#i just think there needs to be a discussion on how big a role grief is for her

[bokettochild]

I cannot BELIEVE no one told me we had an update!!!!!

Anyways, here's my favorite bits as always, because I need to SCREAM about this one!

The rupee acquisition!

I love how JoJo included that traditional *item acquired* pose that all the Links do, and gave it a reason in the comic (Wind insisting he hold it up is just so fun)

Sky's comment though, "don't spend it all in one place". Isn't that a line you get in Skord when you acquire rupees? The cute little easter eggs here are so fun!

I also really love how Legend is taking an instructional role here, both with Wars and the champion!

While also letting his veteran show

and I love that the rest recognize that! Wild calling Legend "an expert" and actually listening to what he has to say, even if he doesn't agree with it.

I also super like the panels of Twilight's interaction with Legend here

Very eldest and middle sibling discussing the youngest child, and I love it. It reminds us that, even for all the cuteness we got between them in the last arc, Twilight still sees Legend as too rough around the edges, enough that it borders on bullying when it comes to some of the rest, and he's trying to curb that. And Legend is LISTENING, because (as I've said a thousand times) Legend respects Twilight and values his opinion. Twilight is his big brother too now and Legend, while still being himself, genuinely seems to care about his opinion.

Twilight's just tense in general, although why, I think is mostly because of Time's sharp scolding in the last update. Even though he's snapping back at the younger ones, he's not very happy to be snapped at right now, and he's eager to get out from under Time's watchful eye.

Time and Warriors

Because while he feels e has grounds to correct Legend for telling Wild what to do, Warriors straight up subtly scolding his protege is different. And the difference is that Legend and Wild and Twi had camaraderie (see Dawn p.3), they're brothers, but Wars is approaching this as a commander, a captain, and Twi doesn't appreciate that. Warriors isn't their leader though, but he's taking that role anyways. (Old habits die hard, I'm sure)

I mean, we all knew Wars was going to confront Wild sooner or later, but I'm glad he was so calm about it. Twilight's ruffled feathers (fur) is more from Time being overbearing, I believe, so it aggravates any slight annoyance Warriors might present.

Even despite some of our suspicions earlier, I like this bit here. Wild was a soldier once, and the captain is very much the image of what he would have worked with before. JoJo mentioned wanting to play with that dynamic, with them bothering having military background, and I think this is that training (hundred years ago though it was) kicking in and making the champion defer to the man who outranks him (as far as they know). Granted, they all call Wars "Captain" but this felt pointed.

I do love Four acting as the word of wisdom here, advising Time, just like he does Twilight, as to the best way to handle a team. it's a reminder that he's done this before, and he knows how teamwork can be, but also that sometimes you need space and working together means working in different areas.

Anyways, here's a couple bonus things that make me happy!

Bunny stance!

(shh, I know he's making a point by stepping on Wild's toes, let me have this)

Wars being so freaking pretty! Dear Hylia help me! (Is it wrong I understand Cia a bit now?)

Wind being the youngest sibling who is Done With Your Chatter

A competent boy being competent (and not as experienced as Ledge, but pretty darn close (if you've played both their games you know))

Showing off items! (I can hear the little ✨da nana na✨)

And of course, I love Time being a tired, overprotective parent (he looks like my mom here, good grief!)

[appleflavoredkitkats]

finally, after a gruelling one month, sonic 3 released in the philippines. i have Finally watched it, and even if it’s been only a day, i have a Lot to say about stobotnik— not necessarily from the movie, i feel like we discussed that enough, but moreso what i hope to see for stobotnik in future movies.

for the past weeks before i watched sonic 3, i read up on people desperately wanting villain!stone for sonic 4. this seems to win the popular vote on what should happen with stone next movie, and as someone who wanted stone to go batshit as well, i definitely liked reading all the different ideas for it. BUT, and this is a big but, i do think there needs to be more considerations when it comes to stone if we do want to see him as such.

for starters, a popular take is that stone should cope with grief Badly, which makes him vindictive of the main team. while i think this is funny and has a lot of merit for fanwork, i do think this risks repeating the themes of sonic 3. particularly, the entire movie IS about grief and how to cope with such, about shying away from revenge as a foolproof way of responding to grief. not to say that stone wouldn’t cope well, but i do think, narratively and thematically, it would be smarter to move away from a movie plot that literally has been done.

i genuinely wouldn’t want the movie to end with another “i shouldn’t do things out of revenge!” since we literally Saw that. moreover, i think we need to give more merit to stone and robotnik’s relationship that stone would understand the nuance and meaning to robotnik’s final sacrifice. of course that is a tall order, especially considering the sudden grief, but i think we forget also how dedicated stone is to robotnik. he WOULD respect and do what he thinks robotnik was trying to impart in the last scenes. not to mention as well, stone has no reason to target the main team in particular when he explicitly mentions in the movie that this plan was dangerous because of gerald, NOT sonic.

but. i DO think there could be a way we can have villain!stone in the next movie, because i do think he could play a narratively antagonistic role. i’ve been arguing that the next movie’s central theme could potentially be related to identity, especially since we got metal sonic and amy being introduced. if stone assumes a villainous role (and possibly created or activated metal sonic), i think he should be doing it not because of grief, but rather he wants to assume the legacy the doctor left behind. because, well, who is he if not robotnik’s henchman?

if he gets “revenge” or attacks sonic again, i don’t think it should be out of revenge. there should be something logical to it, possibly some conflict i can’t foresee, but it should have something to do with stone going, “well i think the doctor would do this, so i’m gonna try my best emulating such”. i know it sounds very similar to the “think about maria” plotline, but my take is that stone, again, isn’t doing this for vengeance, but moreso objectively tries picking up what robotnik left behind. (which, he would. of course he knows what the doctor would want.)

this especially can distinguish itself from sonic 3 IF the end of his arc would tie into identity, about stone figuring out what he himself would want independent of robotnik. this also ties in well with metal sonic and amy’s presence in sonic 4, because on one hand, we have metal sonic, which is self-explanatorily a “better” version of sonic. not only does sonic have to examine his own identity, but imagine if metal was made in service of either stone or GUN, and gains sentience and wants to be their own person. isn't that just a neat parallel to stone? then, on the other, we have amy, who is written originally to be whatever the opposite to a bechdel test is. of course, amy’s developed to be so much more, but i think it would be interesting for them to tackle it explicitly in the movies, whether it is through amy undergoing her own conflict or amy being the person who helps the others realize what it means to be their own person.

all to say, villain!stone shouldn’t be a grief allegory but an identity one. the line is very thin, but i think it’s okay as long as the underlying question is “who am i without robotnik?” and not “what should i do to avenge his death?”.

(also, had the idea that if stone build or helped build metal sonic, imagine if he also tried making a robot!robotnik haha as if haha)

another consideration i had is that, if stone only plays an antagonistic role, meaning he isn’t an active villain but merely an opposing force against the team next movie, i think it should come from some sort of misunderstanding. this definitely has to include GUN in some way, because i feel like rockwell was underutilized, and the weapon in the sky thing was definitely not addressed. perhaps stone’s evil plan ISN’T to hurt the main team but rather abolish GUN, but GUN employs and tricks the main team to think stone is doing something villainous against them.

if this is the case, i do think another central theme to consider is the entire megamind nature vs nurture debacle, what does it mean to be a good or bad person? one way i can see them going about this is the team questioning why stone is so down bad for robotnik, only to reveal that robotnik’s more nuanced that he is, which only stone understands because he identifies himself in robotnik (thanks lee majdoub). this also ties in well with metal sonic defying his original purpose, but i am not quite sure how amy ties into it but it’s not impossible to connect her to this plotline anyway. shadow could potentially have a role in this too, of what it means to do good after all he did wrong.

also hoping this movie ends with an anti-military moral. like everything is nuanced except the military <3 the military is what caused both gerald and robotnik to go batshit so.

and oh god stobotnik, okay i’ve gone so far talking about stone without talking about stobotnik, but i have two suggestions, especially considering jim carrey’s possible return: he is dead (with emotional considerations), or he is alive (with domestic considerations). hold on let me explain.

i will. absolutely hate it if robotnik turns out to be alive if and only if it’s shown at the beginning of sonic 4, and he assumes the role of main villain again. we've had ENOUGH, we already got to finish the entire 360 for his arc and what a shame it would be if he returns with the importance of his sacrifice to be taken away. yes, i hate that robotnik died as a person who loved him, but also his death is is really good story and writing-wise.

i think. i think if he comes back to life, it needs to be done 1.) at the end of sonic 4, and 2.) to conclude the stobotnik storyline once and for all. considering the suggestions i previously made, if robotnik were alive, i think it would be a more powerful punch if stone meets robotnik AFTER his own character arcs, and they come back as two wholes. after, i don’t think we shouldn’t see stobotnik again for future installations, but considering there would be 6-10 sonic movies i think it’s important to at least lay off making stobotnik the main villains or at least side antagonists for a while. i think they could have little cameos at least, possibly helping the characters or trying their best to acclimate to domestic life. you choose!

but if robotnik were permanently dead, i do think his appearance in a future film would be a flashback or memory, of stone remembering a time where he and robotnik were doing something that made stone realize how much robotnik loved him. something more intimate, something with the expected goofiness but with underlying tenderness. perhaps he left a final video message, perhaps there’s a scene which is very steven universe rose’s scabbard-esque (if you know you know).

also, this isn’t even considering the possibility of a into the sonicverse or time travel type scenario where there is a possibility of bringing robotnik back from other dimensions, because that in on itself is such a big plot possibility with a lot of implications for other characters that i won’t entertain it for now in this post. but it is definitely possible!

i’ve also considered the possibility that… maybe stone and robotnik wouldn’t appear in the next movie too! which. i’m not against if they bring it up in the fifth movie instead, because i delusionally believe silver and blaze will get introduced and that opens a whole can of worms for what other stobotnik possibilities could exist. 

but anyways those are my main thoughts, feel free to add on if you’d like to. i just needed to rebut all the “stone should be a senseless villain against sonic and team next movie” ideas. but you’re free to explore that anyway in fanwork lol, i think it’s fun.

[callsigns-haze]

Loves Haze

Eris x Rhysand's Sister!Reader

Summary: When the finally memory hit, the acknowledge of Eris and Y/N being alive only started a new legacy.

*can be read alone but serves as a sequel with my series Memories fade

Back to beginning

Summary: Y/N wakes up from the dead, overwhelmed by confusion and grief, learning about her miraculous revival and Eris' survival, breaking down in tears as the nurses comfort her. She prepares to reunite with Eris and face their new beginning.

Lock it in

Summary: Y/N and Eris solidify their bond through an intimate meal, leading to a passionate night that deepens their love and connection. In the quiet of their cabin, they find solace and joy in each other's embrace.

Right part

Summary: Eris and Y/N bask in the serene night, discussing their future children under the stars, their love and dreams intertwining in the tranquil embrace of their shared future.

Morning surprise

Summary: Eris and Y/N share an intimate morning, deepening their bond and reflecting on their future together. Afterward, Eris tenderly cares for Y/N, emphasizing the depth of his love and devotion.

Baby Spark

Summary: YN and Eris welcome their newborn son Finna into the world after a long and arduous labor, solidifying their bond and vowing to give him a life filled with love and joy. Despite their hidden existence, their family's strength and unity shine through as they cherish the beginning of their new life together.

Lucky

Summary: Y/N and Eris experience their first night home alone with their newborn son, Finna. As they navigate the challenges of soothing their baby, they share playful moments and deep affection, ultimately finding comfort in each other and the new addition to their family.

Not like him

Summary: Eris juggles his responsibilities as a leader and a new father, struggling with memories of his cruel upbringing. Overwhelmed by self-doubt, he fears becoming like his father, Beron. With the support of his advisor, Borra, Eris finds strength in his bond with his son, Finna, and reaffirms his commitment to his family.

Ace of the aces

Summary: Eris wakes up alone, realizing Y/N has taken their son, Finna, out for the morning. As he starts a fire and picks up a book, he drifts back to sleep. He wakes to Y/N and Finna returning home with a new hunting hound puppy, bringing back memories of his own twelve hounds from childhood.

Little guard

Summary: Eris attempts to put Finna down for a nap, only to have Ace bark in protest, showing his desire to stay close to the baby. Eris and Yn watch with affection as Ace settles into his role as Finna's protector.

An outburst of a spark

Summary: Eris and Y/N discover their son Finna has powerful magic after a dramatic outburst, leaving Eris panicked and uncertain. Together, they resolve to support and guide Finna, reaffirming their bond as a family.

When the stars fall

request: I feel like we NEED to see how do they celebrate starfall as a family! I would die to see Eris with baby Finna trying to make everything perfect for Y/N as she definitely misses starfall with her brother. I feel that Eris would do everything to make it perfect!!!

Baby traitor

Request: I would love to see Finnas first words and I think it would be hilarious if his first words would be the dogs name instead of dada and Eris just loosing his mind lol

Another?

Summary: During a late night adult time a big statement is dropped

The gain of loss

Part 2

Summary: Y/N and Borra venture into Valkyrie ruins to find training scrolls for Finna, only to encounter the Inner Circle and feel a sudden, intense pain in her lower abdomen. Borra quickly winnows them back home, where Y/N faces the unknown cause of her pain, determined to protect her family.

Rest now my love

Summary: Eris cares for a bedridden Y/N, ensuring she rests following their recent loss while balancing the needs of their baby, Finna. Amidst their struggle, they find solace and strength in their unwavering love and support for each other.

Happy 1st spark

Summary: Finna turns one and Eris and Y/N need to make it special

So he did it?

Summary: Y/N returns home after a difficult visit to the healer, burdened by the news of how magical force fields had impacted her pregnancy and her diminished chances of conceiving again. Eris greets her with concern and support, creating a moment of quiet solace as she prepares to confront the heavy truths ahead.

Puppy litter

Summary: Eris discovers that Ace, their loyal hound, has fathered a litter with a pregnant female dog. They decide to name the dog Charlie, and Y/N introduces their one-year-old son, Finna, to their new family member. Despite Finna’s adorable attempts to say Charlie’s name, Ace remains fiercely protective of his new companion, signalling the start of a new chapter for their growing family.

Happy birthday Star

Summary: Y/N's birthday has came upon the household and Eris and his son will do everything to make it perfect

Water Baby

Summary: Eris and Y/N enjoy a perfect day by the lake, playing with Finna

Goodbye

Summary: Y/N struggles with the emotional weight of leaving Eris and Finna for a year of intense training, leading to a tearful and comforting night in Eris's arms.

Loves separation

Summary: Once they are separated the family finally understands its worth

Welcome home

Summary: The family is finally back together

Round two Baby

Summary: Eris and Y/N confront their fears and embrace hope as they learn of Y/N's new pregnancy, vowing to face the challenges ahead together.

Sequel

Tagging some who may be interested:

@callsign-magnolia

@kmc1989

@hardballoonlove

@senawashere

@hookslove1592

@marvel-molly

@lucky7rosie

@daughterofthemoons-stuff

@lilah-asteria

@crossfandomslut

@pit-and-the-pen

@inky-sun

@the-sweet-psycho

@why4anne

@bunnyredgirl

@rcarbo1

@pandabiiissh

@adalia-jaycee

@marvelsmylife

@swiftie-4-lifes-stuff

[theofficialpresidentofmars]

the long awaited alcoholism in hamlet post! with special thanks to the undertale ball game for pissing me off so badly i needed to make this to take my mind off it.

anyway before we begin disclaimer and tw there will be discussions of alcohol, substance abuse, suicidal notions and all that good stuff that comes with discussing hamlet. onto the post

The basic idea of this take is just that Hamlet copes with the death of his father by developing a nasty drinking habit, that while he’s able to mostly overcome before the actual events of the play, we still see the tail end of and how it’s affected the other characters. The only actual specific staging this would require would be for Hamlet to drink a little excessively in one scene, and the rest is implication. It’s also an exploration of the tragedy of Hamlet’s mental health in a time where, any scholar of the play will mention, they didn’t really have a lot of knowledge about all that stuff.

As the play clearly demonstrates, Hamlet is a real big overthinker. He’s the kind of guy whose thoughts run a million miles an hour, and so in the wake of a terrible tragedy such as his father’s death, being a young man in a castle with easy access to excessive amounts of alcohol, he could easily turn to its depressant properties to numb the barb and take the edge off his usually sharp mind. And given the extent we see he’s grieving, it wouldn’t be implausible for this to quickly become a dependency.

The people in his life who care about him would be very concerned about this, especially his mother and Ophelia I’d imagine. Alcohol is something they understand, and they know the dangers of overconsumption, and given its role as a depressant it would be incredibly sad for them to watch their beloved prince lose himself, his quick thinking, his sharp wit, his charisma and charm, all those brilliantly brainy characteristics, to the numbing tendencies of the bottle. They’d be watching the person they knew and loved deteriorate before their eyes, shortly after the death of his father.

Hamlet’s not an idiot when it comes to the dangers of drinking, he knows it’s terrible for him, but at the same time there are days where he’s hoping the poison in his cup were one that worked a little bit faster. Eventually though, he decides to stop for one reason or another, although it’s likely that Claudius’s own excessive drinking habits from his partying (with none of the caution that even Hamlet exerts) disgust him enough to wean him off the taste a little bit. As we approach the events of the play, he’s managed to get his drinking mostly under control, and his loved ones couldn’t be more relieved. For a moment there, they were worried they’d have to watch the man they loved spiral into something nigh unrecognisable.

Come the events of the play, and when Hamlet is introduced in Act 1 Scene 2, he’s just a little bit tipsy. Not massively so, but just enough to get him through another session of court. His mother and uncle feel comfortable enough to tell him to his face to stop grieving (because he’s stopped drinking, which means the grief must be lessening, right? that’s how it works?), and Hamlet takes to it exactly as badly as he does in the play. After everyone leaves, Hamlet finds a glass of something somewhere and downs it (because tipsy wasn’t enough to handle that shitfest) and starts emotionally and vaguely drunkenly monologuing about how he wishes he could kill himself and all that.

Horatio shows up, and Hamlet is thrilled to see him, and despite the fact that the feeling is mutual, Horatio has been warned about his friend’s habits and is a little put off to see the state Hamlet’s in- especially when Hamlet jokes about that he’ll ’teach you to drink ‘ere you depart’, to which Horatio is visibly disappointed. Hamlet picks up on this and is a little ashamed by being caught this way, and so when he shows up next in Act 1 Scene 4 he is fully sober; and even throws in a comment or two about how much he dislikes the king’s traditions of excess drinking and partying. Just so Horatio knows he’s not actually a fan of it, and all.

After Hamlet sees the ghost of his father and is spurred to his revenge, there’s no reason for him to drink anymore- how can he, when he needs his mind clear to enact such a plan and why should he, when he’s just unlocked the one coping mechanism that’s possibly worse?

Over the next two months, the castle is happy to see that Hamlet seems to be cured of his ailment- in terms of drinking at least. He’s gone a little loopy, but maybe that’s just a phase while he gets over the dependency and if it is, then it’s surely preferable and a good thing, right?

But as we all know, it only gets worse from there.

Ophelia is the first to have it hit home. Hamlet’s maddening behaviour is both confusing and hurtful, and by the events of Act 3 Scene 3, she doesn’t know how to feel anymore. She saw Hamlet through the worst of his addiction, she watched as he spiraled into confusion and a slurred slowness, and she thought that it was the worst thing that could happen to him. When he stopped, she was so happy, because she thought he’d come back to her- but now it seems like in its place has left something worse. Hamlet is back to his quick wit and sharp tongue, but now those once charming traits that she was so in love with have been turned against her wholly, being used to embarrass her and demean her publicly by a man with the face and eyes of the one she loved but with a cruelty so new and painful that it makes her sick. And the worst part is, before she could put a finger on the problem. She knew it was the fault of alcohol, and she knew it wasn’t him, and she knew it could go away.

But this? She doesn’t know what this is. She’s watching the love of her life unravel into an entirely different person and she has no idea what’s causing it. When Hamlet was drunk, at least beneath the exterior she could still tell he was in there, and his heart and love for her were there too. But this? It’s like a genie took her wish to have what Hamlet had lost of himself restored and twisted it so that it was all he had now. The exterior is back, but she doesn’t know that he loves her anymore. And she’s confused, and frightened, and sad. (She doesn’t yet know that she sat next to the man who would kill her father, but if she had known, she might have gone mad with the knowledge.)

Gertrude is the second to have it sink in. Hamlet’s drinking broke her heart, and when she found out that he’d stopped she’d been so relieved.

And now there’s a dead man on the floor, and her son is proclaiming that he’s seeing ghosts, and the worst part about it all is that he’s completely sober.

There’s something very wrong with her only child, and it terrifies her that she doesn’t know what it is beyond madness. And madness has no cure, not like drinking does, and she would never wish her son drunk again but at least when he was drunk he was predictable. At least he was drunk he’d never murdered anyone. And Gertrude once considered watching her son lose himself before her very eyes to be among her greatest fears, but now sitting upon her bed in a trance, she’s struck by the sudden and horrifying thought that she didn’t even see it. That he’s already changed beyond repair and she was far too late to do anything about it. He’s being dragged away now, rambling on about England, and Gertrude can’t think, but there’s a cup of wine on her dresser.

This take gives a whole new meaning to Claudius’s insistence on the poisoned wine in Act 5 Scene 2 as well, and Hamlet’s continued refusal. Even if the wine wasn’t poisoned, the underlying statement Claudius is making by offering it to a recovering addict is clear, and sort of horrifying in itself, given at that point, no one else in the court seems to care enough to even say anything. Hamlet refuses without a fuss because it’s honestly the thing about Claudius he hates the least, and Gertrude takes it instead because she’s been slipping a little herself, and if she’d known it was poisoned, it would probably frighten her how little she cared.

Anyway this is just based around my thoughts on the inherent tragedy of Hamlet suffering from mental illness with no support system and no real societal understanding of how those things worked by juxtaposing it with something that they did know about in order to make it even sadder.

please let me know your thoughts as well I love hearing anything and everything about this play

[deramin2]

Critical Role is posing a big question about free will in fantasy creatures. Even in Exandria's deliberately less essentialist setting vs. D&D's traditional settings, the Feywild is a fairy tale land and it's denizens are more bound by their natures.

So how much free will and agency does Morrigan have? She claimed Fearn in one of her dark bargains. She kept Fearne safe but imprisoned in her realm and separated from her parents. Fearne is upset at her parents for staying away and not raising her, but Morrigan did that.

However, Morrigan didn't directly treat Fearne cruelly in any other way. She genuinely loved & doted on Fearne. Fearne had a wonderful childhood she cherishes every moment of. It's only looking in from the outside that we have to question how fucked up that caregiver situation is.

Fearne and her parents are victims of Morrigan's nature. But they also love her and forgive her. Both generations of Calloways fled back to Morrigan when they needed safety, protection, and a place they loved that is also part of that nature. They love her. She loves them. They're family and they look out for each other.

Fearne came to Morrigan for serious emotional crisis help in the time it most mattered and Morrigan genuinely helped them. In a terrifying, dramatic, entertaining for her (and us) way, but she did help. Morrigan is a Tragedy Enjoyer™ superfan, only for real life and she can donate to the stream to get the outcome she wants. She just loves watching people make fools out of themselves and suffer awkwardly. Which Bell's Hells did for her very willingly.

So is it Morrigan the Fate Stitchers compelled nature to make everyone she makes deals with suffer? Or is that just really enjoyable for her but if it's entertaining and enjoyable to help people she absolutely can and will do that. Does she always take when she gives? I think the answer is way more compelling if she has free will and we're seeing some of the few exceptions.

So now Chetney has made a deal to be the most famous toymaker ever. All he has to do is bring her a piece of the god-eater. Chetney did not discuss what happens if he fails. He also didn't necessarily need to be famous for his toys. If Bell's Hells succeed and Chetney upholds the bargain, Morrigan might be satisfied and make him famous for heroism. Which might be infamy more than adoration and be a curse all on its own. If he fails maybe she deliberately makes sure he's never remarkable and easily forgotten (Chetney's worst fear). I'm less afraid of her getting him killed because we've seen she likes to keep her victims alive. She makes them living topiaries in her garden. Or she sets them up for constant failure and then watches them flounder as her shows. But I she could still change how he's known if he incidentally dies. (Maybe differently depending on his Bell's Hells fulfills his bargain for him.)

Same with Orym. If Morrigan helps them (he still has to call on her like Percy's pact), Orym serves her. He might become ward like Fearne was with guard duties. He lives in her domain or where she sends him, and he lives in this freaky place with his best friend. Which isn't much different than what he did in and for Zephrah. Except his home is full of so many ghosts it's hard to be there anymore, even though he loves it and the people there. He's been on the road for years unable to settle down in his grief. His "price" for her is that she gives him a place where he has to settle down. Where he's loved and not alone, even if it's not the same. Like Fearne, the reading where this is a tragic sacrifice for Orym is from the outside in. From inside the restrictions come with a lot of benefits. Orym's Fearne's best friend. Morrigan doesn't have to take anything he isn't relieved to give up. Or so he thinks. Maybe his tragedy is that he'd start losing touch with Zephrah over time, like Fearne lost to her parents. What if that's what he thinks he wants so he can be someone new that isn't stuck in the past? Disappearing from his loved one's lives the way Will and Derrig did. But alive and maybe thriving with what feels like a new beginning and a different but happy ending as Fearne's friend.

Travis and Liam are also making a bargain with Matt: Matt sets up dramatic consequences, good or bad, and Travis will get to act out this super interesting story. Chetney's story is about a guy who wants fame so much he makes a huge gamble on his abilities for it. Could be the next Shakespearian tragedy where a hubristic guy makes terrible decisions chasing huge bets into the ground and destroying his own life and many others in the process. Could be the next Lord of the Crossroads.

Liam gets to ask both Matt and the audience if this is a tragedy of the moral chaos of the Feywild. What's a tragedy from the outside might not be one on the inside. Fate and Fate Stitchers are fickle that way. Nana Morri could show nothing but love and affection for Orym and it gets told as a terrifying fairy tale warning against Morri. That's a story that often doesn't get told, but there's so much inherent angst to it. (Which let’s be real Liam is also a Tragedy Enjoyer™ like Morri.

But either way Travis and Liam get to explore what that looks like and how it affects his OC. This is what roleplaying thrives off of. That's what makes it fun. Players, GMs, and dice all being unpredictable in constrained ways that drive the narrative forward, not always to good ends but interesting ends is what makes TTRPGs a compelling medium. The cast have repeatedly said they always enjoy taking the risk and playing out the consequences way more than the things they held back on. They said at the beginning of this campaign all bets are off. Matt's set some high stakes and big red buttons in front of them (even when he warned about the consequences up front).

This is emotional Roller Coaster Tycoon and it's unclear if the players are creating an effective roller coaster that scores high points, or one deliberately designed to crash in new and exciting ways just to see what happens. That breaks so many rules of narratives made for an audience but is totally normal in home-play if all the group consents to it. (Definitely something you need buy-in for from everyone before you play because if someone is expecting epitomized heroic play and gets that they're not going to have a good time.) Perhaps that's also why some audience members aren't vibing with this as much as previous heroic campaigns whereas I who greatly enjoy media like The Lighthouse, Uncut Gems, Torch Song Trilogy, and Dead Esther am having a grand old time. (Just a taste difference.)

Am I scared the characters aren't going to get a happy ending, yeah sort of. This could easily turn into EXU Calamity. But I love the territory they're exploring, the questions about human (and hag) nature they're exploring, and the importance of subjective experience. I have absolutely no investment in how the events ultimately pan out. Blorbos were meant to be tormented. It's important for their enrichment and mine. Is Morrigan going to fuck them over? Maybe, maybe not. But it is going to be a really interesting story either way. And really at the core of it, a really interesting story is what Morrigan likes most.

[stupidrant]

Angrboda's line/scene that's typically viewed as a heartwarming father/son reference for Kratos/Atreus - when she says that Atreus "cares for his dad so much he can't conceive of a world in which he'd let [Kratos] get hurt" - is in fact extremely important for Atreus and Angrboda's relationship development as well. And for highlighting how healthy their dynamic is and how respectful and delicate Angrboda is towards Atreus's experiences, regardless of what the prophesy says (which she grew up to consider her only lifeline and purpose).

In this scene Angrboda makes sure to not in any way invalidate his feelings or lead him to believe she considers them "stupid", as Atreus originally suggested. Instead of being patronizing, she places the focus on how admirable she thinks his love for his father is (which parallels what she said earlier during their heart to heart talk about parents when she mentioned her own late father having felt guilty he couldn't protect her).

Then she distracts herself from the therapeutic self expression activity (painting) she engages in, abandons it and goes on to cater to Atreus's emotional needs. Helping him feel better, giving his mom's marble to him and encouraging him to not push his father away because of grief or fear of potential loss (and opening up about her own loss of both parents). All of that (as we discussed before) despite the fact that Angrboda had just gone through a yet another painful and traumatic experience of being rejected and belittled by the only family she had left (Gryla).

And when Atreus says his view of the prophesy and "a bunch of stories with endings already written" is different from the one she came to believe and that he's determined to challenge it Angrboda accepts it and lets him go. Even though as far as she's concerned - and as she directly states in a moment of particular vulnerability and openness - she believes that with Loki/Atreus gone her part in world's history AND his life is over.

Atreus in turn, even knowing he has to leave her for now, promises Angrboda that he is "going to see her again" - thus placing the focus on his own personal choices rather than on the prophesy or what he thinks about her or his role in it. Before that he tried to convince Angrboda her part "is as big as she wants it to be". But he quickly realized that for a person who's just gone through stress and has had a narrative that she isn't and would not be important imposed on her for years (including just minutes before by her own grandmother) big pretentious speeches about the meaning of life hold less value than small but encouraging actions and genuine reassuring words.

For her part, Angrboda doesn't ask absolutely anything of Atreus, doesn't make him promise to remember her or meet up with her again. She accepts his free will and goes off on her own to carve her independent path and look for marbles, instigating their future interactions in the process but preparing to give Atreus space from her if that was what he wanted (like when she sneaked up on him and Fen but quickly inquired whether they were "having a moment", offering to go and let them be).

That's an actual healthy basis for romantic relationship and a true strong female character, with agency and full measure of self expression in every area. Rather than a "Strong Female Character TM" who isn't even allowed to express her feelings to a boy she likes without being framed as a slave to her hormones or ~~ desperate for love. Which is what modern media has been presenting to us for over a decade under the guise of "feminism". All the more reason Angrboda/Atreboda are as refreshing and revolutionary as they are.

They're relationship surprisingly starting off really well is amazing <3 she always makes sure he's okay and he always suggests an alternative route for her to go/way of coping. All of that with their honesty and respect with one another that i love so much just makes it all the more better 🥺

[idsfantasy]

Okay so, head up, I think your videos are cool and I respect the effort and work you put into theories. I also understand not every theory is going to be actually reflective of views, instead following different roads of logic to see what seems the most likely.

But the big reason why I think robot people being in the games is such a reviled concept by so many people, is that it feels like a lame twist that doesn't really accomplish anything and doesn't really go anywhere. And part of that is the source material it comes from. (Warning: long and emotive analysis incoming)

In the actual Fourth Closet book Charlie being a robot isn't handled well. She's written as a mostly normal human person with internal emotions, struggles, and thoughts only to be completely discarded because she's "not real". As soon as it's revealed, she immediately kills herself and Elizabeth with no narrative buildup, and the only possible resolution is a cliffhanger ending that is never fully explained and left up to speculation. We don't really feel the weight of this on anyone, except possibly John, who never discusses it with anyone and never actually ponders what that might mean beyond feeling bummed the girl he wanted to date is dead and also not human. It also gives Circus Baby a very needlessly convulted backstory for the sole purpose of having her run around in a humanoid form and double down on the henchwoman characterization introduced in FFPS.

It doesn't even really explain much beyond a few strange lines and wonky plot threads, it's a thing that happens and despite Charlie being a protagonist she doesn't really get to react to this.

Sammy is completely dismissed as a concept despite it being such a big deal in TSE and TTO and the whole point of Charlie's arc of acceptance and grief. And we get one line saying he's actually alive... and living with the mother Charlie herself mentions talking to in the past. It's a mess.

The only character who is made more intresting and given more weight by this reveal is Henry. Because it changes perception from "flawed man struggling with mental health but ultimately a very loving to father" to "all the above but also with those flaws much more prevalent and damaging". It's fascinating because what he does is incredibly messed up on so many levels, yet entirely understandable. Henry in the novels is a straight up antagonist, not a villian, and not actively malicious, but someone very poorly coping and causing harm by proxy. And that's reflective of a lot of people who are understandably struggling and need support, but at the same time refuse help and find themselves sinking deeper while their loved ones feel helpless. It's deeply tragic, and leaves Henry being a much more nuanced character, mainly because of the fact Charlie doesn't know quite how to feel about him. When she's still allowed to have thoughts, at least.

The whole point of the Charliebots is that grief and loss can make vulnerable people susceptible to delusion, and how that effects the children around them. Both the Charlie-bot and Circus Baby are shaped around trying to conform to a grieving parent who wants them to fill a role that at a certain point, they simply can't. The moment Charliebot stopped living past the age of three, she simply wasn't reflective of that real little girl anymore. She was someone new, based on the hopes and dreams her family had for her. The Charliebots are so so intricately linked to this theme, that I really feel removing the idea of androids from it is kinda insulting to the whole premise.

William blatantly says he couldn't build robots like that, Circus Baby is build upon a failed experiment her modified for his own use, even the Twisteds were implied to be a joint effort. He also simply didn't see his kids in the same way, I truly don't believe he would drive himself to that same point of delusion for kids he just doesn't love.

I've seen some fanauthors right really compelling narratives around these ideas, but they simply aren't in the actual texts. To approach something purely logistically is to deny to narrative and emotional potential of it.

Yes, it's 100% possible. I don't doubt Scott might try to do it. But that doesn't make it impactful. So if he doesn't want to engage with the premise outright, and doesn't say it outloud, then why should I care either? If he's not going to committ to the idea and explore it, then neither am I.

Glad you generally like my videos! And I understand that perspective, but I disagree. Honestly, I think robot people works great thematically for the modern era.

Ithink part of the interest with Charlie being a robot is that she's a robot, but she IS alive. She's not the original Charlie, but because of Henry's emotions she has her own soul.

With William, his goal iirc wasn't to create a human *looking* robot. His goal was to find a way to create that same spark of life that Henry did, but he wasn't able to. Elizabeth was the closest but she's still an actual human soul inside a robot.

When I suggest that robot people are present in the modern games, I don't think they were made out of love, and I don't think they have that artificial soul that Charlie in the books had, hence the connections to CC and Elizabeth. Heck, we know for a fact that there are robot people present in Tales, so why would that be impossible in the games? The issue wasn't making a human looking robot, it was giving said robots life.

Just because we can't see the end goal at the moment doesn't mean there isn't one. Additionally, assuming Scott isn't going to engage with the premise or saying it out loud is probably something to steer clear of. After all, the main evidence I use for Gregbot isn't the weird vision or him looking like the Crying Child, but the wall code in the Sister Location room that describes Gregory in SB to a T while also saying "I built the breath they hunt drawn to life not real still keen" etc. That seems pretty "out loud" to me given the obscurity of most things in these games tbh.

So I do think Scott has committed to the idea. That's why there are 3 robot people in Tales. That's why there are 2 Vanessas. That's why there's the wall code in SB. To me, it seems as though the themes of Help Wanted and onward are highlighting where the line is drawn between the real and the artificial, the virtual and genuine. And imo, having characters who blur the line between the mechanical world and the real and the spiritual adds pretty well to that whole theme. We just haven't seen everything play out yet since we're only partway through the arc.

I understand if you disagree, but I think writing it off as something to consider would be the wrong move personally. Hope you have a nice day :D

[lunarubra]

Life update

This past week has been incredibly tough for me, and I'm using this blog to vent and release the sadness, frustration, and grief I've been feeling. It's like therapy, but cheaper.

If you'd rather skip the heavy stuff, feel free, I don't want to bore no one. And I fell this might be a long one.

Lately, life has been intense both at work (I teach at a language Gymnasium) and in my personal life. I'm already stretched thin trying to balance everything, and then unexpected things happen that make me feel silly for thinking my own issues are significant.

Just two days ago, one of my students tragically passed away. The weather had finally turned nice, and he and a friend went for a bike ride. He lost control and fell down a steep slope at the side of the road.

After teaching him for two years and seeing him and his classmates every day, I can't help but feel a sense of responsibility. While I'm not their parent and I'm not much older than them, most of the time, I feel more like an older sibling than a professor. Even though I sometimes jokingly refer to them as a "herd of dunderheads," they mean a lot to me, and I deeply care about them—they are my kiddos. It's tough witnessing his classmates' reactions to what happened; they're devastated. Despite wanting to support them and be there for them, I find myself at a loss for big speeches or grand gestures.

I'm well aware of the larger issues in the world, but this loss really shook me. Returning to work afterward felt daunting, and even though I discussed it with friends and colleagues, it almost feels like old news already.

Teaching often feels like an uphill battle. You see so much potential in your students, but then they hit the teenage years and start doing the same silly stuff you did at their age, which brings a smile to your face. You try your best to support them in a world that isn't always kind to young people, encouraging them to appreciate the beauty around them and stay connected. And let's not forget, you still have to actually teach them something—it's your job, after all, not just babysitting. Balancing all these roles can feel like a constant struggle, but those moments when you really connect with them, when you witness their growth and development—those moments are pure magic.

Maybe that's why this loss hit me so hard. I saw so much potential in him, and now it feels wasted.

On top of everything, my partner got accepted to a prestigious hospital in Sweden for her specialization in pediatric surgery. I'm incredibly proud of her and fully support her dream, but her leaving means big changes for us. Maybe because of the recent loss or maybe just because it's been a rough time, I find myself slipping into old thought patterns that scare me.

Right now, I'm feeling sad, overwhelmed, and at my limit. I'm not sure how to handle it all. I think I need to start therapy soon, although it's not easy finding a good therapist here in Italy.

So, if you notice I'm not as active as usual, that's why. I already wasn't very active, but if I'm even quieter than usual, I apologize. I just don't have the energy or enthusiasm right now. It feels like I'm avoiding dealing with what happened.

Monday is the funeral, and I don't know how I'll be afterward. I'll probably take a break from blogging and writing for a while.

To my friends here, I always appreciate your messages and your support. I might not be super responsive, but I value each and every one of you. <3

[vwritesaus]

how do you think Anna and her parents relationship will be post Christopher death? And if you think Gabriel and Cecily will have a strain on their relationship toward each other due the loss of a child

~

this is such an interesting question, and one i've been wondering about myself for quite some time. thank you for sending it in, anon!!

i think anna would still be close with her parents. we see that relationship in every exquisite thing and i don't think it would change here. if anything, i believe christopher's death would bring them even closer together. it would be a challenge for sure, making the same old jokes and expecting christopher to be there to laugh or question them with profound logic only to be faced with silence, or looking over at the place at the table where he would have once sat and finding it empty (ow). but they would overcome it together.

not to mention alexander. he's only a child when his big brother suddenly goes away, and while shadowhunters are used to death from a young age, blahblahblah, he'd still feel the loss and not understand it properly?? it would be extremely taxing for anna and gabrily, especially once alexander starts having tantrums because he just doesn't get why christopher isn't there anymore. i imagine they would come up with ways to a) handle those tantrums and b) strategies to help alexander overcome the confusion and handle the loss while still being able to remember his older brother as he grows up. i don't think anna would leave that to her parents alone, even with her and ari going to india at the end of chot. she'd be in frequent contact (in my opinion, anyway. and i reckon ari would have something to say about it too).

as for gabriel and cecily's marriage...

i base this off a couple i know irl who lost their eldest daughter to an aggressive illness that ailed her for most of her teenage and young adult life before she passed away.

there would be a strain at first and both of them would find it extremely difficult to talk about christopher with each other. they would comfort each other, yes. they will cry with each other, yes. but the way they deal with and experience grief is very different (and i touched on this a little bit in the latest chapter of my fic dear christopher). gabriel would want to talk about it, and he strikes me as the type to process his feelings through discussion. cecily normally would too, but in this situation? she completely shuts down. gabriel would be at a bit of a loss but is respectful, and cecily wants to find in herself the will to talk about it, but her mind and body say otherwise.

that said, they would talk about it with other people. gabriel would run to gideon, and cecily to sophie. given their families grew up together, it's impossible to assume that they all don't have a very close relationship with each other. their children certainly had close relationships with one another. thomas and christopher is self-explanatory. we also see how close anna and thomas are in canon (that one scene in choi where thomas sneaks out and anna catches him in the act lives rent free in my mind fr), and anna with eugenia, which would have extended to barbara too. i also believe they're close with their aunts and uncles (thomas and cecily, for instance).

not to mention the fact that gideon and sophie get it. they lost a child too.

gabriel and cecily would talk about christopher, and gideon and sophie about barbara.

also will would definitely be a huge support. cecily wouldn't need to say much to will for him to understand (even though he'd love for her to open up to him fully), and despite their differences when they were kids, he would look out for gabriel too. gabriel and will's friendship is another kettle of fish that i won't delve into here, but it would certainly play a huge role.

and i don't think the marriage will fall apart. it's definitely a changed marriage, but it wouldn't fall apart. they have alexander and anna, and a huge family support network, as i mentioned above.

losing a child has a ripple effect on a relationship, and it's those first couple of years that are the most horrible. and it's not something that will ever go away. with the irl couple, every year around their daughter's birthday and death anniversary, they leave the city. they travel the country as a means to deal with the crushing loss. i'm not saying gabriel and cecily would do that, but it's certainly something they would feel.

they'll argue. they'll cry together. they'll have sleepless nights. they'll raise alexander together. they'll keep an eye on anna together. they'll reminiscence about their son alone or with their family members. they'll spend time apart while being in the same house. they'll be glued to each other's sides. they'll shut down. they'll be silent. they'll become stronger. they'll never move on exactly, but they'll learn how to handle the loss and live with it, because christopher, though no longer with us, will not be forgotten </3

[missezri]

Small Defence of Kristina in Young Royals - Season 2 The Redemption Arc

For part one please see it here.

Also, these are all my own thoughts and interpretations. Season 3 could prove me all wrong.

Season 2 is a bit of a redemption arc for Queen Kristina, who while still is no Sarah Nelson or likely to win any LGBTQ+ Mother of the Year awards, is far from the villain that she was in Season 1.

The first time we see Kristina in Season 2, she is pleading to speak to Wilhelm. For someone controlling and calling the shot weeks ago, Kristina is rather submissive here. She isn’t coming into his space. When Wilhelm closes the door, she only talks through it and doesn’t make any attempt to open it. Wilhelm doesn’t lock the door, you see what looks like a key in the door, she can very easily open it and talk but she doesn’t.

When Wilhelm finally does call her, Kristina first looks shocked and surprised. After all, this is Wilhelm reaching out when he’s been continuing to ignore her calls and texts. This quickly gets shattered when Wilhelm actually talks. But I am going to pause here for a moment because, we see a new important character here, Jan-Olof Munck. He is the one that is going to become the villain and the representation of The Crown. In this role, only Kristina held Season 1, in Season 2 however, we will see her step back from that role. But, we will come back to him.

For this conversation however, I feel this is the moment that Kristina finally realises the extend of Wilhelm’s anxiety and (possibly mixed in too) grief over Erik’s passing. She is hearing up close and personal a full panic attack, and her reaction makes me wonder if this is the first time it has happened, if she noticed before. I would reckon she hasn’t, especially with her own disappointment and grief in Season 1. With Jan-Olof now in frame, Kristina can step more into the role of mother than Queen. Although, sometimes it takes Wilhelm asking before the Queen drops completely.

So, the next day we have Kristina taking action because clearly some intervention is needed for Wilhelm. I can see from Kristina’s perspective how removing him from school at first seems like something Wilhelm may go along with. Just months ago he was sending messages begging to come home. And I am sure there are other motives too like training Wilhelm up to take the throne, but for me, this conversation is one of the most important moments of the series.

While Wilhelm says she only wants him to leave to not see Simon because of the scandal and that she forced him to lie. While I do agree that yes, Wille likely felt very much forced to say what he did at the time, I also can see the logic behind Kristina’s words here. No one should be forced to come out. Kristina would have done a lot better voicing this before the video, but she’s probably had her own reflections. As seen by the news coverage, it is a big deal for a member of a royal family to potentially be gay/queer (the media would likely just jump to gay).

I am sure there is a part of Kristina that was hoping this would be some phase, but she is realising I think that her son’s relationship was a lot more. She is also saying this not in private. She is on a plane of other people, who while are likely loyal to the Crown, are hearing her make her own stance. Kristina is stating that she is supporting her son.

And yes, she does bring up the “When you are 18′” discussion, which again I don’t think there is necessarily done with ill intention. Wilhelm’s behaviour hasn’t been very mature as of late (refusing to speak to his mother for weeks, calling up and making demands). Clearly, Wilhelm needs some time to mature and work through things before he makes any rash decisions. I can understand this from Kristina’s point of view as she knows whatever he decides, it is going to play on the world stage and he will need to be ready for that. Getting Wilhelm into therapy is key to that. (And well done Boris by the end of the season).

When Kristina meets with August to let him know about the Royal Court’s plan to make him Wilhelm’s “backup” if he is not able to handle the pressure, she lets August know right off the bat this was not her idea. We the viewer gets to see that Kristina too is trapped in some ways by the machine of the Royal Court and the Crown. While Kristina protected August at the end of the last season when he leaked the video, it becomes more clear that she only did so to protect her son (and yes, by extension the Crown). 

If Kristina didn’t have her own title, I don’t think she would have a problem with Wille being queer, and this conversation cements it. It isn’t Kristina who asks if August is straight, it is the Royal Court who asks. Kristina makes it very clear that this backup plan is only if Wilhelm cannot do it, but until then she is going to support her son. As while August attempts to charm her, she never shows any sort of support in this conversation.

This line I find interesting when Kristina is explaining how August has been put forward has his replacement, not only for the speech but perhaps as King. And Kristina is very clear, this is not her desire or plan, it is the Royal Court. She’s been forced into this. Erik’s death has meant that there is only one person after her to succeed or Sweden will have to rework its government, which is a bit dramatic the country would survive, but again legacy is something Kristina is concerned about.

Why I want to point out this line though, is Kristina seems to be voicing what has been Wilhelm’s problem with the monarchy thus far, it is a punishment. You cannot freely act but have to constantly think what wider impact your actions may have. Choices are few and far between in Kristina’s position.

Kristina didn’t make the decision about Simon’s song, Jan-Olof did. She didn’t put forward August to replace her only son, the Royal Court did. She didn’t want Wilhelm to come out before it was his choice or he was ready. 

She is just in damage control dealing with it all.

So, in the end, I don’t think Kristina is the villain of Young Royals. She is a character with many different slides and flaws. She is far from a perfect mother, but she is also trapped in the same system that Wilhelm is too. We know Ludvig was not her first love either, she had to sacrifice that for the Crown.

The real question is going to be what she does in Season 3 with the news out. Wilhelm could have easily thrown Kristina under the bus by stating her part in why he initially denied the video. But again, she isn’t the villain, the Crown is.

That is my defense of her. I liked her a lot more in Season 2 and I better found I could understand her. But these are just my thoughts, feel free to agree or disagree.

[aquariusshadow]

Hope Mikaelson: Grief and Criticism on the Writers

TW//Grief

Alright. I feel like I really need to preface this with three very important points.

1) I have a very personal connection to grief and it's still incredibly recent and that grief has it's own level of trauma associated to it. No more details are necessary.

2) By no means am I claiming my experience with it is the same as anyone else’s or worse, or better. It is morally unethical to police anyone else’s experience with grief. That is not at all the goal of this post.

3) I am simply using my own understanding of grief to understand Hope's character and apply criticisms and defenses where I think they deserve.

--

First of all. Hope's actions this past episode need to be called out. They cannot be excused with a slap on the wrist and if next weeks episode glosses over her actions then there’s a problem. Hope willing let Lizzie and Josie nearly die (and herself) to save Landon is really screwed up and how she got Josie to try and help her was a bit questionable as well--which I’ll get to later. But, something I can do is try and understand what the attempt is for Hope's mentality when it comes to Landon.

I've been seeing a few posts saying Hope is irredeemable and butchered. And...well, I partially disagree.

The reason I say 'partially' is because I think the writers can easily take Hope in the direction where she can be irredeemable. And, given how shitty the writers have been going about characterization and storylines, I say that the concern has strong logistical basis (and it's a concern I have myself).

But here's where I respectfully, 50% disagree.

Something about Hope's character I think has been consistent enough is her grief. I think people need to keep in mind about grief is that its not a straight line. It crops up in ways that you wouldn't even imagine or recognize. It's overwhelming and blinding and there's a desire to numb it with something strong enough to overcome it if it's not dealt with properly.

To me: that's what Landon is to Hope. Blinding emotion Hope clings to in an attempt to either numb or push down the hurt she feels.

I would like to think Landon could be the key for her accepting her grief and moving on and Landon could represent hope for new life in the future, but there has been no hint of that in the recent episodes.

This is evident in some of the biggest criticisms of Handon. Landon is the one that always needs saving. Hope wants Landon to be completely out of the way and not try and help her because the thought of her losing him is crippling and they don't have a proper heart to heart understanding to try and work through it together.

Especially since, she keeps watching Landon die. Over, and over, and over again.

To the girl who's biggest fear is loosing the people she loves because of what happened to her parents, Hope is continuously reliving her trauma multiple times with little to no guidance to overcome it.

So when you have episodes like the therapy box trying to get through to Hope that she needs to let go, work through her issues, etc, and she rejects it and there's instances in episodes after where she continues to regress and when characters, Lizzie, attempt to clue Hope in that her perception on Landon is a "blind spot" in a negative way, there’s a lot of cause for concern that Hope is at a point where she could be irrational when it comes to Landon.

Which is present in her actions this past episode. All criticisms against Hope are valid and I agree with most of them this from this episode. It was not okay for her to try and use Josie, who's overcoming her own issues from being Dark-Josie, to try and find Landon, and risking both her and Lizzie's lives when it was clear they were about to die. It's also a bit concerning she seems to ignore concerns about monsters coming back to the school, funded by Klaus, everyone's home, would be a very dangerous thing.

But because she's blinded by everything I stated above. I can see where her head is at even though there's concern.

Here is an area where I think Hope's characterization with her grief is either inconsistent...or proves my point that Hope might be a bit too irrational overall.

Hope Mikaelson s1 and s2 would not let Josie and Lizzie Saltzman die or get close to it. That has been proven time and time again. The Saltzman Twins are two people Hope cares so much about, the idea she would be willing to let them die for Landon is very confusing because...you would think the idea of loosing the Twins would also be completely devastating for her too and that would also be something that plagues her mind (hell MG, Kaleb, Alaric, etc at least on some level). Furthermore, we had an episode in season 2 where Hope actively chose to save Lizzie and Josie, over Landon.

Overall, my point that I will end this on. If this is handled properly, this could potentially be the peak to Hope's grief arc overall when it comes to Landon and everything else. Even though I said Hope's actions need to be called out, that doesn't mean I'm flat out angry with her portrayal in the previous episode. Honestly, I'm watching a girl who's in a long term battle with grief and the writers don't seem to know how to get her out of the intense areas that are contributing to her "Landon Obession" etc and have her grow into herself outside of Landon. Aka...the writers seem to be completely out of their element when it comes to this subject, which isn’t surprising.

Hope's arc this season being only about Landon is poor writing, but, there's substance present that I would like to think is underlying the fact that there is more going on than just Landon even if the writers are shit at showing it.

Hope’s pain is not an excuse to make decisions that actively hurt other people. But her grief does allow for an insight onto what I THINK the attempted goal is for her character.

[ilikekidsshows]

What do you mean Adrien need more respect can you elaborate more because it wasn't the only time I see you said it

The way I see it, 'Miraculous: Tales of Ladybug and Cat Noir' made a mistake in the very way the show is designed: they constructed a setting where everything hints at Adrien being a main character or at least a secodary character, but he's actually not. The show basically lies to the viewer about what to expect when it comes to Adrien's character. And I tend to have a pretty big beef with shows that lie to me.

The show is called "Miraculous: Tales of Ladybug and Cat Noir", Adrien's father is the literal main villain of the series, all the minor villains have a personal connection with him and his family has a long history with the Miraculous items. Meanwhile Marinette is just some girl from a bakery next to the school he goes to. The show's very story engine, the construct that creates the stories told in it, puts a lot of weight on stuff connected to Adrien when it comes to the superhero action, while Marinette's story engine connection are her feelings for Adrien, which generate the romantic comedy plots.

All the lore in Miraculous revolves around Adrien. You'd think that this would mean that Adrien would have a vital role in uncovering this lore as Marinette is the one who saves the day. You'd think Adrien's nearest and dearest being villains would be delved into some more since it's such a recurring thing. But none of this happens. Instead the show goes out of its way to make sure that anything that should be about Adrien and how he feels about it, is made to be about Marinette and how she feels about it.

Adrien discovers the Miraculous grimoire in his home, but the episode goes out of its way to make sure Marinette gets her hands on it and is the one who gets to meet Fu and become his student, while Adrien is left out on the lurch. Marinette is the one with an arc of realizing just how evil Gabriel is as she grows past her idolization of him, which might be building up to her being the one of the heroes who figures out he's Hawkmoth first. Marinette is also the one invested in Chloé's failed attempt at becoming a hero, while Adrien's feelings on Queen Bee are never brought up.

Season four ruined Adrien's relationships with every single character who isn't Marinette or Plagg and I think the only reason Plagg was spared is because they literally can't remove that relationship from the show. 'Rocketeer' exists solely so that Adrien won't tell Nino about him being Cat Noir, so that Adrien doesn't get a confidant like Marinette gets in Alya. This makes it so that Adrien will have less screen time to talk about his duties and life. The point is to make sure Marinette has more screen time.

The fallout of Marinette and Luka's relationship ending is depicted from Marinette's perspective, to show how she's getting by after the breakup. The fallout of Adrien and Kagami's relationship ending is depicted from Marinette's perspective as well, to show how she's feeling about Adrien and Kagami breaking up. We still don't have a single scene of Adrien and Kagami discussing their failed relationship outside of the breakup scene, which they absolutely had to include. The writers don't actually want to write about Adrigami, it only existed to make Marinette angst for the dramatic season three finale.

The way Nino and Kagami get removed from Adrien's support network is solely because the writers don't want to write about Adrien's relationships. They only care about writing about Marinette. I'm not saying this lightly. This is a consistent pattern in the show. The same happens in any situation where Adrien has a strong emotional response to something, and the writers sideline Adrien's emotions by having Marinette be even more upset by it or by giving Marinette something worse to deal with.

In the New York Special, Adrien kills someone and quits. This grief is sidelined in the narrative to focus on Marinette having an emotional breakdown about not being there to help Paris and then later angsting about Adrien quitting. The matter is resolved not by dealing with Adrien's grief, but by him coming back for Marinette's sake. The Cat Blanc timeline is not important for Adrien's character, despite the point of Akumatization being character development, it only exists so that Marinette can be upset about it. We know this because Adrien never finds out about it, while Marinette gets nightmares about it. In season four, Adrien gets pushed aside by Marinette constantly, and he is understandably hurt by this and quits. The episode then has him "learn" that Marinette needs his emotional support so much that he should come back and cater to her needs and ignore his own. In 'Destruction', Adrien once again Cataclysms someone, and once again the writers shoehorn in Marinette being upset about not being able to fix it. The best Adrien can manage on his emotions being taken into account by the writers is a few seconds of getting equal screentime with Marinette's.

The season four finale is what makes this writing bias obvious when the part in the story where Adrien was logically supposed to discover just how much Marinette had been keeping from him gets pushed aside by Marinette having an emotional breakdown about Félix tricking her and stealing all the Miraculous. The writers' priorities seem to be that Adrien's feelings on anything don't matter, only Marinette's. Whenever Adrien is justified in being hurt, the writers hurt Marinette worse so that they can ignore him and focus on Marinette instead. They also constantly keep information from him that the other characters should be giving him while not calling out these characters for keeping very important information from him. The important thing about said information control is that it’s always information that Adrien would do something about or have strong feelings about. It’s another sign that the writers don’t want to write about Adrien.

(This paragraph has been edited for more accurate information on the episode ‘Emotion’. The previous misinformation got mixed up because of a spoiler so now this post is accurate and spoiler-free.) The season four finale pivoted Félix into the role of the primary villain in Miraculous after Gabriel. However, in season five, Marinette gets top billing in the episode where he is convinced of the error of his ways, not his cousin Adrien, who Félix has wronged in every single one of his appearances and whose feelings about that this episode is supposed to address. The writers only allow Adrien to have his say once he’s been missing for most of the episode/Marinette has had enough screen time. The sidelining of Adrien and Félix interactions in favor of Marinette content is more on the whole "not allowing Adrien relationships outside of Marinette" thing they've been pushing since season four. Any relationship Adrien has only gets the minimum possible amount of screen time. It’s also part of a different pattern of Marinette and her feelings still getting focus in episodes that should be about Adrien, his family and his feelings, since we also had the episode with the anniversary of Adrien’s mother’s death have another confession attempt from Marinette and ‘Gabriel Agreste’ shoehorned in an entire Marinette subplot. The only time this series had a genuine Adrien-focused episode was when he and Kagami broke up, which I already stated was something the writers just couldn’t resonably exclude. 4% of this show’s episodes deal with things to do with Adrien, but only 1/4 out of those episodes puts focus on Adrien over Marinette.

Mariette’s romantic relationships in this show are really lopsided as well. We all know that it's a gender role cliche for women to always do the emotional labor in a relationship and to offer comfort, but Miraculous "solves" this one-sidedness by reversing it. Marinette's love interests are her biggest emotional support. Every finale has either Adrien or Luka swooping in to comfort her while she's having an emotional breakdown. Even Cat Walker is presented as a romantic option through having him swear emotional labor to Ladybug. Meanwhile Marinette never has to comfort her love interests because they're very skilled at hiding their emotions. This might be another symptom of the writers just not wanting to focus on characters other than Marinette, but I have seen that even progressive people in terms of women's issues tend to balk at the idea of men seeking out emotional support and comfort. Marinette and Luka breaking up the instant Luka needed more emotionally from Marinette does lean towards this former bias since Luka is allowed to have emotional needs as long as he doesn't ask Marinette to help with them. But, regardless of the reason for it, the end result is that Marinette's love interests are more emotional support dispensers than equal partners. The writers don't want Marinette to have boyfriends, they want her to have servants who cater to her needs, because she’s the main character and her boyfriend is her prize that she wins in the end.

This show has no respect for Adrien as a character. It seemed like he was set up as the secondary main character, only for him to be consistently treated as nothing more than Marinette's love interest. The writers only write as much about him as they absolutely have to. The fact that Adrien is also an abuse victim whose story is strictly about how little control he has of his life makes this all even worse, because the writers are actively removing any control he might have on the narrative as well. They're not doing this for the sake of theming, because then they would focus on his feelings about this. It's all for the sake of not having anything derail from their singular main lead. Adrien is a prop for Marinette, not his own character. And I’m too invested in Adrien’s character to be cool with this.

The thing about any of this is that if it was just any one of these matters alone, or even just a few of them, it wouldn’t be such a big deal. Nothing is perfect, after all. But it’s this much stuff, and I’m sure this isn’t even all of it. It’s not only a consistent pattern, it’s a constant pattern, and it’s made me lose my patience with this show. It’s obvious these problems aren’t going to be mitigated, because they aren’t problems, it seems to all be on purpose because it keeps getting worse. Maybe it’s backlash at those Toxic Adrien Stans who want Adrien to be the main character in Marinette's place, so the writers diminish his role to drive home the point that he’s supposed to be Marinette’s support and will never usurp her role. The reasons don’t matter, all that matters is that the end result is my favorite character being treated like garbage.

[xmaruu11]

my ideal ending for cBeeduo as an Story writing student

QUESTION: ideal ending for them? based on closing off their character arcs and whatnot

I BEEN WAITING FOR THIS ONE

Okay, I think Tubbos arc should end first than Ranboos, mainly cuz most of his growth as a character is done already and it will give Tubbo the opportunity to be on the server building, do semi lore if he wants to, but like,, be more free of his character you know? (this pains me to write)

What I would give to Tubbo is proper healing, a proper way to deal with Grief and a healthy relationship with Death. Because even though he was talking to cAimsey, he was definitely projecting his relationship with death at her (both are the Angel of Death in some way)

To start off, he needs to have a messy path to healing, he needs to go back and fourth in the steps of grief, cuz that's how it is, it's messy and it will never be on a straight line. He needs to heal and come forward and ask cAimsey for forgiveness, and prove that he is actually sorry.

After that, I think he would help to try to revive cRanboo, but he can't help him directly without putting him in more danger. So he will feel kinda useless, and that's when we drop the big guns. Tubbo is able to forgive anyone, except himself. I've already discussed before how Tubbo is a character full of self hatred and how he sees himself as a not good person because of all his trauma. And I think this plays a full role on the fact that he never forgave himself for all the events in all the past seasons, mainly season two and everything relating to New LManberg til Disc Finale

He needs to realize he was a kid that was put under so much pressure and he did anything he could, he held so much for so long, so much weight he never had to even feel. And I think that weight never left him, it's still heavy on his shoulders, on his neck, on his mind. He needs to learn that he is a good person deep down, he is deeply traumatized and dealt with so much pain and responsibility he shouldn't have dealt with. He was, and he still is, just a kid, like it or not. I mean, biologically, our brain isn't fully developt until we are 21, if you want actual biological facts.

Tubbo's arc should be about forgiveness and trust. I mean, it was always about it, his character is always touching those points and I think his story should end with him knowing how to put his foot down, knowing how to make himself be heard, and not having to lose himself in the process (he is still a kind hearted person who sees the good in everyone, but this time, he isn't taken for granted or people take advantage of that good heart of his). Which he already did with cWilbur, Techno and Eret. I think he needs a conversation with Quackity, and he needs to apologize to Aimsey. But again, most importantly, he needs to forgive himself. That's the only way he will be able to finally move on and heal.

Ranboo's story still has a lot to go, at least in my opinion (I'm sorry Ranboo, you did this to yourself). After the revival, I would love for him to have his full memories, and this time, his arc is to make amends with his flaws and his mistakes, and the fact that he cannot please everyone, no matter how much he tries. He needs to realize as well that he fucked up, a lot, and even though he had good intentions, he ended up hurting the ones he loves in the process and that he was never called out for that, and he needs to be responsable for the damage he has done. No matter if its old or not. I think he needs to make amends and take responsibility of his past. And even though he has shown to feel regret I don't think he ever expressed it to the people he ended up hurting, this is mainly for the fact that he is afraid of confrontation and he doesn't want to face some truths. But that's something he will have to do if he wants that.

Part of me also want's Ranboo to learn about his enderman side, to learn about what he is and where he comes from. But not as a way of like "I finally feel complete because I know who I am" but in a way of "I don't need to know where I came from, to know who I am, because I am what I make of myself and not what I was born from", you know? I mean this has nothing to do with him or his story, but I just like the idea of that self security. Of that he can trust on his judgement on himself, and he feels safe and complete with who he is. I don't know, just a thing for me.

And when it come to cBeeduo, I said it before, I need them to take a break from each other. They clearly love each other and would do anything for the other, but they are constanly keeping secrets from the other (mainly Ranboo to Tubbo, again I will shake Ranboo like a maraca, this is a threat), and they never tell eachother anything cuz they are btoh afraid of confrontation and hurting eachothers feelings. BUT GOD THEY NEED TO TALK, Tubbo needs to yell at him, he had it coming and Ranboo needs to open up about everything. Realize that he can trust Tubbo and that they are a team, that they can rely on each other and that the other is capable of protecting themself. They need a break to learn and heal by their own accords. Cuz even thought they are so good for each other, they also cannot depend their entire healing process on another person, and that person being a traumatize teen ager as well. They need to learn by themselves and heal, that way once they are back together, they can be stronger than ever. They can learn to rely on each other and be truly happy and feel safe.

Cuz that's what cbeeduo is and will always be, they are a safe place for each other. They are eachothers safe and happy place, a place were they can feel protected and be themselves. And I think they are actually one of the healthies relationship in the server, and they both deserve happiness.

They mean so much to me. I think I have skipped a lot, but god its 1 am and I been typing for 40 minutes i think..

[stainedglassthreads]

I think I know what kind of theme and overall message Genshin Impact is trying to go for. 

Over a year ago, before Inazuma came out, I wrote a post discussing how all the Archons so far had had strong themes of grief, humanity outgrowing the need for them. The grief theme holds very true with Ei and Nahida. For Ei, the death of Makoto lead to a long period of depression, which she’s only now starting to move forward from. Said depression is the root of a number of her mistakes that went on to create problems for Inazuma and Teyvat, such as the abandonment of Scaramouche and the manipulations of the Fatui. (And if not for the Sacred Sakura, even worse things may have come to pass.) 

As for Nahida, it’s not so much her own grief. Rather, Sumeru’s grief for Rukkhadevata casts a long shadow over her. Because she can’t be a perfect replacement for Rukkhadevata, it’s led to her being overlooked and neglected, developing a host of insecurities about her abilities to be a good Archon and protect what few followers she has, let alone all of Sumeru. She’s not allowed to be her own person and properly grow into her role, because she fails at immediately and flawlessly replacing what was lost. 

While Ei needs to learn how to move on from Makoto, the people of Sumeru, namely, the Akademiya, needs to learn how to move on from Rukkhadevata. 

Now we come to the Aranara worldquest. The various World Quests, including Sacred Sakura Cleansing Ritual, A Company Vanishing Into the Deep, and Dream Nursery, have told us far more about the Cataclysm than any Archon or Character Quest. Furthermore, a very strong theme of memory has been threaded through each of these World Quests, being the most prevalent in Dream Nursery, which features the Aranara, whose power and fluency in the human language directly scale with memory. 

Aranara seem to have a particular philosophy about memory. Old, bad memories should be forgotten. Precious, happier memories should be made to replace them. But friends are more important than memories, because you can always make new memories with those friends. From A Company Vanishing Into the Deep, and from Alphonso at the very end of Dream Nursery, though, we get perhaps the exact opposite philosophy: to never, ever forget the Cataclysm, because it’s still an ongoing calamity. Grow up and see what the world has to offer, but never forget the darkness you’ve experienced. 

It makes it even more poignant then that the Aranara word for the Abyss, Marana, seems to translate to ‘the memory of death.’ 

The Aranara advocate for healing by letting go of bad memories and making new ones. But both the Fatui and the Abyss Order cling onto their traumas, grief, grievances, and grudges. The Tsaritsa and the Abyss Twin both want to seek vengeance against Celestia. But while Celestia may not be blameless either in this conflict, I don’t think they’re the big bad anymore. 

I think the Abyss is going to become the main antagonist. And I think the story is going to require the Tsaritsa and the Abyss Twin to... I don’t wanna say forgive and forget, because I still don’t know what EXACTLY Celestia’s sins were. But I think they’re going to need to learn to move on from their grudges. Anger can be constructive, but clinging to it can be toxic. And I think that’s what the Abyss is-- the toxic and corrosive force of clinging to grief and anger. And so long as the Tsaritsa and the Abyss Twin keep causing so much destruction and collateral damage in the search for rebellion and redemption, prioritizing old memories over the people they swore to protect, they’re just going to continue to empower the true threat-- the Abyss. 

Related past analyses, for full context: 

My analysis about the Archons and grief. 

Analysis of Fatui mindset from A Company Vanishing Into the Deep. 

[ectonurites]

question for you because you’re one of the only people i know of who has any idea of the batfam timeline: by the time the red hood shows up in titans tower to flex on tim, have tims parents been murdered/left comatose yet? ik jack doesn’t die until later (isnt it close to when red robin run starts?) but im not entirely sure how the timeline of tim’s parents & young justice adventures line up with jason’s return to gotham (other than. he shows up that one time at the tower)

I know I’ve had a similar question before but I can’t find the post dbdhshs SO let’s do this again.

The tldr answer: Tim’s parents are both dead before Under the Red Hood when Jason makes his presence officially known in Gotham. But worth noting Jack (and Steph too) had died very recently in-universe at that point.

Let’s attach some dates and issues to what I think are relevant events to explain it in a bit more detail. Just for ease/consistency i’ll be using cover dates here, which are about two months after the date published.

Tim’s mother Janet is killed and his father Jack becomes comatose in the story Rite of Passage, in Detective Comics #618-621 (July-Sep 1990)

Jack is awake and well enough to go home, (using a wheelchair for a while) in Batman #480 (June 1992)

Jack begins seeing physical therapist Dana Winters in Robin #12 (Dec 1994) to help recover from his injuries

Dana and Jack have begun a romantic relationship that is revealed to Tim around Robin #21 (Oct 1995)

Since you mentioned Young Justice, let’s establish that the team begins with Young Justice: The Secret (June 1998) and JLA: World Without Grown-Ups #1-2 (Aug-Sep 1998), with their own comic starting shortly after in Young Justice #1 (Sep 1998)

Not 100% relevant to the stuff we’re talking about here but worth noting, No Man’s Land occurs effecting like all the Bat books in 1999-2000.

Jack and Dana get married in the Robin 80-Page Giant (Sep 2000)

Titans/Young Justice: Graduation Day #1-3 (July-Aug 2003) causes Young Justice to dissolve.

Teen Titans Vol. 3 #1 (Sep 2003) launches with the YJ kids on the new team.

Jason initially shows himself to Bruce & kinda slits Tim’s throat during the Hush storyline in Batman #618 (Oct 2003). However this initially was written as Clayface in a disguise and that’s what the Bats think happened here, years later it was retconned in Batman Annual #25 (May 2006) to actually be Jason at first who secretly switched places with Clayface midway through the conflict.

Jack finds out Tim is Robin during Robin #124 (May 2004) and confronts Bruce about it at gunpoint. In Robin #125 (June 2004) he forces Tim to quit.

Stephanie steps into the role in Robin #126 (July 2004), but she is fired at the end of Robin #128 (Sep 2004) which then sets off the big messy chain of events called War Games.

War Games is an event across Bat titles in 2004, important for what we’re discussing here is that the main event ends with Steph’s death (later retconned to be fake, but at the time it was written this was real) in Batman #633 (Dec 2004)

In this same timeframe, the 2004 DC event Identity Crisis is also occurring. Jack is murdered by Captain Boomerang in Identity Crisis #5 (Dec 2004)

According to the War Games epilogue in Batman #634 (Jan 2005), Jack died only days after Stephanie did- thus War Games and Identity Crisis apparently in-universe occur within the same like, week.

Dana needed to be hospitalized due to her grief over Jack’s death, so she begins to reside in a hospital in Blüdhaven. This is why Tim also moves there, as explained via flashback in Robin #132 (Jan 2005)

The Under the Red Hood storyline, Jason’s official return to Gotham to cause problems for everyone, starts in Batman #635 (Feb 2005) so immediately following War Games.

The Teen Titans book gets a bit out of sync timeline-wise with stuff going on for Tim around War Games, but things start getting closer to lining up again by this point afterwards. During Teen Titans #20 (March 2005) Tim is shown grieving over his father’s death that just occurred.

I think it’s worth noting the whole ‘Conner gets controlled by Luthor’ storyline (a crossover more officially referred to as Teen Titans/Outsiders: The Insiders) occurs between things here in Teen Titans #24-25 and Outsiders #24-25 (July-Aug 2005)

The Titans Tower incident in which Jason breaks in to beat the shit out of Tim then takes place in Teen Titans #29 (Dec 2005)

I’m not gonna list timeline stuff out in as much detail after this point bc it’s not particularly relevant to what you asked but just a few things worth mentioning/clearing up:

Under the Red Hood ends at the same time as/overlapping with the bigger DC-wide event Infinite Crisis in 2006 (both books show the destruction of Blüdhaven, that’s the easiest place to see how they connect timeline-wise).

After Infinite Crisis, there is an in-universe timeskip event across all of DC’s books called One Year Later also in 2006 (with the exception of 52, a weekly book that shows what happened during the missing year).

Red Robin (since you brought it up) doesn’t start until a while after all that- it begins in August 2009 as part of the Batman Reborn revamp of Bat titles. This is in the aftermath of the Battle for the Cowl event in May-June 2009, which occurred as a result of Bruce’s apparent death at the hands of Darkseid during the Final Crisis event in 2008-2009.

I hope that helps clear things up? The timeline of things for the Bats (and just DC as a whole) is messy and confusing and at plenty of times contradictory, so trying to make sense of it is always a… wild time.

[blzzrdstryr]

Generous offering

Yandere!Zhongli x gn!Fatui Harbinger!reader

Wordcount:1843

CW:Yandere themes

There are several simple things one should know before dealing with the archons - be respectful and polite, speak only when you’re allowed to and most importantly - never forget that archons aren’t humans.

The first two rules are instinctive - it’s natural for humans to simper and bow before the forces far greater than them, while the latter is not; on the contrary it’s counterintuitive and unexpected. People tend to project, tend to humanize - they see kindness when there’s none and make a huge mistake of assuming that archons see things the way they see it.

Tsaritsa, for example, lacks humanity, despite holding the title of Goddess of Love. The love that she holds for you is different from love mothers and fathers give to their children, or love that young sweethearts share at night, it’s cold and impersonal and undeniably cruel.

Tsaritsa says that she loves all of you and she loves Snezhnaya, yet she lashes out a harsh and gruelling punishments at every perceived failure and rules her land with an iron fist, one would think that the cryo archon is a liar and a hypocrite, who uses pretty, flowery words to hide the atrocities she commits, but this perspective is flawed. Tsaritsa loves all of you and she loves Snezhnaya, she’s just not human enough to properly express this.

That’s why it’s a bit jarring to see the ancient lord of these lands in his mortal form - he lacks the same otherworldly terror and grandiose that every of Tsaritsa’s move and word carry, yet he also possesses the air of wisdom and elegance so refined that rare person can reach it. It’s easy to assume that he’s human.

Rex Lapis, or “Zhongli” as he calls himself now invites you to the Liuli pavillion the second day after your arrival, for tea and local cuisine as he says, and who are you to decline a God?

Liuli staff hurries and dashes around, preparing their best room for you - Fatui are known for their seemingly endless finances, no wonder they’re in haste. “Please make yourself comfortable, dear guests”, the waiter curtsies and leads you to the dining room, which happens to be richly furnished and decorated with high-quality darkwood furniture and the hand painted wall panels further accentuating the luxury of the restaurant.

One of these panels illustrate different scenes from the Liyuen mythos - a battle of mighty and wise adepti against the horde of demons, Rex Lapis aiding his people in building the Harbour and the most spectacular one - a majestic dark brown dragon with golden fur and feathers descending to the devoted worshippers, who in turn present him with their offerings and gratitude.

He orders tea and meals for both of you, as you start to converse about the plan that he is determined to bring into life - the so-called test of Liyue, and the guarantee of you obtaining his gnosis.

“And what about your colleague?”, he sips a bit of his tea, intense amber eyes piercing right through you. He looks both human and non-human in this moment, both undeniably mortal softness and frailty seen in his figure and the barely concealed divinity, the sense of awe slowly seeping into air mixing in one person.

“And what about him? Tsaritsa and you have negotiated everything beforehand, I will make sure that he plays his part properly”, he hums at your answer, lowering his gaze deep in thought. You start on your own tea.

Ah, Childe, if only he knew why exactly he’s here - a distraction and a scapegoat. You even feel bad for him - it’s truly unfair to be lied to by your own Goddess. However, it’s also not a big surprise - Childe is the loudest out of all Harbingers in all senses. Infamous for his skills and battle obsession, his name is enough to have people both shivering in fear and cursing him.

“What do you think of your archon? Was serving her of any use to you?”Rex Lapis unexpectedly asks.

You lean back in your seat, thinking what to say.

“Tsaritsa is a gentle soul, she declared war only to protect us, her subjects and I am ready to aid her in whatever undertaking she starts”.

“Will you continue to serve Tsaritsa, if her action might put you in danger, make you suffer and bring unnecessary grief?”, he leans closer to you, his human features distorting enough to reveal the ancient dragon sleeping inside. His eyes shine a cold golden glow and accurate fingernails morph into sharp, dark claws.

“Yes”, you breathe out, mesmerized and terrified by the sudden change: “Her love knows no bounds, yet she always puts the needs of the nation before anyone else. If my suffering can help Snezhnaya, then I will accept it with open arms”, he moves back at your answer, all draconic traces gone in an instance, upper corner of his lips subtly rising - whatever you said must’ve pleased him immensely.

The conversation flows back into the territory of plans to be realized, yet the cold sensation of dread still clings to you, your gut feeling yelling at you to get up and run. You remain seated to the end of your meeting, politely conversing with the God that terrifies you.

***

Days slowly grow into weeks and Childe acts just as you have expected - the Eleventh Harbinger might be smart, yet even he wouldn’t be able to see what two of you are scheming. Still, you request Ekaterine, a spy you planted in Northland bank, to keep you updated on the Tartaglia’s actions - extra caution never hurts.

You continue to meet up with geo archon, as you two discuss your next actions. Tartaglia has started cooperating with that blonde foreigner Signora has warned you about, and while this union doesn’t pose any threat to your plans, it’s always good to have a plan B, just in case something happens.

Sometimes your conversation develops into a more unexpected direction, as you find the archaic lord more chatty and tending to ramble, than any of Liyuen historians would dare to picture him as. One on such occasion he talks with you about dragons - benevolent deities who protect and bless their people in an exchange of generous offerings.

His eyes devour you, as he retells you ancient folktales and you suppress your discomfort, preferring to attribute his honestly unnerving behaviour down to his lack of humanity - he was never human in the first place.

That’s why you also prohibit yourself from viewing him as anything but God - Rex Lapis in his “Zhongli” persona is genuinely attractive, he’s well-mannered and obviously handsome and far more knowledgeable than any mortal should be. If you didn’t know of his true nature you would have fallen for him by now - it’s hard not to.

Life, how strange that wouldn’t sound, goes as usual - you get Ekaterine’s report on what Childe’s up to and if it’s something unexpected you book a Liuli pavilion room and send an invitation to the funeral parlour consultant. You only need to wait until Childe gets desperate enough and decides to use the sigils of permission to unleash the well-awaited chaos.

This routine however is soon broken by the appearance of familiar ashy-white hair in the distance. She doesn’t wear her signature mask or dress, nor are there agents at both of her sides, yet you can still clearly recognize her. Signora leaves the Wangsheng building in haste, cape with the hood concealing most of her face and figure, except the long locks of hair, peeking from inside.

What is she doing here?

You thought that Tsaritsa sent two of her servants - Tartaglia and you, him to “test” Liyue, you to oversee the former’s actions and obtain gnosis, there’s no need to send her too.

Your mind races, as you search for a logical explanation of Signora’s presence as your memory supplies the piece of first conversation you had with “Zhongli” - could it be that Tsaritsa also sent you to play a role you have no idea of?

Cryo archon is a goddess of love and her love is cruel and unforgiving, she has sacrificed countless chess pieces before, so it wouldn’t be surprising if she did that again - you are nothing but a pawn after all, one of the tools she uses to exact her will and force her vision, all of the Harbingers are.

You want to believe that you can accept and resign to whatever hardship and fate your Goddess might subject you to. You can’t.

***

Adepti and Qixing converse at the pier of the seaport, as you hurry to the Northland Bank, a slight smile playing on your lips - Childe has finally done it - he summoned an ancient god to lure out Rex Lapis, ultimately proving that Liyue can stand without him.

There are sounds of heated argument heard when you open the building’s door and then you see it - Signora and Tartaglia exchanging barely concealed insults and “Zhongli” standing nearby.

“[Harbinger]? What are you doing here?”, the ginger shifts his gaze onto you, a rare emotion of hurt and disbelief flickering in his dead fish eyes. “Of course, Tsaritsa sent you too”, he smiles, angry and disappointed. “Seems that whole world wants to make a bad guy out of me”, he stomps out of the room, leaving you with Signora and “Zhongli”

“[Harbinger]”

“Signora'', you acknowledge each other, after she trails exiting Childe with her eyes.

“I am here to take the gnosis of Rex Lapis”, she says and you nod, accepting that your Goddess lied to you too: “Tsaritsa also asked me to give you this letter”, she extends her arm, a thick envelope with the familiar seal catching your attention.

With the trembling hands you snatch it out of her hold and almost rip the envelope - for what reason did Tsaritsa send you here?

She writes that you need to stay in Liyue for an undetermined period of time to upkeep “the agreement” made between her and Rex Lapis. You read her message silently, yet when your eyes trace over these words, the sensation of “ “Zhongli’s” eyes on you becomes ten times sharper and stifling. You don’t know what to do.

The other Harbinger leaves too, taking the gnosis with her, as “Zhongli” takes a couple of steps to you, touching your shoulder in a somewhat reassuring gesture. “[First]”, he starts, tone sympathetic and soothing. You don’t fall for it.

“You had your hand in it, didn't you?”, you hiss and accuse, throwing an angry glance at him, momentarily forgetting about the first two rules of dealing with archons.

He smiles, revealing two sharp fangs, his surprisingly scaly hands snaking around yours. “Yes”, Rex Lapis admits, and looks nothing like gentle and knowledgeable “Zhongli”. How could you forget? Archons aren’t humans, humanity is just a fancy dress they don to toy with mortals. He is the dragon, not the benevolent deity that is painted on the wall panels of Liuli pavillion, but a greedy and ancient creature, hungry for gifts and gratitude.

You are his generous offering.