper strip-level puns. (I guess it’s fitting, considering he’s related to both the guy who created Heathcliff AND his successor who makes those comics about the Garbage Ape.) I love me a good pun from time to time, and a lot of Gallagher’s are funnier when shared out of context, but when a story is just wall to wall puns it becomes agonizing. Puns should be a spice, not a main ingredient. And when Gallagher got a chance to follow an ACTUAL newspaper comic strip format in the Off Panel, he fared even worse. It was so rare for the Off Panels he wrote to actually be any funny

He WAS genuinely funny at times, though. I’ll give him credit for that. I don’t want it to seem like I hated ALL of his stories. (He did impress me with at least one political joke that’s sadly still relevant today, and in hindsight there’s something really funny on a meta level about the dark and gritty return of Cal and Al.) I think his best work came when he was paired with better artists. Scott Shaw’s more energetic Sonics really helped sell the cartoony comedy in the original miniseries, and obviously Spaziante’s work on Mecha Madness made that story legendary. When he was stuck with the less exciting Manak or Mawhinney, though, not so much

Beyond the puns, there was also this undercurrent of nastiness, meanness, and general grossness in his stories that I don’t see as many fans pick up on. This was mainly evident in the many odd decisions he made with the female cast

We had his take on Sally, who was treated as little more than Sonic’s annoying, moody, bossy girlfriend who bickered with him, sat on a big throne, and occasionally got to be a damsel in distress. He added Bunnie to the cast early on, but it felt like he didn’t have many ideas for what to do with her except make her the butt of jokes about her being a southern belle, including literally making her say “the South shall rise again!” We had Barby Koala’s extremely creepy flirting with Tails, who was half her age. We had that tone deaf Off-Panel joke about turning the special dedicated to the female readers into a swimsuit special (which isn’t far off from what everyone else actually did). And we also had that baffling story where Dulcy killed her mother. I have NO idea what the fuck he thought he was going for with that one.

It wasn’t just the girls, though--Antoine was somehow even more of a punching bag in Gallagher’s early stories than he was on SatAM. At least in the cartoon Sonic was responding to Antoine’s’ massive ego when he poked fun at him. In the early comics, Sonic would constantly rag on Antoine at any opportunity he got. It was VERY distracting in the early issues, and it made his Sonic come off as way more of a jerk

Later writers would often talk about needing to fix certain characters. Penders, for all his countless insufferable faults, used his early stories to steer Sally towards the version of the character fans knew from SatAM. (He then ruined Sally in his own special way, but, you know.) Just about every writer who touched him spent years and years trying to fix Antoine and make readers stop hating him. The unspoken part here is that the original incarnations of these characters that everyone had to work so hard to fix... were Gallagher’s

Again, Gallagher didn’t have an easy job as the first writer on this series, and most of his stories were... fine. Nothing I’d recommend to non-fans, but they had their moments. They make for an amusing read for their sheer absurdity. But a lot of it ranged from not very good to outright bad. We’ll always cut him some slack for having so little to work off of when he started and for writing stories that were, in hindsight, better (or at least less grating) than a lot of the melodramatic schlock that came later. I’ll always have some nostalgia for those simpler times. But that doesn’t necessarily mean that Gallagher’s stuff was ever all that good

But I can’t hate the guy too much, because he gave me the greatest Sonic character of all time

[bellaslilpapercut]

Eclipse reread part 2! This is gonna cover a lot of chapters because I forgot to include stuff from chapters 4, 5, and 6 in part 1 (in my defense your honor, this book is very grating to read). Awayyy we go:

1. so chapters 4-6 really could have been one chapter tbh since the plot is: Bella ditches work at Newton’s Outfitters to hang with Jake and then writes some graduation invites with Angela. She pushes her rusty old behemoth as fast as it can go through driving rain but then hangs outside with Jake the whole time so I don’t really know where the rain went. She also manages to hear Jake gasp through her closed car door! Super sonic! Anyway, Bella insists that Edward is a good guy, Jake makes Bella hold his hand, Jake explains imprinting (yuck we can skip that), and then Edward drives threateningly past Bella while she’s on her way to Angela’s house. Angela reminds Bella that, at his core, Edward is a teen boy who is Totally Jealous of how Ripped and Sexy her 16 year old best friend is. Then Alice kidnaps Bella. Fun times!

2. During the imprinting convo it becomes very apparent that Meyer thinks the worst thing that can happen to a girl is getting broken up with. Somehow Leah got the “worst end” of the Sam/Emily/Leah fiasco despite Sam turning into a “monster” and Emily getting literally mauled in the face. What’s worse is later in the book, during the “Legends” chapter, when Bella wonders if Leah thinks Emily’s scars are a form of “justice.” Yea, Bella, that’s justice. 

3. I love this Rosalie quote but hate the entirety of they way meyer writes her story. Others have mentioned it before but Meyer writes Rose's dialogue there as if Rose is an author and not like...a person telling a story. An easy fix would be to format Rosalie's story "flash back" style rather than have her narrate all the way through. Then you can include all the superfluous details of exactly what everyone's voice sounded like and all the excessive dialogue tags you want.

I also Violently Abhor this quote here:

Yea, meyer, the Hot Girl hates your self-insert because her stupid ass brother didn't have the hots for her. It just reads like weird middle school revenge fantasy "I only hated you because you were so Special!!!" Sure, sure. Also "all those females!" People don't talk like that @stephanie

4. I do love the scene when Bella “escapes” from Alice with Jake (I don’t know why i put escape in quotes, Alice could definitely murk Bella) but then that whole adventure ends with Jake telling Bella he’d rather she die than turn into a vampire. And yeah, fair buddy, but also you’ve known Bella for a long time. This should not be a surprise to you at all even a little bit. a) she mentioned it before, b) you knew she would never get over Edward even if your plan in NM had worked, and c) you’ve known that she’s fully obsessed with the Cullen’s since you started hanging out with her again. The last time you guys hung out she went on an impassioned rampage about how lovely and good and fantastic Edward is (footage not found) I really don’t know why you’re surprised that this hard-headed girl is prepared to commit to vampirism for him. She is not normal lmfao.

5. The legends chapter. Oh boy. Stephanie, Meyer, Smeyer. Honestly it might have been less offensive if she had just made up a whole new tribe to give these backstories to, for all that they have in common with real Quileute legends but actually that would still be offensive and terrible anyway. I don’t know how to describe this adequately but if you’ve ever seen G.I. Joe’s portrayal of indigenous people that’s exactly what meyer made Old Quil and Billy’s dialogue sound like. Just absolutely dripping with Mystical Native/ Magical Native trope from the content to the tone. https://mthg.org/ Because it can’t be plugged enough.  

6. The legends chapter ends with this Wuthering Heights quote:

I have no qualms with it's inclusion, if you really want to push the Edward is Heathcliff and Bella is Cathy agenda, I don't believe it but fine, whatever. But those last two paragraphs are such a dumb way to end a chapter. Every chapter ending should make the reader want to turn the page: this makes me want to shut the book (actually I did take a long break after this lmfao). Anyway, just end the quote on "drank his blood," bold those three words, and end the chapter there. Don't go back and say "the three words that stood out were... Anyway it could have fallen to any page I believe in coincidence teehee!!" That's just annoying.

7. Okay guys I hate to say it but Edward does get a lil bit of ~character growth after the first few chapters. He comes home after having Bella kidnapped (she decides not to be angry, surprise surprise) and is all "so I've been thinking about it and you're right my Beloved Angel Face or whatever, please hang out with Jacob but also wear a helmet on your motorcycle my Beloved Dumb Idiot or whatever" (paraphrase). And he also says this in chapter 12:

Which is like, man I hate when I agree with Edward but I agree with Edward here. Now I know from MS that he only wants Bella to stay human because he's creating an Unfolding Drama in his head but this bit of dialogue is really sweet. And it's funny that he thought Bella didn't want to marry him because she just wanted to use him for immortality but it's also a Dark Reminder that he's literally only romantic with her because he can't read her mind and can't tell that she's just as obsessed with his looks as the other Teen Girls TM.

8. uuuh Jasper’s Backstory Time. This is so infuriating to read for so many reasons. So we know that smeyer got Jasper’s name from a confederate memorial/ listing (from a New Moon Q&A but the link isn’t secure so I can’t share) so I know that his backstory was always meant to be Confederate Soldier which makes everything else about his characterization just baffling. Again, he was the only Cullen that was genuinely kind to Bella besides Carlisle for the entire first book and he’s still incredibly kind during Eclipse (which is another issue I have though because no one mentions again that Jasper tried to eat Bella and they stand close to each other and hang out and Bella’s never like “this is scary, this dude tried to kill me” but i digress). The point is: smeyer knew he was going to be a confederate from book 1. She never addresses that this was bad, she never has Jasper mention that he regrets his role in the war, he is the only Cullen that’s actually capable of empathizing with humans anymore (Carlisle cares but I would not categorize him as empathetic), it just... None of these pieces fit together. This is a fraught and bloody history that smeyer throws in with no thought to how it might alienate black readers (though tbh she constantly emphasizes “white beauty” throughout the series so I doubt she cares) and the editors don’t question it either. No one, at any point in time, said “Hey, steph, you know confederates fought for slavery, right?” Every black american deserves reparations. White women and men who glorify the civil war should be the first to pay up. 

9. I’m gonna jump back to chapters 9 & 10 here (target & scent, respectively) to say: no tension is being effectively built. I get it, someone stole your clothes. You’re annoyed because you have nothing to wear and Victoria is scary. But where is she? Where is the volturi? Move it along, please! This is one of the challenges of 1st person narrative because the author is stuck in the eyes of, usually, the person who knows the least. Meyer is not a talented enough author to make this interesting. Not to bring up THG again but Suzanne Collins really knew how to work 1st person. Everything that Katniss asserts with certainty throughout the series gets either confirmed or denied by the narrative, keeping it interesting. She assumes the worst of the people around her so we’re pleasantly surprised when people violate those assumptions. We’re kept on edge by how little Katniss knows and SC never gifts Katniss with more knowledge than she could be expected to have. Bella is constantly gifted with knowledge and her assumptions are rarely proven wrong. You can dig into the canon a little bit more, read the lexicon and the guide, and find all the examples of Bella being unreliable or making wrong assumptions. But within the narrative she is rarely incorrect. She doesn’t get opportunities to grow out of her false assumptions (while Edward does, at least in Eclipse). So to keep the Victoria debacle interesting, smeyer has to plant seeds like- during these two chapters- Bella thinking of Laurent and Victoria while the cullens discuss who could have been in Bella’s room. That just doesn’t cut it for me. 

This is hella long and I’m only halfway through the book. I probably should split the second half into two parts as well but based on how talented smeyer is at stretching out the mundane, especially just before the climax, I probably wont need to. 

[starkeaton]

the adventure zone: graduation character list

Well, i accidentally deleted the original graduation character list post, so here i am making another one. Oops. And as always, if anyone has important details i should add then feel free to suggest them!

Here are all the characters introduced in episodes 1-25. Named characters only!

Also i can’t hide spoilers! So, um..... I can’t put spoilers on this one. If you need the version with spoilers try this version of the post that i made on the adventure zone subreddit but youre not missing out on much.

# -EPISODE 1- (19 characters)

Hieronymous Wiggenstaff (he/him): Head of the Hero/Villain school. at least 400 years old. wears shining blue armor with gold accents. also an elf. according to Tomas, he led the charge at the "battle of blood valley", brought the Kingdoms of Rickart and Dawnbreak to a peace treaty, and founded the school. a little boastful, a little prideful, [SPOILERS OMITTED], and overall a pretty good dude.

Higglemas Wiggenstaff (he/him): Head of the Sidekick/Henchperson annex, cranky old elf. has a dog named hero who shows no signs of anything strange at all, ever. 

Gary (he/him): friendly room gargoyle. pseudo-hivemind.

Groundsy (he/him): the groundskeeper. a pretty nice fellow. don't go in his shed.

Hernandez (he/him): beautiful centaur professor of animal handling.

Jimson (he/him): human battlegrounds trainer for sidekicks/henchpeople, world famous featherweight champion, wields a staff. married to crushman.

Crushman (he/him): silver dragonborn with a sickle, and self-described beefy boy! heavyweight blood champion married to jimson. never lost a match for 8 years. full name Frostus Crushman.

Rolandus Fontaine (he/him): former prince, son of deposed king, kind of an asshole, maybe. wears a cape (important detail)

Zana (she/her): "terrifying" tiefling villain sorcerer, friend of rolandus. barkept the test tavern in ep2

Rhodes (she/her): hero ranger, friend of rolandus.

Buckminster Eden (he/him): hero guy. son of "The Iron Lord". their dad is stronger than rolandus's dad. his wiki page says rogue so i think hes a rogue? i never caught that and ive listened more times than i wish i did

Leon (he/him): softspoken buff, bald "fighter" (although i dont remember any clarification on how exactly he fights), sidekick of buckminster, around 28. anyone else keep forgetting he's bald? i keep forgetting it. >!gets sorta-drafted into becoming a falcon for higglemas and so far hasn't done much else.!<

Rainer Michelle (she/her): cheerful villainous necromancer with a floating chair. also, her name is pronounced "rainier" despite not being confirmed as such? travis ships her with fitzroy.

Tomas (he/him): human man with "kind eyes" and a good (psychic???) memory. guidance counselor.

Stewart LeBoeuf (he/him): brawny human man. serves food. there is no joke here, i promise

Mulligan (he/him): teaches potions. mentioned but doesn't appear yet. and we're like 25 episodes in. maybe we'll see him someday

Germaine, Victoria, Rattles (he/him,she/her,???/???): Skeleton crew. They live in the training room i guess, and as a result can never die, because "no one dies in the training room!" (note: someone now HAS to die in the training room). also their races are never explicitly stated but i guess they're probably human? in episode 3 travis brings up something about how many bones are in "the human body" and at this point i think i'm looking too deep into this so i'll just forget about it and you probably should too.

# -EPISODE 2- (9 characters)

Riveau (he/him): halfling, blame-taking teacher.

Mimi (they/them): gnome sidekick who builds cool robot prosthetics

Bartholemus (he/him): owl aarakocra accountant teacher, known for being the best accountant in the land and having a face some might describe as "smoochable". very pro capitalist :’( hope he gets better

Ramos (she/her): goliath teacher of shieldwork. *

Dip (she/her): sidekick, half-orc twin of pip

Pip (she/her): hero, half-orc twin of dip

Festo (they/them): fairy with "beautiful gossamer wings", independent study teacher of magic, loves to party

Snippers (he/him?): Let me tell you my story about Snippers the magic crab. When Travis gave the list of animals that Griffin could choose as Fitzroy's familiar's current form, he listed crab near the start, and this gave me excitement. Now i knew that crab was pretty unlikely but god i hoped that he would choose it. When the list went on- Bat, Cat, Crab, Frog, Hawk, Lizard, Owl, Poisonous Snake, Fish, Rat, Raven, Seahorse, Spider or Weasel- I nearly lost hope. I was hoping so hard that Griffin would choose the crab, but i was ready to accept a non-crab familiar. It was just buried in that list. It wasn't the most useful animal and it was an obscure pick. And as Travis informed him that it didn't have to keep the form for the whole campaign, Griffin said those five words i wanted to hear so, so badly. "Well then it's a crab." Folks, I do not often react physically when something happens in media. But in that moment, i remember very clearly, i fist-pumped and yelled, "YES!!!!!!"

so anyway, Fitzroy has a crab.

Jackle (he/him): kenku teacher of sneakery. creepy dude. apparently knows something about argo? also his name is not spelled "jackal" for some reason. Also in later episodes theyve started calling him "The Jackle" for some reason??? *

# -EPISODE 3- (1 character)

Dakota (they/them): tavern instructor, clad in black/red leather. no race stated? probably human. *

# -EPISODE 4- (6 characters)

Gerry & Tom (she/her, he/him): shopkeepers at barns and nobles who seem to have very bad names. also constantly competing for customers? these guys got dropped faster than the heathcliff quests, which is honestly just sad.

Barb (she/her): the bartender. runs Springs Eternal in Last Hope. has a sweet seeing-eye hawk familiar. 

Jaryd Reginald (he/him): owner of Reginald Ore. Wants the workers to be held responsible for the damage caused by the xorn. (fun fact: originally i wrote down "Jerrod" because i wanted it to sound like a fantasy name, then realized it was probably "Jared" because theyre named after listeners, but i was pleased to find it confirmed that it's actually "Jaryd")

Candice (she/her): A Miner. thought those werent allowed in bars but, i guess not. Wants the mine owner to be held responsible for the xorn's damage.

Jade Johnson Esq. (she/her): lawyer.

# -EPISODE 5- (1 character)

Xorn: a big hungry gem eating guy from the plane of earth Low-Down Deep with 3 arms and 3 legs. why did travis just say "multi-armed" instead of specifying it was 3? who knows! Anyway it leaves

# -EPISODE 6- (3 characters)

Osric (he/him): the man, the myth, the bursar. finally shows up after being mentioned in episodes 2 and 4. he's an elf. 

breeze through the willows (she/her): Pegasus attacked by demons, lost her parents. introduced in ep1 but gets a name here so fuck it. also in ep>!16!< we find out shes a "white arabian pegasus" and i dont think thats a spoiler bc we shouldve really known it from the beginning

Sabor (he/him): Librarian/research teacher. also a TORTLE. Really good at recalling stuff, i guess. kinda reminds me of Tomas's memory thing but i'm sure that's just a coincidence... *

# -EPISODE 7- (1 character)

Mosh (he/him): The goliath blacksmith who welcomes argo into the unbroken chain. Also, and this is specific to the tumblr version of this post, all the characters with an * at the end of their descriptions are also members of the unbroken chain. if someone knows how to do spoilers on tumblr please tell me

# -EPISODE 8-

:)

# -EPISODE 9- (2 characters)

Eeiïäá#æ&éñn (pronounced like "Ian") (he/him?): an imp but without a shitty voice. also happens to not be violent. what a coincidence?

Terence (he/him): a chain devil with a real demonic name. minor boss of the imps. very convincing and very threatening. has the frightening ability to make you zone out during his fight

# -EPISODE 10- (2 characters)

Althea Song (she/her): elf with autumn-orange hair. representative from heroic oversight guild. i'd like to personally thank travis for spelling her name out.

Crabtree (she/her): Artificing teacher. Long gray hair with a long grey beard. no mentioned race, one might guess dwarf but that would be an assumption i suppose. also unbroken chain member, presumably the dwarf argo didn't recognize in episode 7.

# -EPISODE 11- (3 characters)

Marie (she/her): Grey-haired elf woman. She's the school's physician, i guess. Member of the unbroken chain.

Dendra Maplecourt (she/her): Fitzroy's mom. Has hot mint gum, i guess. She was mentioned earlier but i wasn't convinced she was a real person until this episode

Cool Gary (he/him): AYY ITS ME GARYR

# -EPISODE 12-

no new characters again!

# -EPISODE 13- (7 characters hhhyyyuu)

Kale (???/???): Head of the Placement Department, in charge of real world assignments. First mentioned in Ep4 but i missed that the last few times bc it is so brief. Gives exposition about missions i guess????? is that the only reason this chara cter exists

satyr thief (unnamed) (he/him): tries to rob thundermen, dies instantly

Ogre (he/him): teamed up with the satyr. his name is ogre.

Moon (he/him): A Sidekick. small pale sullen guy. no mentioned race. Why is there another FUCKING sidekick WE HAD ENOUGH hhhyuuuuuu

Deanna (she/her): A bigoted centaur with an obnoxious voice. Malwin the Strong's second in command.

Malwin the Strong (she/her): Leader of the centaurs of the scarlet woods. Wants to appease the spirit of the scarlet woods so that thecentaurs of the scarlet woods will be protected in the scarlet woods. Had a relationship with Arturas in the past but their clashes are currently known to get pretty heated.

Arturas (he/him): Leader of the Centaurs of the Valley, i guess. Had a relationship with Malwin. Centaur. Did i mention centaur? i cant think of anything else about this character

# -EPISODE 14- (2 characters)

Calhain (he/him): Human wizard, Malwin's magical advisor. Kind of an amateur wizard in a job high above his skill level. Graduated Wigginstaff's as a hero.

Spirit of the Scarlet Woods: A spirit who requires sacrifice in order to keep Malwin's herd safe and prosperous. Not keen on dubiously canonical combos, i guess. i wouldnt be either. also apparently the sacrifice depends on personal value, not how much value it has to the spirit.

# -EPISODE 15- (2 characters)

Sylvia Nite (she/her): Fitzroy's magic theory teacher at knight night school, who he turned into a catfish by accident. oops!

Chaos (they/them, maybe more): Presumably a deity, gave Fitz his powers and wants him to give in to his chaotic desires. (physical desc: 9 foot tall, iridescent 'mother of pearl' skin, pure white eyes, fine burgundy cloak with gold/onyx lining. their physical form beyond that seems to change every time they show up.)

# -EPISODE 16-

none -w-

# -EPISODE 17-

some demins happened. the big dudes are called "Pit Fiends" and the armored demon ladies are called "Erinyes", by the way. that was incredibly hard for me to figure out the first time, especially without headphones, i thought travis was saying "pig feet" and i just could not discern what the other things were

# -EPISODE 18- (6 characters)

snow on the mountain: shire horse pegasus

storm at sea: peruvian paso pegasus, vehement defender of The Guardian. doesn't have a goofy voice.. but he could have....

thaw of the spring: a winged horse

night of no clouds: a winged hhorse

The Guardian: "An ancient and powerful being that guards the unknown forest." Has protected the flock from demons for many many years. apparently is the voice that was talking to our firbolg in episode 1?

Grey, the Demon Prince (he/him): wants to cause a war, originally wanted to kill hiero and higgs, forces the heroes to build an army to fight his. As "Fauxronimous", he has skin the *color and pattern of* (but not necessarily made of) slate splashed with liquid, pointed ears, sharp teeth, shining eyes, horns of unspecified shape. 12 fucking feet tall. wonder if the slate-looking skin is related to garys. plot twist detected? Also i recently looked at the episode descriptions and found out his name is spelled "Gray", but really does it truly matter?

# -EPISODE 19- (2 characters)

Shabree Keene (she/her): Argo's mom, killed on the Mariah, possibly by the Commodore. Long auburn hair, green eyes. Mentioned earlier but described here, so fuck it.

**Thomas** (he/him): Argo's first mate on the Mariah, as the Kraken, in his chaos-dream. may or may not actually exist.

# -EPISODE 20- (1 character)

The Commodore (he/him): Reknowned hero of the seas, military regalia, great naval hero, presumably responsible for the death of Shabree Keene. No mentioned race. Seriously, they never mention this guy's race. The only thing described about him is how he's dressed and his evil smile. Does that mean he's human? Elf? Dwarf??? Who knows! maybe it just doesnt matter. 

# -EPISODE 21-

none

# -EPISODE 22-

not any of them. not any.

# -EPISODE 23- (1 character)

Ozymondelius (sp???) (it/its): A warforged teacher who just so happens to like war or something? i guess its in the name. only mentioned in this episode, doesnt show up yet.

# -EPISODE 24-

they have a fight in the training room but nobody dies :\\ maybe next time. also no new characters. pog

# -EPISODE 25- (4 characters)

Gherkin (he/him): Tall lankier skeleton, has a scimitar and a merkin, which is a pubic wig... and he wears a jerkin? which i guess is a kind of coat? also i think hes mute 

Tibia (she/her?) : Shorter skeleton with gold teeth, and long canines. i think both of the skeletons are mute actually.

The Lich King aka Gordy (he/him): Rainer's dad. Commands armies of the undead. lives in The Crypt. described as a hooded, skull-faced man with intricate black lines on his face, but changes to a shaved-head man with dark skin and vetiligo. Abandoned as a babby, raised by traveling parents, had necromancy powers, took Rainier in. Not actually very scary at all i don't know why he did the creepy laugh. Kind of a warm fatherly figure actually. hm. also people are speculating Gordy might be short for Gordita and his parents are maybe supposed to be lup and barry but THAT S JUST A THEORY.

our firbolg's father (he/him): A firbolg who lived by the code and was there when our firbolg was banished. Came to respect our firbolg's interest in a new way of life, in his final moments.

TOTAL: 72 NPCS! (well, including 2 extra PCs, i guess.)

Average: 2.88 NPCs per episode.

i was gonna not include the bone-PCs and have it be 69 but our firbolg's dad was just too important to not respect with a spot on the list.

anyway as always make sure to smack me with a blunt object if i forgot any characters!!!!!

[g-perla]

The ACOTAR Series is a Romantic/Gothic Horror Stage and Only Nesta Got the Memo

Not even SJM knows what’s going on.

Ok, this is going to seem off the rails but bear with me.

So I'm a big fan of Wuthering Heights by Emily Brontë (top 5 books and all that jazz) and I was thinking about it because it deals with themes of the Other and the supernatural, Nature as Character, the overlap of the animalistic and human, blurring of established binaries...fun, Romantic shit like that. Interestingly, this overlaps with how SJM illustrates her world and characters a lot of the time, hence why I was considering it while working on my Nesta project. I’ve mentioned before that Nesta really gives me Byronic heroine vibes and that’s a character construct of precisely this literary tradition.

I started thinking about Heathcliff and Cathy and how they're ridiculously extra and just feel the most intense emotions towards each other but also towards literally everything (nothing half-assed ever, this is a Romantic novel after all). I then remembered how so many people ship them, but like in earnest, in a totally aspirational way. It's not a #cursed ship to them at all. It's...romantic to them not Romantic. I even read often that people quote it at their weddings, specifically the infamous "two souls" quote.

Then I had an epiphany. I was like "wait, what if SJM is one of those people?? What if she has the energy of a Cathy/Heathcliff earnest shipper and that's why all her ships are messy??" Because if that is the case, my friends, oh boy oh boy would it explain so much. I will post some sections from Wuthering Heights:

Doesn’t the acotar series seem like a 1/50 dilution of that energy?? And that is barely a taste of all the spiciness this book has to offer. To illustrate further: SJM gave us the F/eysand suicide pact and the near-death battlefield Nessian scene. One is certainly more outlandish than the other, but both are the result of intense emotions. To that Emily Brontë raises the following: Heathcliff asking the sexton to dig up Cathy’s grave to see what’s up because her ghost has been haunting him since he personally dug up her grave 18 years prior and she has been haunting him ever since. He later demands to be buried in the same exact grave when he dies so they can decompose together. They both married other people though which only adds to the mess. (I am not lying to you the Romantic tradition really gave us these gems lmao. As an aside, Mary Shelley was also a writer of the Romantic tradition and she confessed her love to husband Percy Bysshe Shelley on her mother’s grave. Her mother was liberal feminist icon Mary Wollstonecraft by the way which only makes this even more amazing. Additionally, biographers believe that the Shelleys also had sex there. Talk about Romantic 😉.)

Then I had ANOTHER thought! (Dangerous)

If we read the series from the point of view of just another YA high fantasy things might get a bit boring because the world-building is honestly lazy and the magic system is pretty soft, which isn’t a pre-requisite in high fantasy (The Lord of the Rings has a soft magic system) but it's not the norm and it doesn't pay off in this series. Not to mention that the plot is pretty lackluster and derivative. To add to that the romantic and sexual relationships are questionable in their healthiness and consequently are the source of much argument in the fandom. 

But, dear reader, if we think about the ACOTAR series as being a sort of thematic and ideological 21st century YA homage to the Romantic tradition of the 19th century (within which Gothic Horror also lives), things get REALLY, REALLY SPICY.

No longer do we just have a romance fantasy with messy, hyper-emotional, animalistic characters who constantly partake in morally grey situations rife with dubious dynamics. No longer does plot really matter. No longer do we require quasi-scientific descriptions of the world and the magical system. No! All that matters now are the characters and the mood. Now we have potential! Add a lot of Nature ambiance: expanses of dark woods, great mountains, the unknowable and sublime energy of the ocean, a violent rainstorm/hurricane/tsunami, an impending snowstorm whose intensity reflects the growing emotional intensity of the characters as the story goes along (I’m looking at you impending snowstorm in acofas that curiously matches the growing complexity of Nesta’s emotional state). Blur the lines between any imaginable category: life and death, human and animal, known and unknown, Self and Other, beautiful and monstrous, good and evil, masculine and feminine, the list goes on. Most importantly make your readers uncomfortable by frustrating their desires to sort things into easy binary categories and don’t apologise for making them question their assumptions about the world, morality, gender, and any other kind of previously constructed Order. 

Basically write the story with Dionysus-in-a-Greek-tragedy energy and bring to us mere mortals artful Chaos.

Once that is done we can have a literal Romantic/Gothic Horror story.  The Acotar series could have been this unapologetically, with the added element of being told through the eyes of the "Cathy" character instead of through the lens of a third person getting second-hand accounts about what went on. This whole series is honestly enough of a chaotic mess of Byronic-like heroes and heroines and cursed familial relationships that it could have been that. That alone is peak entertainment. The problem, however, and the main reason why I can’t really say that this series truly delivered this wackiness is that SJM committed the act of not fully committing to the bit (very un-Romantic of her, I know). Now, I am not saying that SJM actually intended this. I’m just saying it really could have accidentally been this genius with some tweaks. Unfortunately, she made the crucial mistake of trying to justify too much, trying to make things too neat, too tidy, too sensical (in other words: the reason we really can’t have nice things). 

I could end this here, lamenting the potential of what SJM had set-up for us were it not for one element, one gift:

Nesta 

OHOHOHO DO THINGS GET GOOD HERE SO BUCKLE UP

Most of the characters refuse to fully commit to the bit in their desire to satisfy modern sensibilities, by which I of course mean they want ridiculous things like political power, to conquer lands, to be a Girl Boss, to get married, have kids, celebrate holidays, converse about mundane things, be relatable, etc. You know, pretty pedestrian stuff that only requires a bit of genetic luck, a sprinkle of energy, and the right circumstances within the world of Acotar. I would like to reiterate the beginning of this paragraph: most of the characters. 

Let’s say you’re stubborn and you decide to still read the series through the lens of the Romantic/Gothic tradition, what happens then? 

The most hilarious thing (for the Nesta stans that is. The antis would probably hate this)

Nesta, based on what we know about her through Feyre and the limited amount of other scenes, is the only character who really takes the performance seriously. She's the only one that SJM hasn't managed to confine through justification. Nesta just shows up and simply refuses to make sense (her POWER what a queen 👑). She is endlessly fascinating because she just exists in her world on her terms, established categories be damned, and in this manner she frustrates not only the sensibilities of the characters in the stories but those of the reader as well. This double duty is, I suggest, the result of the other characters not fully inhabiting the nebulous world of Romantic characters and thus being a little too plausible and understandable even if they are not justifiable. 

Ok, you may say, but I relate so much to Nesta. I do understand her. I don’t justify all of her actions, but I understand where she is coming from. (You’re not alone, friend. I like to think these things too. Alas, we are but plebs).

To that I reply; Nesta does things, certainly, and we can spend hours trying to explain through extrapolation, educated guesses, and personal experience why she did those things, but the fact is we really don't know why. We are never explicitly told. Our insight into who she is and her motivations comes predominantly from the understanding of her youngest sister and from our own interpretation of the actions she takes. I must make clear that our own interpretations are rooted in pre-established assumptions about what is sensical and orderly in our own world and in our own lives. We cannot interpret with the tools available to us that which may be, by definition, unfathomable. It is simply paradoxical. Nesta, as we currently know her, is a construct derived from a limited number of scenes and our interpretations and projections of these scenes. Even the scenes where we get third person narration don’t explicitly tell us her motivations and her logic. For all we know there really is no comprehensible reason for her actions and that is endlessly amusing to me in how utterly Romantic it is. Acosf may and likely will change this of course, but as it stands, Nesta is a whole Romantic character. Her divisiveness in fandom and in the narrative could be due in part to her refusal to fit the discrete categories available in her world and ours. 

Isn’t that wonderful?

To illustrate this a bit more I will share some details SJM gives us about her/ elements she sets up that fit in with the characteristics of the Romantic tradition (these are not exhaustive by any means):

The absolute pettiness (and extra-ness) of being so angry at her father’s inaction that she is willing to starve to death to see if he does something.

How in Acowae she is described as shifting between emotions as if she were changing clothes and feeling everything too strongly (probably to the point of destruction)

She is constantly being compared to animals, even when she is still human. Granted, SJM compares everyone to animals, but that strengthens the blurring of lines between usually discrete categories. It is still most powerful when used as a comparison when she is human because it dehumanises Nesta.

Often, SJM describes her characters as forces. Forces of nature, for example. Acofas is full of details like this in relation to Nesta. There is a storm brewing leading up to the solstice party and it is in full swing when she arrives at the townhouse. The language used there suggests that Nesta herself may be the storm (against the onslaught of Nesta). It really adds to the Maleficent energy tbh.

She is often associated with death post her transformation

She is Other even to Others. She was Made like Elain, Feyre, and Amren in a sense, but the process of her specific transformation differentiates her greatly from the others. As it is, she doesn’t fit in anywhere

Her intense attachment to her femininity and its expression are at odds with the ideas and assumptions about the performance of womanhood and a woman’s role in her world and even in ours. She is unapologetically feminine in her physical presentation, but her character, her thoughts, and possibly even desires transgress the unwritten rules of acceptable femininity (unfortunately there still are abject expressions of femininity in our ‘”progressive” mileux

She displays in many of her actions a disrespect towards authority and to the status quo. This is particularly notable when her intensely polarised sense of right and wrong is aggravated.

Her self-destructiveness. This is referred to most strongly in Acofas, but I would say she was remarkably blasé about self-preservation in Acowar as well

She is described as intelligent, cunning, ruthless, attractive, and prone to debilitating extremes of emotionality. All of these are characteristics of Byronic heroes, a subtype of the Romantic hero

Here are a bunch of quotes that touch on many of the elements that I have discussed above:

“I looked at my sister, really looked at her, at this woman who couldn’t stomach the sycophants who now surrounded her, who had never spent a day in the forest but had gone into wolf territory...Who had shrouded the loss of our Mother, then our downfall, because the anger had been a lifeline, the cruelty a release. But she had cared--beneath it she had cared, and perhaps loved more fiercely than I could comprehend, more deeply and loyally.” 

--Acotar, emphasis mine, note the strong emotions. This is a recurring element for Nesta.

“Cassian’s face went almost feral. A wolf who had been circling a doe...Only to find a mountain cat wearing its hide instead.” 

--Acomaf, animal comparison

“Nesta is different from most people,” I explained. “She comes across as rigid and vicious, but I think it’s a wall. A shield--like the ones Rhys has in his mind.” “Against what?” “Feeling. I think Nesta feels everything--sees too much; sees and feels it all. And she burns with it. Keeping that wall up helps from being overwhelmed, from caring too greatly.”

--Acomaf, emphasis mine

“I knew that she was different [...] Nesta was different [...] as if the Cauldron in making her...had been forced to give more than it wanted. As if Nesta had fought after she went under, and had decided that if she was to be dragged into hell, she was taking the Cauldron with her.”

--Acomaf, Nesta had her own plans for the Cauldron what a queen

“Something great and terrible.”

--Acowar, referring to her eyes. Oooh, spooky Nesta 👻

“The day she was changed, she...I felt something different with her [...] like looking at a house cat and suddenly finding a panther standing there instead.”

--Acowar, a two in one here: difference + animal comparison. Boy does SJM really go heavy when establishing Nesta as Other.

“‘Not in flesh, not in the thing that prowls beneath our skin and bones...’ Amren’s remarkable eyes narrowed. ‘But...I see the kernel, girl.’ Amren nodded, more to herself than anyone. ‘You did not fit--the mold that they shoved you into. The path you were born upon and forced to walk. You tried, and yet you did not, could not fit. And then the path changed.’ A little nod. ‘I know--what it is to be that way. I remember it, long ago as it was.’

‘I don’t know what you’re talking about.’“

--Acowar, show don’t tell gets thrown out the window here, but it is useful for the present purposes

“What if I tell you that the rock and darkness and sea beyond whispered to me, Lord of Bloodshed? How they shuddered in fear, on that island across the sea. How they trembled when she emerged. She took something--something precious. She ripped it out with her teeth. What did you wake that day in Hybern, Prince of Bastards?

What came out was not what went in [...] How lovely she is, new as a fawn and yet ancient as the sea. How she calls to you. A queen as my sister once was. Terrible and proud; beautiful as a winter’s sunrise.”

--Acowar, who knew rocks, darkness, and the sea were such gossips, but look how many connections to nature! To be compared to the sea, a significant example of the sublime, is peak Romanticism. If any of you have read Moby Dick, think about what the ocean and the white whale might have represented there and how that might relate to Nesta.

“I think the power is death--death made flesh.”

--Acowar, Feyre referring to the possible nature of Nesta’s power. Alluding to her powers possibly being related to death is quite significant because that is something most of us cannot comprehend, nor can most of the characters. For Nesta, a “reborn” but very much living character to have death associated with her is a strong blurring of the lines. The case of her being labelled a witch is similarly significant as it solidifies the elements of the supernatural while simultaneously comparing her to pretty much the only exclusively female-coded monster in western pop culture. I will touch more on this when I do my study of Nesta through the framework of Barbara Creed’s Monstrous Feminine.

“I am not like the others.”

--Acowar, we love a self-aware queen.

“Nesta took in his broken body, the pain in Cassian’s eyes, and angled her head.

The movement was not human.

Not fae.

Purely animal.

Purely predator.”

--Acowar

There are a lot more details and quotes that support this interpretation, but I didn’t write them all down in my archived notes. This post is obscenely long, however, so even though there is more to be said, I’ll leave it for another day. If you made it this far you really are an MVP and probably love Nesta to a concerning degree like me. Please rest your eyes if you’re actually reading this 😂

I’d love to read about any other takes and thoughts that might have come to your minds after reading this monstrosity,

G

[worryinglyinnocent]

Fic: Literature Past and Present

AU-gust Day Two: College AU Fandom: Once Upon A Time Pairing: Rumbelle

Rated: G

Summary: Gold’s trepidation at returning to university to get his degree over two decades after he first dropped out is put to rest on meeting one of his professors, Belle French.

Note: This is set in the UK in my alma mater.

===

Literature Past and Present

Despite this being something that he had wanted to do for a long time, Gold couldn’t help but feel a distinct sense of fear as he made his way across the university campus towards his very first class of the term. 

For a long time after he’d dropped out of university the first time, Gold had worked on the principle that he didn’t need a degree and his business ventures had worked perfectly fine without one for many years. 

Now that Neal had graduated and had a family of his own, and now that his property ventures and the antique shop did not require as much of his personal input as they always used to, Gold had found his tune changing slightly. Hearing about everything that Neal had got up to during his own studying days had reignited Gold’s interest in learning.

He had no desire to participate in the usual student lifestyle, he was far too old for that now, but his desire to go back and actually finish his degree this time was becoming stronger and stronger, until he had bitten the bullet and applied to study English as a mature student at the local university. 

He would be the oldest person in his class by quite a way; he held no compunctions about that. He was prepared for all the strange looks that he would receive, surrounded by people more than half his age, which was why he was arriving early. Hopefully, he would be able to find a seat at the back of the room, nice and unobtrusive. As long as he made it clear that he was here to learn and not get involved in anything else, then he’d be left alone. 

He made it to the room where the first seminar of the semester was taking place and peered in through the glass panel in the door. He was the first student to arrive, but the professor was already there, tapping away on her laptop whilst the screen showed the first slide of a presentation. 

Gold took a deep breath and entered the room. The door squeaked ominously as he closed it behind him and the professor looked up, giving him a smile. 

“You’re keen. We’re not due to start for another fifteen minutes, you know.”

Gold nodded. “Yes. I, erm… Yes.” 

He sank into a seat at the back of the room and the professor continued to type for a while. The slide on the screen showed her to be Dr Belle French, and it welcomed him to English Module 1001: Literature Past and Present (Part One). 

Gold pulled his notebook and pens out of his bag. It was like being back at school again, just as nerve-wracking, although he was sure that this particular teacher wouldn’t be as strict or terrifying as the ones he had known in his childhood, and that would make for a better experience. He looked down at the reading list. He’d enjoyed going through all of the books over the summer, especially reading the ones that he had already read in a different, more critical light, thinking about the messages that the words conveyed, either intentionally or otherwise.

Presently, Dr French stopped typing and closed the laptop, coming round the desk and leaning back on it.

“So, can I know the name of my diligent student?”

It took Gold a moment to twig that she was speaking to him and not to any of the other currently non-existent people in the room.

“Raymond Gold,” he said eventually.

“Pleased to meet you, Raymond. I’m Belle. I don’t stand on ceremony in my classes; Dr French always sounds so stuffy and formal. So, are you taking English as a single honours course or a supplementary?”

“Single.”

“Great! In that case, I’ll be seeing you again – I take a lot of the analysis and writing skills lectures as well. And if you’re that way inclined, I teach all the feminist literature modules to the second and third years.” She laughed. “Sorry, I shouldn’t be so forward, but I’m all for pimping my courses on the first day. You never know what might stick in people’s heads. So, what made you decide to choose English?”

“Well, as you can probably see, I’m not taking a degree to help me on my future career path.” He paused. “I apologise, that sounds like I’m disparaging your field as not being useful.”

Belle shrugged. “I don’t mind, it’s a common argument. ‘What can you do with a BA in English?’ as the Avenue Q song puts it so well. I mean, I’m happy to have the argument with you, but we’ve only got seven minutes before the class starts and I can go on all day if I’ve a mind to. Anyway, go on.”

“What I mean is, when I decided to come back and get my degree after far too long since I dropped out, I was lucky to be in the privileged position of being able to study something that I wanted to study just because I enjoyed it, rather than having to think about what could be the most advantageous to me in the future.”

“I like that sentiment.” Belle smiled. “I wonder how many more people would follow their dreams if they had that same chance. And obviously, I’m biased, but I must say that I’m very glad that English is the subject that you enjoy and chose to study. I’m lucky really, I knew that all I ever wanted to do in my life was work with literature and write, so becoming an academic presented itself to me as a career path early.” She paused. “Do you mind if I ask what your career has turned out to be?”

“I’ve done all sorts of things and had all sorts of investments, but mainly antiques trading. I learned on the job and never looked back. Well, until my son graduated, and I realised that I wanted to have that learning experience again. He never let me hear the end of it, teasing me that I was trying to steal his thunder. I know he’s pleased deep down. Dropping out was one of my biggest regrets.” Gold laughed. “I did law the first time around. I think I’ve made a much better choice this time.”

“Well, naturally I think so, but I’ve got a vested interest in keeping you on this course.” Belle winked, and Gold had to look down at his pens with intense interest. He absolutely could not be developing a crush on the professor on his first day. Student-teacher liaisons were not a good idea. Although, that said, that was usually because the students were a lot younger than the teachers in the position of power, and he could safely say that was definitely not the case with him and Belle. All the same, it would be a bit strange. No, he could not and would not fancy Dr French.

At that point, their conversation had to break off as more students started to arrive and take their seats, and Belle started to talk to them as well. Although Gold received a few odd looks from his classmates, once the seminar began and people began to talk about the subject rather than themselves, things became much more relaxed. Gold kept his head down for the most part, not getting too involved in the lively debates, but he was content to listen and learn. Every so often, his eye caught Belle’s, and she always had a smile for him.

Gold sighed. This was not a very auspicious start to his degree.

X

Belle held her office hours on Wednesday afternoons, traditionally the time of the week with the least scheduled lectures and seminars. It was always hit and miss as to how many visitors she would get on any given week; sometimes they were queuing up outside her office before she even got there, and other times she could sit with the door open for the full two hours and not hear a peep from anyone.

They were about a quarter of the way through the semester, and this week was one of the quiet ones. The students had a paper due the next Friday, so she anticipated a last-minute rush the next week. Today was the calm before the storm, and she was sitting happily in the late autumn sunshine that streamed in through her window, reading a novel. There was plenty of academic work that she could have been doing instead, but she never liked to get stuck into anything during office hours in case she was interrupted and lost her thread.

A knock on the doorframe pulled her out of her thoughts and she spun around in her chair to see Raymond Gold standing there, looking nervous. It was the first time that he had come to her office hours. That wasn’t unusual – some students never came, and others were in practically every other week. Belle didn’t begrudge either type; everyone had their own ways of learning and studying.

“Hi Raymond, come on in. What can I do for you? Is it about the essay?”

He shook his head, coming in and sitting at the other chair in the room. Being a junior lecturer as she was and not yet a tenured professor, Belle shared her office with a colleague, Merida. They got on well and were almost never in the office at the same time, which was a blessing when it came to office hours as there was really not enough room for more than two people in the glorified broom cupboard that they shared.

“No, it’s not about the essay. Well, it is a bit, I suppose. I, erm, I read your book.”

“Oh.” Belle felt herself blushing. Publishing her book had been a strange point in her career; she was so proud of her achievement but at the same time she still felt ridiculously egoistic to be recommending her own work to her students as a study aid.

“I just wanted to talk to you about it,” Raymond continued. “I really enjoyed it. It was very insightful.”

“I’m glad you liked it. Not many people can sit through two hundred pages of contextual analysis of the Brontë sisters which basically boils down to ‘who’s worse, Rochester or Heathcliff?’”

“Heathcliff, by a mile,” Raymond said. “But I think there’s a lot more to it than that.”

They continued to talk, Belle checking that there was no one else hanging around the door wanting to speak to her every so often, but they were not interrupted. It was wonderful talking about her passion, and even more so finding that one of her students shared it.

She sighed inwardly. She had vowed when she had first discovered Raymond in her seminar that she would not treat him any differently to the rest of her students because of his age, but now she was having more and more trouble with that. Not with treating him any differently in class, that was never a problem. But with this moment now, with the moments when they spoke outside of the academic context. He was closer to her own age than every other student she’d met – he was actually older than her, which was rare in academia. Outside of the classroom, it was harder and harder to see him as a student and not as… something else.

She wondered what the etiquette was in these circumstances. Rules on student and teacher fraternisation were in place for a reason, but he was a very different student.

Belle waited until he had left before knocking her head against her desk with a groan. The last few minutes of their conversation had become stilted, as if they were both waiting for the other to make the first move. She couldn’t be imagining it that he was grappling with the same kind of feelings that she was. She could see it in his dark brown eyes, watching her whilst she talked animatedly about her pet projects.

“So, I take it that the head-desk has something to do with the handsome chap who I just walked past?” Merida came back into the office and took the now vacant chair, prodding Belle until she looked up and nodded.

“What do I do now, Merida?”

“Well, I suggest you run after him and ask him if he wants to go and get a cup of tea, but then that’s just what worked for me and Mulan.”

“He’s one of my students, Merida.”

“Really? Wow.” She looked over her shoulder out of the room and ducked back in. “Well, he’s not got to the stairwell yet. How long are the corridors in this building? It’s downright ridiculous.”

“He’s a student, Merida.”

“Belle…” Merida sighed. “Go with your gut, love. All things considered, is it really going to be as much of a problem as you think it might be? You’re both definitely grown-up, I’m sure you can be civil about the whole thing.”

Belle nodded. Merida was right. It might not be orthodox, but then, Raymond was not exactly an orthodox student.

She got up and left her office, following him down the corridor at a pace that was not quite a run but definitely not just a walk. She caught up to him in the entrance.

“Wait, Raymond.”

He turned back towards her.

“Belle?”

“I was just wondering… I don’t have anywhere to be until five. Did you want to get a cup of tea maybe?”

Raymond smiled. “That would be lovely. And my friends generally call me Rum.”

“Rum. I like that.”

Belle couldn’t stop smiling as they made their way to the small café outside the humanities department building. She was very happy to be considered a friend, and maybe, in time, more than a friend.

[sorin-in-the-sixth-sense]

A list of my favourite fictional grey characters (not in order) SPOILER ALERT!

Regina Mills (Once Upon A Time)

There is a reason why Regina is called «The Evil Queen» She was pure evil. A murderer, a kidnapper, a rapist, how could I like her? Well it wasnt before season 3 I started to like her. It took a lot of time. And I suppose I will never fully love her after she raped Graham for...years... and murdered people - children when she was a tiny bit frustrated. I would even say that she is irredeemable. And I thought her redemtion arc was unrealistic in the beginning, and for God’s sake, she should not have been crowned The Good Queen in season 7. But she tried to change so hard for Henry, she tried to redeem herself. Tried to be a good mother for a change. She saved multiple lives and souls. She didnt completely redeem herself, I must admit it. But she tried so hard and I feel like she deserves something from that. She eventually became a very good mother, even though it was a little late since Henry was already 12 when she became one. She was still a bitter bitch and blamed innocent people for unfortunate things that happened to her (Zelena, Mary Margaret, Emma) but by season 7, she became something more than that. She became half good. Grey. And even though she didnt completely redeem herself, she came close. Also, I love her sassy personality, she should be crowned The Sassy Queen, not The Good Queen.

Rumplestiltskin (Once Upon A Time)

The Dark One who after 7 seasons became one of the greatest heroes in OUAT. The man who was known as the village coward because he ran away from the Ogre War and was too afraid to fight for his wife became one of the bravest men. Like Regina, he was a murderer. He was super manipulative with all his deals and the «all magic comes with a price, dearie» thing. He manipulated people into getting themselves killed. Before he became The Dark One, he was a good man with a pure heart. But the power of the dagger took over him and his heart was all black. He was power sick. He always wanted power, but not for selfish reasons. He felt like he needed power to protect his son Bealfire/Neal and his wife Milah, but when he took that power, the darkness came over him and he, after time, became evil. It wasn’t before he met Belle French his heart showed a little bit of light. As he said, she was his light in an ocean of darkness. Their relationship was problematic and selfish in the beginning. He manipulated her into thinking he changed (which you know i detest *cough* James Potter) Rumple loved power more than he loved her, at least in season 4. He too often chose it over her, until season 6 when he started to properly redeem himself. His redemtion arc took over 300 years but it came in the end. His love for her changed A LOT. In the other seasons, his love was unhealthy and selfish. But in season 6 and 7, he changed a lot. This time it wasnt only for Belle, but Gideon too. They helped him let go of power and in season 7, he tried so hard to get rid of the dagger and the power so that he could live a normal life with his family. And after Belle died, he didn’t return to the dagger or the dark side. He helped the good side to defeat Drizella and the other villians in that season. He even became a father figure to Alice. And in the end he sacrificed himself to save Killian’s (Nook) life. And he got reunited with Belle. He is the most interesting character in OUAT, no doubt there.

Sawyer/James Ford (LOST)

Sawyer is without a doubt one of my fave characters from LOST (after Charlie and John) in his background, he was a thief and manipulated woman to believe he loved them, just to take all their money. (Maybe except Cassidy, since he fell in love with her later, but he still manipulated her AND got her pregnant) He’s a real asshole. Buuut - then he became an entirely different (and better) man. He meets Kate Austen and I feel like his love for her changes his character. In the beginning he was a bit of a perve with her (i mean, walking straight towards her completely naked...) he doesnt develope much in the 1 season, but later (beginning in the 3 season) he becomes quite selfless and protective. In season (was it 4? I dont quite remember) he falls in love again with Juliet Burke, and heeeeell, she was good for him. He also developes a nice relationship with Claire Littleton (platonic) he becomes protective of her. He attemts to comfort Hurley after Charlie’s death. In the rest of the seasons he is the born leader. He puts the team before himself (like when he sacrificed his chance to escape the Island) and in the paralell universe he is absolutely the best.

Heathcliff (Wuthering Heights)

Okay, no he’s not exactly a grey character since he’s a lot more dark than light, but I love him too much to not put him here. Differently from the other character I’ve mentioned above, Heathcliff doesnt have a redemtion. He died an awful person. He abused and manipulated a lot of people. Before he became this asshole, he was a much better person. He was an ass to those who deserved it (Hindley, That bitch deserved to die so young. Edward was a kind man, but I don’t like him, sooo... nevermind) The way he treated Isabella was sickening and awful, she had every right to leave him and take Linton away and hate him. I Don’t like Isabella, but she never deserved to be treated that way. His love for Cathy was unhealthy, but it was true and he would do so much for her. (They kinda remind me of Snily, so ofc I ship it) Heathcliff went through so much trauma in his life and never recovered. After Cathy died, he was practically dead too, then he killed himself years later. His life made me cry for days, especially the ending. He is such an interesting character with so many layers.

Ulrich Nielsen (Dark)

(Before I say anything, I haven’t finished the entire show yet, so this is gonna be short and probably not 100% correct)

To be honest, I don’t like Ulrich at all as a person. I look at him and I see a fully grown up man with no remorse for what he did to Regina as a teen. He cheated on his wife with a woman he didnt even love. He tried to murder a CHILD who hadnt done anything wrong (yet) because he thought he was going to kill his brother and son in the future (okay, i get why he did it. He was desperate to get Mikkel back and the whole time-tarvelig thing was extremely stressfull) BUT HE COULD HAVE DONE SOMETHING A LOT LESS HARMFULL TO PREVENT EVERYTHING TO HAPPEN. Despite this, i love him as a character. He is so interesting and there are times were I have to remind myself why i dont like him. He is brave and intelligent and... so fucking hot as a teen.

Hannah Kahnwald (Dark)

(Again, havent watched the whole show yet)

This girl is MESSED UP. When she was fourteen, she accused Ulrich of being a rapist, which is a very serious accusation and then blamed it on Regina who she knew was a victim of Ulrich and Katharina’s bullying. She is a home-wrecker, and when Katharina found out about Ulrich cheating on her with Hannah and confronted her, Hannah blamed it on Ulrich and said he pressed her and that she wanted it to end, but he refused or whatever, i dont 100% remember the conversation. But she was also a very good mother to Jonas and she was so sweet to Mikkel/Michael. She is a bitch, so much that its impossible to not like her.

Severus Snape (Harry Potter)

Saved the best one to last. The guy my whole account is about, ofc he’s on this list, and ofc this is gonna be the longest text.

This guy is a complete asshole. Always has been, always will be. He bullied Harry and Co (mostly Harry and Neville) he was a bitter and sarcastic bitch. He used to be a follower of Voldemort. Even in his youth he had a lot of flaws. We all know he became the bastard he was due to childhood trauma, mental illnesses and manipulation. I believe he had depression, grief and PTSD. At least in his 20’s he was suicidal, and I believe it remained like that til the day he died, because he had no one to help him or give him support. He turned to the dark side in an attemt to make his life better (as many members of gangs do) but he only stayed like that for two years, which is extremely impressive if you know what kind of person Voldemort is. As a 21 year old, Snape was a very different person from what he was as a 38 year old. If he was the way he was as a 38 yr old when Lily, James and Harry was in danger. First of all, he wouldnt start to try to save Lily by asking Voldemort, he would have went straight to Dumbledore, probably with his own brilliant plan on how to save them. Second, he wouldnt hesitate for a second to save James and Harry to. In canon, he needed to have a personal reason to save them, which was Lily’s feelings I believe. As a 38 yr old, he risked his life to save people he hated (Lupin) This is a great character developement. He went from being a selfish bitch, to become a selfless asshole. He was that kind of person who did anything in his power to protect someone, even if that person had nothing to do with winning the war and had nothing to gain himself.

[gelo-p]

Cycling Seasons, Fresh Skies: Memories

I knew from a long time ago that if I’d ever go for a T10, this would be it. When the event was finally getting closer, early estimates told me I was 900 flames short; I’d have to buy stars for this event.

(WARNING: A rather image-heavy post)

Perhaps the moment I honestly considered T10 instead of settling for T100.

Definitely the moment I knew there was no turning back. :)))

Believe me, this was not the only purchase I made for this event.

I needed a better Challenge Live team, so I knew getting a 4* Happy Ran is required, to complete my Happy Afterglow team. I’ve never gotten any 4* Ran before, so thank god the 4* Exchange Ticket had the perfect timing.

“WAIT. YOU WERE USING A HAPPY TEAM ALL THIS TIME???”

Yep. ^^ Well, my Multi Live team was Powerful Afterglow-based, but had only 2 4-stars, sooo I knew it wouldn’t cut it.

There she is <3

I’ve always stopped at Skill Level 4, but I really had to pull out all the stops. Ran is my first Skill Level 5 member. ^^ (everyone in my CL team also received the level 5 upgrade)

Alright, let’s do this! Hey Hey Hoh~!

The event has finally begun! I initially found it amusing seeing all sorts of titles being shown off. This one in particular stood out to me. XD

(Looking back, that Sinz person would later turn out to be a serious T10 contender. I think they changed their name to Pyokun after some time)

Here’s a screenshot of a rare T5 GeLö-P. I really wanted to share this with you guys, but I figured I’d jinx myself by revealing publicly what I was trying to do. :>

(I will doubt the existence of God Almighty, but believe in being jinxed. Life is weird sometimes.)

Well, that’s the Grand Room for ya’. Meta songs all the way~

How do you even react to that?

With this. :)))

NEXT YOU’LL SAY FUEEEEE

Home Street...

Home Street.......

HEY HEY HOH~! 

The moment I ran out of large energy drinks, and had to start spending stars. </3 Small energy drinks were still reserved for moments I can afford to wait out the 30-minute refill timer.

The 5 Horsemen of the Apocalypse

My first time doing the “recover waaaaay more than 10 flames” thing

Huhehe huhehe huhehe...

I too would like some of those Afterglow pins. T_T

Baby Shak my as-

Aaaand we have a dodger, ladies and gentlemen. XD

I think this guy needs to be banned.

Home Street? Pssh, that was so yesterday. Jumpin’ is the shit now.

Ganbatte, P5.

Himari~

My 2nd encounter with Ghostkillers (who later become T12..?). He chose Senbonzakura the first time, so when he did it again, I thought I’d save it for posterity. ^^

The “I too would like to live dangerously” gang 8-)

The first time I switched away from my dua T100 titles. I figured I’d stop trying to “scare” the competition.

First time tracking T10 scores. This would later prove to be very useful in seeing if my projection will hold (although I shifted to tracking T3 - T12).

Taking a break, so I watched ads for free flames. :)))))

Moca, Ran, GeLö-P, and a weird name. Huh. Okay.

Kyu~Mai * Flower was released! Played this one on Hard.

...this one I played on Expert...

...and thank fuck I got it first try, because oh boy I’m not playing that beat map again. >_<

“Ban me if you can” ?? Why??

Aaaaand this motherfucker right here was cheating and inflating his score. I personally reported him to the game admins over on twitter, and they’ve informed me that they were already aware of this idiot. Saw him just once more after this.

Yes. That’s 91 million, 798 thousand, 346.

I actually encountered them once before this, but didn’t notice anything off about their score (was already dazed at that time). And then a discussion started over at reddit, so when I met him again, I took screenshots.

Ganbatte :))

Had time for a quick hey hey hoh spam ^^

Which day was this..? Anyway I came up with my brilliant pun. Read the comment, see if you can figure it out. :3

MocaRan and YukiLisa. Sigh. I don’t think we can be friends, P5.

:)))

Told you, Ghostkillers only pick Senbonzakura XD

Tomoe’s Birthday! ^^

Even the game won’t let you have a GF, P5. XD

HEATHCLIFF STOP PICKING BABY SHARK

(almost sure they’re famous in the competitive scene... I don’t know them tho LOL)

I woke up one morning to find there was no internet.

FUCK ME

I knew mobile data was going to result to multiple disconnects, but thank fuck I had lots of challenge points to spare. I passed the time productively, and by the time I was done, internet was back. Whew.

Rank update: currently T8. ^^

More of Ghostkillers x Senbonzakura and JFC that name tho P2

Shitpost comment XD

First time seeing 2 other T10 contenders in the same room: Itsuki and Ghostkillers.

Probably the point where I started spamming Tokimeki Poporon instead of Home Street.

Also there’s a looot of interesting names in Bandori.

As a YukiRan / MocaLisa shipper (well more of SayoLisa nowadays), it is my job to destroy players 1, 3, and 5. >:(

Wallet: IT’S NOT POSSIBLE

Me: NO, IT’S NECESSARY

...aaaaaand I immediately threw away 10k stars hoping for Megane Ran, but got shit. (This would later force me to make 2 more purchases XD Seriously though, I could have saved a lot of money with a better star purchase plan)

I got Loli Rinko tho. <3

Which day was this...? I think this was the moment I knew Ghostkillers has given up. I was laughing my ass off reading the comments. I think everyone of us was half-dead at this point. XD

And so we’re down to the final 11.

I’ve started considering the possibility at this point that I might be the final one to bow out.

OMG I CAN’T SEE PLAYER 2

BUSHIDO~!

I was feeling the despair at this point, and thus started singing Komm Susser Tod

I do mini-sprints in the morning, so I’m T6 here. I usually fall back down to ~T9 in the afternoon.

I usually level up once per event. I started this event from Rank 193. :)))

(well it was technically 192, but I was like 2 games away from leveling up)

XD

There are no experts in this room :v

Jumpin = NO FEVER, but picks meta song anyway. Okay. :v

Hey! All Random!

Game: DID SOMEONE ASK FOR A META SONG

I have a lot of friend requests at this point (probably from people seeing me on the T10 list), but I don’t have enough space to accept them all :((

Bread-themed profile!

Poppin’ Party, Puff n’ Pastry... get it?

Itsuki started spamming BOF at this point.

Doki doki~

HIT ME BABY ONE MORE TIME~ ♪ ♫

P1 is an IRL friend :))) I’d later tease her about how slow she is picking songs LOL

Some Initial D reference for overtaking :P Of course I was badly falling behind at this point (T9 is hella dangerous), but I had no choice but to continue to believe in the math (and that early overtaking is a bad choice).

“Early moves lets your opponents recover from mental shock.” - Ryosuke Takahashi, Initial D 3rd Stage

No seriously, that’s exactly what I was thinking of. And also “Not yet, not yet, now” from Ford v Ferrari.

P1 & P5 get married already...

FINAL NIGHT.

I’m down to T11, and everybody else already did 2.3M-sprints some hours earlier, and have considerably slowed down.

I, on the other, was about to go to sleep. Yes, I, the current T11, was about to let the others pull away. All I could do was believe in the Math at that point, because let me tell you-

I had 105k challenge points left. That’s 3.4M event points I had yet to sprint.

This was during the final morning, 9 hours before event ended. When I woke up that morning, my heart was pounding like crazy. What if everybody has pulled ahead?

When I finally checked, most of the T10′s were still in the 17M-range. Itsuki was on T10, and he was only 500k away. I knew at that point that my chances were pretty good; however, I shut up about it, set my comment to “Now Playing: Running in the 90′s”, and got to work.

There was nothing else I could to but consume all the CP I had left. No more tracking. A literal 5-hour non-stop sprint to 19.2M points. If they can still catch up even after they’ve already expended their CP yesterday, then maybe I don’t deserve this T10 after all.

All I need to do was beat one of them. It was me or them.

Holy shi-

I wasn’t out of the woods yet, had to make sure at least one of them didn’t overtake me. Of course that was more up to them, since I didn’t have any strength left (my thumb stopped working at that point, no seriously, it’s still not working properly even today). I also didn’t have any significant stars left.

I managed to sneak in a few songs, but that was it. I was done. The others managed to close the gap, but I stayed in T6.

And then the event was over.

I fucking did it.

------

I would later learn that this was the bloodiest (Challenge Live) event in the history of ENdori. In one redditor’s words, I “ ...sure picked a hell of a time to go for it.”

I had no choice. This is Megane Ran we’re talking about. <3

I had some idea tbh, because I managed to read a tweet in the middle of the event, that “this was one lit T10″. Apparently we were on track to beat the previous record-holder, which was Sayo’s Umbrella event.

I’m... really glad to have been part of this event. I feel so darn proud of myself. >:3

But I couldn’t have done it without the help of the Grand Room. Seriously, I only played in the Grand Room.

Remember this?

I don’t have (competitive) friends. :))) So thank you, all. *bow*

I’d like to thank IRL-friend otearaisu over at twitter for putting up with my excessive score projection updates. XD I have a really detailed excel sheet to check if I was on track or not, and whenever there were developments, I’d always tell him about it, even in the dead of the night. XD

------

Would I ever do this again? Probably not. This was the only event that I knew I really wanted to go for, and I don’t see that changing any time soon. Maybe I’ll get a couple of T100′s in the future, but that’s it. ^^

See you in the lobby~

[armstrongd-blog1]

Regardless of whether you buy like a gift and on your own

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The Most Surprising Characters Of Female Anti Hero Novel

By Diane Williams

An antihero or anti heroine is a personality that exists within the worlds of movies and the web pages within a publication, which while thought about a lead character, displays behavior characteristics and ideas that are thought about not likely and unconventional for an individual that is probably running for the silver lining. This archetype is an individual that does not appear to support favorable features, such as nerve, optimism, and maintaining a feeling of principles. These ladies and guys could display principles in doing the best point, the factors behind it and just how they accomplished such a task might not constantly be thought about proper in the eyes of culture. This archetype was first seen among classical Greek literature, Renaissance works of fiction, and even the earliest forms of Roman writings. It was in seventeen fourteen however, when the term was first coined, particularly with the emergence of stories that primarily focused on this type of character, which became a recurring theme that writers used when creating novels and short stories. At present day, this writing tool continues to be of much usage and its popularity with fiction writers and comic book superheroes is proof of its charm and how audiences are forever taken by storm by such unique personalities. Following this trail of thought, this article will emphasize on the most surprising characters of female anti hero novel. The initial individuality on this listing is Amy Dunne, the titular personality of a unique qualified Gone Lady by Gillian Flynn. Amy or even more frequently described as Incredible Amy, an attractive, clever, independent girl that has actually accomplished a lot considering that she was a little one. Considered a natural born player, it stunned visitors when it was disclosed that she had actually adjusted the individuals around her, consisting of the media, that she had actually been killed and abused by her other half. The reasons are recognized from the start, yet as the tale unravels, it comes to be clear that whatever is not constantly just what it appears from the surface area. A traditional job of fiction is Macbeth, composed by William Shakespeare himself. Among the protagonist is Girl Macbeth, a despotic yet oddly hypnotic female that was just one of the very first leading women functions that determined as an anti heroine. What really established her apart was that she continuously tested and sough to redefine the conventions and ideas of exactly what was specified as an upright and typical female in culture, which when checking out currently, is taken into consideration extremely in advance of her time. The following enhancement to this checklist is Rachel Watson, from The Woman on the Train, which was created by Paula Hawkins. The heroine of this publication, Rachel is constantly intoxicated and due to the fact that of this negative routine, she could not appear to remember if she had actually eliminated someone or not. She displays high qualities that could transform some people off, such as being stressed over her violent ex-spouse other half and taking the traveler train to function, regardless of being discharged weeks prior to. An undependable storyteller, Rachel comes to terms with her scenario and tips up to address the secret of fatality as soon as and for all. One more timeless publication is that of Therese Raquin, authored by Emile Zola. The titular personality is a lady of the very same name. Zola is thought about the starting leader of naturalism and consequently, his jobs are all fairly practical. Zola is recognized for his flair of developing tales and jobs of fictions that concentrate much more on the monstrous and unpleasant side of mankind, as opposed to the fascinating. Embed in Paris, Therese is a killer, yet she is additionally the lead character. One that was genuinely advanced throughout her time. Possibly among one of the most effective publications in contemporary times is The Lady with the Dragon Tattoo, penciled by Stieg Larsson, as component of his Centuries trilogy, come before by 2 even more publications prior to his unfortunate fatality in 2 thousand and 4. Both protagonist consist of press reporter Mikael Blomkvist and experienced cyberpunk and scientist, Lisbeth Salander. Lisbeth is noted by her uncommon look of tattoos, piercings, and dark clothes. Past that, is an anti heroine that resisted all probabilities regardless of her dark childhood and offers justice in dosages that just she might perhaps believe was reasonable. Utilizing her hacking abilities and a photo memory, she assists Mikael break a situation concerning rape and murder. Another work of art by Shakespeare is Titus Andronicus, featuring the lead with the same name. The name itself translates into the queen of vengeance and story begins when her eldest son was sacrificed by the antagonist named Titus. Following that event, she plots and devices a strategy to make him pay and suffer for the injustice that took place. Regarded as the goriest work of art by Shakespeare, this is not a book for the faint of heart. Wuthering elevations is one more traditional, one which almost all children in intermediate school and secondary school were called for to review eventually. The titular function comes from Cathrine Earnshaw, an initial yet extremely unforgettable character that sticks to you, also as she passes away. As a result of her sudden death, Cathrine continued to haunt her true love, called Heathcliff. This job of fiction is related to a traditional, both for its gothic motifs and romanticism for partnerships that do not finish at the tomb.

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