#i need to draw parallels where there are none

[girltomripley]

There is no "she", there is no "you". You are one.

The Substance (2024) dir. Coralie Fargeat x I WANT 2 B U by The The

[astroboots]

Every You Every Me | Issue #7

COLLABORATED WITH @thirstworldproblemss

Pairing: Miguel O'Hara x female reader

Summary: You finally get some answers out of Miguel about who you are to him.

Word count: 5,700 words.

Series Masterlist | Spiderverse Masterlist | Astroboot’s Masterlist | thirstworldproblemss' Masterlist

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"So let's take it from the top," you tell him, as you sit down and put down the Trenta-sized caramel flavored hot chocolate with extra whipped cream and chocolate syrup in front of the man named Miguel O'Hara.

The two of you are sitting across from each other at a small booth at the nearest Starbucks you were able to find, seeing as you're homeless now, and there's nowhere else you could think of to go.

He's dressed in a large fitted hoodie that drapes down to his thighs. Where he's managed to find something that is oversized in length on him, you don't know because he's not exactly short.

"I'm from a dimension known as Earth-928," Miguel says.

Before he can continue, you raise one hand, and you can see his right eyebrow twitch unhappily at the interruption. 

"Yes?"

"Just to clarify, so we don't have another ‘coffee cake’ misunderstanding. When you say Earth-928, do you mean a different version of the Earth we’re on now? Or is this a habitable planet in another galaxy that happens to be partially named Earth?"

"It's a parallel universe characterized by distinct physical parameters and initial conditions, accounting for the diverse manifestations of our observable universe. So still Earth," he says, sweeping his gaze across the café, nose wrinkling the way one does when there's something off-putting in their vicinity. "Just a little bit less primitive."

Of course he would say that, wouldn't be able to resist the jab would he.

You peer up at him across the table. He is very technical and thorough with his explanations. But as grateful as you are for him finally being willing to answer your questions, you hadn't expected those answers to be quite so information dense. You need to pick your questions more carefully or you are going to have to go down the street to buy yourself a notebook in order to keep up.

"How did you end up on this Earth?" you ask.

"Where I'm from, I'm a scientist, a researcher. One of the things I studied was the theory of physical cosmology and the existence of the multiverse. My work was concentrated on the theoretical ability to navigate between distinct universes within a hypothetical multiverse–”

Ah shit, you should've been more narrow in your question. Should have asked him to simplify it a bit more for you. Because now you're sitting here blinking up at him, pretending you understand half of what he's saying. 

It makes sense that he’s STEM. He speaks like the type. Smart as hell with none of the social skills to gauge whether the other person is following the conversation. 

Listening to him reminds you of that time in college, when you'd walked into the wrong lecture hall, wound up in advanced chemistry instead of your math class, felt too awkward to leave and just sat there drawing doodles with an attentive expression until the class was over. 

And he’s still at it, “– employing advanced mechanisms that manipulate or transcend conventional spacetime frameworks, enabling exploration–"

"Okay, wait, hold on a sec," you interrupt, once it becomes obvious he’s not going to stop any time soon on his own. "Can you... simplify, please?"

He stops mid-sentence, taking a deep breath as he looks up at the ceiling and considers your request, with a serious expression as if he's thinking really hard on it. "I’m a scientist. I study the multiverse. I built a parallel universe traversal device, it allows me to visit different dimensions." Your brain feels insulted that it clearly took more mental effort for him to dumb it down for you than to just give the supergenius version.

“So… a machine that allows you to jump between alternative universes?” 

“Yes.” 

There’s a pause between you as you run through the questions in your mental list you want to tick off now that he’s turned cooperative and talkative. But with everything that’s happened in the last handful of hours, a lot of the questions you previously had seemed outdated. The one question, the most important one, you’ve wanted to ask from the start though remains. 

"Who am I to you?"

Miguel takes the large sized drink in his even larger hands and somehow this big paper cup still manages to look tiny in his grip. "You and I were... involved," he says.

You frown. ‘Involved’ is such a vague term. It belongs in the trash with other useless terms to describe relationships: “situationship”, “complicated”, you hate them all. 

"So I was your girlfriend?"

"Yeah, something like that," he concede, fidgeting with the thin gold chain looped around his neck, his eyes not quite meeting yours, like he's embarrassed to use the term.

‘Something like that,’ you chew on his answer unhappily, sympathizing with your other dimensional self and how the other you seemed to have snagged a commitment phobe. 

Other-you, who isn’t here in this dimension with Miguel. You wonder why that is. 

"What happened to me?" you ask.

His eyes are glued to the table,  not looking up at you as he answers you in a voice so quiet you can barely hear it. "She died."

"Oh."

The revelation shouldn’t take you by surprise. 

Every time Miguel’s brought up your other self, it’s been tinted with earth-shattering sadness. It's not hard to put one and one together and come to the conclusion that whatever happened to you in this other dimension didn't end happily.

Still it's an odd feeling to know that out there, somewhere, a version of you has died. A version of you that was clearly very important to the man in front of you.

"I'm sorry," you tell him.

It feels silly to say. It's bizarre to give your condolences over your own parallel death, but Miguel looks so heartbroken. He’s slumped in his seat, large shoulders rounded until his frame looks so much smaller than you're used to, and you don't know what else to do.

"So what is happening to me now," you start, not sure how to word what the phenomena that you're going through is, "these continuous near-death experiences, is that how she died?"

"Yeah."

"And do you know why that... kept happening to her? Why is it happening to me?"

"I don't, and I don't know how to stop it. Believe me I tried."

He cradles the paper cup in his hands, the grip a little bit tighter now until he's creasing the paper and the caramel liquid oozes and leaks from the top.

"What I do know is that the universe isn’t going to stop trying to kill you, no matter what you do. And with every near death incident you manage to survive, these incidents will escalate in nature, until..." he stops, eyes flickering away from the cup to meet yours, but it's like he loses courage and doesn't want to say the last part.

"Until, what?" you prompt.

"Until your dimension collapses."

The blood freezes in your veins. "Wait, collapses!? What do you mean?"

"I can't guarantee it will happen again. But that's what happened last time. When the other you kept cheating death, the universe eventually started to collapse in on itself."

You slump back in your chair, trying to process what you've just been told. What does that mean? That even if you managed to defy all odds to survive, doing so would doom the rest of this universe as you know it?

"When will that happen?" you ask, and you're surprised you manage to get the words out because there is a hard lump in your throat that makes it hurt to even swallow.

"Judging from the trajectory and escalation of events, you have about three months give or take."

The two of you sit in heavy silence, for the moment you're not sure what else to ask him. Because it feels like you are trapped in a building looking for an exit sign, but all that’s tacked onto the brick wall is your death certificate, waiting to be signed and formalized.

There’s no way out. Nowhere to go.

"Give me your hand," he says, breaking the silence. 

You give it to him without hesitation, watching, puzzled, as he takes off his watch and secures it around your wrists.

"Why are you giving me your watch?"

"It's not a watch," he says, then he presses something on the face of it, and an image of a young woman flickers into existence in the space above your wrist, vaguely see-through. A hologram!

"This is Lyla," he introduces.

Wait, wait? Lyla? As in your mom Lyla? You watch the tiny woman floating above your wrist. Short bob-cut, and flashy heart-shaped sunglasses, with a twinkle in her eye. 

The hologram looks nothing like your mom. You part your mouth, about to ask about the name but you're interrupted by the energetic buzz of a female voice greeting you.

"Boss-girl! Long time no see. Want me to catch you up on the latest multiversal gossip? I compiled an edit of highlights set to Despacito."

"Lyla," Miguel warns, tersely. "Not now."

"Ruuuuude! You're the one who woke me up you know."

"Lyla, go back to sleep."

The female avatar grumbles, but then her image flickers away and the watch turns back into, as far as you can tell, just an ordinary watch.

"Why did you name the watch Lyla?"

"It's not a– " He cuts himself off, sighing with exasperation. "Lyla is an advanced A.I. she's going to be with you at all times. She's an added layer of security, built to protect you."

He didn't answer your question. Completely sidestepped it as if the two of you are having two different conversations.

Built to protect you, he'd said. Does that mean he still intends to do that?

"So you're not going to leave?" you ask him.

He leans back in his seat, eyes drifting towards the table. "No."

You look up at him, stumped. Not sure you're understanding what he's saying. Because not even a few hours ago, when the two of you were in your apartment, this man was adamant there was nothing to be done to save you. That he was going to leave and you were never going to see him again.

Right now though, his actions seem to be contradictory to that. You can't make heads or tails of him. Hot and cold doesn’t even begin to cover it. 

"Why not?" you ask, "I mean, not that I’m not grateful, but you seemed pretty set on the whole ‘I can’t save you’ thing. What changed your mind?"

“You did.” His eyes narrow as he looks down at you, crossing his arms ever his chest, "You told me you wanted to live. Have you changed your mind already?"

“Wha– NO! I just want to know why you changed yours.”

“I–” He hesitates, another wave of sadness passing over his face. “I’m a superhero. I save people… or try to. It’s what I do. I’m not gonna just leave you to die after you tell me you want to live.”

It’s a good answer, even if you don’t buy that it’s the whole truth. 

You look down at your wrist, and the shiny chrome of the not-watch he's just gifted you winks back up at you. "Do you think I have a chance of surviving all this?"

"It's pretty hopeless," he says, and there’s no break in his expression as he continues. "Your chances of making it out alive are pretty much mathematically impossible."

It's odd though. Even though he's outlining the futility of your situation, basically telling you to raise the white flag and surrender, there's something contradictory in the tone of his voice. 

"What do you want to do?" he asks you.

It’s a challenge, you realize. An encouragement. He has faith in you. It's all of these things rolled into one. As if he's telling you to prove the universe wrong.

"I want to live," you answer. "If the universe collapses in three months, then please stay with me. Give me time to solve this and find a way to stay alive."

His mouth curls into a hint of a smile. The very first you've seen from him since you've met. It's bright and boyish, erasing the harsh lines of his stern expression until it gives way for something much softer underneath that makes your heart leap in your chest with triumph.

You grin, a strange elation of happiness buzzing in you as you stretch out your hand to him, in an invitation for a handshake to seal the deal.

"Deal?"

Miguel leans over the table, clasping your hand in his much larger one as he squeezes it back gently.

"Deal." That small smile from before is still there. "So what's next?" he asks.

The thing you never realized, being an ordinary person bereft of super genes or other superhuman powers is just how convenient commuting can be if you have them. 

No longer do you have to brave the Lynchian nightmare that is the NYC subway system. Half-naked manic street preachers giving sermons as you’re held hostage, with nowhere else to go in the carriage. Being chased down by a drunk trumpeting Mariachi band. Instead, all you need to do to get from point A to point B (A: being the Chrysler building and B: the building formerly known as your home) is to hold on tight to Miguel as he swings you both above the city gridlock.

You imagine that this is what paragliding must feel like, except it's so much better because here you don't have to do the safety training beforehand or pay $3,000 for the privilege.

The city skyline is a dark evening blue, dotted with the sparkling lights of office buildings, cab roof lights and street lamps, as the wind ruffles through the fabric of your clothes.

It's such a different sight when you're flying above instead of walking on the streets below, that you don't even clock that you're in your neighborhood, until you see a building with a collapsed wall that's been blocked off, looking like a crash site. Only then do you realize... you're home.

Miguel carefully sets you down on your feet on a small patch of concrete that is clear of the rubble and destruction.

"Why did you want to come back here again?" he asks. 

It’s a good question. Now that you're here, standing in the middle of charred debris and cracked bricks, you're not sure either. You had some vague plans of seeing what you could salvage, hoping for some clothes, maybe your electric toothbrush, or really just any of your stuff. Something that’s yours, no matter how small, to hold on to after the events of today have ripped away life as you know it.

But there’s nothing left. The furniture, all your books and knick knacks, and even your dirty laundry piles have been demolished. Your home as you know it is gone. There's only piles and piles of rubble and traces of white fire extinguisher foam on the ground. The fire has been out for hours, but the pungent smell of smoke and sulfur still pervades the air. 

"You okay?" Miguel asks.

He's still standing at the outer edges of the apartment, close to where your window would have been if a helicopter hadn't crashed through it.

"Yeah... I guess the silver lining is that I didn't have anything expensive. Though it'd been nice if I could've saved my mom's Le Creuset set or at least the nanny-cam so I could return it and get a refund," you joke glibly. 

You nudge aside some concrete rubble with the cap of your shoes. There's nothing under there, no treasured memorabilia that's still miraculously intact. Just more burnt concrete and rubble.

"Why did you have a nanny cam?"

You turn around at his question, to see him hovering close to you, one eyebrow raised with an unhappy set to his jaw. 

From the displeased expression on his face, he's probably misunderstanding something here. Probably thinks you're operating a very unlucrative Onlyfans business, when what you've really been doing is spy on him and his nightly visits. You don't know which is worse to confess to, so you don't confess to anything.

"No reason," you say, ignoring the way his already raised eyebrow twitches with irritation at your lack of an answer.

"Come on, let's go," he says, and he waves towards you in a come hither motion like he's commanding a dog.

"Go?" you ask him. "It's past midnight. My place, as you can see, is wrecked. Go where exactly?"

Miguel shoots you a strange look. "A hotel," he says, like it's the most obvious thing, and– okay, he's not completely wrong in that assumption.

Problem is, you didn't have time to pick up your wallet or phone before your impromptu interdimensional visit. They’ve been incinerated along with all the rest of your worldly possessions, which means you don't have any way to pay for a hotel.

Plus Manhattan hotel prices average $400 a night. Even if you still had access to your debit cards, your budget’s pretty tight right now after all the capital you invested in your unhinged quest to trap the superhero before you. 

"In the city? I don't have that kind of money and it will take months for any insurance payouts to come in."

You should know. As an insurance claims adjuster, you know you’ll be lucky if your claim is processed before the end of the year. And, ugh, just the thought of the paperwork you’ll have to fill out is enough to give you an anxiety migraine.

"I’ll cover the room," Miguel says casually before holding out a hand to you, "Come on, let’s go."

When Miguel said he’d cover it, you expected a reasonably-priced room at one of the Days Inn across the river or the like. Hopefully a place with no rats or bed bugs, and maybe clean bedding over a somewhat comfortable mattress for you to pass out on if you were lucky.

You didn't expect this.

Standing in front of the Midtown Four Seasons, you find yourself on sleek marble so polished you can see your own reflection. You haven't even stepped a foot inside yet and there are two old fashioned doormen, wearing immaculately fitted suits, with an even more impressive posture opening the majestic double-set doors for you as you approach.

It's swanky as hell, and you can’t help gawking like a tourist, eyes glued to the decadent carved ceilings that must be at least 30 feet tall, soaring above you. Honey-colored limestone that looks like it’s been looted from Ancient Rome.

You feel more than a little bit out of place. This is way outside of your budget. You could probably work your job for a lifetime, and not have enough disposable income to stay the night at a place like this.

"Uhm, Miguel... this place is way too–" you start, turning towards him.

But as you were busy lamenting the state of the housing market, he's already walked away from you (for such a bulky guy, he moves swiftly and silently) and as you whip your head around to find him, he's already standing in front of the receptionist.

Damned antelope legged man, would it kill him to wait up for you once in a while? You run up after him and have to tip-toe in order to see over his shoulder because the giant mammoth is blocking the check-in counter.

And wow, even the receptionist here is of a different caliber than the ones you'd find at Holiday Inn. A fashionable bob-cut with razor sharp edges, looking like a model cut out from a Vogue cover.

"Do you have a reservation, Sir?"

You half-expect him to say no, and that the two of you would have to tuck your tail between your legs and walk out of here to the backdrop of a sad trombone playing.

To your astonishment he says your name. The receptionist tip-taps away at her keyboard and then she nods and smiles gracefully at you both. 

"Yes of course. After reviewing your reservation details, I am pleased to inform you that all necessary arrangements have already been made, including advance payment and verification of your identification. Your room is ready for you, we trust you will enjoy your stay."

She flashes you a pearly white smile so shiny it's almost blinding and hands you a hotel key card. 

When you turn around, to your confusion Miguel is no longer next to you. How does he keep disappearing like this? 

"Cielito," Miguel’s voice calls. The nickname doesn’t register at first. It doesn't even occur to you that he’s referring to you, until he barks it out a second time. 

Your head darts up to see him standing by the elevator, tapping his feet impatiently as he waits for you to make it over to him.

"How did you do that?" you whisper loudly to him as you step into the elevator. "Where did you get my ID? How did you make a reservation? How did you--"

He takes your hand, mid-sentence, turning your wrist upwards and taps the watch.

"The computer systems in this universe are child's play for Lyla to manipulate. Reservations, money, ID, she can take care of all of that easily," he explains.

"She can do that?" you ask, and Miguel merely nods at you as the elevator closes behind the two of you.

You tip your head down to inspect your gifted watch. In awe of this technical marvel that would make Siri look like it’s from the stone-ages. You wonder if she can boost your credit scores. She could probably hack any wi-fi password so you'd never have to worry about data throttling again. She could get you table reservations for Libertine! The possibilities are endless!

You turn to Miguel. "Can Lyla get me Beyoncé tickets?" you ask. 

He just shakes his head at you with what almost qualifies as an amused smile.

The room upstairs is massive. 

It’s easily three times the size of your little studio apartment, and the ceilings are twice as tall, with a hanging glass chandelier that’s sparkling bright enough to blind you. It looks like one of those places featured in Architectural Digest. 

Everything is in an art deco style, with expensive looking furniture and even more expensive art hanging on the one spare wall that isn’t covered in floor to ceiling windows. There are large shelves and a sleek looking kitchen, complete with an opulent looking velvet lounge chair of emerald green that looks like something a Roman emperor would be fed grapes on. 

In this colossal space of a room, there is only one bed. One colossal, plush-mattress-topped, goose down duvet and probably 1,000,000,000 thread count sheet covered bed.

You tense up, not sure what the arrangements Miguel had in mind. Did he want the two of you to sleep in the same bed?

Miguel did pay for the room, so you’re not going to start voicing objections. After all, it wouldn’t be the first time in the short time span that you two have known each other to do that. This bed is also a lot wider than your tiny double bed, so it wouldn’t be the cramped disaster it was last night. You’d just have to make sure to use the bathroom before bed this time so he doesn’t jab your full bladder in the morning again. 

Without saying anything, Miguel strides across the length of the room with impatient and determined steps. His hand reaches for the balcony doors and slides them open. 

"Wait wait, where are you going?" you ask him as you run up to the middle of the room. 

“I’m sleeping outside,” he says over his shoulder, and your mind boggles with that. 

“Why? Isn’t it better for you to stay here?”

"This is the 62nd floor. That’s about as safe as you’re going to get. I’ll keep a lookout to make sure no more helicopters come crashing in.” 

You’re not sure if he means the last part as a joke or not, but as you watch his broad back retreating as he walks away from you, a sickening sort of the deja vu twists through your chest. 

I can’t save you, he’d said back in your apartment, Nothing can. 

The feeling clawing at your chest feels alarmingly like panic. It screams that he’s leaving you. That he’s never coming back. That you’ll never see him again. 

You’re being irrational, and you know it. You remind yourself that he wouldn’t have done this much for you only to bail in the middle of the night, but that doesn’t stop the fear that’s festering, sharp and urgent, under your skin, or the way your heart races, your whole body flashing hot and cold at the same time. 

You want him to stay. 

“Miguel,” you call out, and he immediately stops and turns to look back at you, one eyebrow raised in a skeptical question. 

Please stay. 

You open your mouth, but the words won’t come out. You can’t ask this man—this big, sarcastic, rude hulk of a man—to have a sleepover with you because you’re scared to be alone in the dark. He would laugh you out of the hotel room.

“Uhm… thank you,” you say instead, but it’s no less sincere, “For everything.”

His eyes soften, the sharp narrowness of them easing up. “It’s fine,” he mumbles, and despite the cold chill of the evening, you think you can see a faint flush blooming in his cheeks, before he quickly ducks his face from you. “I’ll be right outside if something happens.” 

He turns back around and walks out, closing the patio doors with a gentle click behind him, leaving you by yourself. 

It’s quiet. 

You survey the empty room you’re in. Without Miguel’s large frame taking up space, it seems even bigger than it did before. 

It’s a beautiful room. Something that you’re pretty sure you’ve seen in a movie set. You don’t know why you’re not as excited as you were before. This is you living your Pretty Woman moment. You should be filling up the big jacuzzi tub you saw with bubbles. Heck, maybe ask Lyla to order you a bottle of champagne from room service. 

Instead, your eyes linger on the glass patio doors leading to the balcony terrace. You walk over to the bed, perching yourself down on the edge of the mattress, then flop down. 

Might as well try to sleep, you think to yourself as you climb under the covers and switch off the light. The best thing you can do right now is catch yourself some rest so you’ll be alert while trying to figure out your next steps tomorrow.

3 months… That’s what Miguel told you.

That’s all the time you have left. 

That means you don’t have time to waste, but you also have no idea where to start. The local library doesn’t exactly carry any resources on how to stop the universe from trying to kill you. 

The Universe. 

An infinite cosmos, grander than any human being can possibly comprehend. This vast space containing all the galaxies with its billions of stars and planets, where an individual being does not even register as a speck, and it wants you dead. How can you possibly fight against those odds? 

You lie wide-eyed and awake staring into the dark of the room, and the feeling of dread gnaws into you. 

You don’t want to be alone right now. Turning in the bed, your eyes find their way back to the blank slate of the pitched night outside the balcony doors. 

You really wished he had stayed with you. 

Sitting upright in the bed, you consider your options. You can lie back down. Suffer insomnia and the existential horror of knowing the universe is trying to murder you. Or you can man up, swallow down whatever tiny morsel of your pride you have left and ask Miguel to come back inside and stay with you. 

Flinging the duvet from your body, you get up to walk over to the balcony. You hesitate for a moment before tapping the window pane the way you might knock on a door, giving a polite head's up before you slide the balcony patio open. But when you poke your head out, turning your head left and right, Miguel's nowhere to be found. 

Okay, that’s weird. He said he’d be right outside if you needed him. You walk up to the ledge of the balcony terrace, leaning over the rail and peer down to see him dangling upside down, from the ledge of your balcony. The sight nearly makes you scream. 

"Miguel!” 

At you calling his name, he pulls himself up, one clawed hand gripping at the concrete wall as he climbs his way up and over to you. He makes it look easy, as if gravity does not exist for him, and it’s only a moment until he’s perched on the ledge of the balcony, facing you. 

“What’s wrong?” he demands, eyes concerned, and you’re suddenly aware of how very close he is. His face mere inches from yours, your noses nearly touching.

“What’s wrong? You’re hanging upside down from the 62nd floor! What are you, a bat?!"

“Why did you come out here?” he clarifies, and his words give you pause. You try to gather your thoughts after the bizarre sight you just walked into and remember what you came out here for. 

He’s still looking at you with his full and intense concentration that makes your skin prickle with warmth.

God, it’s embarrassing to ask. You feel like you’re five years old, asking your parents to turn the nightlight on, even though you know you’re a big girl now and aren’t supposed to be afraid of monsters hiding under your bed any more. 

You look down on your hands, where you’re wringing them together, then back up at him, and make yourself spit it out, "Could you… maybe… stay with me tonight?" 

His eyes widen at your question, but he doesn’t actually answer you and gives you no physical indication one way or the other. 

"I feel safer when you're with me,” you admit. 

“I am with you out here,” he counters, because of course he can’t make this easy for you.  

“I can’t see you out here.”

The line of his shoulder eases, and he ducks his head down with a resigned sigh. "Fine. Get back inside, Cielito. You're going to catch a cold like this."

You shuffle back inside to your bed, watching out of the corner of your eye as  he follows you inside and settles himself on the lounge sofa. He’s so tall that his feet are sticking out over the armrests, like a long-legged stork. 

Hiding a smile, you climb back into bed, wrapping the bedding all around yourself.

“Good night,” you call out, and he makes a grumpy noise of acknowledgment. 

Your head drops back onto the soft pillow, and you close your eyes, ready to sleep. It’s such a nice bed. The sheets are cool and soft against your skin and smell of fresh eucalyptus. The mattress is the most comfortable you ever remember resting on, firm but somehow soft at the same time. You feel like you’re sleeping on a cloud. 

Moments go by, and you revel in the sumptuous bed, waiting for the best sleep of your life to claim you. 

Except it doesn’t. 

Somehow… you still can’t fall asleep. Is it… too soft maybe? You turn in the bed, twisting your torso to get into a position you can comfortably sink into, but something doesn’t feel right. There’s no lumpiness like at home, but that should be a good thing. 

Except… despite the decadent softness of the bed. Despite the fact that the sheets probably have a thread count with more zeros than your checking and savings accounts combined. Despite all of the luxury that surrounds you, you still find yourself tossing and turning and wide fucking awake.

The bed is too big. You don’t know what to do with all this space. Your body is not accustomed to this sort of decadence. What if you suffocate sinking into this soft fluffy pillow in your sleep? What if you toss and turn until you fall off this massive bed and break your neck? Maybe that’s how out of all of the universe’s attempts to kill you, you end up dying? 

Fuck! 

You can’t sleep. 

You turn to your side and stare into the velvet lounge chaise on the opposite side of your room, where Miguel is. 

Quietly, you pad up to his still form until you’re standing in front of him and hunch over, trying to decide how rude it would be to wake him up again when there's nothing he can do about your stupid insomnia anyway.

In the dim light, you spot something glinting at you. Looking closer, you notice that the thin chain looped around his neck has escaped his shirt to pool on the fabric of the sofa cushion under him. You gently drag the loose end of the necklace toward you, and find a smooth golden band threaded onto it.

Picking it up cautiously, you flip it in your hand and find that there's something engraved on the inside.  It's hard to see in the darkness, but when you lean closer and squint your eyes, you can just make out what it says.

'MO'—undeniably the initials of one Miguel O'Hara.

Twisting the ring slightly, you find a tiny plus sign followed by your own initials, and your heart drops into the pit of your stomach.

Oh.

The memory of sitting across Miguel at Starbucks returns to you, when you had asked him who you were to him. You think of the avoidant gaze and how he couldn't look you in the eye.

‘Something like that,’ huh?

Guess the other you wasn't just his girlfriend after all, you think, chest drawn so tight it’s painful.

Holding the wedding band in the palm of your hand, you slide down to sit down on the floor with your back pressed against the chaise lounge.

Your heart aches for the man in front of you and everything he's lost.  You really, really hope you're not going to end up as just another regret on his list.

~ Next Issue

Dedication & Credits: As always to my best friend @thirstworldproblemss I am half asleep and running on fumes. I'm wording things poorly but I just want you to know that I am very happy I have you. Thank you for being my friend and for the time we get to spend together. I have the most fun when I'm with you.

Also to @guruan who is my muse, my source of inspiration. This chapter is dedicated to her because have you seen this beautiful piece of artwork she did for EYEM?!

[simplydnp]

WAD: Cover Art

dan is still working on selling the distribution rights for We're All Doomed! so i decided to make some DVD/Blu-ray disc jacket art!

this is my attempt at a traditional jacket design! none of the images used are mine, but i did create the concept and design:

as i was making the first one for myself, i was struck by the fact that 'well, it's for me, so it doesn't have to look like a stereotypical jacket cover' which led me to be more artsy in my approach for the next one:

i was really enjoying the creativity and space to explore, so i went looking for more inspiration for a third design. this led me to dan's favourite Muse album: Origin of Symmetry, which i paid homage to:

after the first Muse album, i looked at their catalogue to see if there was more inspiration there. i was just thankful dan's favourite was easy stylistically to mimic, unlike say, 2009's The Resistance...

thank you @danielhowell for the inspiration!

nerdy stuff & reference pics below the cut!

General notes

i don't know how to use photoshop! i entirely brute-forced my way through the whole project, and the only tutorial i looked up was for the gradient text in the 4th cover

this wasn't even the original project i was working on! you'll eventually get to see that though

and this one also inspired art for the disc itself so stay tuned 👀

i will do anything for authenticity so these are Full of intentional details

matching fonts is a nightmare

the traditional cover

took the longest, as it was the first.

the barcode numbers are the date of the first video he uploaded on dinof, and the last tour show date (in m/d/y)

i changed 'iceland' to 'poland' on the front cover, as he never actually went to iceland, and poland wasn't ever on the list even though he did go there

the orange may look a little off-center in the front, but these designs need to include space for a spine between the front and back cover, i promise it's right 😂

the black and white cover

inspired by the 'i want to believe' aliens poster

the cover art comes from his metal band merch shirt design

i had to manually shrink the text, line by line, and ensure it all lined up on the back!

i even made the logos on the back greyscale

the Muse: Origin of Symmetry cover

a shockingly perfect style for a WAD cover. i'm so glad i used the cubes, even if they couldn't be orange.

there's some versions of the art online where the sky is even more orange and it baffles me how i haven't seen any parallels like this before

the Muse: The Resistance cover

this cover was never supposed to see the light of day! i meant it when i said i was grateful i didn't have to try to adapt this complex design... and yet, i tried anyway.

i did all the grid lines by hand, including the jagged/broken edge parts, shading each section, and then drawing every star.

the hardest part was getting the gradient on the back text to cooperate. photoshop's gradient settings are surprisingly limited

gotta shout out @amazingphil for being the reason i knew what this cover looked like--it's the only muse album i knew the art of before embarking on this quest!

obligatory sob story:

i've been extremely and suddenly ill for 6 months. it is difficult to function moment to moment, but especially in doing little things just for me. this is the first and only art project i've been able to feel inspired to not only work on, but to finish, and despite the pain and long hours, i enjoyed every minute of it. thank you, dan, for creating this space for me to explore, and thank you, everyone here, for being wonderful support during this time 💞

[thetownsendsw]

Today marks the premier of #Pathfinder’s Triumph of the Tusk Adventure Path, so I’d like to take a moment to discuss a relevant topic near and dear to my heart.

ORCS!

While Tolkien was drawing on some linguistic antecedents, Orcs in fantasy originate from The Hobbit & Lord of the Rings, where they’re brutish soldiers of various forces of evil.

Initially lacking redeeming quality, Orcs have become a darling of pop culture, their thuggish nature explored from many angles across TTRPGs, video games, comics, novels, and more.

Now, when you picture an Orc, you no doubt imagine something akin to the Warcraft or Warhammer franchises: statuesque, green skinned humanoids with protruding underbites and looming tusks, often locked into a primitive, itinerant lifestyle, eschewing technology beyond what they pillage from other races.

Interestingly, none of this is in Tolkien.

In Tolkien, “Orc” was essentially another word for “Goblin,” or perhaps unusually large Goblins. Far from statuesque, Gollum (a (former?) Hobbit) could easily be confused for one. The Uruk-hai, a new, stronger Orcish offshoot were described as Orcish in appearance but only as tall as a Man, not taller.

Tolkien’s Orcs are described as deformed, but nothing as specific as green skin or tusks is specifically mentioned (Tolkien saved in-depth sensory detail for trees, and occasionally beards).

Far from being savages, Tolkien’s Orcs were–in his grand Romanticist narrative–stand-ins for industrialization. They were destroying the forests to build grand weapons of war, and soot-covered Mordor evoked the smokestacks of 19th century london.

In many ways the conflict of LotR can be interpreted as Tolkien pitting the noble myths and tales he studied up against his real experiences in WWI.

(the thought amuses me of a firmly medieval fantasy setting, except when we zoom in on the Orcish Badlands they’re all shelling each other from the trenches)

But while none of these traits are in Tolkien, there is a source where they are central.

The Green Martians, or Tharks, first appeared in A Princess of Mars by Edgar Rice Burroughs, published in All-Story Magazine from Feb-July 1912, well before any of the kids Tolkien decided to tell a fairy tale to were born.

The Tharks are described as 15 foot tall nomadic savages, favoring mighty beasts and weapons salvaged from the more civilized races of Barsoom. They have green skin and tusks, as well as six limbs (interestingly, the middle limbs are described as functional as either crude arms or secondary legs, but art always just depicts four arms)

Culturally, the Tharks are clearly meant as extensions of the Apache raiders encountered in the early chapters of the book set in Arizona; i.e. some California ranch-owner’s idea of wasteland savages. Nomadic, inhuman raiders redeemable only when breaching their primitive traditions.

The parallels are almost uncanny, and I’ll admit I’m honestly not sure where the crossover occurs. Early editions of D&D–another driver of fantasy trends–depict orcs as pig-people, which is probably how tusks became so iconic. They later added gray skin, which persisted officially until the current edition.

Somewhere between there in ‘74 and Warhammer in the early 80s is when the pseudo-Barsoom look took over in broader culture, and at this point there’s no getting around it. Even the more recent Tolkien film adaptations can’t entirely escape the expectation of modern Orcishness.

Turning back the clock a bit, Tolkien notably was never entirely sure where Orcs came from. His first idea was that they were molded from clay by Morgoth, a dark mirror to Adam, but being a Catholic at heart, he disliked the idea of Evil being a creative force.

He flip-flopped for the rest of his life, whether Orcs were corrupted men/elves/hobbits, uplifted beasts, even (according to one post I saw) soulless bodies remotely piloted by demons. He could never quite square the need for unfailingly evil mooks with his own feelings on Good & Evil.

Personally, I find particular resonance in the parallel between what D&D used to call an “always chaotic evil” race and the very Catholic concept of Original Sin. Was Tolkien merely dancing around the idea that the Orcs only needed to be Saved?

I can’t say what Tolkien would think of modern Orcs, either their merging with an earlier, American space alien, or our attempts to humanize what was supposed to be fundamentally inhuman. But I think his insecurity speaks to the same source as our fascination.

Who among us hasn’t struggled with what it means to be good? Or to be evil? And if we are made to be evil, what does it mean to strive against that purpose or to surrender to it? Can we abandon the precepts of predestiny? Or do we reject that they were ever there?

Stare deeply into that Jungian shadow and tell me…

Is it green? And do you want it to be?

[centrally-unplanned]

Japanese website Forest Page is shutting down ~today, a tragic loss of "Heisei otaku memories", as so many are calling it. Launched in 2003, Forest Page was a "Geocities for mobile", a site that hosted user-created websites and gave them tools to allow non-coders to make them. In practice, it became one of the premiere places for fanfiction in Japan, with the stories hosted on author-created sites.

It wasn't quite the Fanfic.net of Japan, as for one the Japanese fandom just never centralized quite the way the 2000's western one did, instead being spread out over a half dozen or so sites. But additionally, it wasn't initially popular for fanfic so much as cell phone fanfiction, because in 2000's Japan the "cell phone novel" was a specific thing. These websites were being made for flip phones, not smartphones, and not only would people read them on those phones, they would often write them. None of that was very conducive to the creation and consumption of a "traditional" novel; so starting in the 2000's Japanese writers started making stories fit for the medium, namely:

Very short

A huge focus on dialogue and inner thoughts, with no/minimal description or scene detail

Using a limited POV of a specific character

Often employing the medium-as-message, like using emojis, structuring the story as IM's or emails, etc.

Also they all had huge gaps between lines, I'm not really sure what that is about:

Probably for readability on the phone given the small screen size? But it was absolutely part of the genre. A few of these novels actually made it big, got movie adaptations, people wrote articles about the "cultural phenomenon", it was the 2000's so Hiroki Azuma had a take on it of course, and so on. It slotted neatly into the vibe of the time of technology changing culture, paralleling discourse around otaku in the same era.

In fanfic those trends met up, and anyone familiar with fanfiction probably read that list of traits of the cellphone novel and thought "oh, this is perfect for fanfiction". Skipping out on description? I don't need it, I know what they look like already. Focus on conversation and POV? Perfect for shipping fics. Short lengths? Yeah, we are shortcutting to the good stuff, that is the point. Mirroring trends in the west, Forest Page's userbase was ~95% female, and the most common content on the site was romantic or edgy-dramatic stories in the franchises you'd expect. The closure page linked above actually summarizes the site's history by year, and lists the biggest fandoms:

Which is exactly what I would expect from a female otaku fanfiction website. Congrats to Pirates of the Caribbean for making it though, freeaboo's represent.

I do think the fact that the site was a website hoster as opposed to a fic hoster did align with the way the Japanese fandom was more "creator focused" and embraced the media mix more. There were "fic circles" a la doujin circles who made their own pages, people would make fanart, fan video games, and so own to host alongside it, and all of it was centralized to the creator; it made following them-as-a-person just a little bit easier. Most websites were simple text, but others did have the full Geocities experience:

Something that was somewhat common were basic visual novel concepts where the reader could make choices, or even insert their own name so they would be the "MC" of the story:

(Dream novels are in fact their own thing in Japan) My understanding is the site was quite popular through the 2000's and into the 2010's, though over time the "cellphone novel" as a concept fizzled out. People got smartphones, more people got PCs, and the constraints didn't make sense anymore - you can read ebooks and normal websites on your phone now after all. You can probably draw a line between these kind of stories and the webfiction/light novel boom of the late 2000's/2010's, something that was equally born on the internet, that streamlines the novel to "shortcut to the good stuff" but without the need to fit on a flip phone's screen. Though I will admit my own understanding of their histories shows them more as two sides of the same "youth demand for new literature" coin.

In 2017 Forest Page launched Forest Page Plus, a new service fully optimized for the smartphone era; but it did not transfer over all the old content, starting the clock ticking on the original Forest Page. My understanding is that in June they announced Forest Page was officially closing down; and from what I have gathered from reminiscing writers on twitter, they did not provide any easy, one-touch way to save any of the content, so people are archiving Wayback Machine links or sharing tips on how screenshot-save stories (I think the rub is they gave people a way to transfer content to FP+, but most don't want to do that, as places like Twitter & Pixiv are the content kings of this era).

As of tomorrow I would bet the large majority of the content will be gone; quite sad given both the quantity of stories there and how many got sometimes millions of readers. I am sure most of the biggest stories are archived at least, but particularly the early stuff was a very ephemeral genre, one that doesn't make sense to revisit once you aren't a 16 year old teen writing and reading fics on a flip phone in between classes. Which means another legion of the ghosts of the Wired is being born today. May we pour one out for a fellow online community that lived and died!

[babyangelsky]

Color (and Fabric) Coded boys in love get happy endings!

All I have been wanting for the past two months is to see a colorful pattern on Tongrak's body so I could know that his love for Mahasamut is real.

AND THE FINALE GAVE IT TO ME IMMEDIATELY! Look at those blue stripes!

But...

It is not yet time for sunshine and roses. The shirt has solid pockets on its front, and one of those pockets is over Rak's heart. He loves Mahasamut, he's loved him this whole time, but his fear of love and what it means and what it can do to people is still guarding his heart.

He rejects Mut's confession. He desperately attempts to draw up another agreement to shield himself from the love being offered to him, not that it would work anyway. It isn't even needed. His fear has already created a barrier between them just like the frame of the sliding glass doors is.

Mut crosses it as he tries to make Rak understand that what he feels for him is sincere and that none of this was ever about the money. He asks Rak how much he has to pay to get his love and gives all the money back in an absolutely devastating parallel to when Rak offered him increasing amounts of money back on the island to speak central dialect with him.

Only this time, it doesn't work. Rak refuses Mut and his love and physically pushes him back on his side of the barrier.

Tongrak's fear is too great and Mahsamut turns and leaves because as he told Mook, it's not all up to him. He said he would accept a rejection and he does.

He sits at Rak's table and comes to terms with everything and this shot is so brilliant because it's showing us that the house itself and what it represents is a barrier. He followed Tongrak and basically walked away from his life and who he is and we can see that.

There's a pillar and glass between Mut and the multicolored light on the left. The light that's being reflected on the water.

And when he finally leaves, he does so back in his own colorful patterned shirt.

He says goodbye to his friends and his niece and he finally breaks down listening to Meena and her mother talk about how much Tongrak loves romances and the number 8 and its significance to him and it's heartbreaking.

Mahasamut has been bearing all this like a champ but he's only human and all of this is too much. He earned that breakdown and I'm glad he got to be comforted by his baby girl in her colorful patterned dress.

It's incredibly fitting that when we finally see Tongrak wear a color other than black or white is when he comes close to losing Mahasamut's bracelet and really fully realizes what he rejected and threw away.

Even more fitting? The colorful garbage truck.

He hasn't lost the bracelet, of course. Ain't no way Vivi was letting it be thrown away and in not doing so, she finally gets through to Tongrak and gets him to verbalize his fears. She comforts and reassures him and asks him what he's going to do and encourages him to be brave.

And it works!

Look at the difference between Tongrak the first and second time he arrives on the island. This is a man who knows where he is and what he's about!

He doesn't know what to say to Mahasamut or where to even begin but he knows that it's on him to make things clear and he's so scared the whole time but he still tries.

He shows up in front of Mahasamut again and again in his solid textures and again and again he fails. He wants to explain himself to Mahsamut so badly but he simply cannot find the words and he needs to because Mut is hurting and tender and trying to protect himself.

BUT MY BOY AIN'T NO QUITTER!

He finds the words and a way to apologize and explain himself to Mut and he goes to wait on that beach in his textured PATTERNED shirt with no more solid pockets over his heart.

AND MAHASAMUT DOES A CHAMPIONSHIP BL RUN AND THE DISTANCE BETWEEN THEM DISAPPEARS!

Tongrak is still so scared but he musters up all the bravery he can and apologizes face to face and finally FINALLY gives Mahasamut the words that matter.

Tongrak overcame his fear, put on his man's patterns, and finally allowed himself to love and think about a future with the love of his life.

"Home to me is you."

COLOR AND FABRIC CODED BOYS IN LOVE GET HAPPY ENDINGS!

[writing-for-life]

Dream and How He Experiences Love

(Or: When the Unreal is at War with the Real, and Finally Understanding Unconditional Love Tightens the Noose Around Your Neck That Has Been There All Along)

And as always: Send me asks about everything Sandman-related!

Let me start this one with a few adjectives from the horse’s mouth (aka: Neil Gaiman said so 🤣) as to what Dream is actually like:

from: Vertigo Chase Card Set

So in short: This is probably the most accurate way to describe Dream in a nutshell, from the author himself, fully knowing that Murphy doesn’t lend himself well to be described in a nutshell.

And of course it’s absolutely fine if we want to head-canon him just being 5 out of those 50 (or none of them at all)—our stories are our own. At the end of the day, we went through a whole year of Tumblrfication (I might have made up that word), and getting back to the series will be tough. So is trying to align what the current prevalent perception of Dream is like in parts of the fandom, and what he is like in both comics and series (show and comics really aren’t that different where it matters, and I’ll die on that hill). I already worry about the fallout if I look at what happened with GO or OFMD, but that just as an aside.

Anyway, Dream in fandom spaces is often portrayed as either a pathetic wet cat who can’t get to grips with anything and constantly needs rescued in one way or another, or as a completely unfeeling arsehole incapable of relating to the human experience and being horrible all around. There are very few shades of grey in how some fans perceive him, when just the list of above adjectives shows us how complex he is as a character.

One thing that obviously comes up regularly are his relationships, be they romantic or platonic. So I just wanted to draw attention to the adjectives that relate strongly to the relational element in him (although they all apply in one way or another):

touchy, sentimental, cold, loving, [elusive], gentle, hurt, deep, intense, solitary, romantic, shy, intangible, lonely

Dream is the unreal. His way of loving relates very deeply to what stereotypical romantic love is: Romance and reality are a contradiction in terms—romanticism is dreaming because it is, at its very core, an idealised view. The intangible dream that comes back to bite us in the arse once reality sets in. And his flavour of love is the prototype of idealised and intangible (=romantic) and can never be anything else by his very nature.

And I’ve often thought that the way he experiences love is also a large part of why his existence is so difficult for him, and why he ultimately makes the choices he makes. Yes, he detests his function, but if he weren't so lonely (and weren't doomed to be so by his very purpose), he might find it easier to bear.

Let me look at, and draw parallels to, the 7 types of love as the Ancient Greeks perceived them [quick note about the image references: I would have loved to give more, but there is a limit. Also: Apologies I have no alt text for the comic panels at this point, I might add them at a later stage if I find the time]…

Eros

That’s both sexual and romantic love (to varying degrees), and it can be fleeting (like a dream) if not anchored in a less idealised view. So there’s your first cue—he totally experiences that kind of love.

The Ancient Greeks also thought it was a dangerous type of love, one that clouds our judgment and one that won’t last if not combined with some of the other types. And Dream himself knows this and probably relates (he detests his sibling Desire for “meddling”, after all). And yet, he is the intangible, the ungrounded, the unreal.

It’s all over every single one of his relationships we witness:

Killalla—“gifted” by Desire. We never get any cue as to what exactly they were up to, but it can be assumed desire, for whatever, played a large part in their relationship. Killalla makes no secret about it either (and is at the same time uncertain whether she truly loves him while being confused Dream might actually love her after what seems a very short time, at least in cosmic terms). Suffice it to say, he has a very idealised view of her and their relationship. Romantic idiocy at its best: He has literal stars in his eyes and is so grateful for Desire’s help he is basically kissing their boots in gratitude.

Alianora—again one of Desire’s gifts. And Dream tried, and I definitely think he was at least romantically (and physically) attracted to her (the art is very hard to interpret otherwise, neither is the context--she was gifted by Desire, after all). But this relationship is generally a tricky one because there is gratefulness and guilt n the mix, and that is sometimes a very unfortunate combination. He also couldn’t fully trust her because of his deep mistrust of D/desire. And lo and behold, of course the relationship soured when romantic and (potentially physical) attraction waned.

Nada—pursuing each other on and off, broadcasting sexy time all over the Dreaming because he's just so head over heels and literally bursting at the seams—need I say more? Yes, he does say to her that her body does not matter to him, which I 100% believe is true. He also says that he will love her as no mortal man can. But everything that transpires is still deeply informed by romantic attraction, because quite frankly: You don't feel love yet after you've barely met someone. It's again a deeply idealised view and that is something inherently romantic in tandem (in this case) with physical desire. Again, because D/desire was involved.

As to the particulars of Nada’s banishment to hell, and why Dream acted so out of character compared to his other failed relationships: You can find all of it here.

Calliope—read her speech at the Wake is all I’ll say. That is someone making romantic love so integral to their whole existence, I don’t even know where to start. He puts the world at her feet and makes sure she always comes first (quite literally) while they are still loved up…

Thessaly—he's the romantic idiot (affectionately) in the rain with his coat billowing in the wind, and referring to her “weighing him dispassionately and finding him wanting”. It was only a handful of months--you don't feel true, stable love at that point. Again, it has the idealised view of romance (and potentially sexual desire) written all over it. He would have given her the world, just like he would have given the world to Nada and Calliope. That is the trope of every freaking romance novel, and that is exactly how he perceives love.

Titania—who knows, she keeps her mouth shut.

Ludus

I think he has a hard time to be flirtatious and playful (at least, we don't really see it. We never really see him during the courting stage, and what went down with Thessaly was hardly "flirtatious". `Then again, bickering like they did in A Game of You is electrifying to some, so who knows. She also said at his wake he was cautious and nervous). And if he comes across as flirtatious (there is a charming on that list of adjectives after all), it’s just because he is so deliberate in everything he does that he might just push someone’s (right) buttons, so to speak. But that’s not the same as “no strings attached”-love, because I honestly believe he’s incapable of experiencing love that way. There is no “casual” with him. He always stays attached to the people/women he once loved, even if the relationship sours. He still loves each and every single one of them, he never stops. But he also doesn’t in a way that’s sustainable, and it’s an unsolvable conflict due to what/who he is.

Philia

Most closely translated as friendship and affection. Platonic love, if you will. It is also a love between equals. He has a hard time with it and only slowly learns what it means through his relationship with Hob. Needless to say: The Ancient Greeks valued platonic love as one of the highest forms of love. Hence, I’m personally reluctant to turn it into something else/slant it towards romance, because that’s exactly what this part of the story is about: His relationship to Hob is important and grows/lasts because it is not romantic in the comics.

Storge

Unconditional love for family, especially children. Based on complete acceptance and potentially sacrifice. Doesn’t need to be reciprocated. You feel it, no matter what, and you act accordingly. And for Dream and Orpheus, that didn’t work until it did. Or, let’s rather say: I don’t want to assume he didn’t feel it. But he pushed it down in his hurt and pride (as did his son in his grief). No further comment, because that one hurts.

Agape

Altruistic, universal, all-encompassing. And that’s so deeply at the core of his being, and so central to his whole conflict that I don’t even know where to start. From not wanting to kill the first vortex (or Rose, for that matter), to telling John Dee he’s hurting the dreamers, and that being his main concern while he himself was writhing on the floor in agony, to “humanity I love you”, to a million other things. He cares so deeply, there is such a deep concern for sentient beings in their entirety that it’s quite literally impossible to call it anything other than love. And it’s also what plays a large part in his demise.

Pragma

Oh, here we go. I honestly believe he likes the idea of committed and long-lasting. And he’s trying. So very hard. Calliope is the best example. Alianora was another one, because it’s not like they broke up swiftly (hard to tell how long they lasted, but since she had stayed in the Dreaming too long to go anywhere else, it wouldn’t surprise me if we’re actually talking a very, very long time. He called it “a goodly while”, and considering how old he is, I doubt that equals only months, or even just a few years, especially since he is fully aware how short his relationship to Thessaly was). And he wanted to stay true to his promise. But he is who/what he is: the unreal. And as the personification of that, love both feels real for him but will also forever stay intangible. It’s heartbreaking really. Again, it has written the contradiction between romantic love (the ideal) and pragmatic love (the thing that is grounded in reality) written all over it.

Philautia

And that’s the most heartbreaking one. He is incapable of self-love and full of self-loathing instead. The Ancient Greeks used to say that you can’t give what you don’t have. And it’s hard to feel compassion for the flaws we perceive in others if we don’t have that self-compassion for the exact same flaw in ourselves. And that one hurts in so many ways, from his not being able to forgive himself (which is mirrored in his relationship to Nada, who also couldn’t forgive herself—she didn’t need his forgiveness, she needed her own) to Orpheus being so much like him apart from one major difference: he’s mortal in spirit, and even immortality doesn’t change that. And Dream struggles with the part of his child that is so like him for a million reasons that would burst this meta at the seams, but again: it’s hard to love in others what we detest in ourselves, knowingly or unknowingly.

So in short: The particular flavours of love Dream feels (Eros, Agape, Philia growing slowly over time) and the ones he doesn’t (Ludus, Pragma, Philautia) are also at the very root of how the story goes.

And when he finally truly understands what Storge/unconditional love is--both in the way he reassesses his relationship to Nada but especially in how he finally submits to his love for Orpheus (with all that entails)--and when he allows it to become real, it’s what tightens the noose around his neck. But that noose has been around his neck loosely all along…

[jackoshadows]

It's annoying how proactive female protagonists in Asoiaf are often labelled and seen as 'impulsive' by fandom in general. That's never a thing with the male characters. Female characters who get things done, who have agency and want to help people are very often characterized by fandom as wrongly and emotionally reacting to seeing injustice or even when they are engaged in policy making.

Arya is seen as impulsive for stepping in to help Mycah from a sadistic bully. Dany is labelled impulsive for not taking an economics course and reading Karl Marx’s Critique of Political Economy before freeing slaves. One popular post framed Arya and Catelyn as being similar because they apparently run around biting people.

Recall that Catelyn was one of Robb's most important campaign advisers, conducted the diplomatic negotiations for him, wanted less war and more of a peaceful resolution to the conflict and wanted to exchange hostages. And yet this fandom constantly frames the Arya/Cat parallels as them being impulsive and violent.

By the way, Arya does have parallels to Catelyn in terms of their proactiveness in maneuvering in a chauvinistic man's world, their loyalty to family and duty and doing what needs to be done. Fandom, however, always approach the Arya/Cat parallels negatively - as a form of critique of both female characters.

Do these characters have moments where they impulsively react in emotional situations? Yes, like pretty much ALL the characters do in the series. And yet these labels are singularly applied only to the female protagonists.

Arya for example is often careful, analytical and intelligent in her actions. When she escapes KL she carefully considers each step - where to go, where the guards would be, how the guards look, where the guards would search etc. - before planning her move. That's how she was able to outwit the adults like Cersei sending Lannister guards in disguise to catch Arya in enemy territory.

The same is true when Arya escapes Harenhall, where she strategizes, draws up a plan, identifies what she needs and where it is, collects everything and then gives the older boys - Gendry and Hot Pie - instructions on what to do

And then there is the way Arya and Dany are often characterized as violent in a way the male characters never are, when Planetos is a violent, medieval, feudal, grim dark fantasy setting.

To proactively get things done in a violent, patriarchal, chauvinistic world, one often has to engage in violence. Ned, Robert, Stannis, Jon, Robb, Tyrion, Jaime, Theon, Northern lords, NW brothers, KG have all killed people. Arya has to kill a guard to escape her captivity where the most horrible atrocities - including rape and torture - are especially committed on the female prisoners. No one is going to help her, she has to do it herself. And yet because of her gender, she gets condemned as 'violent', 'psychopathic', 'forever damaged', 'should feel guilty and bad about what she did' etc.

As ruler, Daenerys engages in the same medieval, feudal practices that other rules do - we are first introduced to the series' presumable hero Ned Stark, with him chopping off a man's head for desertion. And yet she is seen as violent and tyrannical in a way none of the male rulers are.

I still come across these jokes about Jon Snow counting beets ignoring his chosen one destiny when Daenerys also has an administrative arc in ADwD! Where are all the comments/jokes about Dany's problems with food, trying to grow food, trying to trade for food when she has encountered chosen one prophecy and yet stays behind in Essos doing the same thing Jon Snow is, except ten times harder because Meereen is a city state.

Especially jarring when all of GRRM's comments about ruling focuses on administration and specifically mentions Daenerys story in ADwD again and again. Like this for ex:

“I guess there is an element of fantasy readers that don’t want to see that. I find that fascinating. Seeing someone like Dany actually trying to deal with the vestments of being a queen and getting factions and guilds and [managing the] economy. They burnt all the fields [in Meereen]. They’ve got nothing to import any more. They’re not getting any money. I find this stuff interesting. And fortunately, enough of my readers who love the books do as well.” - GRRM

Dany, Tyrion and Jon's leadership arcs (In ADwD and ACoK) have parallels in that they are mostly of an administrative nature, dealing with money and food, making marriage alliances and unpopular decisions, with characters secretly undermining them. Jon's arc ends with mutineers assassinating him, Dany's arc ends with slavers trying to assassinate her and her fleeing on Drogon and Tyrion's arc ends with the Battle of Blackwater, Tywin coming back and Tyrion losing his power and position. No matter how well they did or didn't do as leaders, there was always someone in the shadows plotting against them, taking them down.

To single out the lead female characters alone as being impulsive and violent for being proactive and doing what needs to be done in order to survive in a violent, patriarchal world is misogyny at it's finest.

[victoriadallonfan]

It's kind of fascinating how the Teegs and Winnie's parents both work to deny agency for their kids.

The Teegs were far more direct, outright telling A that none of her achievements would matter, because the world has no need for her art. They try to coach it as how wonderful the world is, but they do so only by putting A down (A drawing that art was meant to cheer up her mother, for reference). Even after this life altering, traumatic, experience, the Teegs aren't even mentioned as smothering her with love and affection, but rather buying her mere clothes, because all they know is aesthetic desire, which is below what A wants and needs.

Winnie's family is far more indirect and harder for her to nail down. They focus more on how much Winnie could and should be doing for the family, how she is obligated to do things for their family (and later, their cause), even if she is not heteronormative or interested in the cause. Her wanting to distance herself is followed up by the parents threatening to "put her on a leash" as Winnie describes it, as a punishment. As Toby explains, her family is not her ally, but an obstacle that she has to out-think, because she stands out so much.

Its really a fascinating exploration of Wildbow of two very different types of parental neglect/emotionally abusive tactics that I think many people can feel some sort of familiarity or parallels to real life instances.

I mentioned it before, but I think the fact that Winnie connected with A the most when it was just A playing a guitar (without Basil) and eventually crying, could potentially lead to more moments where the two have this parasocial connection expand beyond what it is currently

[anyoldfandom]

I am actually. I am so emotional over the Salazar parents and I need to share this to tumblr too.

A lot of stories where the MC is adopted I feel. Either dismiss the biological parents and the impact they have on the kid's life, or makes them evil and abusive, framing the loss of the bio parents as a good thing, or at least something we shouldn't think about just look at this new family.

But Genrex doesn't do that. From the start, Rex wanted to find out more about his parents - it's one of his primary character motivations, next to helping people. He loves them, even though he doesn't know them.

And the more he finds out about them, the more he realizes they loved him. Rylander is consumed by guilt but as Rex's first connection to his pre-Event life, the first thing he does is hug him. And when he tells Rex about his parents, the two things Rex knows is that 1) they were scientists, and 2) that when he was in danger, they were desperate enough to use their secret, experimental technology to save him. Technology built from their desire to help the world, to save countless lives and end countless suffering.

And then. When he finds out that they were dead, he doesn't stop caring. It'd be so easy, too, to tie it up there - his parents were good people, he got his answer about them, the end. But they don't. He doesn't. Because the show is saying once again that they are his parents. He still calls them mom and dad, even as the show makes it clear Holiday and Six adopted Rex as their son. Even as the show even parallels Six and One with Rex and Six (and I will talk about that more later if I don't forget, trust me), to really drive home how much they're family. Rex even says he considers the two of them family, and later that he considers Noah, Claire and Annie family.

He has new family, the show tells us, but his old family still matters to him. He's upset that he never has the chance to meet his parents, that everything he hears about them, about his time with them, is secondhand knowledge. It tells us clearly that not only does Rex still love them, but that he still wants to know them. And everything we find out about them reinforces the love that they had for each other.

We see Abuela and the family in Mexico, who connect him to his birth family and tell him that he was so loved back then, and still is now. We see their office in Abysus through Rex's eyes. The picture of him and his dad on his desk. The drawing Rex drew, proudly pinned to the wall.

We see it in the familiarity of the drawing. That that robot, that build, was what Rex created when he was lost and scared and alone - that it was made to keep him safe. That it first appeared in his mind in a place he felt safe.

The show says, tenderly and softly, that the love is still there. That the fact these people died was nothing but a tragedy, that their love is a big part of what made Rex who he is today - that every molecule in his body is filled with their final gift to him. That every time he cures someone, every time he uses a build, every time he makes a machine - we see the love that they had for him.

And the way he quietly absorbs his father's face. The way he freezes and whispers "Mamá?" when he finds out Zag-Rs has their mother's voice. The fact that she even has her voice as a testament to Caesar's love, too - that it was meant to bring comfort and safety. The way Rex yells at Caesar when he finds out they have a family property, a connection to their past, the way he fights to protect it.

And, none of this takes away still from Six and Holiday being Rex's family too. None of this removes the work either set of parents did for him, the love either set has - the show says that it was unfair that the Salazar parents were lost. That Six and Holiday are not replacements, that they still love him as parents but play different roles in his life. They can not, and have no desire to, replace the Salazars. But Rex needs parents, he needs protectors, and so they will do what they can for him - at first out of necessity, to keep this kid they barely know safe, but then out of love. They aren't replacing what was lost, but are doing their best to do what Rex's bio parents would do. And they do mess up in it - they mess up in ways Rex's bio parents might not have. Six is clearly bad with showing affection, affection we saw the Salazars give Rex so easily, and Holiday is overworked and stressed constantly, sometimes breaking under the pressure and snapping at Rex and Six, things we never saw the Salazars do.

It's just. It's about how sometimes things will not be the same. They will be different. That doesn't mean the people you lost aren't still with you.

[girltomripley]

Real Women Have Curves (2002) Dir. Patricia Cardoso // My mother & I - Lucy Dacus // Cerdita (2022) Dir. Carlota Pereda

TERFS DO NOT FUCKING INTERACT

[poorrichardjr]

Conspiracies Abound

If you ever spend any time around MAGA individuals you will quickly run into at least three different conspiracy theories before the first twenty minutes of conversation, and even more if you start speaking about politics. The country is doing terribly because of a loss of God, satanic democrats drinking the blood of raped babies they murdered just after they were born, or because of the Illuminati, deep state, or UN. Pick your poison and a MAGA has a conspiracy theory that explains everything. Covid was a Chinese hoax designed to get Biden elected. There is no limit to their madness.

No offense to any of these people. I understand the need to explain things that seem "unusual." The thing is, almost none of these people understand Occam's Razor, which states that the simplest explanation for any situation is often correct. America sucks because we elect bad leaders and don't take the time or effort to do the work to determine who really would be a better politician for us. Instead we descend into tribalism that has determined our entire view of the world.

The thing is, conspiracy theories have a place. It just depends upon why you are using them. Believe it or not, but conspiracy theories can be used to make yourself more aware of things that you should be paying attention to. If a conspiracy theory makes you suspicious of the election process, you "could" spend more time learning about it and trying to understand it. We know that almost never happens, but it is always a way to combat the craziness of some more outlandish conspiracy theories.

Another plus of conspiratorial thinking, not necessarily the theory spinning so popular in America today, is to posit future possibilities. Depending upon how far you take it the "theories" become more and more conspiratorial. However, there is a good reason to sometimes spin these yarns, especially when it comes to dictatorially minded politicians. I am not saying you should take all of these theories so seriously that you see the possibilities of the thinking everywhere, but it can make you aware of situations that are definitely questionable at best.

For instance here is a conspiracy theory to be aware of, simply because it has happened in history and considering our current situation could be a factor in our future. Complain all you want about how many people are drawing parallels between Hitlerian Germany and modern America, but any historian worth their salt will tell you there are many similarities. Hitler complained about Jews and undesirables, Trump complains about immigrants and undesirables. Each divided the people of their nations. Each came to power through election where they did not receive the plurality of the vote.

Here are some similarities that haven't yet come to pass. Hitler placed people into positions of power who had no experience in those jobs but who had a lot of disdain for the functions of those departments. Trump is nominating people to lead departments who fit that mold, though the Senate "might" keep them from those positions (though I doubt it). Hitler deported people, made life so uncomfortable that many "undesirables" left, and eventually put people into camps. We know how that ended. Trump is promising mass deportations for legal and illegal immigrants, removal of citizenship, and massive camps. We can go on, but you get the picture.

So, here is where I will give you a conspiracy theory to ponder. Hitler had power when he got his Chancellorship, but that wasn't enough. Similar to how Trump being president isn't quite enough to turn him into a dictator. What really gave Hitler power was the moment he was able to remove his oppositions ability to interfere with his plans. Enter the Reichstag fire, the pretext the Nazi's used to seize total power and jail and make illegal opposition parties.

Yesterday all I heard from some people was that the people Trump was nominating for power were being targeted with bombings and swatting threats. I expect tons of protests when Trump takes office, especially if he gets his way and starts deploying the military and police to go through cities. Here is where the conspiracy comes into play. Some event is going to happen in the future that causes the right wing talking heads to demand Trump crack down on the opposition. Whether that is the death of a possible head (even if it isn't caused by liberals or immigrants) or a riot by the "liberals."

Where that goes is anybody's guess, but if history repeats itself it will be the fundamental issue that gives Trump the power he needs and craves to do everything he wants. As I said, it is a conspiracy theory, but one based in some semblance of reality. As reactionary as our republican "friends" are, I wouldn't put it too far past them to try something like this. Care to take bets now?

[zenkindoflove]

Elain Archeron and Sansa Stark: A Comparison

I’ve been wanting to make this post for a while because I have seen a lot of similarities between Elain’s character and Sansa Stark (ASOIAF/GOT), not only in their mannerisms and narrative but the way that the fandom unfairly undermines and outright despises them. So, this post is going to be a bit of an exploration of both of their characters, speaking mostly to the ACOTAR fandom, to try and give some predictions I have about Elain’s narrative journey and lessons learned from Sansa’s narrative.

Elain and Sansa fit a very similar female character archetype in fantasy (and other fiction genres), which is that they are more traditionally feminine characters that conform to their roles as women in their patriarchal societies as compared to their counterparts who buck gender norms often by learning to fight. In particular, Elain and Sansa are often directly compared to their sisters who fit the more beloved sword-fighting, sassy, smart-mouthed heroines. What is important to this post, is that these characters are almost always heavily maligned and criticized by fandoms at large with critiques that are often rooted in misogyny, which fundamentally undervalues expressions of femininity and feminine roles. 

Both characters also have a lot of other similarities when it comes to their personalities, characteristics, and narratives. Both Elain and Sansa are obedient daughters who are described as sociable and make friends easily. They both are well-skilled in navigating courtly politics, and they begin their journeys as deep romantics, dreaming and wishing to fall in love. They’re both betrothed to men for political gain, and both undergo tragic and heartbreaking violations to their bodily autonomy. They are also both frequently undermined by characters’ in their stories, often underestimated in their strengths and abilities, and in both stories, those assumptions are proven wrong.

Now, we do not know where Elain’s journey is going, but we do Sansa’s, at least from the show. Sansa eventually finds her independence and her strength, taking back her ancestral home and being declared Queen in the North. She did not do this by becoming a warrior or a great battle commander. No, she did this by leaning into her political skills, inspiring nobles and armies to fight for her because of her name and what it represents. And when she had some power, leading her people and putting their care first, a narrative journey I hope to see for Elain coming into her own leadership position one day. 

One of the ways I wanted to outline drawing some of these parallels, is to break down some of the criticisms that Elain faces now that Sansa Stark also faced by fans. And if you are reading this and these criticisms are ones you have expressed, hopefully you reconsider your assumptions about Elain and where her story is going. 

Elain is boring. 

This accusation is often ascribed to Elain based on her interests and hobbies and refusal to participate in more traditionally masculine roles in the narrative (fighting, swordplay). Elain is often described as gardening, baking, helping with domestic duties, and purposely kept away from the political and adventurous parts of the narrative. And yet, this does not mean that in order for Elain to be interesting, she suddenly needs to be thrust into her own version of a training montage to start learning to use swords and daggers. Elain is a powerful Made Fae. She has one of the rarest abilities, being a Seer. She is deeply connected with the Koschei plot, as she was the one to see a vision of him, Vassa, and the other cursed women, which brought about Lucien’s journey to the continent and connecting that overall plot to what is happening in Prythian. It’s very likely her story will focus on her exploring her magic more, likely with Lucien, to figure out how to break Vassa’s curse and destroy Koschei once and for all - none of which requires her to actually become a warrior. 

Elain will become evil. 

Sansa too was often criticized as being boring by fans. They saw her struggles, being passed from cruel husband to cruel husband, as signs she was weak. Sansa was often directly compared to her sister Arya who was learning to fight with a sword and training as an assassin. But Sansa was undergoing a very different sort of training. We see her shed her sheltered POV of the world, and instead, became deeply involved in the politics of the game of thrones. She learns from several characters how to play the game and play it right, as she is one of the few characters to survive until the end, having a true hero’s journey of ascension. We see that she uses people’s assumptions that she is stupid and naive to their disadvantage, allowing their underestimation of her abilities to make them turn away from how she outsmarts them in the end. Elain is also hinted at being deeply intelligent, in ways that even her sisters seem to ignore. She is also described several times in ACOSF as being sneaky, foreshadowing that she will surprise her family based on their assumptions of her. Ultimately, I foresee Elain leaning into her courtly knowledge and social skills, much like Sansa, to push forward her own journey.

Elain and Sansa are also both very inward characters. When they are struggling, they are more quiet and unassuming, to disarm others and draw attention away from them. As we know from Sansa's POV chapters, she was constantly strategizing her pretty words to save her skin. And I think Elain similarly shows the world one side of her, but hides a rich and complex inner world that we won't see until we get her POV.

This critique - which is also not always presented as a critique but sometimes as a wish for Elain to become a villain so she might be more interesting to those who find her boring - is one that I really dislike. And one of the biggest reasons I dislike it is because I saw the exact same predictions thrown at Sansa crash and burn. Often fans would revel in the idea that “finally, Sansa can become interesting” if she were to turn into the next Cersei or Littlefinger. But we did not see that happen. Instead, we saw that Sansa clung to her compassion, empathy, and her Stark morality, while shedding the blind trust that put her father and brothers into so much danger. She took lessons from Cersei and Littlefinger, but rather than becoming them, she bested them. Especially Littlefinger, where she outsmarted him when he tried to turn her and her sister against each other, and ultimately is the one who passed his execution sentence, achieving justice for all the crimes he committed against her family and Westeros. Sansa did not let the brutalization of her body and spirit turn her against her family. She never betrayed them, even when she was wed to their worst enemies. Instead, she made it her priority to serve and represent the North and its interest in all things, including standing up to Dany, because she understood to hold the North, she must not bend to other rulers and respect all that the North had sacrificed for the Starks. 

Similarly, I do not see Elain betraying her family. There are several times she asserts her loyalty and insists that she wants to help them and their interests. I think her story will be more about being underestimated by her family and overlooked for leadership roles and her insight (as was Sansa) and this will push her to branch out on her own to discover who she is outside of her family and the expectations they have of her. But I do not think she will become the antagonist to them. Instead, I see her using her own strength to “save” them too in ways they would have never imagined that Elain can do. Sansa was not an outright antagonist to Jon, for example, though she often challenged him (which upset many fans, more on that later) because she believed her perspective was valuable. I see Elain's difference in how she sees the world and what she values being in similar disagreement with the Night Court, and her having to "prove" herself to them that she needs to be taken seriously.

Elain and Sansa are also very similar in that they both are described as abhorring violence. Sansa, in the end, does sometimes use violence as a means to an end, and even is shown enjoying Ramsey’s brutal execution by being eaten by his own dogs. Yet, Sansa is never shown to enjoy moments like these again (and of course this moment is most understandable given all the torture Ramsey put her and others through). Sansa does not lead with anger or brutality like Cersei. Rather, she shifts from a bright, sunny girl to an authoritative woman who ices out her enemies and shows kindness and warmth to her friends and subjects. To me, in keeping with character archetypes, I do not see Elain straying from this core feature of herself as well. I don’t see her desiring to follow in the footsteps of others who use torture and violence to extract information or to hurt others who have hurt her. I do think should Elain come into a position of political leadership, that like Sansa, she will care for the people (as she is already shown to do in Velaris and was known to do in the human lands) and when needed, show her steely, authoritative voice that is unbending (much like the infamous quote from Sansa in the books “my skin has turned from porcelain, to ivory, to steel”). 

Basically, female characters do not have to be either warriors or evil villains to be interesting. Sometimes, female characters who are kind, compassionate, intelligent, and full of hope can still have badass stories and stand as heroines in their own right while maintaining all of those characteristics. 

Elain is two-faced/bitchy/spoiled/selfish. 

Of course, the classic, when the feminine character does anything SLIGHTLY unsettling to the reader, she is hated and tons of stereotypically misogynistic insults are thrown at her. 

I will first off start by saying that when people say this about Elain, it is when she is essentially displaying behaviors that counter their first argument - that Elain is boring. When Elain is being compliant and nice to the other characters, she is called boring. When she very briefly, pushes back on them at all, these insults are hurled at her. I don’t even want to waste time breaking down why these are just comically unfair. Because the fact of the matter is is that every character in the book displays moments of being two-faced/bitchy/spoiled/selfish. And yet, it is Elain who is given these monikers as if they are core features of who she is. Other female characters in ACOTAR are also called these names. However, Elain faces the unique situation of only ever being boring or bitchy to those who dislike her. She can't win either way.

Sansa, of course, had all these insults hurled at her too. She was a traitor and two-faced for having a girlish crush on Joffrey when she was 13 (11 in the books) and literally betrothed, by her father, to a prince. When Sansa at all stands up to characters like Jon or Dany and disagrees with them or argues with their logic about how to handle different choices, she is bitchy, even though Sansa is often proved to be correct in her logic, hesitancy, and how she thinks politically. And of course, in line with the previous point about becoming evil, it was assumed that Sansa would be two-faced with her family. And yet, we saw, time and time again, Sansa was loyal to House Stark. Even the ultimate “sin” of Cersei guilting her to write to Robb about their Father being a “traitor” to the crown - Sansa did it because she thought it was one way she could save her father’s life. Basically, Sansa’s crime was being a girl who didn’t win the audience over by being spunky like her sister. Sansa’s crime was her naivete early on - when she was only a child, and it haunted her throughout the entire series and how fans saw her. Even though, out of every character in the books/show, Sansa at her core, is the one who represents the audience the most. She is the most removed from the magical storylines. The way she lives her life is closer to our own modern way of living than any of the warriors or magical characters in their world. Sansa represents who we would be if we were suddenly thrust into a fantasy story - defenseless and easily abused. But most readers and watchers want to see who they are not, rather than follow a story of who they actually could be and what strength might follow. 

What I want to see from Elain’s story:

Following the lessons of staying true to my girl, Sansa, I hope that Elain, like Sansa, finds her own way in the empathy, kindness, and social skills that she has - along with exploring her powers. Now, as Elain is in a romance, and not a dystopian fantasy like Sansa is, her ending will have a HEA with her love interest. Sansa became Queen in the North, it’s true. But she has no love interest. Her family is all scattered. And there is a bit of a coldness to her now. Many suspect that she will play more of a Queen Elizabeth I role in her rule and never marry, as to keep House Stark as House Stark. But if she were to marry, it will likely be a political alliance, though, my hope is she will find love in it. Because while Sansa might have had her dreams dashed at an early age, I truly hope for the sake of that little romantic girl, she can find love after all the hurt she had to experience. 

Elain will end up with a romance at the end of her story. And I think harkening to her character archetype and who suits her narrative best, it will of course be with her mate, Lucien, who mirrors her characteristics, values, and morals the most. I imagine for them a story where they act as courtiers, helping piece back together Spring, working on alliances with the human lands, and eventually, once Lucien learns of his heritage, finding another home in the Day Court (though I do imagine them to be life-long travelers, making many friends and allies across Prythian and the continent together - as Elain always wanted to travel). Similar to how Sansa used her political intelligence and compassion for her people, I see Elain and Lucien as well using their courtier/emissary skills and knowledge and devotion to serving the people of the courts, putting diplomacy first, to heal a broken and divided world. I think especially the alliance with humans will be so important for Elain’s journey. Where Elain has struggled the most with no longer being human, Lucien has been immersing himself in human culture and political interests. And once they are ready to start their journey, I think both putting their heads together will be invaluable in representing both the interests of the Fae and the humans. I also think Lucien has more invested interest, as her mate, to push her to explore her powers rather than dismiss her ever exploring them like those in the Night Court do. Lucien’s connections through the world can also help her find ways to find the information she needs to learn more about being a Seer and whatever else is going on with her. He also has his own personal experience with exploring and learning of his multitude of powers as well, including what it means to suppress and hide them, as I suspect Elain has been doing. Where Sansa had to prove herself to every character in the story to take her seriously and respect her, I think the one person who has always and will always believe in Elain is the person who has a soul-to-soul connection with her. Who puts her and her needs before his own, and will serve as her devoted sworn shield (cries in Sansan) to fight for her if need be. 

Also maybe I wish and hope for the unlikely Lucien and Elain as High King and High Queen narrative which would fit so perfectly to Sansa’s own rise, but I suspect SJM won’t go in that direction.

Anyways, if you made it to the end, thanks for reading my desperate need to get all these parallels out of my head. I have adored Sansa since I first watched the show in 2011 and fell even more in love with her when I read the books in 2013. I have been defending her to nasty people ever since, and when I joined the ACOTAR fandom, the way people criticized Elain felt SO familiar. Which of course it did. These kinds of criticisms do not stop with Sansa and Elain. Most characters like them are disliked for being soft women with big hearts who are vulnerable to cruel people in their worlds.  

[thecoolerliauditore]

pearl needs to run away from Scott. let him GO!!! I promise Pearl, i promise, he doesn't love you. he loves the idea of you. he loves who he thinks you should be. not the real you, not the one with flaws, not the one he traumatized and broke into a million little pieces and had to learn to pick herself back up again, with the help of the very few people who would help her bandaged hands sort through those glass shards. he wouldn't help you then!! he doesnt deserve you now!!!! please girl, LEAVE HIM!!!!

and look. I know she's loyal. I know she'll probably never leave, because she loves the idea of him too, not the person he really is. she loves the memory of her best friend from a past life, not the man who would hurt her and pretends its all her fault. but. BUT hear me OUT.

gems right there. gem, who she wanted to ally with so bad last season. gem who was excited to see her, who welcomed that broken piece of her with open arms and wasn't scared when she met the scarlet pearl. gem, that killed pearl twice, that pearl was still willing to fight a final time, in what would have likely been a third death for pearl. she can go to her. she can GET OUT!!! she can get help, she just has to take that first step. she has to leave herself, but there's someone there she wanted to be friends with last season so bad, she can take that step now!

the only thing holding her back is her own loyalty. she's a dog on a leash of loyalty and now Scott and cleo have the other end. it's just a matter of if she can chew through it to run away or if it'll strangle her first

HELLO anon this is the anon ask that made me lay face up in my bed staring at the ceiling listening to when she loved she from toy story 2 on repeat fyi (it slowly morphed into nonsense speaker the rachie cover specifically over time. always been a pearl song to me but it was a bit melodramatic before this point. if it gets worse i might have to. i might)

It sucks so much it literally it literally sucks. What you said about them both loving ideas of eachother is so on point, they're both chasing something within the other that is innately self-contradictory.

Pearl wants to forgive him, but her version of "forgive" is to forgo her own feelings of spite and not challenge his view on things, which means she can never get the closure she needs to truly forgive him or get back the Scott she knew in LL.

Scott also wants Pearl back, the authentic one he knew in LL, but he also needs to whittle her down (cough) to something acceptable to him (in this case, shamed for her actions during DL) so his narrative doesn't get challenged. But that's not quite the Pearl he knew either! He can't have both a genuine connection with Pearl and have her exist solely as the concept of her he's created in his head, but he needs both and I really can't wait to see how that pans out. This paragraph is insane copium btw I do know I think you're a lot more correct than I am when you say he never actually loved her but I'm delusional. Logical side of me definitely thinks he's comfortable like this and if anyone's going to challenge this dynamic it's gonna be Pearl not Scott but what if man. What if.

Anyway I've seen so many people begging Gem to take Pearl in and I do get it I do. I personally have like one million fantasies about something like that as well. However I am calling on my Martyn Inthelittlewood clause and saying that I also do want to see Pearl deal with the consequences.

I'm so happy you said that she needs to leave herself because goddamn yes she does!! If Gem just kidnaps her that's just taking away her growth! If she does fuck off and join Joel/Gem btw this will be like. an absolutely hilarious parallel to Last Life. Fairy Fort welcome back none of us missed you. Would be fitting for this season.

The collar/leash imagery is so messed up man thanks. Reminds me of this Scott/Cleo fanart I wanted to draw at one point where they're cosplaying as Denji/Makima but in that halloween costume way where they don't know the characters or the implications. Sorry just had to throw that in there.

[moodymisty]

[ 𝕸𝖔𝖔𝖉𝖞𝕸𝖎𝖘𝖙𝖞'𝖘 𝕸𝖆𝖘𝖙𝖊𝖗𝖑𝖎𝖘𝖙 | 𝕬𝖔3 ]

Author's Note: @commodoreprocrastinator this is your fault, now deal with the repercussions of your actions. Part 1 of 2. I hope it's romantic enough even though it's the cardboard cutout primarch and only my second time writing him. ¯\_( ❛︠ ⍙ ︡❛)_/¯

Summary: Your knight returns after what has felt like ages apart, and decides to take part in a secret moment alone.

Relationship: Lion'el Jonson/Gn!Reader (no pronouns are used in this, but it does have a very princess/knight vibe so fair warning)

Warnings: None that I can think of

Word Count: 1305

Lion El'Jonson strides down the halls of the Invincible Reason with purpose.

The ceramite boots of his armor hit the ground louder than that of an astartes, and any one he passes by stops their task and gives a respectful bow of their head. He doesn’t demand them to bow and kiss the floor, but he expects a level of decorum from his legion. They are expected to as sons of The First; As Dark Angels.

As he walks, rain pattering down against any surface exposed to it, Lion'el sighs.

Belath had proven more than timely with his updates as to the legion’s current effectiveness, which the Primarch appreciated. He will always find one of the astarte's finer qualities to be his lack of verbose speech- his ability to get to the point. But even in it's simplicity, it had still proven irritating when he had something else on the mind.

Travel to the Fortress Monastery had proven both as unexciting and lackluster as his drawing and discussion of strategic plans had been.

He arrived during the night, the moonlight spilling through the massive glass windows and mullions forming patterns along the stone floors. The Lion breaks their design as he walks through them, a hand resting on the pommel of his shortsword. His greatsword rests on his back, overtop of the dark emerald green cape that flows behind him just brushing against the floor.

He goes higher, traveling up flights of stairs made of solid stone. Some have runners of ornate, hand woven cloth, the design in a dark emerald green embellished with golden thread. All of it- every tapestry and mural, bears the symbol or at least the color scheme of his Legion.

Higher again, until he’s far beyond where most astartes and serfs typically tread. The rug that runs down the hall is much more worn, having taken an unknown number of years worth the footfall without being replaced. There aren’t many souls who come up here, for there isn't much reason for them to. The Lion's personal quarters reside in these halls, and unless he calls them they have no need to ever step foot here.

He turns one corner, and at the end of the hall lies his destination. 

He can see two Astartes guarding the door, as he had placed them. He had placed trust in the elder of them to choose another marine to serve as his parallel in guard along with two others to rotate with. A young astartes is beside him, clear by the different regalia and symbolism he wears that gives it away to only one familiar to their legion.

Lion stands between them, his hand adjusting once more on the pommel of his sword.

“Take your leave.”

He speaks plainly to both, and they nod their ceramite helms before walking past. Once the Lion can no longer hear their heavy power armor trudging down stairs that even made of full stone complain as men so heavy walk on them, he places a hand on the door’s handle.

He pulls it open; Winged helm in his opposite hand. Not moments later does he hear a voice call his name sounding both surprised and excited.

“Lion?”

At the call of his name he looks forward, seeing you leaning away from the window. Your hands had been leaning against the sill, watching whatever had been of interest below. More than likely the sea of Dark Angels all returning, a sea of dark green. You've always had this odd sort of of fascination with it all. He steps closer, and you turn to fully watch him come to stand right in front of you. 

After a moment’s waiting, the massive Primarch slowly lowers to a knee. He sighs as he does so, as if irritated by a request you hadn’t even made. You take the invitation to come closer, as you gently press a chaste kiss against his lips. You feel his beard brush against your skin, the top half of his blonde hair pulled back. He doesn't sigh in discontent that time.

“I missed you. Are you ok?” 

The Lion finds your overt concern pointless, but somewhat endearing. He’s never had someone so overt in caring about his wellbeing. Though even if it’s pointless, he can’t expect you to shed the emotions you’ve shown for so long. He can and has as a Primarch, to a mortal they are interwoven into your very being.

“Yes.” 

He glances over to a massive table filled with stacks of books. They’re scattered about, some open and some stacked in piles of an unknown organizational system. He’s not surprised you took interest in the massive collection. 

Your hands have stayed hovering in front of your chest most of this time, though now they move forward and hesitantly reach for him. He allows you to touch his jawline as you come closer. The rough scruff of his beard tickles your palms, and you'd laugh if you didn't think he'd be almost childishly insulted by it.

“How long are you going to stay this time?” 

Lion knows that you aren’t expecting any actual answer; He cannot give you one, nor will he. The moment an uncontacted world is discovered, he will leave. It is his duty and his purpose. No matter even if he has other thoughts on his mind, thoughts of you, they cannot impede his goal. 

“Long enough for the legion to rest.” He pauses. “What do you want?” 

He always asks this, only able to show how he feels about you in these silent gestures. You don’t say anything nor blame him, as despite him being far older than yourself, you can clearly tell this sort of thing is entirely uncharted.

It's been a bit odd; He's many years your senior, but it often feels like you're the one showing him things.

You can't avoid smiling this time, though it's abit more guilty that perhaps Lion was expecting.

“I would love to watch your men spar again, but they've only just stepped foot on Caliban." Lion gives you an unimpressed look.

"You would ask something of my Legion instead of myself?" Your hands are still on his chest armor, and your fingers brush across the giant aquilla in a slightly flustered gesture.

"But, you’ve said your men aren't strong enough for you to duel them.”

He remains one of if not the best duelist that the Imperium has ever seen, and despite how diligently and strictly he has trained his Dark Angels, none of them have the natural prowess he has to be a true fight. It's simply in his nature as a Primarch.

Lion, in an extremely rare moment, softens his face with a hint of amusement. He raises and armored hand to gently hold your jaw, and brush a small bit of a hair away from your face. His massive hand overtakes much of you, but he's surprising gentle despite it. He uses a small bit of his strength however to pull you just close enough to give you a gentle kiss to the forehead.

“When we arrive to Terra, perhaps I can proposition one of my brothers for a duel then. I am sure at least one of them will be eager to accept.” 

A fight between Primarchs? You had never considered yourself bloodthirsty or violent, but something about it makes your heart race- eager to watch. Perhaps it’s what his men feel shortly before a battle, or when they begin their training each and every day.

You smile at him, and grasp at his gauntlet. It's the closest you can get to any sort of intimate gesture, with his armor still on. He looks at you with the most relaxed face you've seen on him in awhile, as you speak.

"I would love to see that."

[chipthekeeper]

After many months of sporadically yelling my thoughts in various posts.........it is time.

*turns out there's like, so much competition for being the worst dad in this galaxy **a biased account from someone with their own very mid dad

Read on for an unnecessarily lengthy argument and just make sure to picture me like this the whole time

The Evidence:

Similarities/parallels between them

Shapeshifting -- They both transform so fully and easily from rebel mode to fancy rich asshole and back again throughout the show. Others do as well, but not nearly as often as they do and not nearly as sharp contrast from one thing to another

Quick tempers -- Evident from the way they snap at each other and the people they work with

Familiar framing -- There’s nothing accidental in this show. I believe the below photos draw a very deliberate, if subtle, parallel between them. We don’t see any of the other rebels using a stick like that, and Luthen's doesn't seem to actually have a function besides making youtubers believe he's a Jedi (I have a whole spin-off conspiracy theory on that we can get into some other day if you ask me)

Blonde -- Obviously. Though it seems Vel's hair is changing for season two. Perhaps a hint that she is trying to distance herself from her father's influence? (okay this part is mostly a joke but then I talked myself into something)

Also, this brand new page from the Dawn of Rebellion visual guide book that made me go !!!!!!!!!!!!!!!!!!! because, you know, proximity is everything. It would have made much more sense for Kleya to be on this page and Vel to be beside Cinta on the next page, right? Nope, not if there's a deeper connection here!

Their first interaction

Even before we meet Vel, Luthen predicts to Cassian exactly how she will react to them being there

He first tries to greet her with a big fake grin. Big time dad behavior to act like none of the past shit between you has ever gone down. But Vel remembers, doesn’t buy the act

Basically their interaction is just very familiar and informal, then breaks down quickly because of their attitudes toward each other

Vel is being very childish for most of it, pacing around, not keeping eye contact, then fully acting like a kid who doesn’t want to pick up their toys (see above picture)

Which then brings the Big Dad Energy from Luthen - "LOOK AT ME!!" he yells. The dadest dad behavior to ever dad. I can so easily picture this from my dad. "Look at me when I'm talking to you! Do what I say!" You have no choice but to shut up and obey unless you want to lose your allowance heist mission

Maybe he does actually care?

The night before the heist, Luthen is acting very strange, so much so that Kleya calls him out for being nervous. This is understandable given the stakes. BUT!

“They’re either going to be okay out there or they’re not” from Kleya is interesting. Be okay, rather than do okay. Like she knows he’s particularly worried about their safety, about one person’s safety especially?

And Vel’s mentioned in the very next line, reminding us of their connection again: "Vel's the only one who traces back" -- could be because she’s the only one who’s seen him, but who would actually be able to “trace” that??

Vel's need for approval

Veeerrryyyyy familiar to every eldest daughter constantly ignored by dad, seen most prominently in her interactions with Kleya

First right after the heist -- "Where is he?" ... "He read your message." "I really thought he'd be here?" Oh? Why's that? Why would he be there unless it was personal? Unless there was some sort of expectation of praise for the job well done, or comfort after losing so much of the team?

Later, before Ferrix, Vel won't give Kleya the information about Maarva's death until she secures the "I'll make sure he knows where it came from" promise from her

Rebellion is a family affair

"But Chip, Vel can't be related to Mon and Luthen!" Why not? There's nothing really that says Luthen isn't/can't be Mon's uncle

In fact, it might even make it easier to understand how a prominent Senator who's outwardly so centrist and careful could get Luthen's attention -- they always knew each other!

Anyway, a visual aid made months ago by @jedi-valjean, outlining the possible family tree, along with what seems to be the typical Chandrilan matriarchal naming conventions:

Vel Sartha, nepo baby

Vel absolutely does not have the experience or the stomach to be leading a mission like Aldhani. Why did he let her? That's right, nepotism

Hints to this in both her interactions with Kleya -- first "this is what revolution looks like" and then "You're off the rails. You're lucky he's not here"

She's clearly not ready and messing things up, but she's not facing any consequences for it because of her proximity to Luthen

Their second interaction

The convo on Ferrix is less loaded but still interesting

Vel looking at him and greeting him with a hint of "oh so you do acknowledge that I exist....but only because I have the information you need"

Again, the way they talk to each other is oddly informal for a boss and subordinate. Plus at the end he gives her tasks like a dad handing out chores

(also seems to like saying Cinta's name to her. supportive of his daughter's girlfriend, that gets him some good dad points)

Luthen's talk with Lonni

pound for pound, this is the most important part outside of their first interaction

As Lonni comes down in the elevator, Luthen congratulates him on becoming a father to a "healthy, beautiful" daughter. Tells him he must be pleased

Lonni thinks he's being threatened, asks "Do you ever think how it might feel from my side?" And Luthen tells him "I think about you constantly."

This. Shit. Makes. Me. CRAZY.

Because Luthen *was* Lonni. Just a guy with a daughter, trying to fight for something better

Also he sacrifices Kreegyr and all his men just to keep Lonni’s cover from being blown. Obviously that’s selfish on one hand, he gets to keep his spy, but also….Lonni’s daughter gets to keep her dad. I don’t think Luthen's just saying that to appease him. “You love your daughter," he says. The whole thing hits home for him and he thinks about it constantly

Basically the whole scene is a conversation between Luthen as he is now and Luthen as he could have been -- “Your investment in the rebellion is epic. A double life. Every day a performance.” He’s TALKING TO HIMSELF

And what does Luthen sacrifice? "...Kinship....Love" -- the love of his family? His kin? He may have his daughter in his life but they're hardly more than coworkers because of what they have to do. They're both sacrificing a real relationship with each other

"I burn my decency for someone else's future" -- he's sacrificed being a good father to fight and make a better future for his daughter!!!

!!!!!!!!!!!!!

The shoutout to his ego not having a "mirror" calls us back to Vel and Cinta's conversation, another probably deliberate thread supposed to connect them in our minds

"You'll stay with me, Lonni" can mean both that he's not letting Lonni out of this and, again, that he's always thinking of him (always thinking of that other version of his life)

The Conclusions

Putting together all the evidence and the fact that no one in the show seems to know about the connection between them, I can basically come to two possible conclusions:

Vel didn't find out this man was her father until she was already an adult

She knew him as a child but then he began making his calculations and left her and her mother

Either way, they would have gone years without interacting and thus it would be easy to hide their true connection once they've been reunited. And either way, their relationship would be as strained as it appears. Vel would want to have his attention and approval in a way she never did before, and Luthen would feel guilty enough to give her a job she hasn't really earned.

Thank you for coming to my TED talk.