#i have a lot of feelings about self-sacrifice in stories & the way its used in merlin drives me NUTS!!!!!

[blazeshardcat]

one of the things that always gets me with merlin is how the show handles the concept of self-sacrifice/trust...

i think of the consequences of lancelot's sacrifice- it denied merlin the only friend that knew about his magic (gaius was more of a father figure), and i think that loss was one of the biggest factors in how sad and worn-down merlin gets in S4-5. it also denied gwen the chance to choose her partner, not to mention how lancelot decided to "sacrifice" his chances with her for arthur's sake well before his actual death.

there's balinor, who never went back for hunith. he had reasons to be concerned for her safety, but hunith knew the risks when she first housed him- wouldn't she want to know he was alive, even with the danger? it's another example of how this kind of emotional martyrdom denies their loved ones the choice to share their risks and burdens.

there's arthur. born into royalty, he was awarded many luxuries, but still denied the chance to safely choose whether or not he wanted to be king. so he makes the sacrifices leaders do, unable to make friends and love without the watchful eyes of the court & the constant threat of betrayal- after all, that's what kings do, right? in uther's words, a king must rule alone.

and of course, that leads us to merlin himself. he sacrificed everything for arthur- a chance for other magic-users to be free, a better position than a manservant, a home that wouldn't burn him for his gifts, and a million smaller pieces of joy he denied himself along the way. but what was it for? after everything, arthur still died, and it's unlikely magic returned either.

like all the other instances of self-sacrifice in this show, merlin had valid reasons- he loved arthur, and the prophecy gave him the purpose he'd been seeking his entire life, but he never confided about his magic due to incredibly real fears of execution or exile. so he chose to burn himself in silence, rather than risk arthur's feelings.

yet that's the thing about arthur- he doesn't destroy himself completely for the sake of camelot, doesn't follow uther's advice to he bone. he DOES learn to be better, to judge people based on their actions instead of labels, and to keep people he genuinely loves near him. i think arthur positively changes the most of anyone in the show, and it's largely because he actually opened up when merlin provided opportunities to do so. he didn't simply accept that a prince should suffer in silence, but learned to share his emotional burdens, which is why he got closer with many characters over time.

it's merlin that keeps himself closed off, locks everything away because he thinks it'll keep arthur safe & happy. it's the choices merlin makes at his most isolated that doom arthur in the end.

that's what i think the ending is trying to say.

to save someone, it's not enough to sacrifice yourself, to choose them over your well-being every time as it quietly kills you. because if you love someone enough to die for them, you should take a chance. do the scary work of being honest, and brave the uncertainty that follows. you've got a lot of good reasons for staying silent, but if they're worth dying for, they should get a say in it, too.

[mostlysignssomeportents]

Christopher Brown’s ‘A Natural History of Empty Lots’

On SEPTEMBER 24th, I'll be speaking IN PERSON at the BOSTON PUBLIC LIBRARY!

Christopher Brown is an accomplished post-cyberpunk sf writer, a tech lawyer with a sideline in public interest environmental law, the proud owner of one of the most striking homes I have ever seen, and an urban pastoralist who writes about wildlife in ways I've never seen and can't get enough of:

https://fieldnotes.christopherbrown.com/

All of these facets of Brown's identity come together today with the launch of A Natural History of Empty Lots: Field Notes from Urban Edgelands, Back Alleys and other Wild Places:

https://christopherbrown.com/a-natural-history-of-empty-lots/

This is a frustratingly hard to summarize book, because it requires a lot of backstory and explanation, and one of the things that makes this book so! fucking! great! is how skillfully Brown weaves all that stuff into his telling. Which makes me feel self-conscious as I try to summarize things, because there's no way I'll do this as well as he did, but whatever, here goes.

Brown is a transplant from rural Iowa to Austin, where he set out to start a family, practice tech law during the dotcom boom, and write science fiction, as part of a circle of writers loosely associated with cyberpunk icon @brucesterling. After both the economy and his marriage collapsed, Brown started his restless perambulations around Austin's abandoned places, sacrifice zones, the bones of failed housing starts and abandoned dot-crash office parks.

When he did, something changed in him. Slowly, his eyes learned to see things that they had just skipped over. Plants, animals, and spoor and carapaces and dens of all description, all around him, a secret world. These were not pockets of "wilderness" in the city, but they were pockets of wildness. Birds' nests woven with plastic fibers scavenged from nearby industrial dumpsters; trees taking root in half-submerged tires rolled into a creekbed, foxes and rodents playing out a real-life version of the classic ecosystem simulation exercise on the edge of an elevated highway that fills the same function as the edge of a woodland where predator and prey meet.

As Brown fell in love again – with the artist and architect Agustina Rodriguez – he conceived of a genuinely weird and amazing plan to build a house. A very weird house, in a very weird place. He bought a plot of wasteland that had once housed the head-end of an oil pipeline (connected to a nearby oil-storage facility that poisoned the people who lived near it, in an act of wanton environmental racism) and had been used as a construction-waste dump for years.

After securing an extremely unlikely loan, Brown remediated the plot, excavating the oil pipeline, then building the most striking home you have ever seen in the resulting trench. Brown is a pal of mine, and this is where I stay when I'm in Austin, and I can promise you, the pictures don't do it justice:

https://www.texasmonthly.com/style/christopher-brown-edgeland-house-austin/

Formally, A Natural History of Empty Lots is a memoir that explains all of this. But not really. Like I say, this is just the back story. What Natural History really is, is a series of loosely connected essays that explains how everything fits together: colonial conquest, Brown's failed marriage, his experience as a lawyer learning property law, what he learned by mobilizing that learning to help his neighbors defend the pockets of wildness that refuse to budge.

It's an erudite book, skipping back through millennia of history, sidewise through the ecology of Texas, all while somehow serving as a kind of spotter's guide to the wild things you can see in Austin – and maybe, in your town – if you know how to look. It's a book about how people change the land, and how the land changes people. It is filled with pastoral writing that summons Kim Stanley Robinson by way of Thoreau, and it sometimes frames its philosophical points the way a cyberpunk writer would – like Neal Stephenson writing a cyberpunk trilogy that is also the story of Leibniz and Newton fighting over credit for inventing calculus:

https://memex.craphound.com/2004/11/20/neal-stephensons-system-of-the-world-concludes-the-baroque-trilogy/

Brown is a stupendous post-cyberpunk writer, and also a post-cyberpunk person, which I've known for sure since I happened upon him one morning, thoughtfully mowing his roof with a scythe:

https://www.flickr.com/photos/doctorow/46433979075/

You can get a sense of what that means in this lockdown-era joint presentation that Chris, Bruce Sterling and I did on "cyberpunk and post-cyberpunk":

https://archive.org/details/asl-cyberpunk

Brown is a spectacular novelist. His ecofascist civil war trilogy that opens with Tropic of Kansas got so much right about the politics of American demagoguery and was perfectly timed with the Trump presidency:

https://memex.craphound.com/2017/07/11/tropic-of-kansas-making-america-great-again-considered-harmful/

The sequel, Rule of Capture, uses the device of courtroom drama in a way that comes uncomfortably close to the Orwell/Kafka mashup that the authorities have created to deal with environmental protesters:

https://memex.craphound.com/2019/08/12/rule-of-capture-inside-the-martial-law-tribunals-that-will-come-when-climate-deniers-become-climate-looters-and-start-rendering-environmentalists-for-offshore-torture/

And the final volume, Failed State, is one of the most complicated complicated utopias you could ask for. This is what people mean by "thrilling conclusion":

https://pluralistic.net/2020/08/12/failed-state/#chris-brown

As brilliant as Brown is in fiction mode, his nonfiction is unclassifiably, unforgettably brilliant. A Natural History of Empty Lots is the kind of book that challenges how you feel about the crossroads we're at, the place you live, and the place you want to be.

The paperback edition of The Lost Cause, my nationally bestselling, hopeful solarpunk novel is out this month!

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/09/17/cyberpunk-pastoralism/#time-to-mow-the-roof

[chireikiden]

how silly does futo sound in japanese? most translations make her talk in really overblown faux-shakespearean english, which is kind of a pet peeve of mine because it turns her into a joke character - but I don't know to what extent this is supported by the original. is she using old-fashioned language correctly, or is it supposed to sound funny? and how old-fashioned is her speech compared to how she's translated? like is it the equivalent of 1500s english or is it older/newer? thankyou!

Futo's speech is way more exaggerated in many English translations than in Japanese, yeah. Personally I tend to vary it depending on the tone of the story, how extreme the author is doing it (in the case of doujins) and the feng shui in the room, but I honestly kinda struggle with the issue too.

Futo basically speaks "period drama Japanese". Doesn't really even matter which period, everything pre-Meiji is mostly interchangeable as far as the trope is concerned – it's not really supposed to be an accurate representation of old Japanese, which would be much harder to understand. It's actually a lot less extreme than, say, Mamizou's manner of speech, but intended to convey "old-timey" rather than "old-timer". Where Mamizou speaks in the stereotypical manner of a country grandpa (more so than a grandma, really), Futo speaks like a character who's literally from the past. Or maybe a yakuza or hammy cartoon character. Not even an especially fancy court official, and also not a samurai (which its own trope de gozaru).

Problem is, in Japanese, verbal tics like that are easily conveyed by things like choice of pronouns and sentence endings. Those are things you can consistently stick in almost every sentence without really altering them or even being all that grating (the tics here being more like "zo" than "kupo", "nyan" or even "desu"). In terms of actual vocabulary or verbose loquaciousness, Futo doesn't really stand out from anyone else.

This is different in English, where to convey things like "medieval speech" we don't have easy shortcuts like "the old-timey sentence ending" and are instead dependent on vocabulary, grammar and wording choices to turn the whole sentence "Shakespearean" (which of course is anachronistic too) in pretty ridiculous ways. The Ten Desires translation manages to turn very basic and short lines into "Thou who hast prais'd my resurrection: Speak anon, and name thyself." Of course, the small ways that the pronouns, particles and overall phrasing convey tone in Japanese is hard to explain directly, just like it's hard to translate English tone to Japanese. English sentences also tend to be longer in general than Japanese ones, but that difference is just widened even further.

In a sense, you could say that English has no choice but to go to those much greater and more annoying lengths to make Futo's way of speech "as obvious" as it is in Japanese. But while Futo's whole thing is also silly enough in Japanese for the fandom there to acknowledge and make jokes about it, I do sometimes feel like it's gotten out of hand and become kinda self-sustaining on the English end, rather than actually based on the original text anymore.

In theory, my preferred way of writing Futo is to make her sound slightly stilted in some less grating ways, like avoiding contractions and very obviously modern words, throwing in the occasional archaic one if I feel like it fits, and kinda chewing the scenery a bit. Maybe even the thee/thou stuff, especially if the work is more comedic. But the execution varies on my part, and sometimes I just sacrifice the whole idea at the altar of legibility.

[anthurak]

Takeaways from the Volume 9 Epilogue:

--

One thing I really like about Oscar’s ‘If there was anything I wish I could borrow from you…’ monologue is that it laid out/confirmed something I’ve always felt was a major aspect of Oscar’s dynamic with Ruby that I nonetheless feel a lot of the fandom has missed: That Oscar very much sees Ruby as a mentor and an example to follow, and how their dynamic is specifically a foil to what we saw between Ruby and Ozpin. That Ruby acts as a mentor and example to Oscar in the same way Ozpin was to Ruby, and that Ruby is a far BETTER mentor and example to Oscar than Ozpin ever was to her. Which, as an aside, is a dynamic I can’t help but feel a lot of people have been misinterpreting as ‘ship-teasing’ and is one of the main reasons I’ve simply never been able to see Oscar as any kind of viable love-interest to Ruby. Frankly the dynamic of ‘Ruby is the mentor and example to Oscar that Ozpin couldn’t be for her’ is simply so much more INTERESTING than any kind of romance could ever hope to be.

--

Even in animatic form, Winter basically going overdrive on the maiden powers was a sight to behold. And her own monologue had all the self-deprecation we were expecting. Our girl is clearly holding on by a thread and it’s going to be REAL interesting seeing how she reacts and adjusts to her sister not actually being dead. As in, I can imagine a situation where Winter tries to throw herself into a heroic sacrifice with the belief that Weiss would make a better Maiden than her.

Also, Winter’s monologue giving major focus to how Penny is super-super-dead-dead-and-definitely-not-coming-back-for-really-realsies, as she is talking to the sister who she ALSO believes is DEFINITELY also dead? Specifically with the words that Penny is gone, when Penny’s last words to her were that she’d be ‘part of you’?

Yeah, there is no way in hell we’ve seen the last of Penny XD

--

The CROWN. Like it was only a few shots, but as someone who read the CFVY Books (which you totally should if you haven’t, they’re great), holy shit I was NOT expecting them to pop up here.

I mean, in hindsight it makes perfect sense that they’d be involved in Volume 10. They’re basically Vacuo’s equivalent to Vale’s criminal element and the White Fang splinter faction as Salem’s co-opted insurgency group, with Jax and Gillian joining Roman, Adam and Jacques as the latest of Salem’s unwitting patsies. It’s definitely going to be real interesting seeing the crew deal with them. Like it’s really fun to imagine Team RWBY in particular being kind of exasperated at seeing Jax’s probably doing a whole ‘With Salem’s help I shall be King!’ shtick after everything they’ve seen with Roman, Adam and Jacques.

Oh and if you don’t know, Jax has a mind-control semblance, so him trying to use that on Yang could actually lead to a sneaky callback to the Justice League crossover, ie; Yang doing a ‘Yeah, I’m not doing THAT shit again.’ XD

--

Qrow’s whole vibe through this is fascinating. Like his section may have been the one we already saw, but after seeing the abject depression and growing despair of all the other characters, Qrow actually being OPTIMISTIC hit so much harder.

--

Raven showing up at the end is… interesting.

I’ll admit that ever since we saw that specific clip a few months back, I’ve been rather conflicts about Raven showing up to deliver RWBY+J to Vacuo, particularly after Ruby’s tree vision. Like for one it felt a bit random and unnecessary. The tree already deposited the Ever After team outside of Vacuo so they didn’t exactly need help getting there. Not to mention that it kind of clotheslines the story-thread set up by Ruby’s vision; that she now has a reason to track Raven down to get the ANSWERS to what happened to Summer. Finally, it’s just kind of… random? Like where did Raven even come from to get the team?

But now having seen the clip with its intended context, I’m definitely more on board with it. Particularly hearing from Kerry and Eddy that the original ending for the penultimate episode had RWBY+J going through the portal to arrive at their memorial stone, and met by a ‘Mysterious Figure’, ie; Raven. Here it feels like were getting more set up to get answers later as to what Raven was doing at the memorial.

And really, now that I’ve thought about it more, this method kind of puts the thread of Ruby going to Raven for answers even MORE into focus. Like the story reintroduces Raven in the present right after Ruby got a vision basically saying ‘hey, Raven is important’. And now going into Volume 10, we’re pretty much perfectly positioned for Ruby to pull Raven aside for those all-important ‘Why were you fucking my mom? What happened to my mom?’ questions.

--

Finally… yeah that ending hit me a LOT harder than I was expecting. Like that ending was HOPE in its purest form and it was honestly beautiful to see. Particularly right now with the future of the show seeming so uncertain. I’ve personally been optimistic about RWBY’s future (in a manner not unlike Qrow’s vibes I suppose lol), but damn the hopefulness of that ending hit especially hard, and was something I’ll admit I needed. And I imagine the rest of us could use as well.

We'll be getting Volume 10. And 11, and 12, and however many more it takes to finish this story. At this point, I have no doubt of that.

[thebestofoneshots]

Gilded Constellations | (wolfstar x reader)

Series Masterlist | Previous episode

Pairing: Wolfstar x Reader Word Count: 10.7 K Warnings: None Prompt: Some of Peter's ideas have very convenient fundamentals... This IS a Wolfstar x reader fic, but it's incredibly slow burn. They won't start all dating each other until we're very deep into the story, but I promise the long wait will be worth it. Proofread by lovely: @aremuslupinsimp

Chapter 33: More Than a Feeling

November 30th, 1976

You knocked on the door before you entered the class. Seraphina was standing beside her desk and nodded to let you in. You smiled and went straight to sit next to Remus. He had carried your bag and placed it on the seat next to his, to save a space for you. You smiled when you saw him and thanked him silently as Seraphina continued to talk. 

She was going on about dark magic and how bIood is often involved in rituals of its kind “As you know, every living being has magic cursing through their system. But it’s not quite that it emanates from them but rather that you have the capacity to store it. Muggles don't have such an ability, which is why they cannot wield magic like we do. Some people can use this magic more than others, and some can learn to improve their capacity to store and to use the magic around them for spells.”

“Is this a first-year class?” A Hufflepuff girl scoffed behind you. 

“And while this seems like basic knowledge, it goes a lot deeper than that, Miss Anderson. Those who wield magic for many years, start developing changes in their system. From simple things like being able to do wandless magic by developing their skill to use their body and hands to cast spells, to more elaborate ones, where you alter your bIood, or even your very soul, for example.” 

There were whispers in the background after she said those words. Students knew how dangerous dark magic could be. They knew it could taint a soul and corrupt the finest of wizards. But most of them also knew that sometimes there was no other choice than to use them in self-defence. Especially with the whispers of the war, it was not unheard of that some wizards had used the unforgivables against deatheaters. 

“In this class, we have seen hexes and curses that could protect you, we’ve talked about courses and magical contracts. Binding bonds and spells, etc. We’ve faced against some dangerous creatures and defeated them. We’ve duelled each other,” she threw you a look “and had some unfortunate accidents, but those are to be expected.” 

She sighed, “Today we’ll be talking about an interesting but dangerous thing. BIood rituals. Anyone have any idea what I might be referring to?” 

Lily raised her hand, “BIood rituals are the use of spells that require bIood, either a bIood sacrifice or just a few drops of someone’s bIood. They can be very dangerous and powerful, and if used to harm, they can even bind the person whose bIood has been used in the spell. They aren’t all dark magic, but they can be extremely dangerous.” 

“Excellent, Miss Evans. 10 points for Gryffindor,” Seraphina said while Lily beamed. “Indeed, they can be extremely dangerous. But it isn’t dangerous all the time. In fact, some bIood magic is used in the simplest of things. For example on magical contracts.” 

“Like the ones used in the past in the Triwizard Tournament,” Imogen said out loud. 

“Indeed Miss Potts,” Seraphina said. “Your great-great-grandma was a participant, correct?” 

“She won,” Imogen said proudly. 

“That’s right, I apologise for my ignorance on the matter. But it is correct, to put their names in The Goblet of Fire the students had to give a drop of their bIood too, as a way to bind them, since once they were chosen there was no way out of the tournament.” 

“An awful event if you ask me,” Lily whispered to Marlene, they were sitting right in front of you and Remus.

“I don’t know,” you said. “I think it was rather interesting, testing your magical skills against real but controlled threats, seems pretty cool to me.” 

“Of course, you would say that,” Lily said as she shook her head. 

“What? Why?” you asked with a small frown “I genuinely think that–” 

“Because you tend to like dangerous things sweetheart,” Remus said as he gave you a look. 

“Well that’s–” 

“You play quidditch,” Marlene intervened, “And you are in the duelling club. You like danger, the adrenaline rush and all that.” 

“You would love to be in the Triwizard tournament, wouldn’t you?” Lily added. 

“Well I never said that but… I suppose I would try signing up for it.”

“There you go,” Lily said as she turned back around “It’s the kind of thing that would suck you in like nifflers drawn to shiny things.” 

“I’m surprised you haven’t gotten in much more trouble so far,” Marlene added as she too turned around. 

Remus chuckled and you threw him a look. “Or… she’s just really good at not getting caught.” 

You scoffed, diverted at that and shoved him lightly. He just gave you a teasing smile in response. You’d realised Remus had gotten the habit of teasing you a lot more often the past few days. At least as much as you used to tease him. 

After that, you turned back to look at Seraphina, who kept talking about contracts by bIood, secret keepers, the Fidelius Charm and other kinds of magical bonds. Remus on the other hand, hadn’t quite gone back to the class. His mind had gone off, thinking about Lily’s words, what they implied and what he eventually said: Because you tend to like dangerous things, sweetheart. 

Is it possible that that is why she…

“…do you agree Mr. Lupin?” Seraphina asked startling Remus out of his thoughts.

He looked at her wide-eyed and turned his gaze to you, throwing you a pleading look. You bit your lip and grabbed your quill, scribbling something on your parchment as quickly as you could and moving it towards him as casually as possible. 

Remus scanned over your paper, but you hadn’t exactly been very specific with it either. It only said “BIood Bonds Bad?” 

Remus swallowed and turned back to Seraphina “Well, I think it’s not possible to have a certain yes or no opinion on the matter, it’s a matter of how you use them and for what. For example, if you’re using a bond to bind someone to you against their will, to make an imperious stronger or to curse their bIoodline then we can all agree they’re terrible. Dark wizard stuff even. But if you use bIood for a magical contract to make sure both parts will fulfil it, or to deepen your connection with someone or even to protect someone by sacrificing yourself, then the line becomes a lot more blurry.” 

Seraphina seemed pleased by his answer and nodded “Brilliantly said, Mr. Lupin. That is indeed why we are taking this class, and why I consider it so important. I want you to pick a position, either for or against, and then you’re going to work in teams to form a debate in which you’ll go over the good and bad of using bIood magic.” 

People started to split the classroom when Remus turned to you “Thanks,” he muttered. 

You smiled and turned to him. “What’s got that pretty head of yours in the clouds, hm?” you asked. Not even realising you had casually called him pretty, perhaps the veritaserum wasn’t completely out of your system yet, prompting you to say a lot more than usual. 

“I was thinking of someone.” 

“Someone… And may I know who that was?” 

“No.” 

You pouted, “But I helped you.” 

“Are you gonna charge in the favour?” 

“No, but telling me would be the polite thing to do,” you said with a shrug.

He pulled his head to the side as he sucked in some air with a bit of a shrug. “You’re outta luck. I’m not feeling very polite today.” 

You bit your lip at that, thinking of a clever retort when you felt two arms wrap around your waist from behind and pull you to the owner’s chest. You knew it was Sirius the moment you felt his hands on you, not because you were an expert on his hands, but because you could smell his cologne –or perhaps it was his shampoo or just him– the moment he stepped on your personal bubble. 

He then dug his face into your neck, you saw Remus advert his gaze, and you could have considered it politeness but, there was something else, you frowned looking at Remus as your eyes narrowed, and then Sirius pressed his lips to your neck, on the exact same spot he had sucked a hickey the past week and the scarlet flags lurking on the sides of your mind were washed away in an instant. After all, you were probably just imagining things, right?

“Sirius, what are you…?” You asked and he pulled his head away from your neck and pecked your cheek, his movement had been so sudden that you were startled into silence. 

“You looked so pretty from afar,” he admitted “don’t know why Moony insisted on sitting so far from me and James.”

“You were being loud, you would’ve brought us in and we would have lost more house points,” Remus responded simply. Of course, that wasn’t the reason. He was feeling a little more jealous than normal that day. Probably because you had gone and kissed Sirius on what he considered his time. On potions, you were his partner, not Sirius’.

Sirius pouted, his chin now resting on your shoulder as he looked at Moony. “So what are we, for or against?” he asked. 

“Hm? We’re all gonna be on the same team?” you asked. 

“Well duh, why do you think we’re here,” he said as he pointed at James and Peter. 

“Well... I think against is too easy,” you said. 

“What’s wrong with easy?” Peter asked. 

“It’s boring,” Remus and you replied almost at the same time. 

“Nerds,” Sirius said, chin still resting, you pushed your shoulder blades back to nudge him and he just smiled, “but the best nerds,” he added then. 

You rolled your eyes. “So we’ll be for?” Lily asked, “I think it’s a great choice.” 

“I agree,” James said a little too fast. Lily threw him a look and he just shrugged and gave her a wink. 

“Well then for it is,” Marlene said. “This is our side of the classroom anyway, isn’t it?” 

Lily nodded, and you all started to dig through your books to try and find arguments that would back you up on the debate. Learning a couple of interesting things about bIood magic with the books that Seraphina had borrowed, some of them from the restricted section. And while most things in those books were warnings about the ill use of this kind of magic, it did point out some of the uses they had for good.

The debate had gone quite fast. And while the other team had great points in their favour, in the end, all of you put up a great front against them. You thought it had been really fun, and Mary mentioned it was a very muggle way of teaching, and that she remembered having gone through a similar exercise at her elementary school before Hogwarts. Which had been rather interesting since according to your knowledge, Seraphina was a pureblood. 

Saturday, December 4th, 1976

It had been a grueling day. Apparition had finally started to involve the physical act of apparating and it was exhausting. Professor Dumbledore had taken each student one by one on an apparition so that they got the feeling of it. Some of the students that had never done it before ended up puking all over the grass. Mary had excused herself to go to the infirmary to get headache pills. Lily had thrown herself into the grass and stared at the sky for several minutes while taking deep breaths. 

Peter had to swallow his own puke, and this wasn’t the first time he’d ever apparated in his life. Remus had done quite well. He had appeared on the other side of the grass with a straight face and had walked over to you calmly. 

“It wasn’t that bad,” he said as he approached you “I thought it’d be worse.” 

You frowned at that, you didn’t remember your first time apparating, since it had been when you were a baby, but your mom would always tell the story that you cried and cried for hours after it. And then it took a small dose of calming draught to get you to sleep that night. The next time they did it, the result had been similar. Eventually, you got used to it.  But by the reactions of the students that had never done it, you figured there was no possible way that it “wasn’t that bad” which is why there was only one answer to Remus’ reaction. He was used to a lot worse. 

You almost wanted to hug him after it, but you knew he’d think it weird, and if he knew it was because you felt bad about his situation, he’d think you were pitying him. And Remus Lupin hated to be pitied. Even if it wasn’t pity what you felt, you just thought your friend was so brave, and he had gone through so much already. It's silly, you thought, but you still wanted to hug him. 

Thankfully you were quickly distracted by Sirius who went next, coming back to you from the other side completely unaffected by it, exactly like James had. The latter boasting a little about how good he was, saying it had to do with how much quidditch he practised when, in reality, had a lot more to do with how many times Effy and Fleamont had apparated him. 

When it was your turn you approached Professor Dumbledore calmly. He called you by your last name and extended his arm for you to hook yours onto. “I understand you have apparated before, have you not?” He asked calmly. 

You nodded “Yes sir, my parents have been apparating me since I was very small.” 

“Correct. Have you ever tried to do it on your own?” 

You shook your head in response, and then frowned… “Well… there was one time in my previous school in which I attempted to do it with a friend. I was young and… well we splinched badly. She had the worst of it. I had to stay at the infirmary for almost 3 whole days. She stayed for the entire week. We got detention for it.”

Dumbledor raised an eyebrow at that, “And you haven’t tried again since?” 

You shook your head. “We promised we would enrol in the class together, and then I moved… so suppose there wasn’t really a reason not to try again anymore but… I’ve been rather busy since I got here.” 

“So I’ve heard,” he said with a nod, an almost imperceptible smile on his lips. 

You gave him an awkward smile in return and he tilted his head as if asking if you were ready, to which you nodded. In no less than a second, he was apparating the two of you to the other side of the field. 

Your stomach turned upside down when you were on the other side, not because of the apparition, but because of the memories brought along with it. One second you were in class, with your arm locked on Professor Dumbledore, the next you were in the forest, launched across Barty’s shoulder against your will. 

The memories flooded your head without you having a say on it and the moment you landed on the other side you were tense, seething with anger, panic and helplessness. You blinked and tried to steady your breath, your eyes seeking something to anchor to, and you spotted Sirius, who was talking to James with a huge smile on his face. 

Two people noticed your restlessness. First, it was Dumbledore, who had seen the scenes of the memory you had accidentally projected into his mind as he apparated the two of you. You had been studying occlumency the last few days and you had unwittingly transmitted all of it straight into him. He turned to you, noticing how much less relaxed your grip on his arm felt. 

“Are you all right?” He asked calmly. You somehow managed to nod, your eyes still trying to focus on Sirius’ laugh instead of the memories that plagued your mind. But Dumbledore didn’t let go of you yet. “I would suggest you take the rest of the day off.” 

“What?” You asked, focusing your eyes on the old teacher “I’m fine I–” 

“You seem to have a lot on your mind…” He added with a courteous nod. You looked at him with eyes opened wide, breath hitching at your throat when you realised what you had done. “And you’ve also had a rough couple of days.” 

You looked at him, a serious look on your face, as you focused on your thoughts, trying to conceal what had happened the rest of that night, and attempting to leave out details like the phase of the moon and when you saw Remus. It didn’t feel like Dumbledore was trying to pry further, but you still had to try. 

“I’ll send a note to Silvanus excusing you from his class. You’ve been doing quite well on it regardless.” 

“You don’t… Will you not ask what happened?” you asked as you turned to him, “Sir,” you added as an afterthought, trying to maintain your politeness. 

Dumbledore cocked his head to the side, “If you wanted me to know, you would have come to me the day it happened and you wouldn’t be trying to conceal it. I trust in your judgement Miss (Y/LN). I’ve heard good things about you from more than one teacher.” 

You swallowed. “Thank you,” you added with a courteous nod. 

“Regardless, I do feel the need to tell you that if it ever happens again you shall come straight to me or to any other teacher to report it.” 

“Of course, sir.” Frankly, you weren’t sure if you really meant that, but you said it regardless. He nodded one last time and allowed you to go. 

The other person that noticed was way further from the two of you, he had also been talking to James when a familiar smell hit him. It was exactly the same way you smelled when you arrived at his door, barging it open with an iron poker in your hand. It was the smell of panic.

Remus turned to you in an instant, looking at the way you were desperately looking around the field until you focused on Sirius. He frowned, and then saw your entire interaction with Dumbledore, paying close attention and using his heightened senses to listen in to your conversation with the professor. 

When you eventually walked back to your friends, you moved to stand in between him and Sirius. Neither James nor the other boy seemed to notice your discomfort, in fact, Remus wasn’t sure he would be able to acknowledge it if he hadn’t recognized the smell from that night. You had a cocky smile on your face and you were pretending to be as unaffected as Sirius and James had been. To anyone, you would look like you were perfectly fine, except for the haunting look in your eyes, perhaps. Remus wondered, if Sirius looked close enough, would he be able to notice too? As he stared at you laughing at some silly joke James had made about the weather, he started feeling the urge to hug you. Of course, he wouldn’t do it, he had no excuse, and you were dating Sirius, not that it was that hard to forget, you were almost always all over each other. 

But he also knew that if he hugged you, you would know he noticed, and then you would think he was pitting you, and you hated to be pitied. But Remus did not pity you, no, he was absolutely stunned by how well you had played your feelings off, hiding them under your skin so skillfully that the only reason he noticed had been because he could still smell them. 

Regardless, Remus Lupin didn’t hug you. He resisted the urge to place his hands around your face like he had done on the shack, or to bring you close to his chest like he had when he cuddled Vixen. He resisted because he knew you weren’t his to hug, but that didn’t stop him from inching closer to you. To stand so close it was almost ridiculous the way your shoulders would rub against his as you laughed, or pretended to laugh, or attempted to do it by drowning the memories with the sound of the other boys’ laughs. He wasn’t sure which of the three it was. 

When the class was over, you told the boys you’d go make sure Lily and Mary were alright, that you would check on Mary at the infirmary with Mars after taking Lily to the room. James tried to offer himself for the job but Remus stopped him. He knew you were looking for a way out and into the comfortable silence of probably the common room or the library or somewhere. 

Even if you were a lot more relaxed now, the smell lingered just a bit, like your emotions were threatening to get out. Remus wanted to go with you, to be there for you like you had been after all the moons since you met him. But he also understood the need for time alone and time to think, and there was something in your eyes that told him that that was exactly what you needed. 

You waved the boys goodbye and walked alongside Marlene and Lily to the room. You both were holding the red-head, arms linked to each other as a way to help her keep balance. 

“It feels like I’ve been on a boat for hours,” Lily complained. 

You gave her a sympathetic look “I think I’ve got something for nausea on my cupboard,” you mentioned “Mom sent it over when she heard I fell off my broom.” 

“But that… you didn’t fall because of nausea,” Marlene said with a frown. 

“Yeah… I didn’t want to tell her I jumped off of it, to get the snitch,” you said with a grimace. Lily was looking between the two of you, trying to focus on the conversation as much as possible. But she was still dizzy. 

Eventually, the three of you made it to the room, both you and Marlene helped Lily to the bed, and then shut the curtains to make her feel more comfortable. You were rummaging through your trunk, trying to find the potion when Marlene said she’d go check on Mary. In the end, you decided to split, Marlene would check on Mary while you stayed with Lily. 

“You’re going to miss class,” Lily complained as you walked towards her with the potion finally in your hands. You gave her a look; as if she hadn’t missed a bunch of classes for you in the past week. She pouted in response “But who’s gonna give me their notes?” 

You smiled as you sat on the bed and placed your hand on the back of her head and gently brought it forwards to make it easier for her to take the potion. “Remus will be in that class, we can get his notes.” 

“With his handwriting?” Lily asked when she finished the potion. 

You gave her a look “It’s not that bad!” 

“When he charms it.” 

“You’re exaggerating,” you told her as you passed a small candy to her, the nausea potion had always been a bit bitter. 

She opened her mouth instead of taking it in her hands and you just placed it on the spot. “Is apparating always going to be this bad?” she asked you as she savoured the candy. 

You shook your head “It gets better,” you promised “I’m sure you’ll be top of the class in no time.” 

She almost snorted at that. “What are you planning to do?” 

You shrugged in response, “Maybe I’ll read ahead,” you said, “or just some fiction.” 

“I miss the telly,” she said with a pout. You smiled at that, while you did not have a television at home, you had encountered one on your walks through Muggle London and had been absolutely fascinated by it, the little screens showing moving pictures just like magical portraits but instead of having a defined person –or people– they had all sorts of stories on them. Including some of the movies you had seen in the cinema before. 

“Want me to read you something?” 

She gave you a look, and then extended her hand and passed a book over to you– a copy of “The Lord of the Rings”. 

“Oh, I love these books!” You said with a smile. 

“It’s my third time reading them actually,” she said “I read them before I came to Hogwarts and I always felt somehow connected to them,” She told you before she yawned. You smiled, realising the potion was already working its magic. 

You flipped through the pages until you found her bookmarker. It was a small blue wildflower, already dry, you took it in your hands and eyed it carefully, Lily looked up at it sadly, “Sev gave it to me a while ago,” she said casually “I can’t bring myself to throw it away.” 

You gave her a look and placed it back on the book, you didn’t exactly like Snape, and you knew why she was sad about it, but you also understood how hard it must have been for her, that her best friend changed so much that he turned against her. He had even called her a slur, a ridiculous word the pureblood assholes had invented, to say when they needed to feel superior. 

Lily saw the way you carefully placed the flower near the back of the book and nodded as you started narrating from where she had left off. Frodo and Sam had just met Legolas when you heard some light snoring from the girl. You smiled and closed the book, taking a bookmarker of your own instead of using the flower again, that way when Lily opened the book, she wouldn’t have to think of Severus, even if the blue flower was still safely tucked in the back.

You gave the girl one last look, tucking in her bed sheets with a swish of your wand before walking back towards your own bed. You stayed there for a few minutes, taking your charms book and skimming through it before setting it on the side and taking an occlumency one instead. Nightshade had given it to you after you asked, and after the ridiculous way in which you had projected all your memories to Professor Dumbledore, you knew you had to continue studying it. 

You looked at Lily one last time and decided a change of setting would be the best, especially since the low-lit space you had created for her comfort wasn’t helping the headache threatening to form as you continued attempting to read the book through squinted eyes. Besides, holding your wand up with Lumos had gotten annoying. 

Exiting the room a few minutes later, you walked straight to the common room and plopped down on the sofa, your head towards the fire so you could properly read the pages. You had been so engrossed in the book, you didn’t hear the portrait open, and you certainly didn’t notice Sirius walking all the way towards you. 

He looked at you as you read the book, moving his hands in the air to try and get your attention a couple of times, but when it proved to be useless, he decided to get your attention in a different way. He leaned closer to you and climbed on top of you, letting his head fall on your stomach as the rest of his body settled over yours. You moved the book to the side and gave him an incredulous look as he snuggled up against you.  

“You’re heavy,” you said as you playfully attempted to push him off. 

“Oh, so you only realise I’m here to try and kick me off?” he teased, looking up at you. “No hey Puppy how was class? Why do you look so tired? No, just ‘You’re heavy.’” 

You giggled at his words, “How was class, Puppy?” 

He hummed unsatisfied in response, easily hearing the sarcasm laced in your words “Awful. Kettleburn had us clean the pens of the Nifflers. They’re adorable until you have to clean things up and smell their stool.” 

“And you’ve come to lay on top of me after that?” You asked as you tried to push him off again, but he just wrapped his arms around your torso tighter. 

“Yes, because you smell nice,” he mumbled as he dug his head on the sweater you were wearing -Remus’ sweater-, “and James used a cleaning spell on me so don’t try to push me off again.” 

“But you’re heavy,” you said with a small pout. 

“Not true, you love it,” he said simply, refusing to move. You rolled your eyes but allowed him to stay. Even if Sirius was actually just slightly heavy, there was a part of you that enjoyed being cuddled by him like this a little too much. And whatever spell James had used was perfect, Sirius smelled like nothing but himself. A smell you already found intoxicating in and of itself. You sighed and took the book again. “Wait, really?” 

“What?” You asked as you moved the book to the side to look at his face. 

“Your gorgeous boyfriend is right on top of you, pretty much begging for a cuddle and you prefer reading… What is that?” he asked as he pulled the book from your hands to read the title “Occlumency?! Really? Is occlumency more interesting than me?” He added as he threw the book back, instead of falling straight on the floor, which you would have definitely reprimanded him for doing, it floated down towards one of the side tables in a gentle motion. 

You stared at the book a little impressed, especially when you turned back to Sirius and realised his wand was tucked in the pocket of his pants. He was surprisingly good at wandless magic, that you knew, but it never failed to impress. 

You turned to him with a small smirk as you leaned your hand towards his head “Sirius if you want my attention you just have to ask for it,” you said as you dug your hand into his hair.

He hummed again, closing his eyes peacefully as he felt your fingers run over his scalp, an action that reminded you a lot of how Padfoot –back when you thought he was Fang- had reacted to you petting him. You wondered if it was a dog thing or a Sirius thing. You saw him take a deep breath as he buried his head deeper into your stomach. 

“I’ll pretend that isn’t weird,” you teased with a smile. 

He turned to you with a reproachful gaze. “It helps the stool smell go away,” he said with a frown. 

You just laughed, also being a canine made you understand the appeal of smells, especially his smell, but you were never as obvious about it, besides, there was nothing as fun as teasing Sirius… Which reminded you of that talk you’d had with Peter after the quidditch game. You reached for the nape of his neck and gently turned his head to look at you, you saw the way his nose brushed on your stomach and how the tip bent just a little as he turned your eyes to yours, “You know… the other day I was talking to Peter–”

Sirius winced “Don’t tell me it’s about one of his ridiculous ideas because–” 

“Hey listen!” you told him as you smacked him lightly, “Peter is smart too.” Sirius only raised his eyebrows “Sometimes,” you added. “He’s good at Herbology and Care for Magical Creatures.” 

“And your point?” 

You rolled your eyes. “He said something and… I’ve been thinking about it for a while,” you had stopped scratching his scalp for a second and he nudged your hand by moving his head for you to get back to it, much like a dog would. You held back a laugh and continued, “he said that when their parents got him a kitten, they had to rub the kitten onto the cat to make him accept him.” 

Sirius frowned, completely lost in the point you were trying to make. “Is this your way of trying to convince me to get a kitten? Because I don’t like them.” 

You laughed. “No, I have enough pets with you lot being my friends.” He looked offended and leaned his head to give a soft, playful bite to your arm. You just smiled, biting your own lip. “Point proven.” 

He scoffed and placed his head on top of the arm he had bitten as he looked at you straight in the eyes, you almost lost your train of thought as you stared at him, always fascinated by the fact that someone so beautiful would be looking at you, with such a gaze. 

“So what’s with the cats then?” He asked, he was looking at you in a way that made your knees weak, and you were happy you were lying on a sofa rather than standing. 

“Well, it’s a smell thing,” you said as you broke eye contact, focusing on your hands on his hair to try and speak properly. “Peter said it’s something about getting the kitten to have the smell of the pack so the larger cat wouldn’t attack him.” Sirius nodded. “He then mentioned that… Moony had honed in my smell. That even on the first moon of the year he had been restless, and had been really hard to deal with.” 

“Yeah, he was a bitch,” Sirius said as he nodded “Kept wanting to go in the castle.” 

“Mhm,” you agreed. “So Peter suggested that we do the same.” 

Sirius arched his eyebrows at you as he passed his tongue over his lips, clearly amused at your suggestion. “Sweetheart, if what you wanted was to rub against me, you could have just said that,” he said with a small smirk and a suggestive look. 

You scoffed and swatted him on the head, “Sirius focus! He said I could rub onto you or James.” 

“No!” he said all too fast, a flash of jealousy in his eyes. 

You giggled, “Well… technically he said Padfoot and Prongs. He offered himself too but said he was too small.” 

“Ugh…Don’t put that image in my head!” He said with a frown. And then turned to you again “What about Remus? Wouldn’t it make more sense for you to rub on him?” 

You nodded, “Yeah, but it doesn’t seem very clever to go rub onto Moony when he could just reach down and close his jaws around me, does it?” 

Sirius frowned, “Not Moony, Remus.” 

“You think that would work? You don’t smell the same as Pads.” 

“Why, been smelling me much?” he teased. 

You rolled your eyes, “Padfoot smells a lot more like a dog.” 

“Are you suggesting I stink?” 

“Your words, not mine.” He pinched your side with his hand and you laughed. Of course, you didn’t think he smelled bad, in fact, Vixen seemed to be just as drawn to that smell as you were by Sirius’. 

“Anyway, Remus smells like Moony.” 

“Been smelling him much?” you teased now. 

He gave you a look, “I live with him you moron.” He omitted the fact that yes, he had, and that Remus had been clouding his thoughts for a while now. 

You sighed, “Well, I suppose we could turn into Vixen and Pads and cuddle him then. You think he’d be up for it?” 

He looked to the side as if thinking about it, “Well… If anyone can convince him, it’s us.”

You nodded in agreement. And then you remembered, “Talking about Remus…” 

“Mhm?” 

You sighed, “I’ve been invited to Slughorn’s Christmas Party.” 

“Congratulations?” he said a little confused, “What’s that got to do with Moons?” 

“He’s never been invited.” He hummed in response as if to get you to elaborate, you continued to brush your nails on his scalp, he could feel your nervousness in the way the patterns you made had gone a little faster. “I want him to go. He… seemed a little harsh when I suggested that he must have been invited many times because of how clever he is.” 

“He won’t like it, he’ll think it’s pity.” 

“No, but… I think he deserves it! More than me even!” 

Sirius shook his head “It’s not just about cleverness, I was invited in my first year, all of my cousins had been members of the Slug Club. Of course, I didn’t go.” 

You sighed, “Yeah, maybe my father being who he is has a lot more to do with my invitation than anything.” 

“That’s not… it’s not what I was trying to say…” 

You sighed again. “I know, Puppy.” You then turned to him, “Would you mind if I invited him?” 

“Instead of me?” He teased. 

“Of course if you don’t want to I would never, I just–” 

Sirius laughed, “I couldn’t care less about the Slug Club, in fact, Walburga might be pleased if I were to go, so I think it’s great if you take Remus instead.” He really tried not to think of how good the two of you would look all dolled up for the party together. 

“You think they know about us?” You asked with a frown. 

“I’d be surprised if they didn’t,” Sirius said and then shrugged, “If anything I bet they’re pissed you’re dating me and not Regulus.” 

You laughed at that, and then remembered the way Walburga had stared at you when she introduced their children, “Imagine if they knew I’m part-fairy.” 

“You what?” Sirius asked, pushing himself from you to look straight at your face. 

“You… I didn’t tell you?” 

“No!” 

“I thought I had,” you said with a guilty-looking smile “It’s from my mum’s side, my great grandma was a fairy, but they decided to keep it secret.” 

“That must be why you’re so pretty,” He said as he leaned back against you “And so good at flying, it’s kind of an unfair advantage when you think about it.” 

You smiled, you knew Sirius wouldn’t judge you for being part fairy, but there was something about the way in which he took it, like it was the most normal thing in the world –rather similar to the way Remus had– that made you want to plant a kiss on those pretty pinky lips of his. 

“How do we convince Remus of the cuddling?” You asked then, your mind going back to the other boy. 

Sirius smirked, “We don’t convince him. We surprise him,” he said as he stood up and extended his hand for you to take, a mischievous look on his face that made him look like the most alluring thing you had ever seen in your life. You almost gaped at him as you grabbed his hand and he pulled you off the bed and dragged you to the stairs of the boys’ dormitories. 

Remus Lupin hadn’t had the best of days. He had attempted to help the boys clean the pens but the animals kept drifting apart from him and trying to escape their little space because of his presence. Eventually, Professor Kettleburn had asked him to step out of them and help him sort out some of the food, dividing it into smaller bags for the younger students to be able to feed them later on. 

Remus was already used to not being able to be close to some creatures, they didn’t exactly like him much, probably because they could smell the wolf in him. Of course, it wasn’t like that all the time, in fact, the fireworms he was still co-parenting with you seemed to have gotten a liking to him, although he wasn’t sure if it was because they couldn’t quite think properly or if the real reason was because a fireworm could be easily as destructive as he was. 

Either way, Remus hated sorting the food, it was a boring, tedious task that he felt brought no new knowledge to him, but that wasn’t even the worst part. No, the worst part was that, because it was such a simple and mundane task it offered no mental challenge, which meant his brain was idle. And of course, since his brain was idle, he couldn’t stop thinking about things he’d rather not think about at all. Let alone in depth.

It had all started as he was serving the second bag, his brain had gone back to the previous class, he’d seen how worried you were. While you hadn’t told Remus and the boys, or anyone the exact details of what had happened that night, you had mentioned Barty apparating in front of the Shack. Remus knew the boy was talented, but he didn’t know that he was that talented. He had no idea how to apparate yet, although after doing it with Dumbledore he thought he could learn how to do it easily enough. 

He had also linked the smell from that night exactly to the way you smelled that day. He’d noticed he’d become a lot better at isolating your smell from the rest of people after the incident. He wasn’t sure if it was because of the lingering smell of bIood that always seemed to be carried alongside you after you had been wounded; because he had been so close to your animagus in the infirmary or because his obsession had just gotten that bad, but it was happening. Quite similar to the way he could easily isolate Sirius’ smell. But smell sometimes changed a little, he remembered easily being able to know when Sirius had snogged someone by the sheer smell he exuded afterwards, it always pissed him off and he had to play it out, especially after he realised it was because he too wanted to snog him. He could also tell when the rest of the boys had done similar things, but that had never bothered him. 

But the fact that Remus had been able to identify the exact smell from that night, meant you were probably reliving what had happened, which had, in turn, put him just as on edge as he had been then. The same worry filled his insides, the same need to protect. It had taken a monumental struggle not to instantly sprint your way when the smell first hit him, and it had been even harder to hold back from hugging you when he could see damn well you could use one. And Sirius was too busy boasting with James to notice, not that you weren’t a brilliant actress, heck you hid it almost as well as he hid his aches and pains after a moon. But there had been few people he couldn’t quite hide it from. Turns out there were also people you couldn’t hide it from: that being Remus. 

Remus attempted to focus on something else, and he looked up to try and find some kind of interesting animal, student drama or something, but instead, what he found was Sirius’ intense gaze. His eyes, which looked more blue than grey that day because of the sun that shone so brightly over them as they cleaned, were focused on Remus. Remus almost scowled, thinking Sirius was looking at him out of pity, but then he noticed that Sirius hadn’t quite realised Remus was looking at him yet. When they locked eyes, Sirius continued to shamelessly stare at Remus, looking to be rather deep in thought as he stared at his friend, as if he were trying to solve a riddle. 

While Sirius didn’t look particularly angry as he stared, Remus was slightly intimidated by him, was there any chance he had noticed the way he had been looking at you? The way he kept staring at him when he wasn’t looking? Sirius wasn’t particularly oblivious to the way people looked at him, to the way girls looked at him.  Was it possible that he was able to link those gazes to the ones Remus often threw his way? 

Regardless of how intimidating “the Black” stare could be, Remus held his stance, staring at Sirius with as much curiosity and moxy as he could muster. Sirius seemed amused by that, biting his lip in the most lascivious manner Remus had ever seen in his life and then sending a wink in Remus’ direction before focusing on cleaning again. 

Remus was glaring at Sirius’ back as the boy turned his head, how dare he wink at me like that? he thought as he mentally scoffed. Needless to say, Remus wasn’t able to get Sirius off his head after that, especially Sirius’ soft-looking lips. Fucking Sirius Black and his fucking pretty lips. He’s an arse who knows how pretty he is and uses it to his advantage. What a prat! Why must he be so fucking pretty?!? 

By the end of the class, Remus’ head was in pain from how many thoughts were going ‘round inside of it, he might as well be a merry-go-round with how much it was swiveling. He had a headache, he was full of dirt and animal food and he was still pissed at Sirius who had looked at him the way he did. 

James had gone chasing behind Lily with the excuse that he had to go check on her and Sirius had approached Remus right after. Peter was lost somewhere, but Remus couldn’t care less at that point. He was still pissed at Sirius, for absolutely no reason at all. 

“You alright?” Sirius asked with a frown, and fuck did he look adorable.

“I’ve got a bit of a headache,” Remus said sharply, “I think I’ll go to the library.” 

“You have a headache and will go to the library?” Sirius asked puzzled, “Doesn’t seem very clever, why don’t you come with? I’m going to try and find Kit, I’m surprised she didn’t come back to class after taking Lily to the dormitories.” 

Remus scoffed, and coughed a bit to cover it up when he realised you wouldn’t want Sirius to know you had been affected because of that night, “Wouldn’t want to third wheel on quality time with your girlfriend.” 

Sirius threw him a wary glance as if he had noticed something was wrong with his friend, “You’re never a third wheel Remus, we love having you around.” 

Remus bit the side of his cheek to hold himself from snapping at Sirius, he had no logical reason to do it, any normal person would be more than happy to spend time with his best friends all together, but Moony was a jealous beast and sometimes it sipped all the way into Remus, “I have to prepare my potions essay.” 

There was no potions essay, he had finished it a few nights ago when you had polyjuiced yourself into James to take his punishment for him, not that Sirius knew. 

“And you should cuddle her more,” Remus said almost bitterly. When Sirius gave him a quizzical look he tried to calm his nerves again. “I think It still hurts,” he said “I saw her clutching her arm earlier.” 

Sirius nodded and Remus stared at him as they parted ways, grumbling something about Sirius being unbelievable as he walked to the library. There he tried to find a quiet spot, but after finding none, because all students seemed to be more focused on gossip than on books, he decided to retire to the Prefects’ Bathroom, to try and relax. Unfortunately, when he went he walked in on none other than Alice Becket making out with a Ravenclaw boy from 7th. She seemed surprised when she saw Remus but he just shut the door. 

Remus didn’t care much about Alice snogging other boys, he had used her as much as she was using him, and he knew they weren’t exactly exclusive, but he had already been pretty riled up at the moment, and that was like the last nail in the coffin. Thankfully Alice didn’t follow behind him as he stormed through the hall towards his Common Room. He hoped to the heavens that he wouldn’t find you and Sirius snogging on the couch because he wasn’t sure he’d be able to maintain his sanity if he did.  

Thankfully, as he walked in, he realised it was mostly empty. There were a few first and second-year kids talking, and reading, while most of the older kids had probably gone to the Hogsmeade outing after class. He walked up to his room and opened the door warily as he looked around. He frowned as he took in the smell of the room. It looked empty, but there was a lingering scent of you and Sirius all over the place. The thought that you had both shagged there earlier made him even more uncomfortable as he let himself fall head first on the bed and groaned into his pillow. 

For some fucking reason that also had the smell of you and Sirius. Which, while initially pissed him off, the more he let the smell penetrate him, the more relaxed he started to feel. He was about to let his mind roam with thoughts that he normally didn’t allow himself to have, with all the stress of the day he figured he deserved a break. He took a deep breath and remembered how you and Sirius had sounded back when you were kissing the day you made the potions for the prank. Remus was just starting to get in the mood when he felt his bed dip on the side. He turned around horrified, just to find Padfoot jumping like a happy puppy. 

“What in the bIoody–” He started and then felt the bed dip on the other side. A small red fox had also jumped into his bed. She was wagging her tail as excitedly and happily as Padfoot “Vixen?” he asked, confused. He could have sworn he saw the fox smile. 

The fox and the dog threw a look at each other before the fox climbed on top of Remus’ chest. The dog leaned in closer and rested his head on the fox’s back. Remus looked horrified at the two of them, horrified because he wasn’t sure he’d ever felt more comfortable –perhaps when he was reading and you were all mushed together on his bed– and horrified because he had no idea what the hell the two of you were planning. 

He wasn’t even sure what to say, or if he should say anything, but it pissed him off not knowing what the hell the two of you were up to so he put on the angriest face he could muster “If you two pair of twats don’t get off me in the next five seconds, I will hex you!”

Padfoot stared at him and leaned his head on your back again, only tilting it to the side when Remus started to count down. Sirius had been stared at with that angry, threatening face hundreds of times throughout his life. He’d do something silly near the moon, and Remus would put on that same face and scowl at him, he’d get caught after a prank and Remus would give him the scowl, he’d snog a random girl and leave her and Remus would also get pissed, at this point, Sirius was almost immune to it. You, on the other hand, had only seen Remus angry at the Shack, and while it wasn’t exactly the same face he was making, it did make you recoil, even if it was just a little. 

“Three… Two…” he kept counting, Remus was staring directly at you, and you wriggled out of the sandwich Remus and Padfoot had you on until you fell on the bed. You rolled over your back until you were staring at Remus, weight on your front paws as if you were ready to jump and attack, but there was something playful about it, as if you were challenging Remus. Padfoot on the other hand had just laid his head on Remus’ chest again, looking as unbothered with Remus as Sirius often was. 

Remus attempted to push him off of him but Padfoot didn’t budge. Of course, Remus wasn’t using his full strength and Sirius knew that too, which gave him more confidence to stay right where he was. Besides, Remus was warm and comfortable and he smelled awfully nice that day. 

“Sirius, get off! BIoody hell why are you both attacking me like this?!?” Padfoot barked softly and you leaned closer again, but Remus gave you a warning glance “Either one of you explains to me what the fuck is going on or–” Padfoot leaned forward and licked Remus’ cheek, an action awfully reminiscent of the Halloween party. Remus pushed him off his face “That’s fucking gross!”

Regardless, the dog didn’t seem to care and licked Remus’ hands as he attempted to push him off.  You watched the entire scene diverted when the werewolf turned to you, a pleading look on his face. “Little Witch, please tell me what the fuck is going on.”

You felt genuinely tempted to ignore him and just lick his face like Sirius had done, but there was something about Remus’ pleading expression that made you want to do whatever he wanted. You turned back into yourself, not quite measuring your stance and ended up laying beside Remus, almost like that time you were reading “The Godfather” except this time around your head was leaning on his arm. But rather than stepping away, like Remus expected you to do, you just got yourself comfortable, which was a very Sirius thing to do. Padfoot had laid his paws on Remus’ torso and licked your face once too, which had you laughing merrily as you lay in Remus’ arms. 

Remus was rather tense, feeling like he might be third-wheeling but also awfully welcomed in between the two of you. “Little witch?” he asked again, an edge of panic in his voice as Padfoot continued trying to lick his face and yours. 

“Peter told us we had to cuddle you.” 

“What?!” Remus asked as he frowned, now more confused than he’d been before. 

Sirius transformed back into himself, he was sitting on the bed, leaning slightly onto Remus as his hands were pressed on the other boy’s abdomen like they had done when they were paws. “Well technically, he said Vixen had to cuddle Padfoot and Prongs.” 

“You’re not making anything clear,” Remus said as he motioned to stand but both you and Sirius held him down. You by placing your hands on his arm and Sirius by leaning onto him just a little more. 

“It’s because of the smell,” you explained. “He said Moony had honed on my smell and that he kept chasing after me since the first moon.”

Yeah, Moony isn’t the only one who honed onto your smell, Remus thought. 

“And he said if we rub our smell on her and she smells like the pack then Moony wouldn’t chase her anymore.” 

Remus looked at you horrified, “You wouldn’t be thinking of setting a foot out on the next full moon, would you?” 

“Well of course I will,” you said simply. “We can’t have Moony continue being all reckless chasing after me or whatever, he’s hurting himself, and you in the process.” 

“We can’t have him hurt you either,” Remus said sharply. 

“And that, my dear friend, is why we are going to cuddle you,” Sirius said with an air of finality. 

“I… I don’t know about–” 

“We have to try, Rem!” You said lifting yourself and turning to him, a little more serious now.  You sighed. “I don’t want you to keep hurting yourself because of me. And if what I need to do to fix it is cuddle the shit out of you and Padfoot then, I’ll take one for the team.” 

Sirius barked a laugh after that and shoved you lightly on the side “Oh shut up, Vixen loves cuddles!” 

“Not from dirty smelly dogs,” you teased. 

Sirius straight up gasped at that, looking rather amused. “Oh, you little minx!” He said as he turned into Padfoot again and jumped over you, licking your face mercilessly. He kept barking in between licks. And both you and Remus knew exactly what he was saying even if neither of you spoke dog. 

“Take that back, Take that back!” Padfoot said with each bark. 

After laughing so much your stomach started to hurt, you complied. “All right, alright! You’re not a dirty smelly dog, Pads!” 

The dog barked satisfied, cooing his head in a smug manner that would have allowed anybody to figure out that he was Sirius and not a normal dog. You had reached up and started rubbing the back of his ears, gently scratching. Remus, without thinking much about it, joined you, your fingers brushing against each other as you both petted Padfoot. 

“That’s right, he’s a good boy, isn’t he?” Remus teased. Sirius was about to protest, but the boy scratched the dog in a way he knew would shut him up; and rather than complain, he started wagging his tail behind him as he leaned onto Remus’ touch. 

“By Merlin! You have to teach me that!” You said with a surprised expression as you watched the way Padfoot leaned onto Remus, who had somewhat of a smug smile on his face. “You think it would shut Sirius up too?” The dog barked your way and was about to jump over you again when Remus scratched the same way again and he instantly melted back onto the other boy. You giggled at that. “You’re brilliant, Rem!”

Remus almost beamed at that, while the stress of the day wasn’t getting relieved the salacious way he thought it would, cuddling his two crushes, even if they would be in their animal form, might as well be a lot better. As long as he didn’t think much of it. Besides it had been your idea –technically Peter’s– which meant you actually wanted to cuddle him. 

And while earlier, at least at the Halloween Party he had shone away from your touch, after he felt the way Sirius’ hands and yours brushed over his body, it felt a lot less intimate to cuddle Padfoot and Vixen, even if it was just as nice, and even if you still hadn’t turned to Vixen. You were too entertained petting Padfoot and the dog seemed rather content, even as his girlfriend was cosied up against his best friend. Head on his shoulder and shoulder –the not wounded one– against his torso. 

He knew Sirius to be jealous, he had been jealous of Tom several times, but he seemed to be feeling nothing of the sorts as you cuddled up against Rem. And boy were you a lot closer to him than you’d ever been to Tom, which he was really trying not to think much about. 

Remus stared at the both of you, the dog and the girl, all comfortable, and all over him as he wondered if Sirius just didn’t consider him a rival at all. He had never seemed jealous of how close you and he were. How many projects and classes you had together, how much time you spent with each other. Remus, like he often did, started to overthink it. Was he that bad-looking that Sirius wouldn’t even consider the possibility of him stealing his girl? Was it that impossible to believe you could like him back? 

No, you had called him pretty several times, you had mentioned he was hot too, Sirius had mentioned the same thing. If he didn’t know any better he’d think it had been flirting. But neither of you would flirt, you were too bIoody in love with each other to ever even consider another person. But Sirius was definitely a jealous man. Jealous except when… it comes to me. 

You looked up at Rem when you realised he had stopped petting Pads, you only noticed because the dog kept bumping his head on the way to his hand as if asking to continue what he’d been doing, when you saw the frown on his pretty face, his brows knitting together as he was in deep thought, you spoke “What’s got your knickers in a twist? Is cuddling us that uncomfortable?” 

“What?!” Remus asked as you brought him back, trying not to look at your lips as you laid so close to him, “No, no! I was thinking of– hold up! Aren’t I supposed to be cuddling Padfoot and Vixen?”

“You are,” you said with a shrug.

“I’m cuddling Padfoot and my little witch,” he said amused. 

Not one person in the room questioned the way Remus had said “my” prior to Little Witch. In fact, not the dog, not the girl, not even the small portrait in the back –that was known to be rather outspoken– even questioned the wording of the sentence, as if you all knew, on a subconscious level, that it was true. 

You gasped, not realising you had completely forgotten to turn back, too entertained on petting the dog to think about it “You’re bIoody right!” you said as you leaned forwards brusquely,  Remus really tried not to feel bad about the cold breeze that instantly hit him after your bodies separated from each other. “Must have been really tired, I was about to fall asleep.” 

And you really had been, not that you knew why you were so sleepy. It seemed the cosiness both boys brought over soothed you to sleep. 

Padfoot barked your way, you didn’t have to be a dog expert to know he was making fun of you. He poked his head on Remus’ hand again, as if to prompt him to continue his ministrations, and you looked at him, a spark of jealousy lighting inside you, not because you didn’t like Remus petting your boyfriend, but because you wanted in on the petting too. In an instant, you turned to Vixen, shrinking to the middle of the bed and walking your way toward Remus’ chest, and pushing Padfoot’s head just slightly to the side, as if you owned the place. 

The dog nibbled your ear in protest but ended up letting you do whatever the hell you wanted, placing his head on top of your back once you looked like you had gotten yourself comfortable. He made sure to brush his snout all over your smaller body. Partly because he wanted to make sure he was rubbing you with the scent of the pack, but mostly because he wanted to see if he’d get a reaction out of you. You only leaned closer to Remus, closing your eyes as you got yourself even more comfortable. The boy, the only human left in the room, smiled and placed a hand over your small head. 

Padfoot looked like he was about to protest over the loss of contact, Remus without even opening his eyes mumbled “It’s Vixen the one that needs the smell of the pack, not you Pads.” 

The dog huffed in response, he too wanted to be pet by Remus, but he also knew Remus was right, so he just nuzzled his head closer to Vixen’s body as you nuzzled your own against Remus’ hand. Remus was enjoying the way the two of you warmed him more than almost anything he’d ever enjoyed in his life. Perhaps only rivalled with that one kiss he had given you and the one he had shared with Sirius years past. 

And while the nagging little voice in his head screamed at him to run, to leave before he knew what heartbreak really was after being able to be so close and yet not being able to have either of you, he decided to ignore it. 

Remus would wallow in the feeling of the two of you nuzzling against him, even if it was just this once. 

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[rose-tinted-kalopsia]

on "voyage of the outcast"; a psychological analysis with a look into identity, feelings of inferiority, and the glorification of self-sacrifice.

LONG OVERDUE, THIS TOOK FOREVER ?? mentally im not over his story branch and i think about it OFTEN and i have a LOT OF THOUGHTS.......... this'll actually focus less on the story branch (and the potential parallels) itself, but more on what, personally, i think could be the implications!!! 🥰

warnings :: spoilers, +this is quite long! 😭

i'll preface this by saying that . confession time!!!!!! i didn't expect a lot out of this because mostly because i was initially pretty worried about how they would connect the last time we saw xavier (at philo) with the current point in the story, especially given that we ended on a point of a cliffhanger and xavier's and mc's relationship had not developed anywhere near close at that point. but i'm actually pretty impressed with how the writers handled xavier's branch... and i'm more than grateful that infold didn't fuck it up as much as i thought they would 😭

with that said...

HOLY SHIT DID THEY GO HAM WITH THIS 😭😭

and parallels and references aside, i really am quite happy that they perpetuated something i've been waiting to look into more in-depth for a while—because i feel that in these chapters, we get to see a lot of how xavier's upbringing has really shaped the way that he carries himself. sure, we've already seen it quite a bit in his limited cards, but seeing it in the main story hits more, especially when... there hasn't necessarily been a deep level of relationship development between the two yet.

which, the branch may reference his lightseeker myths and the anecdote "when shooting stars fall" a lot, but i'm glad that this gives the same desired effect even if you didn't get a lot of his cards (especially limited ones). because thankfully it's at least made pretty clear that xavier and mc haven't had the chance to develop their relationship very much past what we know in the main story itself. they're not in a relationship at this point, which, according to the cards, seems to really only get to that point after "21 days"...

so this brings us back to the xavier that we're more familiar with from before that card. the xavier who's still figuring out how to accept the parts of himself that had become a lot more fragmented throughout the years. the xavier who doesn't know how to do it yet, but the xavier who's still trying.

i know i did go into his upbringing and whatnot in some form of detail in my lumiere analysis (here, in case you maybe want to go through that too <3), but i'll expand on that a little bit here!! so how this will go, as much as i can keep it within the outline, is something like background + personality -> relationship. overall, we'll look into how each has influence over the other, and how that ties in to what we see in "voyage of the outcast"!!

++ a lot of these may be a little complex, but with the best of my abilities i'll try to break it down so its easily digestible !!!!!!! but, like... i'll disclaimer here again with this being my own personal speculation, from my understanding of his character hehe <3 so take it with a grain of salt? maybe? whdjsjfhhs

i. background and personality notes.

long-established is the fact that xavier has been depicted as royalty. at his core, he's the prince of philos—heir to the throne, someone who is to lead philos and its people when the current king no longer can.

...but he's also not been very happy about it. he'd distance himself from his family, and his duties, as much as he's able to...

and again, what does mc see when they first meet?

—"they say he doesn't live on campus because his family background is complicated, and many people have seen him surrounded by bodyguards."

—"they aren't clad in all black as one would expect, and they keep a respectable distance away from xavier. still, these people exude an air of oppression. xavier, with his bag, is at the center of their group. it seems he's used to being stared at. the only difference is that rather than being his usual expressionless self, he appears slightly upset."

—"'you appeared to be upset, so i thought you wanted to be free.'"

—"'i wish xavier is free to do what he wants.'"

she says all these things because even she recognizes him to be trapped. this is the mc that doesn't know him, isn't close to him yet at this point—but this is what she observes.

and this is the core of what we'll be looking at this time which i would section off into: (a) the nature of a prince, (b) constraint and psychological resistance, (c) incongruence of identity, and (d) feelings of inferiority. all of that, then, will tie into their relationship as a whole !

because if in the lumiere analysis we zeroed in on how this feeling of being "trapped" affected his identity—which, arguably though, is a big point so we'll get back to it nonetheless under section (c)—this time we're going to try to look into why these issues with his identity mean so much.

i. - (a) ; the nature of a prince.

something i do wish we had (or may get) more insight into is what exactly his life was like in philos x.x largely what we know of can only be inferred, because the story is being told through mc's point of view, and technically mc doesn't get too deep into the kind of lifestyle each of the LI's have.

with that being said... xavier, in his lightseeker myths and the 'when shooting stars fall' anecdote, still does encapsulate typical princely duties. there's the formality of royalty, the responsibility that comes with a higher status... a prince is high-ranking, a prince is a noble, a prince is royalty. there's a certain sovereignty involved with the title, and in that effect—we all know that there's a certain air of elegance and poise that xavier generally carries himself with, whether that be in his swordfighting, or the words he uses (he has pretty eloquent speech sometimes), the books he reads... even little things, like the calligraphy he does, his handwriting, the slow dancing, playing the piano. he's well learned, and it's clear that he's been trained truly in the image of a prince.

and he's calm. collected. for the most part, we've seen him deal with adversities in a way that's almost chillingly calm; and for the most part, he portrays himself in a way that feels as if it's not easy to get him to lose that calm. again, it's why we as the audience tend to be so shocked when he does—maybe incredibly, even, especially with misty silhouette as of late. he gives this image of someone who does not often lose control of his emotions...

but it's never been because he wants it that way.

along with all of these things, comes the duty of being a prince.

a prince is high-ranking, a prince is a noble, a prince is royalty. again, there's a certain sovereignty involved with the title. but more than that, is the responsibility of holding such a high status.

xavier is the crown prince. he's the next-in-line. he's expected to take the throne after his father's death, and that means being able to lead and care for the people of his nation—or, well, planet, i suppose, in this case, philos. that's a heavy burden to bear. he's already likely faced with all these lessons, to exude a princely demeanor, and all that formality, and speciality, and elegance, and poise—and now he has to keep in mind that the satisfaction and the safety of this planet will fall directly into his hands when the time comes.

we know later on in his lightseeker myth that this means much more than we think it does—because it means being aware of, and accepting, and condoning the sacrifices that go into keeping philos safe, for, well... exactly that. to keep the people safe.

—"...I knew you'd catch on. However, it is a necessary duty of the crown prince. It is also the King's responsibility."

—"Xavier! Listen to me. A King cannot act on his emotions or only protect the people he holds dear. Your duty is to protect Philos. You must only do what is necessary."

his duties are outlined. he has to protect philos. he must only do what is necessary.

it may be the topic of another conversation entirely, but the whole debacle with philos is really just that whoever is on the throne has to answer: "which is it that men cannot live without? a blessing that leads to damnation, or a freedom that leads to deprivation?" [joshua rosfield and the ff16 writers, thank you for this quote that lives in my head rent free] and like, hell. that's a difficult choice to make.

it's also worth noting that although the context here is somewhat dark, this is a rule that applies to general leadership—there is not much room to be selfish, because you have to think about the people under your care, or rule, or jurisdiction. it's a responsibility that falls on your shoulders for you to bear, for you to make the right call, the right decision—that is the value that the xavier's father is trying to instill in him.

because he is the crown prince.

because he will soon be king.

and heavy is the head that wears the crown.

...only, xavier has never once been receptive of it.

i. - (b) ; constraint and psychological resistance.

we go back to, again, "when shooting stars fall", and the very clear recognition mc has of his lack of freedom.

because that's what it is.

lack of freedom.

because duty is the enemy of freedom.

and xavier, given his position, is undeniably plagued by all of these duties and these obligations and these things that fall to him-

yet, he's never wanted any of it.

though not explicitly confirmed in the game itself, the setup that's implied leads us as the audience to believe that xavier has never enjoyed his royal duties, never found that it was something he desired. it could be that he wanted many other things, but has never been allowed to enjoy these things. in "when shooting stars fall", he's often lonely; often surrounded by these "bodyguards" and rarely interacting with other people in the academy. he believes that these figures restrict him from watching the meteor shower with mc, too. it's possible to think that he's believed, all that time, that he had no say in the things that he does...

because he has to be molded into the perfect image of a prince.

that's where it comes in: the constraint.

something that limits one's freedom of action or choice.

it may or may not be what happened in actuality, but it's clear that by the time anecdote 3 happens, xavier had developed into a person with the misbelief, conditioned, that he was not allowed to do as he wished. it could be the strict training, it could be the things they might have kept from him when he was little.

but xavier believed that there was nothing that he could do.

in a sense, this brought about a sense of learned helplessness.

learned helplessness is the learned feeling that one has little to no control over a certain situation—and because of the lack of control, feelings of helplessness, or passivity, or a lack of motivation to take action, end up resurfacing. it could mean overlooking opportunities for relief, or change—it means basically accepting the situation as-is, without bothering to try to get out of it. "it is what it is." "i can't do anything anyway, so why should i still bother?"

this is the xavier that we meet at the beginning of anecdote 3.

— "I can't." "Is it because of those..." I hesitate, wondering what to call them. "People?" Xavier appears shocked, and then he nods without saying a word.

— "Don't be sad. I'll just go by myself... I'll bring your wish to the stars when I do. What's your wish?" "I don't have one." "How could someone not wish for anything?"

however...

it changes.

the xavier at the beginning of that anecdote is not the same xavier we see at the end of it.

mc makes various comments; talks about how he's smiling more, and we see him more deliberately avoiding the company of those "people" in favor of being with mc instead. he's found something he wants, and he makes the decision that this is worth fighting for. it breaks him out of that mold of learned helplessness—

only to have it ripped away from him through mc's death.

this anecdote is painful because he realizes that he doesn't have to be trapped anymore... but it's a moment that's short-lived.

and it builds.

it builds.

it's very likely that the end of that anecdote haunts him for years on end, builds up a certain sense of resentment and disdain for the universe, for his circumstances, and builds more of that rebellious nature.

when we see him in his lightseeker myth, that learned helplessness is gone.

and instead, it switches to the opposite end.

xavier is more headstrong. he's no longer passive, no longer the boy who was unsatisfied with the restrictions but sat still and did nothing. he literally walks out of his conversation with the king, and he's seen multiple times in the myth defying what's expected of him.

but because it's gotten to the point where he's at the opposite end of the spectrum...

he'd develop, instead, what would be called psychological resistance.

maybe not the concept in its entirety, sure, but the very core of it—that is, displaying these paradoxical, opposing behaviors in response to what he'd be told to do.

it's, in a way, that xavier would have himself feeling stuck nonetheless; because he's so insistent on rebelling against all of this, that the more he's told he's a prince, or that he has to do this, or that, or help philos, or whatever, he completely turns his back on it. i would argue that at this point he is being less objective of the situations and, going against the expected conduct of a prince, gets overly emotional—at this point, the only thing that matters to him is mc.

we get to see the full extent of exactly why xavier is emotionally unstable, because he keeps fluctuating between the two extremes of dealing with all the constraint he's experienced.

i. - (c) ; incongruence of identity.

it get worse, naturally.

to set the stage for this, i'd bring forth the concepts of "congruence" and "incongruence" of identity.

so when we talk about congruence, this refers to the fact that there is a balance between our ideal selves (aka who we want to be) and our actual selves (who we are currently). this means that we basically accept who we are, either that we feel like we are already our ideal selves, or we recognize that though we might not be at our ideal stage, we know how to work to achieve it. there is no conflict between who we are and who we want to become.

incongruence is the opposite of that, and refers to the imbalance of the self. who we are now is not who we want to be, but we don't like that idea. we don't know how to work towards it. it makes us upset, and we may reject ourselves completely to pursue the sense of idealism.

and xavier falls heavily into incongruence.

there's more to it—

according to james marcia, there are four (4) statuses of identity: identity foreclosure, identity diffusion, identity moratorium, and identity achievement.

foreclosure refers to committing to an identity and accepting it, without exploring other options: you'd rather just blindly accept values and ideas and identities that other people suggest, without bothering to consider other options. it's most clear that xavier falls under identity foreclosure.

(diffusion refers to no identity commitment, and no exploration of identities; there is no strong sense of who you are as a person, neither is there any sense of actively trying to work on it. moratorium includes actively exploring options, but not being able to settle into one identity. achievement is the ideal, having explored options and willingly chosen the identity that feels right to you.)

so we have the xavier who's initial identity was chosen and laid out for him without much of his own say in the matter, and because he doesn't want the identity, because it's forced onto him, he develops such an aversive reaction to it that it proves to be quite harmful to the stability of his mental state.

something i've talked about a lot, is how this state of his identity is a cornerstone to the things we see him struggle with, in the main story and in his cards alike, and especially in his relationship with mc. and it sets the tone for the xavier that we see and interact with, as well as the character arc he has to go through to grow into a better person.

once again, it pulls out the fact that he needs to learn to accept who he is as a whole. what he keeps doing is striving for an ideal, striving to become who he "should", as far away from his princely identity as possible. but it's necessary for him to realize that even the most conflicting parts of him are still.. well, him.

the more we attempt to be who or what we are not, the more we remain the same. but when we acknowledge and become what we are, we open right new possibilities for change.

it's not necessarily a matter of blindly accepting your faults and not bothering to change that, but acknowledging the parts of you that you refuse to acknowledge, because you can't just... ignore who you are. like xavier has been very keen on doing.

i. - (d) ; feelings of inferiority.

i want to preface this section by saying two things: (1) that inferiority is a word that's thrown a lot very casually, but actually means something different than what general media portrays it to mean... and, (2) that all of the LI's show conflict with feelings of inferiority, in very different ways, and this is not limited to just xavier!

and to understand what inferiority really means, we go back to the person who coined the term in the first place: alfred adler.

so alfred adler is this guy who's basically responsible for what we call "individual psychology", and the very very basis of it is that people are driven by a need to feel that they are significant, and that they belong. there's heavy emphasis on the importance of relationships and social environments, and— a person is influenced by how they interpret events that happened to them in the past.

i hope you see where i'm going with this !!!!

when we relate this to xavier... we can recall how under learned helplessness, it was primarily xavier's view of how he was treated, that he developed a sense of passivity. when things change and he loses mc despite finally learning how to rebel a little, his view changes into one stained more with frustration and disdain—so he works against the situation and rejects it.

the fact is that we as the audience don't know how he was really treated. sure, we can make inferences, but we're just about making the same inferences that mc and xavier do. it's a limited perspective. and what matters the most in a limited perspective is how it's interpreted. we can see clearly how xavier has interpreted his narrative, and it therefore results into his behavior.

so where does inferiority come in?

it does get kind of intense, because individual psychology is closely related to early childhood. so the theory goes that everyone's born with a little bit of inferiority—and then, as kids, or as babies because we strive for the attention of our parents to help fulfil our basic needs we develop this kind of habit of striving to get rid of that inferiority. baby wants food (sense of inferiority and dependance), baby cries (tries to get attention to get rid of the feelings of inferiority).

so it goes that if the child gets the proper care that they need, then problem solved. but inadequate nurturing... means the problem gets worse. we'd go back to learned helplessness, because then the child would feel like they have no control over their surroundings. and while this is normal in small amounts, if it isn't addressed, compensation is just not enough anymore.... and then they would strive for even more.

overcompensation.

and overcompensation leads to an inferiority complex.

now, an inferiority complex isn't what you might be thinking, because it doesn't necessarily just mean seeing yourself as... less than someone. in fact, it's not even about comparison, really, it's just... the feeling of not being enough. it's a lack of self esteem where the feelings of inferiority that all this started with just, haven't been dealt with at all. so it's a cycle of constantly trying to compensate, and compensate, and compensate... it's the need of someone to feel special because they can't accept themselves as flawed. (it's unfortunate, because everyone is flawed... including themselves.)

(it gets worse, because if even that gets left unchecked, it develops a superiority complex which is kind of the same concept, but instead focuses on looking for the "easy way out", like borrowing authority or luxury or power from other people and living according to other people's value system)

but, i digress, because in xavier's case, his sense of inferiority stems from the identity forced upon him. given his background that we went over, there's a lot of pressure involved... and it is once again inferred that he does not have, or does not view that he has, a good relationship with his father (one would assume, including his mother, though i don't believe his mother has been mentioned anywhere?). it's a sense of a lack of nurture; the fact that he has felt as if his needs were not being met and instead pushed aside for something like the "greater good of the people of philos", or something along the lines.

he has to do something about it.

it goes back to the cycle.

the learned helplessness is pushed aside, and he keeps doing things because he has to. and it could be due to the belief that it's what will make him worth anything.

he has to.

except instead of directing his determination necessarily towards the planet he was supposed to lead... because he's so aversive to his identity as a prince...

he directs that towards...

mc.

he has to help her. he has to save her. he'd give rise to the whole lumiere thing to save her, even despite how much he despises resuming an identity similar to the prince of philos.

he has to.

(which, side note: i do believe that his sword fighting also somewhat stems from an inferiority complex, because of the line:

"it's not that i like it. it's the only thing i've been good at since i was a child."

(implying; his need to still feel good at something despite a lack of enjoyment... almost as if compensating for something.)

ii. xavier and mc.

so what does all of this mean for their relationship?

evidently, at the time of voyage of the outcast and the general main story, none of these issues are addressed. this is not like the lumiere myths, not like 21 days, no restraint, floral blessing—this is the xavier who's still largely unstable on the inside but trying to put on a brave face.

there's a lot of things he doesn't know how to navigate.

but the one thing he is sure of is:

mc.

always mc.

she's important to him and he loves her and he has always loved her. this is the person who was the catalyst to him believing that freedom was possible.

and we've had this whole thing established, that he's so insistent on keeping her around that—he doesn't know what to be. he doesn't know what to do. he wants her around, he wants her to like him—

but what does she like?

there's too many sides of him, and he recognizes that this mc in this timeline is her own person. what should he be? he doesn't want her near whatever princely persona he's had in the past—but what if that's what she wants? he wants to show her the person he wants to be, but what if that's not what she wants?

how does he navigate that?

it's the baseline of where he starts—why we see him aloof, and vague, and a little cyptic. he wants to be careful with his words not just to protect her and not just for nonintervention principle... but also because he wants to figure out what she wants, and really wants to make her like him.

he doesn't want to lose her. he doesn't want to mess up and have her go to another guy, he doesn't want this to be a timeline where he can't win her heart.

it's there again, the determination—

he has to.

he has to.

he's doing all these things, working in secret to protect her—he can't lose her. and he's not enough, so he has to do something to compensate that. he wants her approval, he wants praise, he wants her to like him.

when we go back to voyage of the outcast, there's still a lot of that same xavier that we start with—he's still struggling with all of these ideals, the interaction of all that he's grown up with and the things that he has to learn how to navigate.

he's still a little vague, still a little cryptic...

but he's trying, most of all.

he puts in an effort.

— "Isn't there something you genuinely want to ask?"

— "Oh... You're asking if I have a hidden side to me like Soren?"

— "You must have more questions."

he's giving her a chance.

even if the way he answers are still lacking in explanation—it's a step forward nonetheless.

and they do talk about it, that sequence by the basketball court has so much to it, because in one way or another, he's still trying to express his thoughts, even if it comes out, again, still a little vague.

"Perhaps it's because he looks like a good student that makes him the best at doing things behind the scenes. After all, people don't write their secrets on their faces. The calmer the water's surface, the easier it is to hide dangerous undercurrents."

even mc recognizes it:

— "Even though I'm so close to you, experienced all these life-and-death situations with you, I still cannot seem to fully understand you."

but why i say he's trying is that, in theory, he understands what he's lacking in. at this point in the story, he knows he's doing things to mask and pick and choose what he shows her, he recognizes that it's not what he should be doing:

"But... the parts of me you think you know and the parts you think you don't know... They make up who I am. All of me, right here in front of you."

it's just that, knowledge is often different from practice.

from the xavier we see here, you get the image that he knows what he should be doing, but he doesn't quite know how to get there. he knows what he wants to tell her, but he doesn't know how to express it properly.

and it's why when we get to The kindled scene, we're pulled back into the xavier that still hasn't come to terms with himself and what he wants, the xavier that falls into the shadow of himself that can't help but be so aversive to his princely duties.

we pull together the insecurities, the incongruence— the inferiority complex.

and we end up with the glorification of sacrifice.

this is something i've always always wanted to get into, and again, similarly to inferiority, it's present in all the LI's, but xavier's really makes you think, you know?

because for being so aversive to his role as a prince and everything that philos has done/has planned to do to queen mc especially, you'd think he'd be just aversive to the role of sacrifice, in general.

(i mean, i know i would be! 😭)

it's like— if i'm already that aversive, then i'd rather find some kind of workaround to it than bother giving into the sacrificial needs of the planet, just to challenge what's supposed to be, you know?

— "A planet that uses... ... ...to survive.... doesn't deserve to be saved." [ <- do you see the aversion? there's so much hatred and disdain in this! ]

and yet, that's not what xavier does.

— "Starfall forest... will stop once it has enough power..."

— "I couldn't... I didn't protect you before. At least... it chose me this time..."

he was very clearly planning on having the forest take him. it's even further pushed by him recognizing mc to be there, but... the bottomline falls to the fact that he was willing to be the sacrifice that was needed instead.

the contradiction is there, no?

he doesn't want to save the planet, not at all, but yet he'd offer himself.

and although this falls to my personal speculation, when you draw references from his background, there's once again the fact that he grew up with all of these ideaologies. his parents were the first sources of influence—and then whoever had been with him through his growth, and trainings, or whatever else as a prince. and he was learning all these things in philos, the very planet that did use sacrifices.

and upset though he always has been about learning of the sacrifices, it's not as if the planet condemned mc for being the sacrifice... if not, well... glorified her, somewhat. they called her the perfect sacrifice—the life force of the planet. they held importance in what they believed to be "true immortality". moreover— "her duty was to save philos, because her existence worked in such a manner."

it wasn't just "whatever" to them, and they surely didn't treat her like shit just because she was a sacrifice.

it feels as if, the theme goes as "you're doing a good job being the sacrifice. your sacrifice will save us and that is worth something to be thankful for."

and even if xavier is clearly averse to the idea... again—the fact remains that he was brought up with the entire theme of sacrifice surrounding him.

we circle back to inferiority.

there's that certain sense of belongingness, or approval, that was never fulfilled in his childhood, so much that he began to resent everything altogether, enough to rebel so much, the way that he did.

but it stems from what he never received.

and while he may not care anymore for approval from the people of philos, what he does care for is mc's approval.

because again, mc is the only one that truly matters to him, the one he focuses on the most, the one he's doing all of this for.

he has to do something to compensate, he has to do something so that she'll love him.

the same line of thinking that we said earlier he'd come to terms with knowledge-wise, that he's trying to be more genuine instead of chasing after compensation and praise and compensation and praise—

but again, in this scene, it falls back.

he's lost sense of reasoning, the evol, the protofield, they're all affecting him... and we go back to that sentiment.

he has to do something. to protect her. to save her. to be...

noble.

the only issue with that is in this moment, he's faced with the prospect of sacrifice. and he's thinking, "fuck it, this will make her happy—i can save her—i can do something—it will give me some worth."

he's sucked back into that shell, and the option in front of him is sacrifice, which he's likely long grown up with surrounded by glorified opinions of.

it's his duty.

he has to.

and it's just so gut-wrenching to think about, because he loves mc so much that it bypasses even every ounce of aversion and resentment (that she triggered long long back), and he would do anything for her.

the xavier that we see in this scene is raw, and lost, and in pain....

he loves her so much that it hurts.

... but, there's beauty in the way that this teaches him firsthand what he's missing, too. he learns to trust her more, learns to rely on her more... enough so that he drops a good portion of the aloof, distant-ish act he'd been generally having after this scene.

— "Your power will keep me safe."

— "It's as if he's already at the finish line with the answers. He's quietly waiting to see if l'll join him or choose a different path."

voyage of the outcast ends on a hopeful note for their relationship, because there is the premise that he's going to start being a little more true to himself from here on.

i think it's interesting to go through this again after floof attack and misty silhouette, but there's definitely a stark contrast and some sort of progression actually involved with the way they're progressing the main story—it does feel natural, not forced, not rushed, because xavier and mc are still at the pount where neither of them are ready to be romantically involved...

but they're getting there. slowly. steadily.

and it's really nice to see the growth, that i can't wait to see how xavier will continue to grow from hereon out 🥰🥰🥰🥰🥰

THIS TOTALLY GOT A LITTLE MESSY TOWARDS THE END.... I SWEAR THIS IS LIKE. THESIS DISSERTATION CORE. I DONT EVEN KNOW HOW LONG ITS GOTTEN WJFJWNBGEJJF BUT IF YOUVE MADE IT THIS FAR TY FOR LISTENING TO MY RAMBLES !! 😭😭😭✋✋✋✋

i think about his story branch a lot but specifically the basketball scene and the one at the end with the lil shared earphones... im gonna sob in the corner i actually want to hold him in my arms so so gently 😭😭😭😭😭😭😭😭😭😭😭😭😭😭

[zluty-spendlik]

WAKFU REDESIGN AND REWRITE SERIES – PART 1

Evangelyne

Evangelyne used to be my favorite character growing up, which kind of sucks since she’s one of the flattest characters considering how much screentime she has.

Even when I was a little kid and watched this show I found it annoying how she was constantly drooled over by the guys and these days its pretty obvious she’s a very stereotypical not-like-the-other-girls girl, created solely to be Percedal’s (the literal incarnation of the expected target audience) love interest.

SHE EVEN HAS THE WHOLE „I let my hair down and now am so much prettier“ ARC HAPPEN FRICKING TWICE IN THE SPAN OF. WHAT- 5 EPISODES???

Evangelyne is a misogynistic character on so many levels, the only Eva-centric episodes we get are either ones she needs saving in (like Vampyro or the pirate one), or when she has a love arc with Percedal (the whole Rubilaxia shtick, or the tree of Life episode).

Honestly the only bearable scenes where she shows up are those where she interacts with Amalia and even those get twisted into weird sexist tropes: Evangelyne critisizing Amalia for buying too much clothes, or overall cringing at Amalia’s „too girly“ behaviour.

Even when they have a touching conversation after freeing Amalia’s father from the Tree of Life, Amalia immediatelly brings up Percedal and fails the Bechdel test.

I won’t even touch the Cleophée (or Cleome in english) trainwreck  the writers pulled in season 2 or the whole pregnant-damsel-in-distress thing she had going on in season 3- I didn’t watch season 3 and 4 mostly because I got so mad after the misogyny happening in the first episode and I didnt want to ruin my already fragile excitement over the series.

But don’t get me wrong – Even tho Wakfu has a lot of potential for growth, I still love the series dearly, and would love to give the characters justice. It is important to note that I am not a professional writer and Im mostly doing this for my own indulgence, so please feel free to throw constructive critisism towards me.

Character rewrite

We don’t know much about Evangelyne’s backstory, or rather her story before she meets Amalia – And in my head as a kid, I always assumed she was an orphaned kid basically living on the street with Cleophée, until someone (presumably Armand, since he has a long-term crush on her and Amalia hated her at first) took pity on her and took her to the palace (once I figure out Cleophées design Ill explain what happens with her).

Fast forward a couple years, Eva is officially Amalia’s bodyguard, yadayadayada.

Important thing is, that this shapes Evangelyne’s personality and self-perception –

I have divided my potential Eva Arc into 3.5 Categories:

Self-protection and perservation

Eva knows how dangerous the world can be (streets) and how serious her job is, but she’s only seventeen. She takes her job way too seriously, in the sense that she doesnt trust anybody they meet (which is especially shown when they meet the Tofu gang). She doesn’t want anyone but Amalia close and deep down, she’s scared of other people.

She is horrible at teamwork, which only frustrates her and everyone around her. She fails to see the affection Amalia has for her, because her entire self is just a bodyguard.

She doesn’t know who she is without that.

Depression

Dally’s sacrifce absolutely traumatizes Eva, both in the canon and my version. It doesnt need to be seen as romantic tho (we’ll get to that). On top of that AMALIA BRIEFLY DIES AND COMES BACK. Can you HEAR Evangelyne’s entire purpose crumbling down?

In her head, two people just died because of her.

Besides, Percedal sacrifices himself because he cares for her. Not as a „coworker“ or a teammate, but as a friend and Evangelyne cannot fathom that sort of service and relationship.

And even though she failed, her friends are there to support her.  Eva learns compassion.

Self-destruction

However, she now feels she has to „make up“ for her lack of compassion and her failings as a bodyguard. Long story short, she completely flips to the other extreme, basically throwing herself in any sort of danger to protect her friends  (hence when she hears Dally, she immediatelly goes to Rubilaxia). In the show this is less extreme but portrayed as her real and true personality: more reckless and adventureous – but i think the writers just wanted Eva to finally have something in common with Dally (which, btw, uncool), but I’d like this to be portrayed as a bad thing.

Eva fails to see that she’s hurting herself and fails to recognize herself as a person rather than basically a human shield. This arc climaxes in the Cleophée episode and Eva learns that compassion is not transactional, or something to be earned.

Her true self

Evangelyne's final form! We dont know much about Eva's hobbies other than her job and fighting skills, HOWEVER Dally mentions Eva taught him tracking at one point and tbh Evangelyne being a ranger or just studying nature fits her pretty well imo! She is also canonically artistic (as confirmed by the journal she keeps).

I take issue with Evangelyne always being seen as the “mom of the group”. Yes, she's smart and responsible and caring, but that's her job, she's an older sister, less of a mother figure and more of an equal to the others in the gang.

Design

In s1, Id like her to wear a lot of armour with chainmail directly on her skin (haha get it because trust issues), and with a mostly green colour palette, cause, Sadida kingdom yk.

In her s2 look, she throws away most of her armour and self perservation instincts and since her personality completely flips, so does her colour palette - red! The first aid kit is gone and she wears an ascot now (a torn bit from Dally's cape lol).

And finally, i made her a furry I gave her some gadget shoes from Cleophée, helping her move faster, I put some of the armour back and made her hair longer. Her colour palette now consists not only green, but also the "Yugo blue", which i plan on incorporating in everyone's final design :D

AND FINALLY, AN ART DUMP

[sufferu]

Two things:

One of my main peeves is that you're accusing Subaru of "abusing" RBD, when in reality he's just using it to save the people he loves. Of course, if he was able to save others without using it, he would. What do you think then, should Subaru do when faced with the death of his loved ones?

That's also one of the reasons I asked you about Shirou Emiya from Fate. His brand of heroism can be summarized in two sentences "I want to save everyone I can see" and "As long as others can be saved, I don't care what happens to me" , both of which is always portrayed as a bad thing. But the idea is that, while the way he views it and applies it is wrong - the idea of saving others is what's beautiful, and that's what counts. How do you think this applies to the lens and themes of Re Zero, since you claim that the idea of self sacrifice is condemned in it?

I really don’t feel like it’s anywhere near a hot take to say that Re:Zero is anti-utilitarian or condemns the idea of self-sacrifice. I mean, so much of the story is about how Subaru relying on Return By Death would be a Very Bad Thing, and how him loving himself just as he loves other people is important. It’s like, the crux of his character arc. Saying “Subaru SHOULD be using RBD to save his loved ones, because the sacrifice of a single person is trumped by the sacrifice of many” is a valid position to take — a very utilitarian one, really — but it is not the position that the story is taking. And I very much like that about Re:Zero because 1) its narrative feels a lot kinder, frankly, and thus I tend to find it more cathartic, and 2) it is a very unique take within this genre of fiction. Most other stories within this genre don’t paint being a hero as a bad thing, or self-sacrifice as much other than noble. That’s the basic status quo here. And I actually don’t think that there’s anything wrong with being generic — those stories can still be fun — but I do appreciate that Re:Zero is taking a more unique angle on the question.

But more than that: different stories have different narrative angles. A lot of the time, you’re not going to get the same themes and messages from every story in a way that allows them to be easily transferred from one to the other. Sometimes they even respond to one another: while I’ve never watched Fate, I do know that Tappei took inspiration from Fate while creating Re:Zero — and because of that, I wouldn’t be shocked if he was making a counterargument to Fate’s idea of heroism through his own work. Anyway, Fate doing one thing doesn’t mean Re:Zero isn’t doing another. And I quite like what Re:Zero is doing here, so I tend to try and adhere to its themes within my own fanfic writing.

(Also, secret third reason: I think the attitude that Re:Zero takes here is a lot more respectful to the reality of suicide and self-harm. Like — those concepts aren’t really all that abstract to some of us, lol, and a huge part of the reason I was drawn to Re:Zero was its handling of that subject matter. Return By Death not only necessarily involves the subjects of both self-harm and suicide: it straight up invites the comparison to the real-life issue on several occasions. This is just a reality of the work. If it were to turn around and turn those very personal topics into a generic fantasy story — if it had done that from the start I might have been able to roll my eyes and take it as a generic edgy power fantasy or w/e, but if it started doing that NOW, after several arcs of treating them with a genuine amount of care, I would very likely throw the book at the wall and storm off to never come back.)

[hecate-editing]

Making Characters That Make Sense

Walk-through character template & "how to" guide for writing complex, original protagonists.

If you google "character templates for writing", you'll get a lot of very basic examples that read like a grocery list: eye colour, hair colour, skin colour, positive traits, negative traits, etc.

And sure, filling out this kind of template isn't completely useless - but it's also not particularly useful, either. Choosing whether your protagonist has blue eyes or green eyes isn't going to determine whether readers connect with them or not.

Instead, I prefer to use the below template:

There's some fairly left-of-centre categories here, so in this blog post I'll be creating a character from scratch to demonstrate what each section means and how to use the template effectively.

Primary Goal & Raison D'Être

Fantasy Romance is having a bit of a tournament-to-the-death moment right now, with Hunger Games-inspired stories like Fourth Wing, Throne of Glass, The Savior's Champion, and The Serpent and the Wings of Night in high demand - so that's what we're going to work with in today's blog post.

The story premise and primary goal of the protagonist are almost always interconnected. In this case, the story premise is a tournament to the death - and the character's main goal is to win that tournament, obviously.

But where there's room for some originality is in the raison d'être. This loosely translates to "reason for being" or "purpose". It's the why of it.

For example: what motivated this character to risk their life by entering such a tournament in the first place?

It is sometimes helpful to look at similar stories when thinking about this category. Not so you can copy their protagonist's motivations - but so you can do something different.

The whole selfless-self-sacrifice thing, for example - that's done. At least in relation to this particular sub-genre. We can do better for our hypothetical Maera Mystfang character.

Actually, let's really turn the trope on its head and make her raison d'être incredibly self-centred.

Already, this is character is shaping up to be something a little bit different within the niche of tournaments to the death. Which goes to show how putting a little bit of thought can go a long way, even with something as simple as identifying your character's initial purpose.

Primary Obstacle

Every protagonist needs a goal - and every goal needs an obstacle. This is what gives the story some tension and keeps readers turning the page.

An obvious choice of obstacle for this hypothetical character, since we're dealing with a fantasy romance, would be that Maera starts to develop feelings for one of her fellow competitors.

This concept has definitely been done, but that's okay. Not every section of this list has to break the mould. Tropes exist for a reason and it is totally okay to lean into them sometimes.

However, just for funsies, I'm going to try and put a slightly different spin on this one too.

Instead of the obvious "I love one of the people I'm meant to kill", let's make Maera's (previously dormant) conscience be the problem. Her reasons for entering the tournament may have been self-motivated, but as she gets to know her fellow competitors - admires some of them, even - she starts to second guess those reasons.

Core Traits

A lot of character templates will divide personality traits into positives and negatives - but I don't think this is particularly helpful. It is far too one dimensional - not to mention unrealistic. The key components of someone's personality aren't usually so black and white.

In fact, most core traits are both good and bad at the same time - it just depends on the context.

Instead of being wholly positive or negative, try to think of three core character traits that can serve as two sides of the same coin, with both positive and negative implications to each.

For Maera, I've given her these core traits:

Self-reliant;

Rebellious; and

Good-humoured.

Her self-reliance means that she is incredibly capable - but it's also the cause of her selfishness. She's always had to look after herself, so she expects others to do the same.

Her rebellious attitude means she isn't willing to accept the status quo. But at times she is also a rebel without a cause, causing trouble just for the fun of it.

Her good sense of humour means she is fun to be around, but she also tends to not take things as seriously as she should.

Thinking of core traits in this multi-faceted way not only adds realistic complexity, but it also sets you up well for showcasing character development and growth throughout the story.

Fatal Flaw & Character Arc / Growth

You've probably read negative reviews that throw around terms like "Mary Sue" or "Gary Stu". People tend to be over-zealous with these terms, especially for Mary Sue, but the gist of it is that the character in question is "too perfect".

They're the chosen one, they're good at everything, all the boys like them, etc.

Some characters can get away with this just fine. Look at Aragorn. He's the ultimate Gary Stu but I still swoon every time he opens those damn doors. You know the scene I'm talking about.

Ooft.

But for the most part, you want to incorporate a fatal flaw into your protagonists - because this is what gives them room to grow.

And, no. "I was born to be King but I don't wanna" does not count as a fatal flaw.

Instead, think bigger. Think worse. Think about where your character starts versus where you want them to end up. Think about how you want the events of the narrative to change their world view - or even their initial goal.

For Maera, her fatal flaw is pretty obvious, given her initial motivations for entering the tournament. Similarly, her growth/arc is linked to her primary obstacle, which is developing a conscious.

Her journey throughout this hypothetical story might be learning to appreciate how her past shaped her, while also acknowledging that there are things she can do to ensure others don't have to go through what she did. By being shown acts of kindness, she learns to appreciate their value.

First Impression

Now that we've covered all the "big picture" stuff, let's get into some of the smaller details that give your character some texture.

The first impression category is a hypothetical exercise where you image how your character might appear to a room full of strangers. In dual, multi, or omniscient POVs, you might even get the opportunity to include this impression somewhere in the story.

But even for first-person narratives, it is still worth thinking about, because it will help to inform how other characters interact and respond to your protagonist (at least at first).

For Maera, I've written this first impression as: a fun person to have a few drinks with - so long as you keep a close eye on your wallet.

From this description, we can guess that Maera probably likes to have a good time, but also comes across as untrustworthy. Whether that impression is deserved or not is up to you, as the author, to decide.

There's also a lot of deeper directions you can take this first impression category, too. Like if most people react to Maera this way, but one particular character doesn't, then your readers are going to sit up and pay extra attention during that interaction. Especially when that person reacting atypically is the future love interest.

Spirit Animal

Ah, this one is a fun one!

I always encourage my authors to assign a "spirit animal" to their characters - especially when they're doing multi-POV.

There are two main reasons for this:

It will allow you to assign some very distinct adjectives and verbs with that particular character; and

It is an opportunity to flesh out some additional character traits beyond the core traits.

For Maera, I've chosen "spider" because she is solitary by nature, opportunistic, and patient.

But, more than that, I also like the idea of Maera being the kind of person who knows how to watch and wait. While her first impression might be "here for the good times", her joking façade is actually a mask she wears while carefully observing others.

For example:

Her words were laced with venom. She crawled her way across the rooftop. At some point, weaving lies had become more of a past time that a necessity. Her thoughts were a tangled mess. She didn't bother to conceal her predatory gaze. Inch by cautious inch, she crept forward. Her sanity was already hanging by a thread. If there was one thing she knew how to do, it was spin a good story - truth be damned.

I've never outright compared Maera to a spider in these examples, nor have I made it blatantly obvious that that's what I'm doing. But by peppering these kinds or words throughout the story, I'll be able to subtly create a very distinct kind of impression for her character.

For comparison's sake, let's assign "cat" to the love interest. Examples of possible words to consider in this instance might be:

He clawed his way through the bushes. "What are you doing?" he hissed. The comment had some bite to it, that was for sure. He slunk away into the darkness. His still, unwavering focus was unnerving. He prowled towards her. In a few quick, agile steps, he'd made it across the parapet. He yawned and stretched out beside her.

Of course, not every single word you use in association with a character needs to be related to their spirit animal. But keeping a certain type of animal in mind - and finding opportunities to throw in some subtle messaging through language choice - can be beneficial on so many levels.

It helps to distinguish your characters from one another through the kind of language you use to describe them - but it's also just really, really fun way to add some bonus texture to your characters. Giving your readers some little easter eggs like this is never a bad thing.

Love Language

If you're unfamiliar with the concept of the five basic love languages, then here's a quick visual overview:

Love languages aren't a consideration that's specific to romance. They're important for friendships and familial relationships too.

Because thinking about what your protagonist values most in love is going to tell you a lot about who they are. Especially when you take the question deeper and think about why this is something they value.

For Maera, I've chosen "Acts of Service" because this ties in quite well to her character arc.

In terms of Maera's why, I could easily go with "because this was how she was shown love as a child" - and this is a good enough option most of the time. However, since her love language is very much tied into growing out of her fatal flaw, then I actually want to do the opposite.

Maera winds up valuing acts of service because this is something she craved - and wasn't given - as a child. She had to do things the hard way instead. Hence why she ends up appreciating the kindness of others so much. Such generosity is new to her - and precious.

Conflict Response

This is potentially one of the most overlooked character components. Conflict and tension is central to story telling, yet there is so little attention given to creating authentic, original responses to conflict.

The way I see it, there are three main considerations in regards to conflict response:

How your character reacts in the moment;

The unhealthy methods they use to deal with the aftermath; and

The healthy methods they use (or discover) to self-sooth.

When faced with conflict, Maera's immediate reaction is to antagonise. She doesn't like to back down and enjoys creating trouble.

However, in the aftermath, the conflict affects her more than she lets on. She stews on it - and her solution to that is to get drunk until she can forget about it completely.

But even though she sometimes forgets it, Maera has a more healthy coping mechanism at her disposal. When she is surrounded by nature - in the forest, by the sea, whatever - it calms her.

In addition to identifying your protagonist's various responses to conflict, it is also helpful to think about why. Again, this is a great opportunity to insert something unique into their character backstory.

With Maera, for example, let's think about why she finds nature so soothing. Perhaps, amidst a very bleak childhood, one of her fondest memories is of picking grapes in a vineyard.

Perhaps the elderly woman who owned the vineyard was very rude and abrupt - but also quite kind to Maera in her own way. Maybe she would sometimes stitch up Maera's clothes or feed Maera a hearty, meaty dinner - even though she didn't have to.

If you're struggling to think of a real, tangible, unique memory such as this - then it's always helpful to go back to the old classic of write what you know. Think of a real life moment or memory - something that's stuck with you, no matter how simple - then adapt it to your character.

To create this vineyard example, I simply drew on my experience of picking strawberries with my Nonna after school.

Mentor / Idol

I could write an entire thesis on mentors. Or, more specifically, the "death of the mentor" trope - both in its literal and metaphorical interpretations.

But, for the sake of brevity, let's save that sh*t for another time and focus on what's important for a basic (yet complex) character template. And that is:

The Formative Mentor (past); and

Transformative Mentor (present).

The formative mentor (or idol) is someone who influenced your character prior to the events of the novel. Sometimes they're a character the reader will meet, or other times, they're long gone before the novel even begins.

The transformative mentor is a much looser term. It doesn't necessarily have to be a traditional mentor character, but rather it is a character who heavily influences or changes your protagonist throughout the events of the novel.

For Maera, I want her earliest idol to be a random female sell-sword who she crossed paths with. Prior to meeting this sell-sword, Maera was living without hope for a future, surviving on scraps and petty crime.

But after seeing an independent and moderately wealthy sell-sword in her local tavern, Maera got a glimpse into the kind of life that might be possible if she learned to fight. With the right kind of skills, she might be able to earn some decent money for a change - and travel the world.

This is an example of how "mentors" don't always have to be a wise wizard who oversees your protagonist's training and education. Young minds are impressionable - and even distant figures can have a lasting impact.

Just look at all the women who cite Legally Blonde as the reason why they were drawn to law. Elle Woods wasn't even real - but for plenty of young girls, she made an impact.

Similarly, your protagonist's "present" mentor or idol doesn't necessarily have to be a wise wizard either. It can simply be someone who motivates them to change their world view or strive to be better.

In romance, it is more than acceptable to have the present mentor coincide with the love interest - especially in standalone enemies-to-lovers. I know this seems counter-intuitive, since the word "mentor" implies a power imbalance, but it makes more sense if you readjust your definition of mentor to be "inspires change".

However, for Maera, I kind of like the idea of pairing her up with a love interest who shares some of her flaws. I vibe with the idea of making him a bit self-interested too, although for different reasons.

So in her example, I've listed the present mentor as a selfless secondary character. The way I would envision this going is Maera and the love interest team up early on - but somewhere along the way a secondary character saves them both. They're both heavily influenced by this character before this character sacrifices themselves. The aftermath of this incident rattles both Maera and her love interest, and serves as the spark for growth.

I hope you found this template - and very long explanation - useful!

[mllemaenad]

I'm ... assuming whoever wrote this doesn't care much for the idea that those who don't learn from history are doomed to repeat it.

There's so much that's odd here. The Tevinter empire already had its day, and it already had slavery and blood sacrifice. It also picked up its magic from the elven empire, in a time much closer to the fall of Elvhenan. So honestly it feels like "the Venatori" probably already have access to a lot of this stuff. Orlais, as the new empire, also has slavery and the only reason it isn't using a lot of old elven magic is because it specifically hates and fears magic (and even then, it's doing more dubious magical stuff than it will readily admit). No empire needs this specific compendium of knowledge to figure out how to oppress people.

But honestly, they've probably got a lot of it. The elves don't have access to a lot of this information because their civilisation fell twice. Their records were stolen or destroyed and they were forced into poverty and servitude. Even the Dalish, the self-appointed keepers of elven culture, only have whatever they could haul out of the Dales on their backs. Elven texts still exist – I still remember Kirkwall's Band of Three – they're just largely not accessible to the elves.

This could be a way for the elves to reclaim some of that information.

There will be stuff in here that was genuinely lost, though, because neither conquering civilisation had use for it – history, literature, religion, art – all things that would be valuable to the elves. Things that Tevinter and Orlais discarded because the elven civilisation was considered inferior to their own. The big, bad secret, that the elves once had an empire of their own ... well, that's already out.

On top of that ... this bizarre idea about the superiority of "ancient" knowledge. Look, ancient people were not stupid – at least no more stupid than we are – and they came up with clever ways of doing things. But we have largely built on their efforts to find even better ways. And even if some skill is genuinely lost, it can be rediscovered. It is not doomed forever unless you find the Secret Ancient Texts. This feels ... uncomfortably along the lines of "the people of Atlantis were real, were magic and were responsible for all civilisation!"

And there's this weird idea that knowledge could somehow corrupt the elves.

The story they've given the elves is deeply disquieting in several ways, but ... well, since this is what we have, we've got to live with it. But if the elven people got things "wrong", it was through a lack of knowledge. If the evanuris were "incorrectly" worshipped as gods, it was because the elves lost their history. Ignorance isn't some magic safeguard against error.

I know I've been making jokes about the "chatbot" but ... behind the chatbot is an encyclopaedia. Why on earth would you destroy that?

[cakepoppresent]

No. Just No. 2

Malolcm is SICK of everyone in his family. Why can't they be normal!! Luna lowkey just wants to be laid up with her man

Transcript Under The Cut~

[Andre]: I should just rip the bandaid off and I need you BOTH to listen to me. Dad has been lying for years and he was the reason I had to leave and disappear the way that I did. The reason why I started to reach out was because I didn't want to keep you in the dark anymore

[Andre]: The reason I left was becasue I was looking for our mom.

[Luna/Malcolm]: What?!

[Andre]: I found out she wasn’t dead after I graduated from high school. Dad lied and when I tried to talk to him about it he told me to drop it and never bring it up again

[Luna]: You want us to believe that...that woman is alive and well and what? Dad the reason she ran away?

[Andre]: That’s what I’d been trying to find out. I kept asking Dad about her and he kept shutting me down. I finally found out where she moved to but I didn’t realize Dad had someone watching my every move.

[Luna]: What did he do?

[Andre]: I didn’t realize Dad would do anything to keep her hidden. When I went to her home she was gone. The apartment was wiped and Dad was sitting there in the living room. He told me if I kept going down this path he would disown me. I told him he can’t hide her forever

[Luna]: But...why would he do that...I don’t understand

[Andre]: Their relationship wasn’t the best and I believe she was the one who ran away. I was finally able to find her again

[Luna]: You did?!

[Malcolm] Shut up. Shut up. Shut up. What the fuck are you even saying right now...The woman who gave birth to us is alive? Are you hearing yourself?

[Andre]: I know it's hard to believe I’m not asking you for your trust but I just wanted you both to know she didn’t leave because she was tired of us or not interested in being our mom...

[Malcolm]: Is anyone in our family capable of actually being responsible and not abandoning their family? Is this fucking genetics?!

[Andre]: It’s not that simple Malcolm. Of course, she didn’t want to just get up and leave but she had to. Living with Dad was a nightmare...

[Luna]: We lived with Dad too. It's like no one is thinking about me or Malcolm at all. Do you think it was easy living with Dad? How come you get and that...lady get to leave but we were stuck with Dad?!

[Malcolm]: Excuses! thats all I'm fucking hearing. Excuses!

[Malcolm]: You don’t get to sit there and spin this sob story about that woman and think we are just gonna accept leaving us as some sort of self-sacrifice you're making it out to be. At the end of the day you BOTH left and I don’t CARE why you're deciding to reach out now but you can fuck right off. Luna, You heard it we had a mom she left and Andre followed right after nothing else to know. Lets fucking go

[Luna]: That wasn’t what I was expecting but I agree with Malcolm. I...have some resentment for the woman who could leave her children with a man she didn’t feel safe with. You know where she is and I’m guessing you told her about us?

[Andre]: Of course but shes not ready yet to expose herself. The moment she tries to reach out Dad is gonna know where she is and shes...not prepared for that yet

[Luna]: I came here for you. I just wanted to rebuild a relationship with you Andre, not that woman. Let me be honest I don’t think I would want one either.

[Andre]: There is a lot I can’t say because its not my place to say it...but she does love you guys and she misses you everyday.

[Luna]: Unfortunately, I can’t say the same but I need to sit with this and make sure Malcolm doesn’t explode. We won’t be in the city until the new year so...just keep me updated okay?

[Andre]: Okay...

[year2000electronics]

And of course Super Paper Mario and 4. Convince me to give this game another try perhaps :]

4. …why you should choose to check out the world of this story and choose three gifs that should underline my point.

NOTE: i will be forgoing the GIF part and using pictures instead because every single GIF search result has been clogged up with mouth-breathers on the internet who have been arguing over whether SPM is good or bad and have been doing it in GIF form for years. don't believe me? search "super paper mario" on discord's gif search. you'll see it. you always see it.

oh jesus. see the thing about liking super paper mario is that there's a lot of SPM fans out there who really like the game but can't really connect a very important dot as to Why they like the game. (HINT: THEY PLAYED IT WHEN THEY WERE YOUNG AND ARE NOSTALGIC FOR IT SO THE FLAWS IT HAS IS WAY LESS FOR THEM, AND BY PROXY, ME.) IM self aware. i will never be able to hate the game, but i am incredibly aware that the gameplay can be fairly lacking sometimes. if the story doesnt already grip you, it probably wont ever be worth it to go through the gameplay. thats my bit. thats my piece.

(but then youll have people who see how SPM defenders dont like to critique it when it deserves to be critiqued and start going after stuff like "oh the story isnt even that good"? MAN WHY DID YOU BRING THE STORY INTO THIS.)

but i digress. the life of a paper mario fan is a long and hard one.

POINT THE FIRST. MARIO'S "EXPERIMENTAL" ERA.

you can argue that ttyd also fits this bill, and i think it does, but this is about SPM so im focusing on that. if the mario series has never really Gripped you or you havent really been a lifelong fan, i always think the gamecube-wii era of mario has been one of its more interesting moments. the switch renaissance has allowed a breath of creativity to come back into mario, and mario's allowed to be Weird again, but gamecube-wii mario is weird in a really SCUFFED way and i love it. the gamecube's flagship mario game was a LUIGI game where he cant even jump. super paper mario came out before mario galaxy or NSMBwii. that was our mario rep on the wii for a while. mario games get a little crazy, a little weird here. and so what you get is a more melancholic story about the end of all worlds, and exploring what it really means to be a hero, and the closest many games will get to acknowledging that the mario characters can have emotions that arent Perfect. its just such a fascinating era for such a perfectly-marketable franchise and i adore it. it's a testament to what mario can Be, for me. Mario Is Weird. say it with me now!

POINT THE SECOND. GOODBYE TO A WORLD.

i just really like the theme of All Worlds Coming To An End. usually in these sort of things, it's "save the world so the world doesnt end!" but in this game, it really feels like "the world is ending and you have to fight even to have a chance to succeed". it colours the tone of the game in such a fantastic way. many songs in the OST have a ticking clock in them. the inescapable void is even in the hub world. it's like the majora's mask of paper mario. many people talk this up but the fact that in chapter 6, you're beholden to the traditions of a silly king who REFUSES to believe the world is ending even when HIS ENTIRE SKY IS PURPLE, and youre trying so hard to beat this 100-man duel faster and faster, only for the world to end and then youre forced to go back into the chapter and see this GRAVEYARD. it makes it so much more tangible. THIS is what will happen if you fail. and this overhanging melancholy paints the themes of love so much stronger. it's not just a love story, it's a love story in adversity. love conquers all, but what is the "all" in question? well, this. bleakness. sometimes the bleakness is part of the love. sometimes you make a sacrifice in the name of love, and nobody likes it, but you know it must be. the whole game is actually a love story between bleck and tippi and it just grips me so. it's such a multi-faceted depiction of love and loss that it feels so much more real to me, that love isn't always the Magical Solution. love is a sword, a shield, a prayer, a wish, a curse, a blessing, an order, an act of cowardice, an act of bravery, a sacrifice.

(you see what i mean? i can literally only be talking like this because i grew up with this stupid ass game)

POINT THE THIRD. FUCK ALL THAT THOUGH LET'S TALK ABOUT THE BLECK MINIONS.

so, the whole kind of crux of this game is that it's a love story between bleck, the main antagonist, and tippi, your companion, right. if you can't flesh both of them out you're in a bad way. obviously for tippi, she's hanging around you all the time, and you get to hear her journey play out throughout the entire game. BUT WHAT OF BLECK? HE'S HIDING IN HIS CASTLE! how are we supposed to know more about him and learn his story if he is IN HIS CASTLE? well that's why after every chapter, there's this interlude where we CHECK UP ON THE BAD GUYS.

i blame this game entirely for my love of villains. this gang of baddies has so much quirks and personality that i find it hard NOT to love them. they're not just gormless minions of the count- each shows their own personality in their relationship with him. mimi has a puppy-love crush on him, o'chunks has a sort of warrior's bond with him, nastasia pledges herself to him and almost uses the minions she controls as a conduit for her dedication to him, dimentio is like a cat in a bird store, and mr l clearly isnt supposed to be here but i dont think he knows that. the minions bicker amongst themselves but clearly have a bond of cameraderie because it all feels like teasing of people who've known each other for a long time.

you fight each minion at least twice, and even though the lackluster gameplay kinda comes in full force again, you get to see so much PERSONALITY in these guys. mimi is super-bratty but seems to know most people would see her as a monster so leans into it, dimentio is playful and jovial while also having his own motives, o'chunks is bold and brash but asks you to finish him off the second time he fails, mr. l is cocky to a fault and reeks of insecurity. i just love having these guys we can always check up on. it's like lord crump but MOOOOORE.

and through a combo of you inferring things about these people and some of the Deeper Lore (flopside bar stories), you kinda come to learn that these minions were kinda manipulated by bleck when they were at their lowest. mimi is a failed creation of SOMETHING. o'chunks' men all died because there was a traitor in his midst. nastasia was saved from a cage by bleck. and the more you learn about bleck the more you see that he is a man grieving the woman he loved, apathetically trying to end all worlds so the pain would end. he lies to the minion, he says he aims to make perfect new worlds, and they believe him, and they love him, because he saved them.

this sort of birth of a relationship through bleck's pain and manipulation comes through by the end, as the love the minions have for bleck is a KEY part of the final act. and idk it's a bunch of deeply-hurting misfits binding together and accidentally finding love in a world they found loveless. i think thats really cool. i think THEYRE really cool. such an awesome cast of villains.

but yknow. again. this is my childhood game. the special feeling i have for it can't really just be put into words. it's my diamond in the rough and nothing can really change that. it's Home.

[gwenyundreiko]

I need to scream about Arcane S2 (spoilers for the whole season)

Alright, it's been 2 days since I've watched the end of Arcane, and I'm still in a bad mood over it, so I am going to scream into the void about it, and hopefully it will allow me to move on.

I do not like the second season of Arcane.

Season 1 ? Absolute banger, still love it. I love it even more after recently watching it a second time in preparation for season 2.

Season 2 though ? ... I will not go into the details (because I feel like I would need to rewatch it again to be more accurate, and I don't want to do that), so I am just going to write about how I feel about it now that it is over.

Season 2 has left me deeply unsatisfied, to say the least. I think this feeling comes from the fact that most characters' arcs look like they were either cut short, or didn't really go anywhere. This makes the entire story feel pointless; an undeniable marvel of aesthetics and animation put in service of nothing.

I could talk about a lot of the main cast, but I'll only talk about Vi, her relationship with Caitlyn, and the Zaun vs Pilltover theme.

First off : Vi, the character who fought tooth and nails for those she loved and always tried to do the right thing. Accepting responsibility for everyone who looked up to her... and got nothing for it in the end but pain. From the start of the serie, she is set up to be one of the protagonists, along with her sister and Caitlyn. Yet the story feels pervert in the way it insists to both :make Vi suffer without giving her any sort of confort or moment to express her feelings ; and make all of her actions be pointless.

In episode 8, when she says "I always make the wrong choice and lose everyone", we have to admit that from a narrative point of view, she is absolutely right. For the first time, Vi is self pitying. She's shown as vulnerable, doubtful, almost sounding like she's giving up by saying that all she ever does is useless or worse. This is incredibly out of character for her, and yet the story proves her right. Nothing she does matters in any meaningful way. She doesn't even contribute to the final battle : she gets stranded in the defence of the artillery tower (which turned out not to be a key asset in the battle), then go 1v2 Warwick with Jinx, and Jinx ends up sacrificing herself to kill it, but only AFTER the battle is over and all the narrative tension has calmed down. (Sidenote : yes yes I know it is hinted that Jinx is still alive, but still. Let's agree that it's in bad taste for a suicidal character's triumphant moment to be a reckless act of self sacrifice, independently of the outcome.)

Vi gets mistreated throughout the whole storry and gets nothing in the end despite her bravery and efforts. No matter how hard she fought, she still ends up separated from her sister and she still loses Vander. The only thing she gets in the end is a girlfriend with whom she basically had no tender moment since their breakup, making Vi feel like a rescue dog at Caitlyn's house, but let's talk about her relationship with Caitlyn in more depth.

I'll say this first : I love the sex scene. It's tender and passionate. It's a bit awkward, but in such a relatable way that it only makes the moment sweeter. It does an excellent job at showing us how the characters feel about each other. Taken on its own, it's perfect. Two people that love each other so much they just need to have each other right here, right now... I just wish their relationship around it was more fleshed out.

From what we get to see on screen, they get a really messy break up in episode 3, and then never interact again until crossing paths at the commune. In the meantime, Caitlyn has allied herself with Ambessa, declared martial law on Zaun and is oppressing it with the full extent of her legitimate violence... but upon seeing Vi again, she instantly switches side to go against Ambessa with a rushed plan.

We get absolutely no other insight into their emotions or thoughts at this moment. No scene to show that despite their conflicts and standing on opposite sides, there is still tenderness and affection between the two of them that could hint at them getting back together. Instead, Vi calls her a petname once, and it's done, no further convincing needed. (Sidenote again : this makes Caitlyn look impulsive and irrational, when everything that comes before shows us that she is smart, collected and patient. Here, she instantly abandons everything she was previously fighting for, even at the risk of putting her entire city in danger. This includes abandonning her vandetta against Jinx, which is the reason why they split up in the first place, but this isn't adressed between Vi and Cait ever again either.)

After that, Vi holds her accountable for her actions for the time of 1 dialogue.

Then they barely interact again until the jailcell scene. Hell, once the battle starts, I don't think the two of them interact AT ALL until the epilogue.

The lack of substance in the portrayal of their relationship makes this sweet and tender sex scene feel like a spur of the moment thing. An almost self-destructive action from Vi trying to scrape at any possible source of confort after being cut out by her sister. A good thing happening for the wrong reasons. (Mind you, a hate sex scene would have worked wonders in my opinion, but that's not what we got.)

So yeah, given all of that, I'm struggling to see how Vi ending up with Caitlyn is supposed to be a meaningful and happy resolution to her story, when this relationship is barely shown on screen during season 2.

Finally, let's talk about the Zaun vs Piltover situation : it goes nowhere.

An entire 5 acts showing us that Piltover treats Zaun like shit, turning it into a ghetto and leaving it to rot in its own misery . The promo campaign for season 2 teased us a revolution... and in the end, we barely see any change. The way the story resolves implies that now that Zaun and Pilltover have triumphed over a shared ennemy, they grieve together and make peace because they have learned that war comes at too high a cost, and Zaun gets to be represented by ONE councilor.

I'm sorry but either the show tried something and missed, or the show was just incredibly shallow from the beginning. This conflict was set up from the first second of the show by having the main characters be orphaned by cops in a popular uprising which only looks more and more justified as we learn more about Zaun. That is to say that Topside doesn't care about Zaunites. From what we can tell, Heimerdinger has been leading the city for 300 years, and he discovers just now that Zaun has problems ?? Piltover prides itself for being the city of progress and equality, while exploiting the misery of the people that are LITERRALY BENEATH THEM. It's the final shot of THE FIRST SCENE IN THE SHOW, the topside people are sitting ON TOP of Zaun, reaping the benefits while throwing their wastes at them.

I think there's no better illustration for how Piltover considers Zaun than the scene where Jayce announces to the Council that Silco has demanded independance. All the councilors lose their shit. They are OUTRAGED by the demand. Clearly, Piltover considers Zaun its property. People to exploit, whose need and misery they can ignore, and ultimately, a problem to be solved through the police by having them arrested/beaten up/killed.

So either the show was indeed trying to tell a story about class struggle and oppression, and failed to deliver a satisfying conclusion; or the show was only interested in the appearance and flavor of class struggle only as a vessel for the cliché of "the cycle of violence". Which hmm, yeah it's 2024. I don't think anyone needs me to write an entire section about the necessity of fighting for human rights and resisting oppression.

I could have talked about how pitfighter Vi was 60% of the promo for Season 2, and yet was done and gone in a minute, which was also what we got with the promo, or how a French animation studio decided to call an independant, pacifist and egalitarian community " The Commune" (if you know you know); I could have also talked about Jinx's character, and how the show portrays her self healing from her devouring guilt, but I'll stop rambling here. I hate that I have wrote this, because I don't want to spread negativity. I'd rather spend this kind of energy on things I love.

The thing is, I really really wish I enjoyed Arcane season 2, because season 1 means a lot to me. Vi's character awakened something in me. It is representation I never knew I needed and it changed me. I know this sounds silly. It's only a fictionnal story after all, but it helped me grow into a better and more hopeful person. In the end, I just feel like season 2 went too far too fast, and left me behind to try and pick up the pieces of my expectations. If you've made it this far, I sincerely thank you, and I hope you have a beautiful rest of the day.

[oblivionax]

I played Hogwarts Legacy twice now and I realized something about the characters (especially Sebastian) that I need to talk about.

The first playthrough I was charmed by Sebastian. But during the second one I've noticed something was off about him and the way he spoke. Then it struck me — he's a manipulator.

His obsession with finding a cure for his twin sister may come off as adorable and selfless, but after giving it some thought (quite a lot of thought, actually) I came to a conclusion that even this desire of his is selfish.

How? Well, it appears that he views Anne as more than a sibling — as his twin to him she's an extension of himself. A part of him. He feels incomplete without her by his side hence why he wants her so bad back in Hogwarts. Remember how she said she was okay with staying in Feldcroft (save for goblin raids and Sebastian's feud with their uncle)? She might not miss Hogwarts as strongly as Sebastian claims to the player, trying to get their help and appeal to their feelings through pity.

But does Sebastian take into account what she wants? It doesn't seem so. She said so herself, she feels there's no cure to her condition nor does she want for the Dark Arts to be involved. Yet, he gives her no choice, because he's certain he knows what's best for her. After all, she's his twin. The way he had pointed out this fact on more than one occasion demonstrates how important it is to him. Plus, he seems to be of a quite high opinion of himself, he could as well love Anne mostly because she's his female self. Mayhaps he doesn't really want her cured purely out of love for her — first of all, he wants her with him.

Sounds quite possessive and unhealthy. Wait until I remind you it's 1890s and (even if the developers apparently did not aim for historical accuracy) if this world is anything as it was in the actual Britain at the time, then it makes sense why Anne doesn't speak up for herself and is rather passive. You may have noticed how both Solomon and Sebastian seem to take decisions concerning her without even asking her opinion. Well, back in Victorian England it was normal, because a woman's fate was decided by her eldest male relative (father, brother, or, in this case, uncle) or a husband. It also may mean that Solomon did not take his nephew and niece in out of goodness of his heart but because he had to by law.

Now, yes, the story seems to try and show Sebastian killing Solomon as something he did not think through, but if their society functions like irl Victorian England's did, then... Sebastian basically eliminated a rival and now gets to decide Anne's fate however he pleases. Yikes! Intentionally or not, that'd be a chilling detail. I don't imply it's canon, but it does make some sense in its own way.

Sebastian shows deep remorse about killing his uncle, but does he really feel it? If the player chooses to learn the Unforgivable curses, Sebastian states that "your intention must be clear" and "you must mean it". Then he literally says about the murder of his uncle that he didn't "mean it". An interesting word choice. Does not look like an accident to me.

As a manipulator, he flatters, he lies. He lies a lot. Not necessarily maliciously, because he might just also be lying to himself to twist the truth and feel better about it. During my second playthrough I've found myself no longer believing what he says. He's a cunning and ambitious individual who's ready to do anything in order to get what he wants. And that's exactly what he does. Even with his best friend Ominis Gaunt whom he occasionally uses. He said he always has his way with disciplinary matters. Might as well be his charm and/or Ominis, whose father happens to be friends with the headmaster.

Now, about Sebastian's charming exterior. He can charm his way into anyone's heart but his uncle's. He can convince them to do whatever he wishes. He has a calculating strategic mind, choosing his words carefully and making sacrifices to meet his ends, like when he doesn't reveal to the librarian he wasn't alone in the restricted section and when he shows the Undercroft to the player. He likes friends who are in his debt. Of course he does, because he can use their trust later. Perhaps to him people surrounding him are but chess figures on a board.

But oh, how his façade crumbles in those rare moments when he struggles to achieve his goal! Pretty much like Lord Voldemort. Just think about it, he kills on instinct because his uncle destroys his last hope to get back his sister beside him. And he objects against him "taking away" Anne, saying that he "can't" separate him from his twin. The word choice makes it clear how possessive and determined he is about it. When speaking of Anne he stated "she's unwell", but "she's going back to Hogwarts soon". As if Anne's fate really depends entirely on him.

Those were but my own speculations, do feel free to share what you think, whether you agree or not and why. Once again, I'm not saying it's canon and I'm probably digging too deep, but I had to get it out haha. So here we go.

Have a great day and thank you for reading me! Looking forward to reading your opinions!

[block-tales-playerswap-au]

oh chaaaaatt...

welcome to the Block Tales Playerswap AU! a lot of information on this AU comes from my main blog, @inkedover! this blog will ALSO follow the timeline of the quotev PS fic, so wherever the chapter is currently stopped is where the blog is chronologically.

and the aforementioned quotev fic would be here.

Currently:

Asks/Roleplay inbox for EVERYBOOOODYYYYY are OPEEEENNNN!!! If a character isn't listed feel free to shoot an ask to/about them anyway, this is a celebration after all!!!

General Location:

Somewhere in Blackrock/The Dream World.

RP character statuses:

Player: Oh dear Roblox I just stole from a child.

Hatred: Annoyed at having to run away with its tail between its legs.

Greed: I WANT MY SHINY THINGS AFDJEIJSKSOEO!!!!!!!

Solitude: What a great way to self-isolate!

Fear: WE'RE NOT OKAY

Red Noob: Absolutely struggling right now.

Blue Noob: Frostbite. And also permanent damage due to frostbite.

Benevolent King: …does anybody have ibuprofen? My head hurts…

Rockstar: Please let this be a normal 'save the world' situation…

Mayor Thaniyel: This is the third major event this year…

Woodsmen: Wondering why music man is bringing his dad to the Sacred Hollow.

Noobador: STOP SHOOTING AT ME.

down below is a synopsis of the story and the plot so far!

this will also include currently not in use tags. actually this just includes the entirety of the tag directory now.

warning, long. .]

Something is deeply wrong.

Something is new. Something that's not supposed to be new.

Following Red and Blue, they see their Uncle Shedletsky dueling against somebody.

Right as Shedletsky gains the upper hand both kids watch in horror as Shedletsky is struck down by his aggressor. A wave of chilling malevolence washes over them as the Player leaves, leaving Red and Blue to contemplate what had happened.

…this day…Blue Noob can swear she remembers it playing out differently. In fact, she can recall the fact that this day isn't supposed to go like this at all-...

Red snaps and begins following the Player. Blue can only helplessly follow as her brother traces the bloody path of the Player, only stopping when a mysterious figure sweeps them up into a surprisingly warm embrace and brings them to safety in the Ye Olde Inn.

Meanwhile, Player is having a mental breakdown. The voices they hear in their head...they were loud. Incessant. They wanted more. They wanted everything.

It doesn't matter what sacrifices needed to be made to achieve these goals.

Aaaand story stops about here!

all tags currently:

Red Noob: #raring red (general character tag)

Blue Noob: #bashful blue (general character tag)

Benevolent King: #frigid crown (general character tag)

Player: #persistence leads you forward (general character tag)

Hatred: #the hatred from within (general character tag) and #"Builderman?" (disguised tag)

Greed: #the greed that drives you forward (general character tag) and #$hedletsky (disguised tag)

Solitude: #the solitude that holds you back (general character tag) and #Mr. Cassel (disguised tag)

Fear: #the fear that holds you down (general character tag) and #Nighteyes (disguised tag)

Rockstar: #Your Sorry Superstar (general character tag)

Mayor Thaniyel: #Guardian of the Venomshank (general character tag)

Woodsmen: #The trees are talking?! (general character tag)

Noobador: #Coming in with the steel chair!!! (general character tag)

Kyoko: #The Therapist Friend (general character tag)

Green Noob and Purple Noob: #green thug and #purple noob (general character tags)

[riveracheron]

eh. might as well post this now. a few of these are wish fulfillment rather than actual theorizing but explanations under the cut

i have an alchemy hyperfixation and all the alchemy stuff in tmagp makes me very excited so a lot of my theories are related to that

spoilers for the pilot btw

main character gets an eye injury - the image will not leave my head. in the magnus institute ruins statement there was this whole thing about redcanary having some kind of encounter with or experience with eye trauma and that feels like something thats just. gonna come up again

another mechanisms va - self explanatory, we need to complete the set. would love to hear kofi or rachel.

gwen has trauma related to something that happened with elias - this is going on the theory that she’s not elias’ counterpart, but a relative of some kind. something spooky happens to him and that pushes gwen to research the paranormal.

character referencing nicholas flamel - all the main characters have names that reference alchemists, and nicholas flamel is probably the most famous alchemist of all time. i doubt he’ll be given the smirke treatment because that kinda already happened with the transphobic wizard books, but someone could be sharing his name.

mag 114 statement is relevant - thats the. hill top road statement that deals with other realities, and anya (the statement giver) could be from the protocol verse. we could totally hear about the aftermath of her departure

alice/sam/gwen = three primes - the three main alchemical symbols on the OIAR crest, and a good sort of symbolic trio sorter. the three peimes are salt, sulphur and mercury, and are the basis for alchemy. the down to earth, reliable salt, the firey, unpredictable sulfur, and the adaptable, easygoing mercury. i think these could apply i just want to have it called out in universe

lena is a good person - i don’t think they’d pull the evil boss thing twice. i just think lena’s weird mannerisms are from her autistic swag

celia is related to or is agnes - (related to as in. her story involves agnes, not that shes like. a sister.) this comes from a theory by @/pinklotjeart, i think. basically: through the way her death was described (spark returned to the lightless flame) and some timeline discrepancies and general avatarness making it weird, agnes might not be Dead dead. and celia’s counterpart, lynne - well, she saw a fire ghost. also, both her and agnes are the only non one-off characters who have shakespeare names afaik. agnes MONTAGUE, celia from as you like it…

annabelle cane is related somehow - self explanatory, she was at hilltop road when everything went down. might have been pulled in.

a famous alchemist is robert smirke’d - self explaining, give me more canon historical figures jonny

another kitty cat - i want more kitty in podcast is that a crime

augustus is not jonah - we hear jonah’s voice as ben meredith in 193, so im skeptical that tim fearon’s character is jonah for that reason.

oiar group has a messy moment that devolves into actual physical violence - mmm angst i think they deserve to smack eachother around a bit

bonzo cult - yeah.

oiar found family - we got the group of coworkers that hate each other angst last time gimme the “hurting one to get to the others” and self sacrifice angst this time

colin dies early - mmmm i cant say much about this bc its based on one throwaway line at the MCM panel where jonny doesn’t mention colin in the main character group. so . death flags.

oiar is containing the entities scp style - this was a super early theory of mine, either this or theyre using them for power or energy in some way. even more heavy handed capitalism metaphors yay

someone gets ushanka’d - its computer horror: the podcast. that’s all

cookbook statement - a few clues in the ARG had to do with cookbooks, and alex and jonny have already said they’re getting weird with the statement formats (they mentioned an insurance report!) so. cookbook doesn’t seem too far-fetched

tiktoker/influencer character - archives was 2010s and they had a podcaster and youtuber, which were like. the big things. whats the hip trend now??? instagram and tiktok baybee

protocol editors va a small role a la mag 100 or the wtgfs cult - those characters were voiced by other rq team members (ie helen as laverne and martyn as robin) and the team has since expanded!! some editors dis stuff for cry havoc, so im guessing nico, annie, april and others will get a small role!

a villain’s goal is creating the philosopher’s stone or other alchemical thing - tmagp is heavily inspired by alchemy, and the philosopher’s stone was the main goal of alchemy!! it would grant you eternal knowledge snd the ability to turn lead into gold- which seems like a good. evil dude’s ambition

the desolation gets more focus - the institute burned down, the oiar crest has a lot of sulfur symbols (the fire element), alchemy as a whole having to do with fire, celia and her connection- it paints a very. lightless flame picture

trip to germany - a lot of the arg was set in and around berlin, and there was that exchange between sam and colin about german in the pilot! i could see a germany trip happening in the same way jon took a trip to china and america.