#i wonder who the real antagonist is this time

[calirph]

𝐎𝐏𝐏𝐎𝐒𝐈𝐓𝐄 𝐇𝐎𝐔𝐒𝐄𝐒: 𝐓𝐇𝐄𝐒𝐄 𝐕𝐈𝐎𝐋𝐄𝐍𝐓 𝐄𝐍𝐃𝐒 𝐇𝐀𝐕𝐄 𝐕𝐈𝐎𝐋𝐄𝐍𝐓 𝐃𝐄𝐋𝐈𝐆𝐇𝐓𝐒.

you will find dialogue sentences and prompts based on enemy houses, like the capulets and montague in romeo and juliet. change pronouns, name and location as you see fit.

Antagonistic

"Your family will never rule these lands, not while I draw breath."

"The blood of your house stains our soil, and we will never forgive it."

"Every time I see your banner, it reminds me of the cowardice of your kin."

"My ancestors swore vengeance, and I intend to deliver it."

"You think peace is possible after all you've done?"

"We don't forget, and we certainly don't forgive."

"Your father was a traitor, and you’ll meet the same end."

"I’d rather die than let your kind share our land."

"The name of your house is a curse in my hall."

"There can be no peace between us—not after what your brother did."

"Your family's honor was lost generations ago."

"You dare speak of alliances after the bloodshed your family caused?"

"The hatred between our houses runs deep, and so will my sword."

"You wear that crest like it means something, but it’s nothing more than a mark of shame."

"We were enemies before you were born, and we will be enemies long after you’re dead."

"Your loyalty is as false as your promises."

"Our houses have always been at war, and nothing you say will change that."

"Do you really think a truce will wash away the sins of your ancestors?"

"The feud between us will never end—not until one house falls."

"You were born into hatred, just like me."

Friendly

"Our families may be at odds, but that doesn't mean we have to be."

"Perhaps we can rise above the feuds of our fathers."

"It’s time our houses found common ground, don’t you think?"

"Just because they fought doesn’t mean we must continue their battles."

"There’s no reason we can’t build something new between us."

"We may be from rival houses, but we can still find peace."

"Our families might be at war, but I see no reason why we should be."

"The feud has gone on long enough—it’s time for us to end it."

"I believe there’s more that unites us than divides us."

"Let’s be the ones to break the cycle of violence between our houses."

"I see potential in an alliance that our families refuse to see."

"Our fathers may hate each other, but we don’t have to."

"We’re more than the bloodlines we were born into."

"Your house and mine can do great things if we choose unity over conflict."

"The time for fighting is over—it’s time for healing between us."

"We have the power to change the story between our houses."

"I believe in peace, even if our houses don’t."

"Our houses have been fighting for centuries, but what if we didn’t?"

"Maybe we’re the generation that can end this."

"If we join forces, there’s nothing our houses can’t accomplish."

Ambiguous

"Your house is my enemy, yet I find myself questioning why."

"Are we enemies, or are we simply two sides of the same coin?"

"I was raised to hate you, but I don’t even know why anymore."

"There are times I wonder if we’re truly different at all."

"We wear different colors, but how different are we, really?"

"Do we fight because we must, or because we’ve forgotten how not to?"

"It’s strange to think how easily I could have been born into your house."

"We stand on opposite sides, but the line between us is so thin."

"I don't know whether to trust you or kill you."

"There’s a fine line between being rivals and being allies."

"Sometimes I wonder if this feud is even ours, or if we’re just playing roles."

"There’s more at play here than just our houses’ grudges."

"I’ve always wondered how different my life would be if I had been born into your family."

"Do we fight because of who we are, or because of who they tell us to be?"

"Sometimes I think this war is nothing but an illusion."

"We stand apart, yet sometimes I feel we’re not so different."

"Is this conflict even real, or are we just following an ancient script?"

"Our houses may be enemies, but I wonder what that even means anymore."

"I’ve been told to hate your house all my life, but I can’t help but feel there’s more to the story."

"What if we could rewrite the fate of our houses together?"

Forbidden Romance

"No one can know about us. If they find out, our houses will burn."

"We belong to rival houses, but I can't stop thinking about you."

"They would kill us both if they knew what we’ve done."

"Every kiss is a risk, but I’d risk it all for you."

"Loving you means betraying my house, but I don’t care."

"You’re the one thing I can never have, and it makes me want you more."

"We can never be together, not as long as our families are at war."

"I would leave everything behind for you, but they would never allow it."

"Our love is forbidden, but I’ve never wanted anything more."

"You and I are a scandal waiting to happen, and yet I can’t stay away."

"Being with you feels like treason, but it’s the only truth I know."

"The more they tell me to stay away from you, the closer I want to be."

"We’re enemies, and yet I love you more than I’ve ever loved anyone."

"I’ll burn the banners of my house if it means I can be with you."

"We’re not supposed to be together, but I can’t live without you."

"Every secret meeting puts us in danger, but I’ve never felt so alive."

"Loving you is treason, but losing you would be worse."

"We may be from rival houses, but when I’m with you, nothing else matters."

"I’m supposed to hate you, but I’ve never wanted anyone more."

"We belong to opposite sides, but my heart only knows one truth—you."

Prompts

Write a scene where two heirs from rival houses meet in secret, unsure if they can trust each other.

Explore the moment when two childhood friends from enemy families meet again as enemies on the battlefield.

Describe the feelings of a character as they receive an unexpected letter from a sworn enemy proposing peace.

Write about a forced marriage between two members of rival houses, and how they navigate their conflicting loyalties.

Create a scene where an antagonist character saves someone from the rival house, but neither side can know.

Write about two characters from opposing houses who secretly meet every year on a battlefield to commemorate a lost loved one.

Explore the thoughts of a character who is torn between loyalty to their house and love for someone from the enemy side.

Create a confrontation where a character must decide whether to kill a captured enemy, who is also their former friend.

Write about two characters from rival houses realizing their childhood rivalry was manipulated by others.

Explore a conversation where two enemy leaders meet in secret to negotiate, but one has hidden intentions.

Write a scene where a forbidden romance is revealed during a public feast, causing shock and anger.

Describe a tense moment where two enemies from different houses must rely on each other to survive.

Write about the discovery of an old alliance between two enemy families that threatens to upend a current war.

Explore the perspective of a character who is being forced into a marriage to end a generations-long feud.

Write a scene where a character challenges their enemy to a duel but hesitates, recalling a shared moment of kindness.

Explore the internal struggle of a character who falls in love with someone from the enemy house during wartime.

Write about a secret tryst that leads to betrayal when the lovers are caught by their respective families.

Create a scene where two enemies are forced to work together to uncover a plot that threatens both their houses.

Write about an ambassador sent to negotiate peace between warring houses, only to fall for someone on the enemy side.

Explore a scene where two characters from enemy houses are mistaken for allies and must keep up the ruse.

Write about a character who is raised to hate a rival house but begins to question that hatred after meeting someone from it.

Create a confrontation where an enemy’s child is saved by a sworn rival, complicating the feud.

Write about a forbidden relationship that is discovered just as a major battle between the two houses begins.

Explore the emotions of a character whose wedding to an enemy is meant to secure peace but who feels trapped by it.

Write about a family member who betrays their house by allying with the enemy out of love or friendship.

Create a scene where two characters from rival houses must share the same space during a ceasefire, leading to tension.

Write about a secret alliance between members of two enemy houses, meant to stop a greater evil.

Explore a character’s thoughts as they attend the wedding of two members of rival families, wondering if the peace will last.

Write a scene where the child of one house apologizes to the elder of another for the wrongs committed by their family.

Create a moment where two rival heirs are forced into an arranged marriage, neither wanting it, but both finding unexpected respect.

Write about a character who spies on the enemy only to fall in love with the person they’re meant to deceive.

Explore the moment when two lovers from rival houses are discovered and have to decide whether to flee or fight for their love.

Create a scene where a character must defend their enemy to their own family.

Write about an alliance between two enemy houses that is threatened when one member reveals a secret romance.

Explore the tension during a council meeting where representatives of two rival houses must sit side by side.

[orcelito]

I love that Zazie and Elendira r my fav Gung ho guns bc of the Trans Vibes. And who's my third favorite? Well, I'm glad you asked!

Mid freak the horn valley

[tagasaing]

i have to get this out of the way, re: dungeon meshi discussions

major spoilers ahead, obviously.

you know for a series that focuses so much on platonic and familial relationships it’s weird that dungeon meshi has attracted so much useless ship wars though. the most important driving force in the story is two sibling relationships (laios’s search for falin, thistle’s search for delgal) and one of the central themes is how loving others way too much can lead to your downfall (thistle’s desperate attempt to keep his loved ones leads to his mental state deteriorating so much he starts torturing people he claims to protect, marcille’s fear of losing her friends leads to her being easily manipulated by the main antagonist)

even with regards to falin. thistle wants to bring the ‘brother’ he raised back at all costs, he saw a young human woman as nothing more than a dragon, his tool. marcille wants to bring falin back at all costs, she didn’t care about the repercussions of using monster meat instead of animal meat even though she was an expert at ancient magic and should know why it’s such a dangerous practice.

each and every single one of the major characters has some form of tragedy with their family one way or another: the toudens, marcille and her dad. chilchuck and his wife. senshi’s entire backstory. izutsumi’s hidden desire for a mother. namari’s father. shuro and his family. kabru and his mother(both tallman and elf). mithrun and his brother. thistle and the melinis.

even some of the minor characters: flamela and her dead twin sister. the twins and the floke couple. kuro being the closest mickbell has to a family. etc etc

as someone who has reread this manga several times by now, i wonder if people just… read it once as fast as they could and act like they’re some sort of authority on fan discussion. i’ve seen people brag about reading the entire thing in one sitting as if it’s something to be proud of. this manga isn’t meant to be read that fast, that’s how you get people claiming that laios doesn’t reaaally love falin as much as marcille does.

to these people, laios just gets in the way, as if it wasn’t his idea to go down the dungeon in the first place, it wasn’t him who said his pain doesn’t matter because falin suffered more than him, it wasn’t him who felt immense guilt for leaving falin behind, it wasn’t him who found her skull, it wasn’t him who killed her to save her from her chimera form. i feel like people forget about the ‘too’ part when marcille said “i miss falin too”

marcille knows how much falin and laios love each other. that’s why she asked him if she’s allowed to resurrect her and didn’t act on her own. that’s why when both times a shapeshifting monster copied marcille to trick laios, it was what she looked like at the time she was reviving falin.

as someone who DOES ship farcille, none of the romance is canon. this isn’t meant to be anti-farcille. one of the post-canon comics is about falin gently turning down shuro because she wants to travel the world, “you can’t tie a dragon down” after all. she wants to travel the world and find herself because she doesn’t know who she is outside of marcille and laios. even marcille, who was hoping she’d reject him, tears up because of how beautiful and tragic it was.

there are a lot of ship teases because what author doesn’t like a good ship tease. but to say that dungeon meshi is a romantic love more than it is a story about family(both real and found) is a great misinterpretation of the text.

[anniflamma]

So I’ve received a couple of anonymous messages telling me that they were really disappointed in me for liking Elian's Antinous fanart. Instead of answering them individually, I’m just going to make an angry rant post instead. Most of if probably won't make sense anyway.

This post have talk about SA, and homophobia. Be aware. I don’t ship genuinely Telemachus and Antinous, if that’s what you’re wondering. I didn’t even consider the possibility that ship could even exist. At the end of the day, I don't care about that ship.

And do you want me to explain that I know SA is bad? Or that I’m aware Telemachus/Antinous is a toxic ship? Do you think I’m dumb and don’t know that? You don't have to explain to me either, I know that SA is bad, I have experienced it, you don't have to explain to me, trust me I know.

I like Elian's art because it’s really beautiful. Her work is a huge inspiration and encouragement for me when making animatics. But do I REALLY have to spell out, word for word, that I know Antinous is an antagonist and tries to do bad things? Does it mean every time someone draws Antinous and I like it, I have to explain that I like the drawing because it’s well done, not because I support Antinous’ intent toward Penelope and wants to kill Telemachus?

I mean, I’ve seen tons of thirsty comments like, "I hate how Zeus treats women, but your design is really hot" or "Even if Poseidon SA Demeter, this Poseidon I'd go down on all fours for!"

I have seen some stuff….

I guess I could just imitate something like that????

But I know it’s a joke and I know its a fantasy that someone is expressing. Its not real, its fictional. I know all those thirsty ppl who simp over Poseidon, Zeus, or even Antinous aren’t supporting hatred and violence toward women. And yes, I am expecting that you should already know this too. Because if we gonna assume the worst of ppl… Then everyone who likes Greek myth/Epic the musical are pro SA. "Do you like Crice from Epic the musical? That means that you support her actions, you support SA!" "Oh you like Odysseus?! He killed a baby and all of his female slaves cuz they got SA by the suitors! You support infanticide, slavery and SA!" Do you hear how dumb that sounds? To be honest, I wouldn’t be that surprised if there are some who think like this. I mean, this discussion wouldn’t even be a thing, right.

And if you don’t know, I literally make thirst art of Poseidon (and that includes Zeus and Hermes), and you don’t see it as a bad thing??? It’s Poseidon… Do you know what he has done to women in the myths?!

Im going to ramble here and I will bring up stories from greek myth that have SA in it. So be aware.

One example is the story of Caeneus. When Caeneus was a woman, his parents left him to take care of the house while they were out running errands. Poseidon took that as an opportunity to break into the house and sexually assault him. This is probably the only myth where Poseidon actually feels bad after what he did, so he grants Caeneus a wish. Aww, how sweet~~~ /sarcasm.

Do I need to give an example of Zeus? We all know what Zeus does. But hey, I’ve made Poseidon/Hermes ship art. And guess what? There’s a story where Hermes breaks a woman’s leg so she can’t run away from him, and then he sexually assaults her. Isn’t that cute~~! /sarcasm

Heck, I can even go on with my biblical ships. David/Jonathan—David, a serial assaulter and murderer, and Jonathan, a mass murderer. But do I support their actions? No, I do not support mass murder, and its really dumb that I have to spell it out for you.

Daniel/Darius is even questionable too! It's literally a king and his servant, and that power imbalance is so big I don’t know what to tell you! Do I have to spell it out that I know that, in real life, king/servant relationships aren’t cute at all?!

All of these characters that I’ve listed have done or represent horrible things. And I have to tell you that I don't support their actions?! Really? You really can't think outside the box?

But do you see what I’m trying to tell you? We can simp over other ancient mythological figures but Antinous is the red line that we can never cross??? It’s hypocritical and immature, that’s what it is.

Right now, ppl loves the Ody seduces Zeus art I made. And that "ship" is well really questionable too! But nobody have called me a witch and tries to burn me at the stake yet. 😐

And the thing is, I can separate these fictional characters from the real world. I can also separate the fictional material from other fictional interpretations. Exemple, I like The Song of Achilles, in it, they are the same age, but I am also aware that in the Iliad, Achilles is 16 and Patroclus is 26. But do I automatically assume that Madeline Miller likes teens? No! Do I assume that everyone who likes The Song Of Achilles like that shit? No!

But we still can have a disscussion about it without making it into a witch trial.

As long as we can separate different fictional materials, then everything is fine. It only becomes a problem if a person can’t separate them. Then we have a problem. I can acknowledge that my depiction of King David from the bible is not the same as from the original story and that he is horrible person towards women. If I couldn't acknowledge that, then its bad! The same goes for Antinous if someone makes an AU or headcanon about him. If someone want so make AUs about Antinous, my first thoughts isnt "Oh they like to SA ppl!". At the end of the day, this is just a group from tiktok who didn’t like a toxic ship and decided to bully an artist while acting like they have superior morals.

And I get this type of shit from christians when I make my queer bible interpitations, both from those that don't like the queer stuff but also those that points out that David and Jonathan were horrible ppl.

So I rarely answer comments like this because they usually end up spewing beliefs filled with homophobia and Islamophobia. Heck rasism sometimes, apparently, Christians don’t know that the Bible takes place in the Middle East, and they are angry at me for drawing them looking like Arabs! I just delete their comments before they gets there. Making queer biblical animatics on TikTok that go viral on the Christian side is not fun at all guys....

And hate to say it but tiktok Epic fans sound really similar. You are acting like you’re on a pedestal, holier than thou. Its just a different font.

+ I haven’t forgotten all those homophobic comments I got on my David/Jonathan animatic that I posted right after my Ruthlessness animatic. Epic fans were saying they didn’t want “that gay shit” and wanted to see more Epic stuff. Hate to break it to you all, but the Epic fandom isn’t that innocent.

[marypaol]

Fingers Through Your Hair

Draco x Fem!Reader

Summary: Reader plays with Draco’s hair while he sleeps.

Warnings: Watching/touching/admiring someone while they sleep? Mention of suspense while reading a book, tenseness during slumber, mention of being trapped, think that’s it. :)

Sorry if it’s too short, I kinda rushed it. Hope you guys enjoy!

Masterlist

Request Requirements

The stack of pages was held in her hands, twinkling eyes scanning the pages as her mind took in the exciting story. Pale fingers was tracing mindless shapes on the skin of her arm, the pace changing every minute or so.

The climax was just on the verge of happening, eyeballs practically skipping over sentences as she died to know what happened next. The face to face encounter of the protagonist and the antagonist was too great, her brain wiring at the information being sprayed at her. Her stomach twisted, eyes danced, and she could feel sweat building on her head. Her eyes widened, the story revealing a secret that she couldn’t bear to face or figure out. Or, that’s what some people would think. She of course hadn’t had any trouble figuring the secrets of the book, digging through the clues that were dropped casually throughout the story and putting them together to make a puzzle picture that was just discovered to most readers. (But not to her of course. She already figured it all out.)

For the reason of her eyes widening was the fact that she got it correct, her assumptions and theories she gathered turned out to be right the whole time.

She found herself lost in the pages that the book had to offer, truly getting sucked in the imaginary world the author created for entertainment.

But wouldn’t it be lovely and truly divine, she thought, setting the book down once she finished it. If the world that was so imaginative and fictional was real?

She sighed at the thought, picturing herself trapped in a tower in a dark abandoned land, looking hopelessly out the window for her lover to arrive and successfully rescue her.

For she knew who would come and serve her right. He would be the only person who would, not that others wouldn’t try only to face him.

But platinum hair was best suited for her, for she wouldn’t have any other interests but he.

Thinking of him now, she just then discovered that his fingers halted their movements not too long before, and her mind couldn’t help but wonder what the purpose was.

She looked over at her love, only to find him in soft gentle slumber, eyelashes tangled together as his pillow lips parted for a quiet breath.

She smiled soft, hand reaching over to cover him more with the blanket he had himself wrapped in, only for it to previously roll down his shoulders.

She then laid down softly next to him, her elbow holding her up as she used the same arm to place it near his head, almost like she was protecting him.

The face of her love was closer to her, so she now noticed the soft crease in his eyebrows, along sided with the visible tenseness on his shoulders. She shook her head softly, for that simply couldn’t do, and so she pointed out her pinky finger and reached for his forehead. Her finger practically brushed his skin, in between his eyebrows, stroking the crease away as she watch a sense of peace come over him, his eyebrows raising in a calming manner.

She smiled then, knowing he was peaceful now because of her doing.

She then lent forward, lips puckering as she pressed a gentle kiss to his forehead, fingers uncontrollably going to his hair strands. His hair was very soft, and how he kept it that she didn’t know, but that was his secret to keep because she simply liked wondering how he did it. Once her fingers reached a soft knot in his strands, most likely from his hands digging into his hair anxiously throughout the day, she was worried if she undid it with her fingers it would wake him up, so she carefully grabbed her wand, wood smooth beneath her finger tips.

She pointed the tip to his hair, whispering soft Charms as she watched the strands undo themselves. She smiled soft, putting her wand away as it was now long forgotten, her mind swarming with thoughts of her lover.

She sighed contently, fingers brushing through his hair slowly.

A intake of breath was heard, forcing her attention to his soft face. It scrunched up for a second, eyes fluttering as his silver eyes opened. He blinked a couple times, moonlight reflecting in his pupils making his orbs sparkle. He felt the touch in his hair, the extra blanket covering him, and his eyes met hers.

His lips curved into a soft smile, left hand reaching for her as it soon rested on her thigh, stroking the skin through the fabric.

“Hey, loves.” His voice was groggy and deep, but she liked it. She replied with a smile, fingers moving in his hair once again.

A sigh escaped his lips, head turning to rest near her chest, chasing for warmth. She kissed his forehead once again, mouth leaning towards his ear. The skin was warm on her lips as she whispered the truth. “I love you.”

She felt his lips stretch into a soft smile against her clothes, so she smiled too. His smile always made her smile, despite if she could see it or not.

“Oh but I love you most.” He mumbled into her shirt, voice muffled but she heard him all too well.

A flush came about her cheeks, traveling to her ears.

“Doubt it.” She replied, despite her red face.

Draco answered with a hum. Either he didn’t hear her, or did and chose to ignore it.

“You smell good loves; new shampoo perhaps?”

“Draco, I’ve been using this shampoo since First Year.”

Draco hummed again, snuggling his face into her neck. She heard him sniff as he smelled her hair again. “Mm? First Year? I should smell your hair more often loves.”

The girl rolled her eyes, stroking the hair on the back of his neck. She kissed it, keeping her mouth pressed there as her nose touched his warm skin.

“Ahh. This feels nice.” Draco murmured. She then felt him smirk into her neck. “What do you say we do this more often?”

[inthedayswhenlandswerefew]

Where Will All The Martyrs Go [Chapter 13: The Regrets Are Useless] [Series Finale]

A/N: Below are your final predictions. Let's see how you did... 🥰

Series summary: In the midst of the zombie apocalypse, both you and Aemond (and your respective travel companions) find yourselves headed for the West Coast. It’s the 2024 version of the Oregon Trail, but with less dysentery and more undead antagonists. Watch out for snakes! 😉🐍

Series warnings: Language, sexual content (18+ readers only), violence, bodily injury, med school Aemond, character deaths, nature, drinking, smoking, drugs, Adventures With Aegon™️, pregnancy and childbirth, the U.S. Navy, road trip vibes.

Series title is a lyric from: “Letterbomb” by Green Day.

Chapter title is a lyric from: “Whatsername” by Green Day.

Word count: 6.1k

💜 All my writing can be found HERE! 💜

Rain pours outside the cabin, mist-shrouded pine trees and still dark water, a place in southern Oregon called Lake of the Woods. The twin-sized bed with a thin foam mattress was once used by kids attending summer camp, capture the flag and s’mores, hikes and scary stories, but now the children are ghosts and the monsters are real, stumbling down streets and lurking in dark places, licking blood from what’s left of their lips.

Aemond is here but he’s also not, a castaway on an island where the world never ended, his hands in your hair as you straddle him, your hips moving tentatively, his lips and teeth at your throat, the sharp points of his canines like fangs.

“Am I doing this right?” you murmur doubtfully. “I feel like I’m definitely not doing this right…”

“Shh, you’re great, you’re incredible.”

“I’m sorry I don’t know how to do everything already, I’m sorry you have to teach me—”

“Stop,” Aemond commands, a sharp sigh through your hair. “I love this. I love you. I want to teach you things until the day I die.”

The nervous tension in your muscles unravels—peddles thrown into water, campfire smoke vanishing into indigo night—and now his hands are on your hips, steadying you, guiding you. You link your fingers around the back of his neck and try to find a cadence that isn’t uncomfortable, ungainly, effortful. You wanted to try this. You want to experience everything with him.

“Take your time,” Aemond is saying like it’s difficult for him to keep a train of thought, his eye closed, his cheeks flushed, blood-colored blooms like a dusk sky. “I’m fine down here, don’t worry about me…”

Rain drums against the windows; lightning flashes in the sky and thunder growls. From the front porch of one of the other cabins, you can hear the indistinct droning of conversations and Aegon strumming the acoustic guitar he brought from the beach house. It’s something you’ve overheard him singing before, one of his strange midcentury darlings, a song that should be too old for him to know the words to.

“All you big and burly men who roll the trucks along

Better listen, you’ll be thankful when you hear my song

You have really got it made if you’re haulin’ goods

Any place on earth but those Haynesville Woods…”

Your skin gleams with a cool sheen of sweat; there is a draft through the cabin walls that makes you shiver as you cling to Aemond. You roll your hips a certain way and he moans—suddenly, involuntarily—and you know you’ve found the right rhythm.

“It’s a stretch of road up north in Maine

That’s never ever ever seen a smile

If they’d buried all them truckers lost in them woods

There’d be a tombstone every mile

Count ‘em off, there’d be a tombstone every mile…”

Aemond is kissing you deeply, desperately, trembling hands and gasping shallow breaths. And there is not just euphoria written into the lines of his face; there is disorientation, there is wonder. He barely manages: “Alright…um…if you want me to last longer than about thirty more seconds, you should probably slow down…”

“No,” you tease, grinning as you bite at his full lips.

“When you’re loaded with potatoes and you’re headed down

You’ve got to drive the woods to get to Boston town

When it’s winter up in Maine, better check it over twice

That Haynesville road is just a ribbon of ice…”

Aemond cries out, louder than you’ve ever heard him before—you’ve never had privacy, you’ve never truly been alone—and then again, a helpless ecstatic sound, pleasure so overwhelming it almost starts to feel like pain.

“Quiet!” you whisper, giggling, touching two fingers to his mouth. “Everyone’s going to hear you.”

“Oh my God,” Aemond says. He falls back onto the mattress and brings you with him, his arms wrapped around you, kissing your cheeks and your forehead as the two of you lie there panting and entangled, his blue eye astonished. “Okay, okay, I need a minute. I think I just burst an aneurysm.”

“I killed you?” you purr with feigned distress, basking in your conquest.

“You can kill me whenever you want. You can kill me five times a day.”

“When you’re talking to a trucker that’s been haulin’ goods

Down that stretch of road in Maine they call the Haynesville Woods

He’ll tell you that dying and going down below

Won’t be half as bad as driving on that road of ice and snow…”

Aemond stares up at the ceiling—a steep gable roof, a motionless fan—and now you can tell he’s thinking about his family again, discorporate screams, misplaced trust. Otto Hightower’s bones were found in the shower, meaning he likely died before or not long after their power failed and water would have run out in the municipal system. They were probably killed before you and Aemond ever met, distant galaxies lightyears away, remote long-dead stars. And so all the blood you paid to get to California was wasted.

“Do you ever think about the people you have saved?” you ask gently as your fingertips trace the ridge of his scar. “You stitched yourself back together. You healed Aegon’s burns. You sutured Cregan’s arm. You got me and Rio down from that transmission tower.”

“I guess I did,” Aemond says, but his voice is ambivalent, as if none of these things count. He has not found someplace safe for you yet. His job is not finished; his triumphs may only be temporary.

“Aemond…back in Pennsylvania…why did you decide to help us?”

“Luke spotted you guys, and we all talked it over. If it had just been Rio, honestly, I wouldn’t have taken the chance. A man his size, and possibly armed…could be trouble, you know? But I figured since he was traveling with a woman and you seemed to be with him by choice, he was probably okay. And then when we first met, he was so protective of you…didn’t want me touching you, didn’t leave you alone…I realized he had to be a good guy.”

“He was,” you say solemnly. I was supposed to remind him about the racks. I was supposed to warn him. But you didn’t warn Rio about what was waiting to kill him in that sand-swept grocery store in Winnemucca, just like you didn’t warn Jace about radiation or Baela about the way the rungs of the ladder that ran up the side of the grain bin were rusted and creaking, and maybe there is more than enough blame to go around.

“And then after Battle Mountain, as soon as we found the gasoline and ammo, I knew we had to go back for you. It hit me all at once. I couldn’t protect you by leaving you with Rio and Cregan. And I couldn’t let you go. I’ve never had something like this before. I didn’t know it existed. I told the others we were turning around, and Aegon said: Thank fucking God. Rhaena took off sprinting towards the car.” Then Aemond kisses you again, but tenderly this time, slowly, like you’ll have forever and there’s no need to rush. “I’m going to get you to Odessa. I’m going to take you somewhere safe.”

The rain is stopping; there are still a few hours of daylight left.

~~~~~~~~~~

“Hey, Chip Skylark. Check it out,” Aegon says, grinning at you from where he’s sprawled on the wet dock and smoking a cigarette, wearing his neon green plastic sunglasses, his left leg finally freed from its bandages and on full display. You’re all wearing the same things, stolen t-shirts and shorts, sweatshirts at night when it gets cold, sneakers you can walk hundreds of miles in; but Aegon won’t give up his Sperry Bahamas. “It’s nature’s tattoo.”

You sit down beside him and admire the scar tissue, red knots and white cords, jagged terrain like a mountain range, organic highways and bridges and trails. “It’s a roadmap.”

“That’s appropriate.”

You’ve been traveling on foot for two weeks since Criston’s white Tahoe ran out of gas and was abandoned in the town of Mad River, California. Now you are only about ten miles from Odessa, close enough to reach in half a day but too far to get into town before nightfall. This time tomorrow you’ll be there, and it will either be a haven or a wasteland, and if Rio’s parents’ community in Odessa has disappeared then so has your last idea for where to go. Absentmindedly, you skate your fingerprints over the bumps and grooves of Aegon’s leg like a blind man reading braille. He shifts and clears his throat; you’ve made him uncomfortable somehow. You lift your hand away.

“I’m sorry, does that hurt?”

“Nah. I can’t really feel anything besides pressure. The nerve endings got fried.”

“Oh.” But now you don’t know what you did to upset him. Aegon doesn’t provide an explanation. Down the dock a ways towards the shore, Rhaena is reading The Ballad of Songbirds and Snakes and listening to the pink Sony Walkman formerly owned by a little girl named Ava. Inside whirls Green Day’s 2004 album American Idiot, which Aegon took from his bedroom at the beach house to add to his CD collection, a cultural archive, a gift for posterity. Cregan is teaching Daeron to fish with poles he found in one of the cabins; Helaena is bringing them worms. Aemond and Luke are gathering things dry enough to burn—books and wooden chairs from inside the cabins—and piling them up so Cregan can cook dinner once it’s caught.

“So,” Aegon says, changing the subject, scrutinizing you as he puffs on a Marlboro Gold. “Everything going okay?”

You know what he means; he must have heard Aemond earlier. “Yup.”

“Got it all figured out?”

“Sure did.”

“Great. I’m happy for you,” Aegon says, and yet there’s a twinge of melancholy he’s trying to hide. It must be hard for him; he and Daeron are the only single ones.

“We’ll find you some suitable candidates for your harem when we get to Odessa.”

He chuckles. “Oh, come on.”

“Guys, girls? Do you have a preference?”

He’s smiling wistfully down into the water, a dark rippling mirror. “I have too specific a preference, that’s the problem.”

“Yacht girls in bikinis. Golf cheerleaders.”

“There are no cheerleaders in golf, you yokel.”

“Okay, well…I’m sure you’ll be very popular with the lonely, traumatized, widowed women of the apocalypse.”

Aegon gazes morosely out over the lake. He pitches the end of his cigarette into the water, and your eyes catch briefly on the black ink of the tattoo on his forearm: It’s not over ‘til you’re underground. “I don’t know. I’ve been sober for two weeks and now everything is annoyingly clear.”

“What’s bothering you?”

He waits a while before he answers, evasive. “I’ve never been good at anything.”

“Everyone feels that way sometimes. Luke thinks he’s not good at anything either.”

“But Luke’s nice. I’m a rat bastard.”

You laugh. “You’re kind of nice, Aegon.”

“Yeah right.”

“No, seriously. I like being around you. You make me feel better. You’re like…” You ponder how to word it. “I feel like I could tell you whatever and not worry about being judged for it.”

He snorts. “As if you’ve ever done anything judgeable.”

You shrug, peering out over the lake. “I abandoned my family. I stopped sending them money, I stopped calling. And when everything happened…the zombies, the world ending…I didn’t even consider going back to Kentucky to try to help them. I went west with Rio instead. And now they’re probably all dead and it’s my fault. That’s evil. I couldn’t have gotten away with that level of betrayal. I must be cursed.”

Aegon is watching you, eyebrows raised. He has never heard this before. “But your family sucked, right?”

“Yeah,” you admit. “I think it would be hard to argue they didn’t.”

“So fuck ‘em,” Aegon says simply.

You smile at him, touched, grateful. “Okay. Fuck ‘em.”

“I’m relieved my family’s gone,” Aegon confesses, something so brutal he’d never tell anyone else. “I mean…I feel kind of bad about my mom and Criston. But as long as they were alive, I’d always be the person they raised. And if I could bring someone back, it wouldn’t be any of them. I’d pick Rio.”

“I would too,” you say softly, staring down at the faint burn marks on your palms from when you were stranded on that transmission tower with him, talking him out of suicide, so adamant that both of you were going to make it to Oregon. And you were wrong.

“So if you’re cursed, Pita Chips, sign me up because I’m right there with you.”

Rhaena pulls out an earbud and says to Aegon: “I don’t get this album.”

“What?!” he exclaims.

“It’s so good!” you concur. On the shore, Cregan is spearing several gutted rainbow trout on sticks so they can be roasted over the fire. Ice is gleefully gulping down fish organs.

Aegon continues: “Whatsername! St. Jimmy! Jesus of Suburbia!”

Rhaena blinks, glancing between you and Aegon. “But neither of you grew up in the suburbs.”

“It’s not about the suburbs, Rhaena!” Aegon replies with frenetic hand gestures. “It’s about being disillusioned and angry and failed by all the adults in your life, and self-medicating, and losing love every time you get a taste of it, and wanting to burn everything down and start over. It’s about hating the world and the world hating you back.”

“Okay, sure. I still don’t get it.”

You say: “You might have had too happy a childhood.” And you and Aegon burst out laughing.

“You guys are so weird,” Rhaena says, but she’s smiling. She stands up, gives Aegon back his Walkman, and walks to the end of the dock where Cregan is cooking the rainbow trout. Aemond and Daeron are gathering up the aluminum buckets found at the campground and set outside earlier today to collect rainwater. There is one five-pound bag of trail mix left to share, and then all the food is gone. If Cregan doesn’t kill something, you won’t eat.

“We should go help them with dinner,” you tell Aegon.

He groans. “Should we really?”

“Yeah. We should.”

“Fine.” He takes your hand when you offer it and struggles to his feet. Then you inhale a lungful of the scent of roasting trout, and startlingly powerful nausea punches through your stomach, so repellant you have to clamp a hand over your mouth to stop yourself from retching.

There has to be something wrong with the fish. It’s never smelled like that before.

Aegon seems baffled. “What? What’s wrong?”

“Does the trout smell right to you?”

Aegon sniffs the air like a labrador. “I guess…? I barely smell anything.”

“Well you probably destroyed your nose cells with all the coke.”

“That’s discriminatory. Addiction is a disease.” But his brow is furrowed with concern. “Seriously, are you okay? You look awful. Not like that. You know what I mean.”

“I’m fine.” You don’t feel fine; but everyone down by the fire is chatting and joking around nonchalantly, and surely if there actually was something wrong they would have noticed. “I’ll be back in a second.”

“Sure,” Aegon says, perplexed.

You hurry past the others and take refuge in the cabin you’re sharing with Aemond. Inside the trout smell isn’t so strong. You sit at the edge of the bed and suck in several deep breaths, trying to calm down, willing the confounding wave of nausea to pass.

Did I eat something bad, did I get bit by a spider or something…?

You are checking your arms and legs for little raised bitemarks when Helaena enters the cabin and shuts the door behind her. When she opens her burlap messenger bag to root around inside, you glimpse photographs she must have taken from the beach house, the frames left empty on the mantle of the fireplace. Then Helaena pulls out a pregnancy test, just one, Clearblue.

You gawk at it. “What are you doing?”

“You look sick,” Helaena says matter-of-factly.

“Yeah, but I don’t think it’s that.”

She is puzzled, wide innocent blue eyes. “Why not?”

“Well…I mean…that would be freakishly quick, wouldn’t it? Like…quick as in immediately. People can’t get pregnant the first time they have sex, right?”

“Huh. They really don’t have sex ed in Kentucky,” Helaena says, and leaves you alone with your pregnancy test. You don’t feel so nauseous anymore, but you sneak around the back of the cabin to take it anyway, because now you’re thinking about the possibility with a vividness you’ve never experienced before: a round blossoming belly and tiny handprints and Aemond cradling his child in his arms. And by the time you get the result, you aren’t even shocked. It feels like something that’s supposed to happen.

You and Aemond don’t have a moment alone together until after dark, sitting on the porch swing outside your cabin for first watch, everyone else asleep, Ice dozing serenely by your feet. The only sounds are the breeze through the pine trees, cool and damp, and the hoots of owls, and the chirping of crickets and cicadas.

“So guess what,” you say casually as moonbeams float rippling and fractured on the surface of the black-glass lake.

Aemond smiles drowsily, not expecting anything. “What?”

“In approximately eight months, I might be having your baby.”

At first, he doesn’t speak; he only studies the test when you hand it to him, and then looks at you like he’s not convinced you aren’t angry, like he can’t quite bring himself to believe that you’d want this with someone like him. “Are you afraid?”

“No,” you answer honestly. Maybe you should be, but you aren’t. “I’m hopeful. I feel like as soon as I realized it, everything got brighter. And now I’m thinking about the future instead of the past.” They’re not going to grow up like I did. They’re never going to think they aren’t loved. “What should we name it?”

“Not Otter.”

You laugh, trying to muffle it so you don’t wake anyone. Ice lifts her head and stares at you curiously, her shaggy grey ears straight up.

“I don’t know, I’m terrible with names,” Aemond says; and now he’s smiling again, a wide radiant smile, and you know he’s thinking about the future too. “Hope or Peace or something. Something happy. Something about starting over.”

You take his hand. “I can’t wait to start over with you.”

“Just one more day,” Aemond says.

One more day.

~~~~~~~~~~

“So what am I going to do in Odessa?” Luke asks as the eight of you—nine, if you count Ice—trek eastbound on Route 140. You are about five miles from Lake of the Woods and halfway to your destination. It’s only 80 degrees and overcast, good walking weather, although there is a looming threat of rain, occasional rogue drops and far-off rumbles of thunder. “Everyone has valuable skills except me. Chips has great aim and can build things, Daeron has his compound bow, Aemond is basically a doctor, Rhaena is learning how to shoot guns and treat injuries…”

“Aegon has skills?” Cregan jokes, casting him a good-natured grin. Aegon acts like he’s going to whack Cregan with his golf club, which he’s spinning around haphazardly. Both his Marlin .22 and acoustic guitar are slung across his back. There aren’t many bullets left, but everyone has a few.

“Aegon can navigate,” Luke says. “And probably impregnate ten women a day. Very useful during a population crisis.”

“We don’t need that in the gene pool,” Rhaena notes.

“You wrote stories in college, right?” you ask Luke.

“Screenplays, yeah,” he says hesitantly. “But I wouldn’t say I was super talented or anything.”

Aegon claps him on the shoulder “Well I’ve got good news for you, kid. A big chunk of the world’s screenwriters are probably dead now. So you’ll look so much better in comparison!”

“Thanks…?” Luke says.

“What I mean is,” you continue. “You could write books for people to read, since there aren’t really libraries or Barnes & Nobles anymore. And you could interview people to get their life stories and then record them so they aren’t lost forever. The next generation should know what the world was like before the zombies.”

“Yeah,” Aegon says as he pets Ice. “Someone has to tell them about blue raspberry Icees, right Blue Raspberry Icee?”

“Maybe,” Luke says thoughtfully, and you notice that he’s smiling a little.

Ice begins whining, and there is a rustling in the woods to the north, low-hanging branches of bigleaf maple and dogwood and Douglas fir trees being forced aside. “Zombie!” Aegon announces, pointing. Immediately, Daeron nocks an arrow and then releases it, and the figure draped in the shifting shadows of foliage drops to the ground.

“Hey Aegon,” Daeron says after a few seconds.

“Yeah?”

“That was actually a zombie, right?”

“Totally,” Aegon replies, but he doesn’t sound certain.

Aemond turns to his older brother accusingly. “How sure are you?”

“Like…50%.”

“Aegon!” Rhaena cries, petrified, and everyone rushes off the road to investigate.

Blessedly, the felled creature is long-dead, a former park ranger whose tan uniform hangs in gore-stained tatters. The nametag reads: Underwood. The arrow pierced its soft rotting skull and remains lodged there until Daeron pulls it out to be used again, giving Aegon an impatient scowl as he does.

“Close call,” Aegon tells him. “Think they would have charged you as an adult?”

“Lord almighty, that gave me a scare,” Cregan says, chuckling. Helaena spies a blackberry bush and begins picking a handful, and Cregan goes over to join her. Rhaena and Luke are telling Aegon that he needs to be more responsible and should have waited for Luke to confirm it was a zombie with his binoculars. You exchange a glance with Aegon: he rolls his eyes, you offer a smirk of commiseration. Ice is already trotting back towards Oregon Route 140.

You haven’t told anyone else that you’re pregnant yet, but eventually they’re going to notice that Aemond won’t leave your side. He sighs and asks you: “Have you had enough of this little field trip?”

“Definitely.” You head for the road. Aemond walks with you, placing you not on his left side but on his right where he can see you. You ask, smiling: “You don’t trust me to watch your blind side anymore, huh?”

“I prefer the view the way it is.”

You are only a few steps from the black artery of pavement that cuts through the Cascade-Siskiyou National Monument, a 114,000-acre preserve of wilderness that somehow—although it is 2,500 miles away—reminds you a bit of eastern Kentucky, endless emerald forests, the omnipotent shadows of mountains. And because you are on Aemond’s right side, he can look down and see something just in front of you on the earth strewn with knobby roots and pine needles and dead leaves.

“Don’t!” he shouts, snatching your forearm and yanking you backwards, and he’s never touched you like this before—so forcefully, so violently—and you stumble and almost fall, and your arm burns and aches where he grabbed you, and people are asking what’s going on, and you peer up at Aemond with confusion, fear, mistrust.

“Why…?”

And then you hear it rustling from the same place where you were standing a moment ago. The others yelp and dash out of the way as the snake escapes into the woods, a drab spotted olive green, a rattling tail, an angular skull like an arrowhead.

“Aemond?” you say, because he hasn’t moved, hasn’t made a sound. He looks down, and your gaze follows his. On his right calf, just a few inches above his ankle, are two small puncture wounds from the snake’s fangs, each dribbling a thin river of blood.

“Northern Pacific rattlesnake,” Helaena says, her voice shaking, tears welling up in her horrified eyes. “Venomous.”

~~~~~~~~~~

Aemond has one arm draped across Cregan’s shoulders, the other over Aegon’s. He’s moving slower, or is that just your imagination? His steps are less steady, his breathing more labored. His leg is swelling, a deep blue phantom of a bruise spreading beneath his skin, so tight it looks like it might split open.

“We’re almost there,” you say; you keep saying it, because hopefully that will make it true. “We’re only a few miles from Odessa, and we’ll find people who can help us.”

“Aemond, you’re a doctor,” Luke says.

Aemond’s voice is weak, pained, hazy. “I’m not a doctor.”

“You know what I mean!” Luke yells, frantic. “How do we fix you? What can we do?”

“Nothing,” Aemond says listlessly. “There’s nothing you can do without a hospital. I’ll either get better or I won’t.”

“People in Odessa will know how to help,” you insist. “They’re outside all the time, they hike, they hunt, they fish, they’ve seen snakebites before. They must have. They’ll have treatments.”

“Aemond,” Rhaena breathes, and you turn to see there is blood running from his nostrils. You scream, and Aemond touches his fingers to his face and then watches as they come away bloody.

“Put me down,” he tells Cregan and Aegon.

“No—” you begin, but then his knees buckle and he’s on the pavement anyway, blood pouring from his nose and his lips, blood filling up his right eye. Cregan walks to the shoulder of the highway, his head in his hands. Aegon stays beside Aemond, and you’re kneeling there with him, both of you using anything you have to clean the blood from Aemond’s face: the corners of your shirts, your bare hands.

He’s covered in blood, you think. Just like Jace, Baela, Rio.

“Can’t clot,” Aemond is murmuring. “The venom causes coagulotoxicity. Internal bleeding too. I feel like…like there’s all this pressure inside…”

Rhaena is taking Aemond’s pulse like he taught her to, fingers on the underside of his wrist. “It’s really faint,” she says quietly.

You grab a plastic Gatorade bottle filled with rainwater out of your backpack and tilt it against Aemond’s crimson-stained lips. He manages to swallow some of it. “Aemond, listen to me,” you say as calmly as you can. “You’re so close. We’re almost there. I need you to hang on a little longer.”

He shakes his head, slow dizzy motions. “It doesn’t matter.”

“They might have doctors in Odessa.” This is a fantasy, but you can’t resist it.

“Even if they do, there won’t be any antivenom. And it’s too late anyway.”

“No,” you say savagely, a sob ripping through your throat. “We didn’t cross 3,000 miles so you could die here. I won’t let you. It doesn’t make any sense. It’s not fair.”

“Aegon,” Aemond says, reaching for him, drained and fumbling.

Aegon catches his hand. “I’m here.”

His eye—crystalline blue corrupted with red, blood in clear water—drifts to his brother. “You have to get her to Odessa. You have to help take care of everyone.”

Aegon is weeping. “Man, it’s supposed to be you. How can I still be here if you aren’t?”

“You can do this,” Aemond says.

“I’ll try.”

“I love you.”

“I love you, Aemond,” Aegon says, then crawls away on his hands and knees and collapses on the pavement, gutted, inconsolable, hemorrhaging grief instead of gore.

Everyone is crying and touching Aemond—his face, his hands—saying goodbye, accepting tasks, and they come away stained with red, and rain has begun to fall from a dark sky growling with thunder. Rhaena takes his medical kit. Helaena takes his Glock and stows it away in her messenger mag. Then Aemond looks for you, and now you are alone with him here in the middle of the highway, two golden lines on black asphalt, and with your thumbprint you whisk away the rivulet of blood that is spilling from his eye.

“You’re going to be okay,” he whispers as his heart fails, as his lungs fill with blood instead of air, as his pores leak rust and ruin. “Odessa will be everything we hoped for. I just won’t be there with you.”

“You can’t leave me,” you’re saying as rain patters against the road. I left my family and now my family is leaving me.

“Love,” he sighs, almost too softly to hear. “I don’t want to.”

You lie down on the pavement with him and rest your head on his chest, feel it rise and fall beneath you as the rain descends in sheets. And then Aemond exhales, deep and rattling, and he never tastes oxygen again, never speaks, never touches you. You don’t move from where you’re lying. You’re there until you’re drenched to the bones with rain and the world is a cold mist of pine trees, of wilderness, and you can never go back to any of the places you’ve been before, you can never get back the people you’ve left there.

Aegon is shaking you. “We have to keep moving,” he chokes out through tears.

You reply without looking at him. “I’m giving up now.”

“No you’re fucking not. We have to walk to Odessa.”

“Everyone’s dead in Odessa. Everyone’s dead everywhere. I don’t want to be here anymore. I don’t want to stay in a world like this.”

On the periphery of your vision, you can see Aegon glancing at the others, standing just off the highway and under the canopy of the pine trees. He seems defeated, he seems lost.

Then suddenly Aegon turns back to you. “Hey!” he screams, so loudly you jolt upright, your palms on wet pavement, rain dripping from your hair. “I’m still alive. You’re still alive. This isn’t over yet. I said I would get you to Odessa, so that’s where we’re going. Stand up. Right now.”

Aegon holds out his hand. Thunder booms, lightning strobes, and then you take it. He pulls you to your feet and hesitates, as if he didn’t think he would get this far. Then he throws his arms around you, a crushing desperate embrace, a wordless devotion, a silent vow, sobbing into the curve of your neck, tasting the copper and iron of his brother’s blood on your skin.

“We have to keep moving,” he says again, like an apology, like he understands how impossible it feels. “The storm’s getting worse. It’ll be too dark to see soon.”

“We can’t leave him alone like this.”

“That’s not Aemond anymore,” Aegon pleads. “Aemond’s gone. And he would want us to live.”

Now the others are here on the road too: Daeron, Helaena, Cregan, Rhaena, Luke, Ice whimpering and licking scarlet stains of blood off your hands. You’re all holding each other; you’re all any of you have left. Cregan carries Aemond off the pavement and on a patch of grass alongside Route 140, the seven of you cover his body with branches of pine needles and white petals from dogwood trees. Rhaena is the first person to begin walking again, heading east. One by one you follow her. The downpour is torrential; if you are attacked now, you are nearly blind. Aegon stays beside you no matter how slow your steps are. You think if he disappears, you will too; the strings that tie you to the earth will fray and unweave and your bones will turn to mist, your voice will only be the wind howling down mountainsides. You have no way of knowing how long you’ve been walking or how many miles are left. You wonder what will happen to Aemond’s child if there is nothing for you in Odessa.

The rain is stopping. Now you can hear crows, woodpeckers, formations of geese honking in a foggy sky and squirrels scrabbling up tree trunks. Falcons perch watchfully on dead power lines. Rare aisles of sunlight are breaking through dissipating clouds.

They rise up out of the verdant jungle, a tangle of Pacific ninebark and blue elderberry: four figures in green camouflage, two men and two women, all wearing tactical sunglasses and wielding assault rifles, M16s you’re fairly sure, automatic and with 20-round magazines. Daeron moves to nock an arrow and then stops when he sees you’ve put up your hands. The others follow your lead: palms empty, willingly surrendering.

It’s them, you think dazedly. The people in Odessa. They’re alive, they’re real.

“Please cooperate and hand over all your weapons,” one of the women says, fifties, muscular, alert hawkish eyes.

No one moves. Then you unholster your Beretta M9—received from the U.S. Navy almost exactly five years ago, a different lifetime, a different world—and hold it out to the woman in your open palm. And now everybody else is giving their weapons over too: Aegon and Luke’s .22s, Rhaena’s Ruger, the spare Ruger and Aemond’s Glock hidden in Helaena’s burlap messenger bag, Daeron’s compound bow, Cregan’s axe. Ice peers up at Cregan anxiously, her yellowish eyes wide, but she wags her tail when he runs one of his large, calloused hands over her rain-soaked fur.

Aegon is still clutching his golf club. One of the men stares at him, incredulous. “You can keep that, son,” he says.

The woman nods to the men. “Nick and Glen will escort you five miles up the road, and then return your weapons. We ask that you keep moving and do not turn around. We don’t want trouble, but we can defend ourselves. Don’t think you can double back tomorrow and try to loot us or anything. This is your only warning. Do you understand?”

Aegon nudges your hand with his knuckles, then taps you harder when at first you’re too shellshocked to notice. You have to explain. You have to tell them why you’re here.

“I…I…” You begin, unable to make the words leave your lips, rats from a sinking ship, plummeting bodies from a burning building. Here you stand on a precipice, and with so many other people to save. “I served in the Navy with Bryan Osorio. We left Saratoga Springs together. He told me it would be safe here.”

Now they are interested. Slowly, the woman lowers her M16. “You know the Osorios?”

“I do.” I’ve known them for half a decade.

“Could any of them identify you and verify what you’re saying?”

“His wife, Sophie. She’s blonde, and she likes elephants, and she had a baby recently.”

The woman is scanning the faces behind you. “And where’s Bryan?”

“He’s not here anymore,” you say, and now you’re sobbing again. Aegon is squeezing your shoulder, his head bowed. “I’m sorry. I wanted to help him get home. I was supposed to warn him, I was supposed to stop it from biting him, but I didn’t and now he’s gone—”

“Okay, okay.” The woman motions for you to calm down, but her voice is kind. “Who are these guys? Your colleagues, your friends?”

“They’re my family.”

“You can vouch for them?”

“Yes.”

“You’ll all submit to searches for bitemarks?”

“Yes.”

The woman turns to the men she called Nick and Glen. “Take them inside, will you? Get the ID verified and then we’ll process everyone.”

“Got it,” the older man says. And then, to you and your companions: “Follow me.”

Nick and Glen lead you into the forest, the canopy of pine needles so thick the daylight turns to dusk, and you think of lightning bugs, of firelight, of drinking Guinness on the beach with Rio on Diego Garcia. There are several patrols, groups of four or five, that approach to stop you until they see Nick and Glen and wave you through. Then the trees open into a meadow of buttercups and daisies and pink fawn lilies, and beyond that an immense village, some houses decades old, others currently being constructed with logs from pine trees. There are hundreds of people tending to livestock, hanging up laundry to dry on clotheslines, digging in gardens, making candles and soap and butter. There are children playing without fear, giggling as they chase after scampering dogs, challenging each other to games of kickball and Uno.

In front of one of the houses that predates the apocalypse, brick with a screened-in porch, there is a small blonde woman standing in a garden, smiling and chatting with a middle-aged couple. The baby she carries against her chest in a blue sling has dark curly hair like Rio’s.

Sophie and the baby are here. They’ve been alive the whole time.

You rest a palm on your belly without realizing you’re doing it. “What happens now?” you ask Aegon.

“The rest of our lives.”

It is unimaginable, it is impossible, it is so full of luminous potential you feel like the light will spill out of your pores like blood, it’s an oasis, it’s a second chance, it’s an island in the vast lethal untamed blue of the Indian Ocean.

“Let’s go,” Aegon says softly, taking your hand and leading you across the field of wildflowers, kaleidoscopic blooms in the last days of summer.

[edoro]

i don't blame anyone for not knowing that Thistle was Literally Trafficked and that Freinag's advisors bought him and presented him as a gift because Freinag threw a baby tantrum because he wanted an elven servant as a living conversation piece, and that from the very beginning Thistle's purpose in the Melini court was "cute exotic pet for Freinag to show off"

because it's all in supplemental material. because the only person in the comic who knows this for sure is Thistle.

we can't completely assume that what Yaad tells Laios and co is 100% of what he's been told by Delgal, and that he isn't leaving things out or massaging the story into a convenient shape to position Thistle as an antagonist who must be stopped, because he's certainly canny enough to do that

but i think we can pretty comfortably imagine that it could be everything Yaad knows, and that if it's not, it's still probably pretty close to the story Delgal has told him. and it's fairly clear that Delgal has presented things in a certain light, characterized Thistle in a certain way, and from there we have to wonder: how much of that is on purpose?

certainly some of it is, because Delgal is very avoidant and the actual truth of the matter is that he shares a significant portion of the blame here, but all of it? i could very easily see Delgal not knowing that his father bought and owns Thistle. from his perspective, Thistle's just been there since before he was born and was a constant and loving companion - and confidante and caretaker - throughout his life.

so if Delgal doesn't know, then how could Yaad? and how could anyone else know if Thistle isn't going to tell them, and why would he?

the comic about how Thistle came to court and the elf cake comic are, i think, two of the most crucial pieces to understanding Thistle, because when you take them together, what you get is:

Thistle was abandoned at birth. between his birth and when Freinag's advisors bought him, someone raised him, fed him, clothed him, taught him to speak, and taught him how to play a couple of instruments well enough that he could entertain a king. whoever did that then - after twenty-odd years of being the closest thing he had to a family following the separation from his birth parent, something which he wouldn't be able to consciously remember but which would nonetheless have left him with a visceral and entirely subconscious belief that He Can Be Abandoned At Any Time And If That Happens He Will Die, because that's what happens to babies that are left alone - sold him.

so by the time he was the human equivalent of 5 or 6, he'd been taught that nothing is permanent, no one loves him enough to keep him, he will be abandoned, and that ultimately he is both a commodity and a curiosity, and any hope of having a home or being cared for depends on pleasing whoever owns him.

to make matters worse, Freinag didn't even like him at first. he scowled and sulked and the advisors, over Thistle's head, told Freinag that they needed to make sure he was harmless, that he was a perfectly impressive status symbol, and to just make sure he didn't get too attached. and Freinag proceeded to sulk for at least a couple of days (two different outfits on Thistle) before deciding he liked him.

Thistle didn't even have a name when he was bought. what did he spend the last 20-odd years of his life being called? how long did it take for Freinag to warm up enough to give him the cat-you-found-in-a-dumpster-ass name he ended up giving him?

no fucking wonder he latched onto the Melinis as hard as he did. no wonder he was so obsessively devoted to Delgal, the closest thing he had to a friend or someone who treated him as an equal. he was abandoned, bought and sold as a status symbol, told quite explicitly that he would only be tolerated as long as he was harmless and entertaining, and loved like a pet until Freinag had a real son.

no wonder he was so eager to prove himself. no wonder he would have done anything Delgal said. no wonder that he rewrote reality itself to try to keep Delgal safe and happy. no wonder he's so scared all the time - he has to have been scared his whole life, desperate to belong and horribly aware of just how easily he could be discarded, starving for love to fill the gaping primal wound in him from the kind of abandonment he experienced.

no wonder his idea of love is to keep people smothered and trapped, like birds in a cage. that's the only kind of love anyone ever showed him.

[esoteric-oracle]

//long rambles ahead!

I think what really lingers with me about MDZS is that it's not a novel with a cathartic ending at all. It's a bittersweet story that leaves you slightly hollow. Yes, it's a beautiful and epic romance. It's a piece of social commentary interwoven with a love story and murder mystery. It's a cautionary tale. But it is also very much a tragedy. It's a story about being too late, second chances, and moving on.

By the time the truth of everything JGY and JGS did comes to light, it's 13 years too late. Everything that mattered has already happened. Jiang Yanli and Jin Zixuan are long dead. Jin Ling is still an orphan. Wen Ning is dead, and sometime in the future, his death will be permanent. Wen Qing was burned to death at the stake for no fault of her own. Nie Mingjue has already spent ten years in a no-doubt agonizing state of un-death, and Lan Xichen will have to bear the guilt of loving both Nie Mingjue and Jin Guangyao, and by doing so, forsaking them both. Wei Wuxian and Jiang Cheng's once-close bond is irrevocably broken, and the woman who sowed the seeds of resentment when they were still children will never face the consequences of her vitriol.

People sometimes say MXTX was too hard on the side characters, and only gave the Wangxian a happy ending, but what stuck with me after finishing the story is how… sad things are. Yes, Wangxian finally get the happy ending they've deserved for nearly 20 years - but at the same time, it's not a happy ending where the people who've wronged them get the consequences they deserve.

Wei Wuxian will spend the rest of his life haunted by guilt and loss, over what happened to Jiang Yanli and Jin Zixuan, over the loss of the Wen remnants. The rest of his years won't even be lived in the body his parents gave him.

Lan Wangji will spend the rest of his years wondering if he'd chosen to stand with Wei Wuxian when it mattered - would his son have had to grow up without his birth family?

Nie Huaisang is left wondering if his brother had been a little less trusting and had never taken Meng Yao in as a Nie deputy, would his brother have died a less wretched death? Would he have been forced to stoop to ruthless machinations and manipulations to seek some semblance of justice?

Wen Ning will have to live with the knowledge that if he'd been a little less kind, if he'd let Wei Wuxian and Jiang Cheng die that fateful day - his family would still be alive. The Wens would've won the war; Wen Qing might've even succeeded Wen Ruohan.

No one really gets the ending they deserve. MDZS isn't a story where good people get happy endings, and bad people get their dues. Sure, Jin Guangyao's crimes are revealed and he faces the consequences of his actions. But what about the people who stood by and made him into a monster? If anything, the side characters and antagonists who survive get better than they deserve. The real villain of MDZS - society - will never face retribution. Those cultivators who always believed in their own bigotry and righteousness over and over again, will never face justice.

Do you think those cultivators and the public will ever feel any regret for the innocent people they condemned to death in their own prejudice and blind self-righteousness? Do you think the people who gathered at Nightless City to call for Wei Wuxian's death considered for one second that he was the biggest reason they won the war? When the cultivators who sacked the Wen settlement at the Burial Mounds threw the bodies of the Wens into the blood pool, do you think that was a sign of shame?

Do you think Jiang Cheng will ever regret leading a siege on a small settlement of innocent farmers? Do you think he's haunted by condemning to death the same people whom he owes his life to?

Do you think those people like Yao-zongzhu will ever feel an ounce of remorse for so easily believing rumours and hearsay, and spreading speculation and vitriol about innocent people?

Do you think that unnamed cultivator out there will ever lose a single minute of sleep over smashing in Wen Popo's head?

In the years that follow, Wen Ning will have apologized a hundred times for lives he did not take, crimes he did not commit, because of the name he bears. People, both in-universe, and even readers, will condemn him for actions he could not help, for doing the right thing. But did Jiang Cheng ever apologize for killing his family? Did the Jins ever apologize for their horrific treatment of people in the labour camps?

People will continue to demand that Wei Wuxian apologize for causing the deaths of their friends and family. But how is Wei Wuxian meant to do that? No one ever apologized to him for taking his family away. No one ever apologized for condemning the Wen Remnants to death for crimes they took no part in. The Wens were his family too.

There's so much potential for bitterness and corruption in MDZS. Instead of saving everyone, Wei Wuxian could've stood aside and let the people who tried to kill him die. MDZS could've been a story of succumbing to hatred and grief, but it wasn't. MXTX could've gone on and on about how society wronged the protagonist, but she didn't. The narrative is one of forgiveness and moving beyond past grievances. The story chose to close the story on a positive note. I truly love that aspect of MDZS, where MXTX leaves just enough room for hope and love at the end.

A-Yuan will finally get his closure about the family he lost as a toddler. Lan Wangji and Wei Wuxian get their happy ending together after being separated by nearly two decades by war, miscommunication, cruelty, and death.

Wei Wuxian will never regret protecting survivors of an attempted genocide, because it was the right thing to do.

And Wen Ning will still stand in the way and take a fatal blow meant for Jin Ling, despite everything the Jins and Jiang Cheng did to the people he loved.

Because they chose love. Characters like Wei Wuxian and Wen Ning and Lan Wangji have the chance to move on and live a happier life because when they could've succumbed to hurt and fury and resentment, they chose to be kind and do the right thing. Wangxian get their happy ending because they learn to recognize the toxicity of the cultivation society's self-cannibalizing prejudice, and chose to pursue righteousness above personal benefit.

MDZS isn't a story about good people getting good things. Just look at what happened to Xiao Xingchen. There's really nothing satisfying or cathartic about everyone's fates at all. There's no promise about society facing the consequences of their mob mentality or Wangxian actually changing the world together. Even in TGCF, for all its makings of a love story, we get the promise of societal change once Jun Wu is deposed.

It has all the makings to be a tragedy or tale of vengeance of epic proportions - but instead, it's a love story. It's a story about making the best of what you've got, and staying true to yourself and your morals, even if that's sometimes a bitter pill to swallow. It's a story where everything that could go wrong went wrong, but the characters still managed to fight their way to a better ending by choosing kindness. At its core, MDZS is a testament to choosing compassion over cruelty no matter how tragic and hopeless life gets, no matter how long the journey gets. Even though the happy ending is more personal and only applies to the specific characters, even though we don't actually get the promise of their society becoming a better place - we still have the hope that Wei Wuxian's second chance brings. The hope that sometimes, no matter how cruel the world is, some people who deserve it still get their happy endings. That's what makes MDZS such a memorable work of art. That's why it stays with you.

[ashipiko]

DANCE WITH ME YOU LI-IA-IAR ♡

OVERBLOT ASHI??? ANYBODY??? the ANGST that this baby can store!!! SHEESH!!!!!!! <3 I only have one post dedicated to her and liar dance lyric analysis (the post is kinda outdated in gen) BUT…… I also have an overblot monologue as a treat 🫶 I wanted to better explain her angst and so!!! BABAM!!! enjoy

ASHI’S MONOLOGUE:

Sometimes I wonder why I ended up here.

A place named “Twisted Wonderland”, and at a school named “Night Raven College”.

At first, I figured that I was the odd one out— Y’know, the Ramshackle prefect and everything. The magicless girl at the magical all boys school? Nuts, ain’t it?

I’m known for a lot of things. Things that are different from the others. The fact that I stand out is part of the Ashi charm, something I’m known for.

But… Over time I found myself sorta feeling in place here.

Because as much as I try to believe it, I can’t safely say that I’m better than anyone else here.

I’m a fake. I make conversation and lots of friends, but for what? A backup in case something goes wrong? A sense of protection for my reputation? In what case are any of those friendships something I truly want? In what case are any of these strings more than just a tool instead of a thread made of my real feelings?

Behind this, I’m no different from any other student here. Even through my individuality, my cheerfulness, my endearing oddness… I’m still a horrible person. Using people to get what I want, toying with people and their feelings in order to gain power and gain a spot the top. All to become untouchable. It’s screwed. It’s not right.

My insides are ugly. The truth of me is something I want to keep tucked away deeply, because I don’t want people to see this part of me. A brash, annoying, selfish version of me, everything people hate to see. I don’t want this side of me to be seen because people will run away— people I don’t care much about, sures, but people I love, too. I don’t want to drive them away. So I keep quiet and give them a shallow show.

I give them a source of entertainment that’s controlled by the real me, every calculated movement translating into a marionette-like response. The only show I allow you to see is one that’s so carefully crafted by the chaotic clown backstage. The one that is shunned away from the light, the strings being the only hint of the puppet’s phony existence to the foolish audience.

But suddenly, I feel as if being here has started to let this side of me come crawling back into the spotlight.

It scares me.

It scares me to be vulnerable, let all of my faults lay out on the table like playing cards. To take the risk without the protection, to gamble everything I’ve built up away just like that. But you…

You.

You make me feel safe. You make me feel as if I don’t need to hide anything. I can give you the key to my heart and you would have no malicious intent. You wouldn’t cut out the parts people don’t like. You would enjoy the performance in full, every bit of it.

You make me believe that I’m nothing special, and yet something so valuable at the same time.

It’s silly. You’re silly. And yet that’s something that’s helped me.

It’s helped me realize that that truly is just how people are.

We aren’t villains. We aren’t antagonists. We aren’t monsters.

We are nothing but people, with faults and feelings that should be valued.

I am more than just a jester, a sake of entertainment.

I’m a person who is entirely worthy of love. All of me.

It reminds me that I must’ve came here for a reason.

Because this is where I belong.

[sepublic]

Alright, let's talk about some details from the TOH pitch bible;

A lot of the stuff is what we've already seen and/or in line with the show. What's interesting is that King WAS a former King of Demons at one point, and we would've had an episode where he runs into his old gang and chooses Luz and Eda over them. It makes me wonder if he even had a connection to the Titan in earlier drafts, if he wasn't recognized as one back in the day because he just wasn't big enough, etc. Eda makes a deal to help remove the collar, which IS the source of King's woes, placed by a 'mysterious wizard', I wouldn't be surprised if it was Obron AKA Proto-Belos.

What gets me is that Tibbles originally started off as a friend to the protagonists, while Bump was an antagonist! Coupled with Tibbles being re-elected as mayor after Bump is deposed for corruption. I like the detail of Bump being a parasite controlling a body from the head, because it carried over into his final design with Frewin, and before we got confirmation Frewin was a separate entity, I loved the joke theory that the imp on Bump's head was the REAL Bump!!! Seems that was always the implied story of the design, I love it. Tibbles being the demon fan of human stuff would eventually become Gus instead, so this is technically Proto-Gus too…?

Interesting how Bump and Tibbles' alignments switch completely with one another, and it makes sense that with Lilith no longer the principal in the final draft, it goes to Bump, who ends up being really chill and a subversion in his own right! Interesting, but I do prefer the final Bump we got, and that's fine by me, because when the concepts aren't as interesting as the final product, it means we got the best possible version.

I've already discussed Obron and William in a separate post, and Pupa is someone we've been told about in a previous livestream. Lilith would've been both head of all covens (and not just the Emperor's Coven) AND principal at the same time, and she seems much more of a jerk to Eda in general; She has no qualms with cursing Eda because of a direct order from Obron.

Apparently the curse would've been an AGING spell, which settles my questions on how it would've been portrayed in earlier drafts! This goes along with Eda's older look. Likewise, there would've been a subplot of Eda considering Luz's sacrifice as a way to restore her youth, which likely goes hand in hand with Obron's orders to bring Luz to her, etc. The 'Bloom of Eternal Youth' quest, which Eda and Lilith go through together as their sisterly relationship is explored, feels like a carryover from this past idea.

I think I prefer the final draft; I like that the curse isn't just aging Eda, but also takes away her magic, makes her turn into a beast, etc. I like Lilith being a lot more complicated in her relationship with Eda, instead of just hating her and cursing her without hesitation. The redefining of the curse makes it less about age, and more a chronic illness metaphor, and I like how Eda in the final draft is upfront about having to learn to live with it, deal with it, on her own terms. She isn't trying to find a cure (although Lilith being promised one by Obron feels like a carryover of Eda's moral dilemma with Luz), and that adds another nice dimension to her conflict with Lilith, as well as Gwen. It's pretty frank in its own right about normalizing disability, and those who play an antagonistic role (however brief) are the real weirdoes for making such a fuss about it.

The Bat Queen would've had more of a recurring role based on the description, which saddens me; I always got the vibe she was planned for more, but between all of the other stuff the show had to juggle, plus the shortening, she ended up getting shafted despite being one of the earlier characters. Sashley, Pasha, and Bruno are also interesting, with Pasha in particular giving me freaking Philip Wittebane vibes with his grossness, beard, and anti-demon attitude; He even starts off as a potential friend to Luz because fellow human, only for his true bigotry to show. Makes me wonder if Philip ended up incorporating Pasha, we also have bodily transformation because of consuming magical stuff... P-names.

(Also, I like how in the drawing of typical Demon Realm denizens, I can see an eye demon who resembles a past drawing of Dana's!!!)

Eda was actually a late bloomer, which creates a parallel with Luz in one way, and their relationship is referred to as sisterly (in the final draft it’s explicitly maternal). So Eda wouldn't have been the talented youth, in fact things may have switched between her and Lilith; Lilith's disdain may have partially come from Eda not being as innately talented as her.

Luz and Amity's dynamic seems like it would've had Amity retain a lot of her more stand-offish, pragmatic personality even as a friend with Luz, and this would've come up more; So basically, she'd remain more like S1 Amity. That, or this part of their relationship would've lasted longer, and then we would've seen character development as Amity unlearns a lot of the issues her parents passed on. I also wonder if the Willow who cameos in the pilot was originally supposed to just be an extra separate from ‘Paulina’, but then they combined the two together.

The themes are exactly as I expected, glad to see they're still there, nothing changed! Luz becoming a witch and defying all odds to do so, putting in real work and passion. Celebrating individuality amidst conformity, plus Luz trying to impose her own fictional tropes onto the world, only to have to put that aside... Just like Wing it like Witches. It seems Amity would've had more involvement with Luz's journey to become a witch, though we still do have a carryover of that disconnect with her rant near the end of Covention.

I love the Demon Realm being situated BELOW the Human Realm, way to be subtle about being Hell you guys lol... Apparently portals to the human world are a lot rarer to find and use, which makes me wonder if the pilot's 'dimension port' doesn't have access to the human world; Meaning Amity is Luz's only way back, so her improved relationship with her is linked to getting back home. There's a gag about the Knee having service with the human world, but I can see how that didn't make the cut, for dramatic purposes; It seems like the premise for a S1 episode or at least a B-plot. Would Luz have struggled to communicate with Camila through this, or would her search for wi-fi be for mundane reasons?

Apparently Luz's magic would've required a lot more steps to complete, and I see why the show simplified things down to just glyphs. I wonder if there was always going to be the connection of glyphs as a gift from the Titan, or if the Titan and her story was going to be less intertwined in the overall narrative. There also don't seem to be nine main covens, just the many, many covens, some of which are pretty ridiculous, and Covention's sub-covens seem a callback to that.

Luz's first spell would've been levitation, and THEN she would've infiltrated Hexside, with Amity being a lot subtler about exposing Luz, though in the final draft she does figure that out as the way to go in I was a Teenage Abomination. Yeah, I prefer Light being her original spell, feels so much more symbolic and personal, etc. I wonder if the Titan is even as much of a character in early drafts, and if there's still the whole connection/relationship with the land and learning to respect it aspect. Some of these hypothetical episodes push the idea of Amity as a more episodic, typical popular kid antagonist, though in the final draft, the show goes through her character development and explores Amity's romantic relationship with Luz and its complications.

It seems the idea of the Mirror Ghost was split into Adegast and Vee, with Adegast being the one who offers the easier narrative for Luz to believe in about becoming a witch (only to be a fraud who uses uncanny puppets), and Vee being a doppelganger whom Luz communicates through with mirrors. Interesting how Yesterday's Lie was born from this. We saw the test animation from Spencer Wan for TOH, so I guess we know what Luz's puppet-doppelganger is called! And we can safely call her Proto-Vee. I wonder if she also would've been a sympathetic character, I always thought she reminded me of Lake from Infinity Train (and speculated her to be as such since Enchanting Grom Fright), and now the similarities are even MORE apparent!

Alas, The Good Witch Azura, or 'The Unassuming Princess' seems like it'd have been a lot less dear to Luz's heart, as the pilot also reflects; In the end, it turns out the author is just Eda's ex using her adventures as basis, and including private information. I remember when I once speculated that Raine, before we saw their face, would've been just like this as the author of Azura... Again, I think I prefer Azura as being a lot less mean-spirited in the final draft, and instead a celebration of who Luz is as a person, her relationship with fantasy and fiction, etc. We also would've had a Luz birthday party, the Quincenera we've been hoping for since S1...! In the final draft (and episode) we still get that Human-Demon Realm disconnect, though by that point, Luz is much more attuned and chill with the isles.

There’s definitely more of an episodic, sitcom feel to this pitch bible, especially when you compare Proto-Yesterday’s Lie to its final version. Makes sense, Dana is pitching this to Disney executives, though her statement on Understanding Willow feeling truly like her show makes me wonder if she always intended to push TOH in that more serious, emotional route we got.

[felicjana050896]

Maximus - the main antagonist in the series?

I finally watched Fallout and I want to comment on one thing, apart from the whole Cooper and Lucy relationship, because there are a lot of analyzes on Tumblr and Twitter (after watching the series, I will immediately rewatch it to find some additional hints, and if not, it's just for fun, because the series for me... was a masterpiece, it's been a long time since I couldn't break away from the series like I did from Fallout, especially since I was playing games, so it was wonderful to feel this atmosphere again, to sum up the sentiment completely took me far away...), so I'll just link some of these analyzes and hints here, in case someone hasn't read it:

It's 100% CGI, you can see how at the end that thread moves completely unnaturally, there's no way it's real, it had to be CGI and it had to be for something, it makes no sense to add such a little, tiny detail with CGI after nothing..., after all, money is spent on it, it's one thing to write "I love you" in the background, and another thing is to make a heart out of thread using CGI... (at least that's what I think, I don't know anything about CGI, but even such a small thing must cost a bit... :D )

Apart from the fact that Max and Lucy have practically no foreshadowings and no chemistry, and they DON'T KNOW each other at all, because their whole relationship is based on "I met a nice girl/boy and I think I like her/him", because let's be honest, there is no talk about love here, they liked each other because Max helped Lucy with the radiation and Lucy helped Max get out of the armor, they helped each other and were nice to each other, that's all... but it's not enough to talk about love, liking each other yes, but not about love (I'm surprised when people, for example on Twitter, write that Max and Lucy love each other, where...???) and as I mentioned above, they don't know each other, they know practically nothing about themselves, about their plans, dreams, tastes, perception of the world, etc., they know nothing about each other, they have barely met, and their entire relationship is based on the fact that in this world it is simply difficult to have any other person, so they instinctively grab whatever comes first. Lucy dreamed of getting married and having children, she was taught to focus on the ,,survival of the species", her whole wedding was pure ,,politics", and in the end it turned out that she married a bandit who then tried to kill her, while Maximus probably never didn't think about these matters, surrounded by practically only guys and focused on military life..., so their entire relationship is based on: ,,he's/she's nice, ok, I'll take it", that's why their relationship seems rushed and has zero chemistry , so in my opinion it is not a bad writing (like with Chaggie from Hazbin Hotel in my opinion), it is supposed to be like that and it makes logical sense, as I have already presented above, this relationship is supposed to be quick and without chemistry, because it is supposed to show their standards, how low they are, in this world... and Cooper, on the other hand, comes from a completely different world...

By the way, unlike Max and Lucy, who nevertheless spend some time together while traveling sensibly, we don't see any specific conversations between them that could bring them closer to each other, as I wrote above, they don't know each other and in fact they don't even try to get to know themselves, while in the case of Cooper and Lucy, Lucy constantly asks Cooper questions, and sometimes he answers (in fact, not directly, but he answers), they have a conversation about torture, Lucy asks Cooper why he is like this, why he continues this ( scene with cannibalism), Lucy asks what he is (water scene), etc., Lucy asks Cooper questions, wants to get to know him, wants to learn more about him, and he also learns more about her through her talkativeness (e.g. the initial scene when Cooper and Lucy meet for the first time and Lucy tries to diplomatically calm him down, or the scene when Lucy gives Cooper the vials), Cooper and Lucy have already gotten to know each other more than Max and Lucy, and now Lucy has gone with Cooper....

But leaving Cooper and Lucy, because this post is not about them, let's move on to Max..., Max, who in my opinion has a great predisposition to become the main or at least one of the main (because the most main may be those from Vault-Tec) antagonists in series, why....

At the beginning, I was positive towards Max, unlike Lucy, who seemed naive and stupid to me at the beginning, and I don't like such characters (of course, I liked Cooper from the very beginning, after all, Hancock was my Fallout husband in Fallout 4 ;) ), and then she surprised me in the scene with her husband, when she ,,killed" him (almost, but still), I didn't expect such a change in the character at all..., later she surprised me by the fact that she is not as stupid as she seemed in the in the beginning, yes she is naive but not stupid, she just had to get out of the bubble called the Vault and I can't wait to see how her character will evolve in season 2 after all this and being together with Cooper..., I want to see her show her claws..., I want to see even more how, under this guise of a naive girl, there is actually a strong and dangerous woman who can cope on her own and is still fair and honorable..., I love such characters :) , but I had a different experience with Max, whom I liked at the beginning, but the further into the forest, the more I felt like ,,guy, you make more and more stupid decisions, what's wrong with you...", at the beginning Max seemed to me as reasonable, honorable, fair and a real soldier, and at the end I only saw him as an unreasonable 15-year-old boy making stupid, irresponsible and evil decisions with his own ego problem... sorry, but this character gave me the vibe at the end that he would go towards darkness, and when he finds out that Lucy is allied with Cooper..., a guy he fought and who completely defeated and humiliated him..., a guy who, by the way, he hasn't seen since that fight..., Cooper and Max haven't had any interaction in the show apart from this fight, so Max has absolutely no knowledge that Cooper is ,,in the game", and that Lucy could have gone with him at all, he's probably already forgotten about him, and when he remembers..., I'm really curious about his reaction....

The first and most important thing about Maximus in the series... in season one, when asked why he joined the brotherhood, he replies that to ,,hurt the people who hurt me"... that's not a praiseworthy answer..., this is not a good answer..., sure, I understand the issue of revenge etc., but as good and golden rules teach (speaking of Lucy's golden rules, because she sticks to them and this is what distinguishes her from, above all, Maximus) revenge brings no good..., Lucy, despite everything, didn't want to take revenge on Moldaver, even though many people she knew died because of her, her father was kidnapped, and she almost died, she didn't want to take revenge on her, of course, she was out of her own turf and surrounded by enemies, but still, her goal was to free her father, not revenge, while Max's goal is simply revenge, he doesn't want to, for example, rebuild Shady Sands or be a good knight who helps people, bring peace to this world, NO, he just wants revenge..., he wants to become a knight for his own selfish purposes, not for other people, while Lucy does things for other people, wants to free her father, helps Wilzig, worries about dog while Cooper is dragging her, helping Cooper with the vials, helping the ghouls (of course she didn't know and probably wouldn't understand that they were wild, her intentions were good, and that something bad came out of it is something she couldn't have known at that moment), she also helps in vault 4 when she first thinks something bad is happening there, and then she tells Max to return the core and kills his mother out of mercy, just like Cooper killed Roger (I think at this point, after the incident with wild ghouls, Lucy understood what Cooper did then and that it was good after all), Lucy does everything to help people and live according to the golden rules, while Max is selfish and thinks only about himself, leaving aside the issue of revenge, he also says that he wanted something bad to happen to Dane, of course he didn't really do anything to them, but he wanted something bad to happen to them... what kind of person do you have to be to want them to become your best friend harm, just because they got what you wanted..., from the very beginning the series shows us not to have any illusions about Maximus and that he is not really and will not be a good guy...., he let Titus die and sure, the guy was a dick and I would probably get angry too and want to kill him, but kill him anyway... quickly... while from what we see, Max just lets Titus die slowly, I don't know about you, but for me there is a difference between killing someone quickly because he deserved it, and letting it happen and WAITING AROUND him until he slowly dies... that was cruel... I would understand if Max killed him, but he KILLED, he showed some humanity despite everything, even though the guy deserved to die, and he didn't wait next to him and listen to him slowly die... it was evil....

Then, when he has armor, he enters a situation with a guy who raped a chicken (Cooper would be really angry :D ) and instead of learning the whole situation, calming them down and finding out what's going on, who is right, he immediately takes the side of the one who is oppressed, thus oppressing the one who is actually right, takes him brutally by the hair and is happy about it..., seriously..., you are happy about this situation..., even if he were helping a good person, I don't think so that there is something to be happy about here..., although what I really think he enjoys is the power, the power that the armor gives him..., this is bad again... if someone likes the feeling of power so much, power and control, it always reflects badly on him..., then (after painfully holding the innocent man all the time) he throws the guy to the ground and when the other explains the situation that took place, Maximus doesn't even apologize..., he is only distracted and then says, ,,Okay. On your way, citizen." what..., as if you hadn't hurt this ,,citizen" a moment ago and didn't judge him badly..., not at all, there's nothing to apologize for here..., it's better to go on your way..., God..., this was the scene from which my opinion about Maximus slowly started to go down, because even with Titus I still made excuses for him (even if it was cruel), but from that moment Maximus with starting with my grade of his character as ,,4+", at the end of the series he dropped to a grade of ,,2-" and it's not that this is a poorly written character, NO, in my opinion it is a very well-written character, just a bad character man and I mean assessing his humanity, not the creators' writing, because in my opinion it is very good :)

In addition, of course, we have the issue that he lies to everyone that he is Titus because he wants to be a knight and clearly wants people to admire him (again, the issue of his ego), at the beginning he clearly wants to kill Thaddeus in cold blood, but then he changes his mind (apart from what killing Thaddeus would give you..., even if you came back with the head, you would be responsible for two deaths..., come on...), then of course he tries to kill him again after he tells him the truth..., then we have the Vault 4 arc in episode 6 and halfway through the episode when Max goes to the armor that is in the room, he looks at him through the glass with a stupid smile, he turns around and with that smile and behavior, with his body movements, he looks to me like he told them ,,See, this is my armor, this is me, I'm a knight"... it looks as if he wanted someone to come up to him and ask him about it, and he could brag about how cool he is, because I really don't know how else to read this short scene...:

Sorry for the poor quality, I did it on my phone.

then he turns back to the armor and his facial expression changes, he frowns:

and we have a close-up of the entrance to the core, and Maximus sees the guy next to him screwing in a light bulb and asking where it came from they take electricity, he goes to that place and wants to take their fusion core..., literally at that moment he wants to brazenly steal their fusion core, the people who helped them and cured him, he wants to take away their only source of energy..., or Maximum is so stupid that he doesn't know that this is literally their source of survival and thinks that they can cope without him, although it's still vile and I don't believe it, or Maximus is just a vile, evil and selfish man who doesn't matter with no one else but himself and what would make him feel good..., just look at his face at this moment...:

he knows that he is doing something he shouldn't and he is clearly doing it with full premeditation...

later in the plot, in episode 7, when Maximus sees the inhabitants of Vault 4 doing something to Lucy, which Maximus does..., of course he doesn't find out about the whole situation first, he doesn't try to eavesdrop on what they're talking about or anything, he just rushes in in armor and starts attacking everyone around, seriously... how stupid and irresponsible it was of him, I won't even mention... and when they finally release them, which Maximus does..., he takes the armor with the core with him, without thinking that it is their only source of energy and, what's most funny, he doesn't want to give it back..., NO, he wants to keep it so he can walk around in his big armor and show everyone "look how great I am!", says that he needs a core for his armor, and without the armor he won't be a knight, Lucy tells him that a knight shouldn't steal, and Max replies ,,with this armor, I can help people", how have you helped people so far..., you let escape a chicken rapist..., besides, what kind of help is it if, in order to provide this help to people, you steal something that will put other innocent people at risk of death..., you can't build something good on something bad, poisonous roots, will give poisonous fruit, no other way..., then the best thing is..., because be careful... he is trying to MANIPULATE HER! Yes..., this guy who supposed wants to be good, noble, fair..., no wait..., he wants to be a knight to take revenge..., nevermind..., it's up to him anyway fits..., he manipulates her, playing on her feelings, telling her that he wants to help her find her father and asks her if she would give up the core if it meant she wouldn't get her dad back, if it was up to the core to get her father back..., only then Lucy convinces him to give up the core when she says that if his father found out about it, it would break his heart and that she can't do that, only then Maximus gives up on convincing her and decides to give up the core. Lucy is his moral compass here, and it's possible that she would put him back on the right path if she were with him, but in the end, Lucy chooses Cooper and leaves with him.

To sum up... where do people who ship Lucy and Max have this good and beloved Max... where... where is Max a better person and a better match for Lucy than Cooper... (because I saw some comments under some episodes of the series that ,,Ghoul is evil and Max is good and honorable"), so far Max makes more bad decisions and does it with full premeditation and/or out of his own stupidity..., when Cooper, when he does something, it has a purpose..., he never does anything without a reason, yes, he shot Roger, but he did it out of mercy, first he made Roger remember the good times, so that in those last moments he died happily (this is one of my favorite scenes, if not my favorite, it was sweet and touching despite the situation...), he shoots Wilzig, but in the foot, probably so that he won't just run away, it's not to kill him, since he probably at that moment he thinks that he has to deliver him alive, because it is only from Wilzig that Lucy learns that only his head is enough, not himself, he kills people in the town, but only those who attacked him, he doesn't go around houses and doesn't kill random people..., kills "guards" who were bad for him, and one obviously wanted to kill him, but he doesn't kill their boss, interestingly..., he kills, of course, three guys at the beginning who are also ready to kill him and they want to force him to work for them, after practically lying in a coffin underground for 30 years, he kills the farmer's son, when the son reaches for a gun, you can see here how Cooper is poking this son to see if he is capable of doing it, but he himself doesn't reach for the gun until this son reaches for it, Cooper always wants to know, to be sure whether the man he is killing really deserves it, whether there is really a point in killing him, unlike Maximus, who never finds out who he is really guilty, he prefers to just ,,go with the wave" and he orders the one he finds guilty at first glance, he even wants to kill Thaddeus at the beginning (of course he doesn't do it in the end, but he wants to) even though the guy hasn't done any harm to him yet (and bullying ,,at school" is not a good reason to kill, it's not a reason at all), and he's not torturing Lucy like some still claim, even though Cooper himself and the entire scene says he's using her as bait, not torturing her, and yet there are still people who say he's torturing her here..., really I know that some people sometimes have trouble reading the situation on the screen, but when the entire situation on the screen screams "BAIT!" and the character who uses the bait says directly that he thinks torture doesn't work and uses her as bait, like one can still claim that there is some torture in this scene..., are there really people who cannot hear and see things that are said directly..., how..., Cooper used to be a good guy and he still is, deep down, he's still that good guy. When there is a scene from the past when Cooper has to play a slightly worse guy on camera to show that his character also makes mistakes, he doesn't want to do it, he doesn't like it, because in his opinion a good person should be good and not make such mistakes, Lucy will direct him back to the right path, and he will teach her a little about life, this is the perfect dynamic of two different, yet very similar characters who can and do influence each other's development.

And I don't know about you, but for me this scene is terrifying:

this whole brotherhood is like a religious sect, and at this moment Maximus has become a kind of prophet and that look in his eyes...:

for me it is disappointment combined with the desire revenge, disappointment because he found out that the father of the girl he liked is responsible for the destruction of his house and probably the death of his relatives (we never have memories of Maximus' relatives, which is interesting, so it is not certain), and he managed to escape, and the desire I don't think I need to explain revenge... Maximus' plot in season one starts with revenge and ends with revenge, it's his plot, whether someone likes it or not... and in my opinion, as a result of everything I have described, he will change into an increasingly worse person, he was not good from the beginning and will only get worse....

This is a long post, as usual for me... unfortunately, I don't know how to write short... and besides, I like it when all the details are brought to light :) , that's the end, thank you for reading and have a nice day/evening/night :)

[hadesisqueer]

I appreciate The Dragon Prince because it gave me tragic antagonists or villains that I love (Claudia), villains that while I don't really like them I understand how they came to be and can feel a bit of sympathy for (Aaravos or Viren), villains I straight up fucking hate (Sol Regem) and villains that I don't really hate because when they appear on-screen I just sigh wondering how they can be so fucking stupid (Karim). They really give you everything.

No but for real, Karim's entire character arc consists of 'The risk I took was calculated but I am bad at math' because. He's so dumb. He keeps saying he wants to restore the Sunfire Empire to its former glory, but like-- how? What plans do you have for the future? Are you going to try to retake Lux Aurea? Because you can't. Oh, you want humans out? Okay-- how would that help to restore the former glory, though? You're just being a bigot?

The thing is that all Karim ever did was talk about his birthright —that's not even his birthright, actually, because he's the youngest sibling— and keep babbling about history demanding blah blah blah of people and how his sister wasn't a competent queen when actually it is the opposite. Janai proves, by allowing the architect to live while still giving her an according punishment, that she is a fair queen who chooses mercy and allows people to grow while still choosing justice; also, that she's more practical, because what good is a talented architect dead —who did something awful but still was sorta right about fire being dangerous around the camp— when you can just make her build a shrine so this kind of incident never happens again. Janai also had the Sunseed and plans to nurture it and help it grow, help her own people grow. She actually had plans for the future, and she had the patience necessary. She understands that you must learn from history but that it also doesn't define you, that you must not let it define you.

Karim doesn't get that. He was obsessed with history and the old ways. He didn't have any patience. And he didn't have any long term plans. Or even backup plans for when his plans inevitably failed, either! He was so convinced Janai would refuse his duel he was shocked when she actually fought him, and resorted to fighting-- with fire magic-- against someone who's fireproof-- again, no actual plan. He tried using an assassin to kill his sister, the actual person the assassin had a life debt to. He wants to steal the Sunseed, actively fucking over his people. When Ezran tells him to take his followers and start somewhere else, Karim refuses because he says he doesn't want crumbs off his sister's plate, but at the same time it's like-- that's exactly what you were gonna get, buddy. You wanna use Sol Regem to torch your sister's army. The only thing you're gonna rule over is the followers you have now plus what remains of Janai's, if they even accept you. So, yeah. Literally crumbs.

Also, again, he's so fucking entitled. 'What's rightfully mine' he's the youngest sibling, nothing is rightfully his, he's an usurper. Part of his demands being that humans leave and go back to 'their side of the border, where they belong', buddy, you'd be the king of the Sunfire Elves, not the King of all of Xadia. As king you could make humans leave your territory, but not Xadia. If a bunch of humans, hypothetically, befriended Moonshadow or Skywing elves and lived at the Silvergrove, or wherever the Skywing elves live, with them-- what, now you're gonna try to wage war against the the other elves, too, because they're not following your ways? You can threaten them with Sol Regem, sure, but also consider, because you didn't even consider it when you went to him-- he's an Archdragon, yeah, but the weakest of the Archdragons right now. Let's say Ezran and Janai follow through and give up and leave. They could go with Zym and head straight up to the Mushroom Mage and come back with Zubeia, the current Queen of the Dragons, right after she's done with her treatment. They arrive. Who's gonna win? A healthy Archdragon on her prime or an old, blind Archdragon that hasn't flown or fought in centuries? Also, once you give him the Sunseed he actually has no reason to be on your side, he already got what he wanted. Even if the Katolis thing didn't happen, he could've turned against you very easily. He likely would've done so.

He's an awful leader who doesn't actually care about his people. He disrespects other world leaders like Ezran immediately. He's an entitled, bigoted idiot who doesn't actually think things through and that actually makes him both incredibly annoying and very realistic, which actually makes me like him as an antagonist but still makes me let out a exasperated sigh every time he talks. Best part of him is that he's obsessed with going down in history as someone great when, with his actions, he's only going to pass down as the prince who tried to usurp his sister three times and failed the three times, each failure worse than the previous one. Lmao.

[pastorfutureletthembe]

Here we go again--

TRIP ABROAD TURNS INTO BUTTERFLY EFFECT

First thing worth mentioning is that the prime color in this artwork is pale blue. I feel like it's quite rare, most of INPLICK arts for Link Click have the same palette: burgundy red, shades of gray and black (except for the whole Surprise Beat thing which is splashed with flashy pink). All but this one:

(probably when they were 17 or sth)

For the sake of the argument, let's say it is a significant distinction to make. The reason is simple: the teaser of the airport scene and the trailer prove that shit started three years ago, when CXS and LG made a trip after graduation. If this chronology is correct, then blue probably symbolizes Lu Guang's innocence or happiness. Blue used to paint Lu Guang but now he only sees the world in black, white and red. In the birthday official arts, blue is associated with his character. His flower is freaking Forget-Me-Not; Myosotis.

So yes, that's why I think the color palette here is relevant to the time period we're going to explore in the Yingdu Chapter.

The couch itself is blue when we're so used to the pair sitting on a brick sofa. The cakes and the flowers are the usual shade of red, though.

On the table: red roses in a vase. Petals are all over the place. Ominous.

On the trolley: 1 bottle of wine, 2 CXS's feet, 3 glasses, 4 cakes, 5 individual desserts. The glass half full is Liu Xiao's, since it isn't on the trolley in the original artwork he is absent from. I said it in another post but the plate counts 4 portions, as in 4 antagonists, while the pudding might be Lu Guang's. The cakes are probably metaphors for timelines/curves, clocks dressed as desserts with a red fruit representing a dead Cheng Xiaoshi. V and VI are the only missing parts, just like Qiao Ling's one. CXS put his feet on the trail and I think it's both funny and tragic. I believe the correct saying is "put his foot in his mouth" but in french we say "mettre les pieds dans le plat", which literally translates "to put his feet in the plate" (to say something brutal with no tact or to do something stupid without thinking it through). He has both feet nearing timeline cakes and his head is five inches away from doomed flowers.

On the floor: 1 vintage phone. 1 camera. 2 envelopes, 3 pages of letters. 4 polaroids. Probably: 2 magazines and 3 pages of newspapers. The vintage phone could be relevant to THE TIDES, era-wise. The camera is taking polaroids and two of them are still dark, meaning they just took a shot and are yet to be revealed. The rest must be related to this chapter's plot. So much for holidays, guys (are they investigating CXS' missing parents?)

If you look closely, you'll see four different mentions of time:

Lu Guang's watch (hold this thought)

The polaroid: Big Ben

What looks like newspapers

The hourglass

We also have four mentions of information/communication

Letters

The polaroid: a public telephone box

Newspapers/magazines

Vintage phone (I was wondering why the phone had twelve numbers but after some research, I realized that some of them had # and *)

On another note, I don't know if their hands--

I mean, there's something definitely happening here but let's say for the sake of my sanity that what is supposed to be noticed are the sunglasses. If I'm being honest, this is the real oddity here and the teaser weirdly showed them off?? They're standing out because everything else is so blue for one thing.

They're pink-ish, which is close enough to magenta, so one of Lu Guang's colors (cf. Dive Back In Time). The color itself is weird for sunglasses. Lu Guang doesn't care about fashion, he wants practical. As a girl who loves pink sunglasses, I'll tell you: pink is shit at doing sunglasses' job. CXS told him to wear a cat hat, okay, but did he choose every other accessory?? My guess is that the pink served a purpose in connection with light.

And why is Lu Guang's watch on the other wrist in the artwork? I checked and LG wears it on his right wrist in the donghua and manhua. It can be the opposite for some artworks though... Or blocked from view for some reasons. It's almost as if we're not supposed to know which side is the actual reflection. 👀

Something else is reversed here, actually: the colors AND the pocket of Lu Guang's shirt. It could be a mistake, though.

>>>>> Basically, I think the artwork is telling us that the Yingdu Chapter is going to hurt and make us cry. If we're indeed about to see Lu Guang lose his humanity to try and save Cheng Xiaoshi for the first time therefore destroying worlds, I have no doubt it would be after Infinite Sadness™.

The real question this teaser isn't answering is either we'll go through the original timeline or a rewind. The last episode of season 2 makes me frown. How to be sure that the Lu Guang who dives exists before and not after the events we see unfold for two seasons? Is Yingdu Chapter a flash black or an actual dive itself? Lu Guang seems to be determinate and in a bad mood in the PV after all, could directly happen after one of CXS's deaths.

EDIT: someone mentioned that LG wears his watch on the left wrist when we get images of CXS getting stabbed. (It hurts right here in my meow meow)

[screamingatanemptyroom]

Screaming at an Empty Room -

Reintroduction/Update

Hello everyone! Probably too late to do an intro, given that I've been writing on this blog since 2017, but since I've returned after a few years away from writing, I wanted the opportunity to talk about my blog and projects completed and my upcoming plans!

I go by Avaleon everywhere else on the internet, but respond to pretty much anything, including Screaming, hey you, etc! Started this blog in my mid 20s, and aged normally into the early 30s from there. I love writing, have always loved it, but between work and life, it's definitely something that I mostly do late at night and on weekends. I love hearing from people, but I usually answer asks in bunches, and typically right before I post writing. Love hearing about other people's projects as well!

I write short stories, novellas, and occasional full length novels. I am not published, but actively working on self-publishing some of my full length works. Everything I write is posted online, I enjoy sharing my work. The main reason to self publish for me is to have physical copies for myself or anyone who might want one!

My short stories can be found under the #writing tag on my blog. As for the long completed stories, I'll post them below the cut!

Love you Tumblr, happy to be back!

A. Full Length Novels (100,000+ words)

Please Fix the Story!

Description:

I don’t know who I am. I don’t know why I’m trapped in this never ending cycle of rebirth. All I know is that I wake up inside the worlds of unfinished stories, with a mission to accomplish the author’s wishes and stabilize the worlds now headed for destruction. I do my best, hoping, praying that maybe if I complete enough missions, I’ll be able to remember my past and return to my home.

It’s just fixing stories, it should be simple enough.

So can someone explain who this random villain is who keeps following me to each world?

Masterpost linked here

2. I Can’t Eat Love

Description:

Lenora did not have a wonderful life. After her engagement to Prince Ronan is broken, she loses everything… her reputation, her home and her family. Starving on the streets, she dies angry and bitter at how her life unfolded… only to wake up in her old bed, fifteen again, five years before her death. 

Now she must struggle to change her fate, and the fate of the around her. This time she won’t trust in something as flimsy or changeable as love. No, this time she’ll have the power and the money she needs to protect herself. 

Lenora has already lost everything once. She’s not going to lose again. 

No matter the cost. 

Masterpost Linked Here

B. Novellas

I Refuse to be a Named Character

Description:

I woke up inside the world of one of the best selling fantasy book series “Deadly Crown.” Intrigue, handsome heroes, adventure… sounds great, right? Just one problem: all the named characters except the main hero and villain die, are replaced and their replacements die. Being important in this story is a death sentence, so I plan to move to the middle of nowhere, and avoid the plot! 

It should be a fool proof plan, so why do the main characters keep dragging me into the story?

Masterpost Linked Here

2. Living in a Rewrite of my Own Book World

Description:

This is the story about an author who gets hit by a car right before she can finish her bestselling book series. Trapped in the role of a terrible side character antagonist, she must find a way to change the story’s ending. Not just for her own survival, but for the characters that seem just a little too real to be fiction. (30K words)

Masterpost Linked Here

3.Baby’s First Revenge!

Description:

When Charlotte is betrayed and killed by the friend she sacrificed everything for, she thought it was the end. Instead, she found herself reborn as a baby, with her killer still enjoying the fame of stealing her work. Now, she's coming after him, and plans to make him pay... But first, nap time.

Part 1 / Part 2 / Part 3 / Part 4 / Part 5 / Part 6 / Part 7

4. The Supervillain’s Daughter

The story of Erica, a girl who finds out that her brother is the kidnapped child of superheroes, and that her parents are villains. Years later she is the best agent in the Villain Suppression Unit, and hates everything to do with superheroes. So of course she isn’t pleased when she is paired with the strongest man alive, especially because she knows him. But with even darker parts of her past surfacing again, she will have no choice but to join forces and save the world. 

Part 1 / Part 2 / Part 3 / Part 4

Other smaller works and the incomplete ones can be found on this page

Thanks everyone!

[silviakundera]

Does it feel like they're trying to redeem the dickless bore? idk if he's doing a con on her or they're showing he has real feelings for her wasn't the novel different?

One thing I'm really noticing in the Princess Royal (Grand Princess) adaption is that they will 'play it straight' with characters like Su Rongqing and the Emperor: giving the character similar dialogue and facial expressions as they would have in the novel -- except without PWX or LR's internal dialogue of 🙄 why u lying???

🙄 lol ok sure

😒 oh i see, back on your bullshit again

😤 the AUDACITY

😬 oh shit oh shit danger BE COOL

The consequence is that if you take everything at face value, the Emperor seems like a reasonable guy and not up for The Absolute Worst Dad award. Under the surface, the novel reader knows he is acting out a play and coldly calculating every interaction with Li Rong, the Crown Prince, and Consort Ruo. Every single scene with him, Li Rong is in peril and she knows it. She's pretending to be his sweet, obedient 19 year old daughter who believes in him and is following Pei Wenxuan's direction and acting as a puppet, making moves that he has already approved PWX to make. The Emperor's pretending that this play isn't supposed to end with LR and the Crown Prince taken down & the power transferred into Consort Ruo and the other prince's hands.

The viewer can just interpret all the words coming out of a character's mouth as facts & just believe everything they claim about their motives/real agenda as true. Or they recall the implied horrorshow of Life 1 and view all of these interactions with a cynical eye, questioning what else could be under the surface.

With SRQ, that guy is so fucking complicated. I think actually he's portrayed in character. Nothing we have seen isn't .... him. At least so far, as of ep 19 he aligns with the novel.

But 3 different factors: A) The music is romantizing him; B) The audience is given a couple internal-thought voice overs from him, which other antagonists don't get; C) With those voice-overs, the screenwriter has chosen to affirm his love for his brother and LR way earlier than the reader has it confirmed in the novel (where he is intentionally kept a total mystery for far longer, while the reader is the math lady meme, trying to piece together clues to figure him out).

And ultimately, when in SRQ's PoV in the drama, we have to deal with him being the hero of his own story. He is absolutely sincere about himself and, as has been revealed, in his own way he's sincere about wanting LR and his brother to have a good life this time around.

So does that mean the writer intends to do a swerve in the narrative arc and redeem him in the end? It's totally possible. Maybe?

However, not necessarily.

#1 There is a certain refrain from many of the great cnovel/drama villians: I had no choice! You all forced me to this!

We saw it from Shen Yurong in The Double, we saw it from Meng Yao/JGY in The Untamed, and in the novel (and I presume in the drama), we're gonna see it from Su Rongqing.

And it's the reason why they become villians who can't be saved. Because so many people suffer in life or experience unfairness. But they don't turn around and use this as an excuse to enact horrible cruelties on others.

Out of the billions of people in the world, few have no problems but so many of them actively chose to do good, or are willing at least to turn back and be better.

#2 imo the reason LR has historically been bad at reading people's hearts but has an exquisite read of SRQ, his flaws & darkness, is THAT'S HER FUCKING MOM. And I do think ep 16-18 put that out there in the text, if you're looking for it. He and the empress are the same sophisticated aristocrat who is clever & educated but with a narrow perspective limited by their privilege and desperate need to maintain the status quo. So sorry bro, but no wonder she might have settled for marrying you in the first life if you wanted to, but she was never gonna fall in love with you 💀.

PWX can see that SRQ loves her and he thinks that matters, so it scares him. LR has tender nostalgia for her empress mother and her former companion but she's all too aware that their love for her will not necessarily get in the way of stepping on her to protect the social structure of a powerful aristocracy class operating at a higher level above the peasants and restraining the throne. To them, this is safety and stability that guards the realm.

(ofc both those characters are complex and when it comes to LR's life & death we can't be confident on what they will always choose. that's part of what made all the palace drama aspects of the novel incredibly suspenseful. So many of the suppporting characters are layered and tho everything they do makes sense when it happens, you can't often predict people's hard choices when their back is up against the wall)

Story of Kunning Palace and The Grand Princess say that caring about people and trying your best to understand them, wanting what's best for them by listening to what's best for them, can make a huge difference. But not everyone is willing to change.

[amphiptere-art]

Can I just point out something again.

How am I supposed to care for the main protagonist in Tsams. When they use the woes of the antagonists for their own entertainment?

I don't care how much better of a person Monty has become. I don't care how much better of a person Moon has become. I get and understand that they have every right and reason to be upset with eclipse and blood moon. They have every right to be angry. But do they have them right to laugh and point out the villain sorrow? Am I supposed to feel happy when they tell me every reason and understanding of why I feel sympathy for the villains as a joke?

This is the epitome of Batman laughing at joker for going insane. There is nothing good about joker being insane. For many villains and hero relationships. None of those heroes laugh at the misery of their villains. They will be angry. They will shout. Hell they might not even feel sympathy for whatever the villain had to go through. I can get that. But most don't play it off as a joke. Most don't go haha, that murderer's brother died. Most don't go haha, You're a little twerp that never should have lived.

Those sentences sure don't feel gratifying or hilarious when said in a void does it? Call me a villain kisser. Call me a moon/Monty hater. Have you wondered why some people would be like that? You can hate the killer but you never laugh at what life brought them there. You can wish for their death but you never celebrate the misery of their lives. You may celebrate their death, But you certainly don't mock about it with an air of jokery to those that are left behind in the aftermath.

There is one thing I get from watching real life crime reviews. People will get angry. People will shoot it in the villain's face. They will celebrate the villain's death with cry's and triumphant yells. But no one looks at their life and giggles. No one flonders their death around family no matter how involved they are. You don't do that. There is usually nothing right with how they were treated, And there certainly is nothing right about packaging someone's death certificate in a present, and handing it over to whoever was closest.

I don't care how sweet or better Monty has gotten. I don't care how different of a person Moon is. I don't care how understanding the soft Sun's anger is. I don't care if puppet is some primal entity who was expecting this from the beginning. I don't care if Lunar's jokes are just an expression of anger. At least he has an excuse. At least it feels like lunar is legit joking out of a fit of anger. Everyone else up there has made plenty of jokes and jabs without some sort of anger to cover it up. Sun maybe. But everyone else? Especially our oh so wonderful Monty?! No! I could get it maybe in the sanctity of his home. In the quiet of his friends. But he literally takes the time to drive these villains out into the light and play with them for a bit.

I feel like I'm being force fed this idea that I'm supposed to be okay with this. Like it's entirely okay to look at a villain's backstory and laugh at it! That I'm not only supposed to celebrate a murderer's death, but also joke about it to their family and friends! Everyone in this goddamn fandom hops and skips around that issue because surely it can't be. Surely I can't look at these wonderful characters I've been voting for for ages, and realize that they're jackasses. But they are promoting the worst behavior I have ever seen. Let's just laugh at the jokes. Let's just jear at the expressions. Let us ignore every possible reason why this is the most fucked up shit.

Because for some reason. As long as they have a reason to hate. They have a reason to joke. And while I might understand it as some sort of self therapy. Talking to the villains about it and even there friends is cruel!