#kinda want to tell my story

[egophiliac]

I DID IT I GOT MY PINK HAYATE now I am never doing that again!

(at least until they give me, like, a frilly unicorn Kamui or something)

[dukeofthomas]

I can't find it now but there's a post about suspension of disbelief and how it's broken when the story starts trying to excuse it. "character gets knocked unconscious for hours but there's no further issues from this" okay 👍 "and actually this makes perfect sense because of this and that" um no it doesn't why are you lying to me. like i am willing to ignore the holes and the discrepancies!! all you need to do is let me and not bring unnecessary attention to it!!!

and all that is my issue with the whole robin child soldier argument. like i am willing to ignore it i am willing to engage with the fantasy literally all you need to do is NOT try to convince me that Actually It's Fine Because They Want To Do It or whatever. like literally just shut up about it and i can engage with the fantasy!!

[adelarsims]

i'm back!

i apologize for the huge pause i took in the tournament, i almost died in one of these days and tomorrow i'm having an appointment with the doctor who should send me to the brain scan (to see if i have one) 🤘

anyway i'll continue soon, i'm sorry again!

[puppyeared]

mascot

[crabsnpersimmons]

How many dishes can the guys make? As robots, I can see that they would have a lot of knowledge due to the internet, but do they have any criteria as to the theme of the restaurant or the amount of time it takes?

great question!

the restauarant is specifically a cha chaan teng, a Hong Kong style cafe so the majority of the menu revolves around that cuisine

however!! the DCA boys often introduce new menu items, as well as weekly and seasonal specials!

Sun is the most adventurous in cooking new dishes. he is very interested in learning new recipes, new cooking methods, ingredient substitutions, etc! he takes it all as a personal challenge to experiment with new recipes

Moon will often try new dishes based on current trends—like he would totally be making variations of the Dubai chocolate bar and tanghulu and cucumber salads right now haha! honestly if he could, he'd love to travel and try all different kinds of foods around the world

As the barista, Eclipse also experiments with new drinks. along with their standard cafe drinks (like tea, coffee, ovaltine, etc.) he also has a seasonal drink selection to match the themes of the season. so it's autumn now, he'd have pumpkin spice milk tea, sweet potato latte, and mooncake hot chocolate for mid-autumn festival—all decadent, warm and cozy drinks that feel like a warm hug!

they have an ever-changing “surprise me” special, which is a unique meal that combines the dishes they've been experimenting on. it's like a very casual omakase. it's not a very popular set, since it constantly changes, but it is at a reduced price. the customers’ feedback also helps them improve the dishes. see, the boys can eat (as an alternative way to charge) and they do have taste and scent receptors, but they struggle with textures and mouthfeel because they don't have a squishy human mouth. so getting customer feedback on their experiments really helps them out. i imagine the "surprise me" special would be popular among students who are on a tight budget and are willing to try something new each time, cuz even though it's a mystery, they know it's great value for the price since the boys put all their effort into all their cooking

[starflungwaddledee]

Wait does starstruck have like a harem or something with how many people she's shipped with???

yeah! she's ✨everyone's girlfriend!✨ no oc or canon character is safe from those big shiny eyes of hers!

i've actually always said this: that if 'dating' as we know it existed in her environment, she'd be the sort to accidentally be dating everybody. as it stands, she's just very polya and has a lot of love and clingy anxiety to give! she's small, but there's plenty of her to go around!

i feel like the tourney in particular is a bit of a scott pilgrim vs the 7 deadly exes situation. except it's just... starstruck vs the 7 knights she didn't realise she'd started dating 😂

[clareguilty]

Gonna speak out as a "fantasy worldbuilding plate tectonics and cell biology" type author and say all of that is fun and cool for you personally as the creator of your universe and its well and good (spectacular even) if you find/have readers who are interested in that level of worldbuilding

But from a publishing and professional perspective that is a WILDLY unreasonable standard to hold fantasy/sci-fi authors to and even more ridiculous in other genres. Not every author is concerned with soil ecology for the plant crops that make textile dyes. I think its almost a literary equivalent of CinemaSins or whatever to point out scientific inaccuracies in worldbuilding because if the author didn't care to or didn't have the resources to develop that part of their world then the book is probably about something else. The nice thing about this recent trend in overly specific worldbuilding is that if you want that type of fiction then people are writing it for you. (Hell, Im writing it) But i think its almost become a way for readers to bully and feel superior when they pick apart the astronomy/biology/geology of a book series or video game rather than engaging with the story the author is actually trying to tell

[big1ron]

Since y’all loved the last one so much. This is totally not 100% just for me. Nuh uh.

[greenerteacups]

oooh please someday tell us what you think of GOT

oh, no, it's my fatal weakness! it's [checks notes] literally just the bare modicum of temptation! okay you got me.

SO. in order to tell what's wrong with game of thrones you kind of have to have read the books, because the books are the reason the show goes off the rails. i actually blame the showrunners relatively little in proportion to GRRM for how bad the show was (which I'm not gonna rehash here because if you're interested in GOT in any capacity you've already seen that horse flogged to death). people debate when GOT "got bad" in terms of writing, but regardless of when you think it dropped off, everyone agrees the quality declined sharply in season 8, and to a certain extent, season 7. these are the seasons that are more or less entirely spun from whole cloth, because season 7 marks the beginning of what will, if we ever see it, be the Winds of Winter storyline. it's the first part that isn't based on a book by George R.R. Martin. it's said that he gave the showrunners plot outlines, but we don't know how detailed they were, or how much the writers diverged from the blueprint — and honestly, considering the cumulative changes made to the story by that point, some stark divergence would have been required. (there's a reason for this. i'll get there in a sec.)

so far, i'm not saying anything all that original. a lot of people recognized how bad the show got as soon as they ran out of Book to adapt. (I think it's kind of weird that they agreed to make a show about an unfinished series in the first place — did GRRM figure that this was his one shot at a really good HBO adaptation, and forego misgivings about his ability to write two full books in however many years it took to adapt? did he think they would wait for him? did he not care that the series would eventually spoil his magnum opus, which he's spent the last three decades of his life writing? perplexing.) but the more interesting question is why the show got bad once it ran out of Book, because in my mind, that's not a given. a lot of great shows depart from the books they were based on. fanfiction does exactly that, all the time! if you have good writers who understand the characters they're working with, departure means a different story, not a worse one. now, the natural reply would be to say that the writers of GOT just aren't good, or at least aren't good at the things that make for great television, and that's why they needed the books as a structure, but I don't think that's true or fair, either. books and television are very different things. the pacing of a book is totally different from the pacing of a television show, and even an episodic book like ASOIAF is going to need a lot of work before it's remotely watchable as a series. bad writers cannot make great series of television, regardless of how good their source material is. sure, they didn't invent the characters of tyrion lannister and daenerys targaryen, but they sure as hell understood story structure well enough to write a damn compelling season of TV about them!

so but then: what gives? i actually do think it's a problem with the books! the show starts out as very faithful to the early books (namely, A Game of Thrones and A Clash of Kings) to the point that most plotlines are copied beat-for-beat. the story is constructed a little differently, and it's definitely condensed, but the meat is still there. and not surprisingly, the early books in ASOIAF are very tightly written. for how long they are, you wouldn't expect it, but on every page of those books, the plot is racing. you can practically watch george trying to beat the fucking clock. and he does! useful context here is that he originally thought GOT was going to be a trilogy, and so the scope of most threads in the first book or two would have been much smaller. it also helps that the first three books are in some respects self-contained stories. the first book is a mystery, the second and third are espionage and war dramas — and they're kept tight in order to serve those respective plots.

the trouble begins with A Feast for Crows, and arguably A Storm of Swords, because GRRM starts multiplying plotlines and treating the series as a story, rather than each individual book. he also massively underestimated the number of pages it would take him to get through certain plot beats — an assumption whose foundation is unclear, because from a reader's standpoint, there is a fucke tonne of shit in Feast and Dance that's spurious. I'm not talking about Brienne's Riverlands storyline (which I adore thematically but speaking honestly should have been its own novella, not a part of Feast proper). I'm talking about whole chapters where Tyrion is sitting on his ass in the river, just talking to people. (will I eat crow about this if these pay off in hugely satisfying ways in Winds or Dream? oh, totally. my brothers, i will gorge myself on sweet sweet corvid. i will wear a dunce cap in the square, and gleefully, if these turn out to not have been wastes of time. the fact that i am writing this means i am willing to stake a non-negligible amount of pride on the prediction that that will not happen). I'm talking about scenes where the characters stare at each other and talk idly about things that have already happened while the author describes things we already have seen in excruciating detail. i'm talking about threads that, while forgivable in a different novel, are unforgivable in this one, because you are neglecting your main characters and their story. and don't tell me you think that a day-by-day account tyrion's river cruise is necessary to telling his story, because in the count of monte cristo, the main guy disappears for nine years and comes hurtling back into the story as a vengeful aristocrat! and while time jumps like that don't work for everything, they certainly do work if what you're talking about isn't a major story thread!

now put aside whether or not all these meandering, unconcluded threads are enjoyable to read (as, in fairness, they often are!). think about them as if you're a tv showrunner. these bad boys are your worst nightmare. because while you know the author put them in for a reason, you haven't read the conclusion to the arc, so you don't know what that reason is. and even if the author tells you in broad strokes how things are going to end for any particular character (and this is a big "if," because GRRM's whole style is that he lets plots "develop as he goes," so I'm not actually convinced that he does have endings written out for most major characters), that still doesn't help you get them from point A (meandering storyline) to point B (actual conclusion). oh, and by the way, you have under a year to write this full season of television, while GRRM has been thinking about how to end the books for at least 10. all of this means you have to basically call an audible on whether or not certain arcs are going to pay off, and, if they are, whether they make for good television, and hence are worth writing. and you have to do that for every. single. unfinished. story. in the books.

here's an example: in the books, Quentin Martell goes on a quest to marry Daenerys and gain a dragon. many chapters are spent detailing this quest. spoiler alert: he fails, and he gets charbroiled by dragons. GRRM includes this plot to set up the actions of House Martell in Winds, but the problem is that we don't know what House Martell does in Winds, because (see above) the book DNE. So, although we can reliably bet that the showrunners understand (1) Daenerys is coming to Westeros with her 3 fantasy nukes, and (2) at some point they're gonna have to deal with the invasion of frozombies from Canada, that DOESN'T mean they necessarily know exactly what's going to happen to Dorne, or House Martell. i mean, fuck! we don't even know if Martin knows what's going to happen to Dorne or House Martell, because he's said he's the kind of writer who doesn't set shit out beforehand! so for every "Cersei defaults on millions of dragons in loans from the notorious Bank of Nobody Fucks With Us, assumes this will have no repercussions for her reign or Westerosi politics in general" plotline — which might as well have a big glaring THIS WILL BE IMPORTANT stamp on top of the chapter heading — you have Arianne Martell trying to do a coup/parent trap switcheroo with Myrcella, or Euron the Goffick Antichrist, or Faegon Targaryen and JonCon preparing a Blackfyre restoration, or anything else that might pan out — but might not! And while that uncertainty about what's important to the "overall story" might be a realistic way of depicting human beings in a world ruled by chance and not Destiny, it makes for much better reading than viewing, because Game of Thrones as a fantasy television series was based on the first three books, which are much more traditional "there is a plot and main characters and you can generally tell who they are" kind of book. I see Feast and Dance as a kind of soft reboot for the series in this respect, because they recenter the story around a much larger cast and cast a much broader net in terms of which characters "deserve" narrative attention.

but if you're making a season of television, you can't do that, because you've already set up the basic premise and pacing of your story, and you can't suddenly pivot into a long-form tone poem about the horrors of war. so you have to cut something. but what are you gonna cut? bear in mind that you can't just Forget About Dorne, or the Iron Islands, or the Vale, or the North, or pretty much any region of the story, because it's all interconnected, but to fit in everything from the books would require pacing of the sort that no reasonable audience would ever tolerate. and bear in mind that the later books sprout a lot more of these baby-plots that could go somewhere, but also might end up being secondary or tertiary to the "main story," which, at the end of the day, is about dragons and ice zombies and the rot at the heart of the feudal power system glorified in classical fantasy. that's the story that you as the showrunner absolutely must give them an end to, and that's the story that should be your priority 1.

so you do a hack and slash job, and you mortar over whatever you cut out with storylines that you cook up yourself, but you can't go too far afield, because you still need all the characters more or less in place for the final showdown. so you pinch here and push credulity there, and you do your best to put the characters in more or less the same place they would have been if you kept the original, but on a shorter timeframe. and is it as good as the first seasons? of course not! because the material that you have is not suited to TV like the first seasons are. and not only that, but you are now working with source material that is actively fighting your attempt to constrain a linear and well-paced narrative on it. the text that you're working with changed structure when you weren't looking, and now you have to find some way to shanghai this new sprawling behemoth of a Thing into a television show. oh, and by the way, don't think that the (living) author of the source material will be any help with this, because even though he's got years of experience working in television writing, he doesn't actually know how all of these threads will tie together, which is possibly the reason that the next book has taken over 8 years (now 13 and counting) to write. oh and also, your showrunners are sick of this (in fairness, very difficult) job and they want to go write for star wars instead, so they've refused the extra time the studio offered them for pre-production and pushed through a bunch of first-draft scripts, creating a crunch culture of the type that spawns entirely avoidable mistakes, like, say, some poor set designer leaving a starbucks cup in frame.

anyway, that's what I think went wrong with game of thrones.

[moeblob]

OC again gomen ... (her name is Yuma)

[lunalikestowriteanddraw]

I need to point something out about the Krew’s conversation with Torbek in episode 19.

Kremy—a man who likes to keep up appearances and appear larger than life, who relies on his silver tongue to spin his words into lies and half-truths—let himself appear as vulnerable to Torbek as Torbek was after the fight.

Because Kremy took off his coat and his tie (Richie made a point to both say that and make the motions as he was describing what Kremy was doing), before getting on Torbek’s level and seeing if there was anything on Torbek’s person that could explain what just happened, before noticing everything else that was off.

Kremy taking off his coat and tie is actually kinda significant, considering that shortly after, he (eventually) agrees to tell Torbek the truth about what happened, and even willingly spoke up to fill in what Gricko was missing in his explanation. Kremy was, metaphorically, letting his walls down and letting Torbek see him in a way that I imagine even Frost and Gricko rarely see (maybe outside of sleeping or bathing).

I mean, of course, Kremy immediately puts his walls back up the following day, and then acts like he is somehow above Torbek for the remainder of the season (which I hope he cuts it out early S2), but…it’s a step. It’s a step in the right direction for Kremy’s arc, and I can’t believe I didn’t even take too much of a notice in this—or anything the gator did—until I started rewatching the series and genuinely started looking into Kremy’s character more.

And of course Kremy’s whole interaction with Torbek this episode isn’t the only significant one, and i promise I’m not ignoring the others (in fact, I’m actually quite interested in the way Frost handled the combat, as well as the way he separated himself from Torbek afterwards, and it will be making me pay extra close attention to Frost for the next few episodes), I just…don’t hear a lot about Kremy in particular this episode.

[legionofpotatoes]

everyone hates crunch and everyone wants the new dragon age to have 4x the scope with 8x the quantum content

[v7n5]

Tyler, I'm grateful to you; for everything that you've done for me.

These lines from the movie gave me the idea of Narrator conjuring up Tyler wayyy before the fight at Lou's tavern, the initial introduction on the airplane, and even before them checking each other out at the nude beach. It's pretty interesting to think about, and I found a Reddit post discussing this theory too.

I can imagine Tyler helping Narrator stand up to his bullies not through the classic savior type of way but through the Tyler Durden method. He'd tell him something like "I'm gonna beat the shit out of you, you're gonna fight back, and we're gonna keep doing this until you've gathered up enough courage to do the same to them, because the adults in your life aren't doing jack to put an end to this", basically turning a portion of Narrator's childhood into a more messed up version of Karate Kid (i suppose it's kinda like a manifestation of Narrator's self-loathing early on.)

After that Tyler went into hibernation for 20 years or so, then made a comeback because he could sense the Narrator was turning back to being spineless and feeble and becoming the kind of grown-up that they both hated. Narrator got a gut punch from Tyler as a coming-back-home gift and he was like "this feels oddly familiar" lol

Essentially, the whole thing happened because Narrator never grew out of his imaginary friend phase.

[oifaaa]

I'm not gonna lie I've been pondering for the last 30 minutes or so on what a good animated Robin movie would look like and Im kinda coming up blank I'm even getting stumped on which Robin the movie would focus on and outside of that what story should be the main focus

[queenlucythevaliant]

Tell Your Dad You Love Him

A retelling of "Meat Loves Salt"/"Cap O'Rushes" for the @inklings-challenge Four Loves event

An old king had three daughters. When his health began to fail, he summoned them, and they came.

Gordonia and Rowan were already waiting in the hallway when Coriander arrived. They were leaned up against the wall opposite the king’s office with an air of affected casualness. “I wonder what the old war horse wants today?” Rowan was saying. “More about next year’s political appointments, I shouldn’t wonder.”

“The older he gets, the more he micromanages,” Gordonia groused fondly. “A thousand dollars says this meeting could’ve been an email.”

They filed in single-file like they’d so often done as children: Gordonia first, then Rowan, and Coriander last of all. The king had placed three chairs in front of his desk all in a row. His daughters murmured their greetings, and one by one they sat down. 

“I have divided everything I have in three,” the king said. “I am old now, and it’s time. Today, I will pass my kingdom on to you, my daughters.”

A short gasp came from Gordonia. None of them could have imagined that their father would give up running his kingdom while he still lived. 

The king went on. “I know you will deal wisely with that which I leave in your care. But before we begin, I have one request.”

“Yes father?” said Rowan.

“Tell me how much you love me.”

An awkward silence fell. Although there was no shortage of love between the king and his daughters, theirs was not a family which spoke of such things. They were rich and blue-blooded: a soldier and the daughters of a soldier, a king and his three court-reared princesses. The royal family had always shown their affection through double meanings and hot cups of coffee.

Gordonia recovered herself first. She leaned forward over the desk and clasped her father’s hands in her own. “Father,” she said, “I love you more than I can say.” A pause. “I don’t think there’s ever been a family so happy in love as we have been. You’re a good dad.”

The old king smiled and patted her hand. “Thank you, Gordonia. We have been very happy, haven’t we? Here is your inheritance. Cherish it, as I cherish you.”

Rowan spoke next; the words came tumbling out.  “Father! There’s not a thing in my life which you didn’t give me, and all the joy in the world beside. Come now, Gordonia, there’s no need to understate the matter. I love you more than—why, more than life itself!”

The king laughed, and rose to embrace his second daughter. “How you delight me, Rowan. All of this will be yours.”

Only Coriander remained. As her sisters had spoken, she’d wrung her hands in her lap, unsure of what to say. Did her father really mean for flattery to be the price of her inheritance? That just wasn’t like him. For all that he was a politician, he’d been a soldier first. He liked it when people told the truth.

When the king’s eyes came to rest on her, Coriander raised her own to meet them. “Do you really want to hear what you already know?” 

“I do.”

She searched for a metaphor that could carry the weight of her love without unnecessary adornment. At last she found one, and nodded, satisfied. “Dad, you’re like—like salt in my food.”

“Like salt?”

“Well—yes.”

The king’s broad shoulders seemed to droop. For a moment, Coriander almost took back her words. Her father was the strongest man in the world, even now, at eighty. She’d watched him argue with foreign rulers and wage wars all her life. Nothing could hurt him. Could he really be upset? 

But no. Coriander held her father’s gaze. She had spoken true. What harm could be in that?

“I don’t know why you’re even here, Cor,” her father said.

Now, Coriander shifted slightly in her seat, unnerved. “What? Father—”

“It would be best if—you should go,” said the old king.

“Father, you can’t really mean–”

“Leave us, Coriander.”

So she left the king’s court that very hour.

 .

It had been a long time since she’d gone anywhere without a chauffeur to drive her, but Coriander’s thoughts were flying apart too fast for her to be afraid. She didn’t know where she would go, but she would make do, and maybe someday her father would puzzle out her metaphor and call her home to him. Coriander had to hope for that, at least. The loss of her inheritance didn’t feel real yet, but her father—how could he not know that she loved him? She’d said it every day.

She’d played in the hall outside that same office as a child. She’d told him her secrets and her fears and sent him pictures on random Tuesdays when they were in different cities just because. She had watched him triumph in conference rooms and on the battlefield and she’d wanted so badly to be like him. 

If her father doubted her love, then maybe he’d never noticed any of it. Maybe the love had been an unnoticed phantasm, a shadow, a song sung to a deaf man. Maybe all that love had been nothing at all.  

A storm was on the horizon, and it reached her just as she made it onto the highway. Lightning flashed and thunder rolled. Rain poured down and flooded the road. Before long, Coriander was hydroplaning. Frantically, she tried to remember what you were supposed to do when that happened. Pump the brakes? She tried. No use. Wasn’t there something different you did if the car had antilock brakes? Or was that for snow? What else, what else–

With a sickening crunch, her car hit the guardrail. No matter. Coriander’s thoughts were all frenzied and distant. She climbed out of the car and just started walking.

Coriander wandered beneath an angry sky on the great white plains of her father’s kingdom. The rain beat down hard, and within seconds she was soaked to the skin. The storm buffeted her long hair around her head. It tangled together into long, matted cords that hung limp down her back. Mud soiled her fine dress and splattered onto her face and hands. There was water in her lungs and it hurt to breathe. Oh, let me die here, Coriander thought. There’s nothing left for me, nothing at all. She kept walking.

 .

When she opened her eyes, Coriander found herself in a dank gray loft. She was lying on a strange feather mattress.

She remained there a while, looking up at the rafters and wondering where she could be. She thought and felt, as it seemed, through a heavy and impenetrable mist; she was aware only of hunger and weakness and a dreadful chill (though she was all wrapped in blankets). She knew that a long time must have passed since she was fully aware, though she had a confused memory of wandering beside the highway in a thunderstorm, slowly going mad because—because— oh, there’d been something terrible in her dreams. Her father, shoulders drooping at his desk, and her sisters happily come into their inheritance, and she cast into exile—

She shuddered and sat up dizzily. “Oh, mercy,” she murmured. She hadn’t been dreaming.

She stumbled out of the loft down a narrow flight of stairs and came into a strange little room with a single window and a few shabby chairs. Still clinging to the rail, she heard a ruckus from nearby and then footsteps. A plump woman came running to her from the kitchen, wiping her hands on her apron and softly clucking at the state of her guest’s matted, tangled hair.

“Dear, dear,” said the woman. “Here’s my hand, if you’re still unsteady. That’s good, good. Don’t be afraid, child. I’m Katherine, and my husband is Folke. He found you collapsed by the goose-pond night before last. I’m she who dressed you—your fine gown was ruined, I’m afraid. Would you like some breakfast? There’s coffee on the counter, and we’ll have porridge in a minute if you’re patient.”

“Thank you,” Coriander rasped.

“Will you tell me your name, my dear?”

“I have no name. There’s nothing to tell.”

Katherine clicked her tongue. “That’s alright, no need to worry. Folke and I’ve been calling you Rush on account of your poor hair. I don’t know if you’ve seen yourself, but it looks a lot like river rushes. No, don’t get up. Here’s your breakfast, dear.”

There was indeed porridge, as Katherine had promised, served with cream and berries from the garden. Coriander ate hungrily and tasted very little. Then, when she was finished, the goodwife ushered her over to a sofa by the window and put a pillow beneath her head. Coriander thanked her, and promptly fell asleep.

 .

She woke again around noon, with the pounding in her head much subsided. She woke feeling herself again, to visions of her father inches away and the sound of his voice cracking across her name.

Katherine was outside in the garden; Coriander could see her through the clouded window above her. She rose and, upon finding herself still in a borrowed nightgown, wrapped herself in a blanket to venture outside.

“Feeling better?” Katherine was kneeling in a patch of lavender, but she half rose when she heard the cottage door open.

“Much. Thank you, ma’am.

“No thanks necessary. Folke and I are ministers, of a kind. We keep this cottage for lost and wandering souls. You’re free to remain here with us for as long as you need.”

“Oh,” was all Coriander could think to say. 

“You’ve been through a tempest, haven’t you? Are you well enough to tell me where you came from?”

Coriander shifted uncomfortably. “I’m from nowhere,” she said. “I have nothing.”

“You don’t owe me your story, child. I should like to hear it, but it will keep till you’re ready. Now, why don’t you put on some proper clothes and come help me with this weeding.”

 .

Coriander remained at the cottage with Katherine and her husband Folke for a week, then a fortnight. She slept in the loft and rose with the sun to help Folke herd the geese to the pond. After, Coriander would return and see what needed doing around the cottage. She liked helping Katherine in the garden.

The grass turned gold and the geese’s thick winter down began to come in. Coriander’s river-rush hair proved itself unsalvageable. She spent hours trying to untangle it, first with a hairbrush, then with a fine-tooth comb and a bottle of conditioner, and eventually even with honey and olive oil (a home remedy that Folke said his mother used to use). So, at last, Coriander surrendered to the inevitable and gave Katherine permission to cut it off. One night, by the yellow light of the bare bulb that hung over the kitchen table, Katherine draped a towel over Coriander’s shoulders and tufts of gold went falling to the floor all round her.

“I’m here because I failed at love,” she managed to tell the couple at last, when her sorrows began to feel more distant. “I loved my father, and he knew it not.”

Folke and Katherine still called her Rush. She didn’t correct them. Coriander was the name her parents gave her. It was the name her father had called her when she was six and racing down the stairs to meet him when he came home from Europe, and at ten when she showed him the new song she’d learned to play on the harp. She’d been Cor when she brought her first boyfriend home and Cori the first time she shadowed him at court. Coriander, Coriander, when she came home from college the first time and he’d hugged her with bruising strength. Her strong, powerful father.

As she seasoned a pot of soup for supper, she wondered if he understood yet what she’d meant when she called him salt in her food. 

 .

Coriander had been living with Katherine and Folke for two years, and it was a morning just like any other. She was in the kitchen brewing a pot of coffee when Folke tossed the newspaper on the table and started rummaging in the fridge for his orange juice. “Looks like the old king’s sick again,” he commented casually. Coriander froze.

She raced to the table and seized hold of the paper. There, above the fold, big black letters said, KING ADMITTED TO HOSPITAL FOR EMERGENCY TREATMENT. There was a picture of her father, looking older than she’d ever seen him. Her knees went wobbly and then suddenly the room was sideways.

Strong arms caught her and hauled her upright. “What’s wrong, Rush?”

“What if he dies,” she choked out. “What if he dies and I never got to tell him?”

She looked up into Folke’s puzzled face, and then the whole sorry story came tumbling out.

When she was through, Katherine (who had come downstairs sometime between salt and the storm) took hold of her hand and kissed it. “Bless you, dear,” she said. “I never would have guessed. Maybe it’s best that you’ve both had some time to think things over.”

Katherine shook her head. “But don’t you think…?”

“Yes?”

“Well, don’t you think he should have known that I loved him? I shouldn’t have needed to say it. He’s my father. He’s the king.”

Katherine replied briskly, as though the answer should have been obvious. “He’s only human, child, for all that he might wear a crown; he’s not omniscient. Why didn’t you tell your father what he wanted to hear?”

“I didn’t want to flatter him,” said Coriander. “That was all. I wanted to be right in what I said.”

The goodwife clucked softly. “Oh dear. Don’t you know that sometimes, it’s more important to be kind than to be right?”

.

In her leave-taking, Coriander tried to tell Katherine and Folke how grateful she was to them, but they wouldn’t let her. They bought her a bus ticket and sent her on her way towards King’s City with plenty of provisions. Two days later, Coriander stood on the back steps of one of the palace outbuildings with her little carpetbag clutched in her hands. 

Stuffing down the fear of being recognized, Coriander squared her shoulders and hoped they looked as strong as her father’s. She rapped on the door, and presently a maid came and opened it. The maid glanced Coriander up and down, but after a moment it was clear that her disguise held. With all her long hair shorn off, she must have looked like any other girl come in off the street.

“I’m here about a job,” said Coriander. “My name’s Rush.”

 .

The king's chambers were half-lit when Coriander brought him his supper, dressed in her servants’ apparel. He grunted when she knocked and gestured with a cane towards his bedside table. His hair was snow-white and he was sitting in bed with his work spread across a lap-desk. His motions were very slow.

Coriander wanted to cry, seeing her father like that. Yet somehow, she managed to school her face. Like he would, she kept telling herself. Stoically, she put down the supper tray, then stepped back out into the hallway. 

It was several minutes more before the king was ready to eat. Coriander heard papers being shuffled, probably filed in those same manilla folders her father had always used. In the hall, Coriander felt the seconds lengthen. She steeled herself for the moment she knew was coming, when the king would call out in irritation, “Girl! What's the matter with my food? Why hasn’t it got any taste?”

When that moment came, all would be made right. Coriander would go into the room and taste his food. “Why,” she would say, with a look of complete innocence, “It seems the kitchen forgot to salt it!” She imagined how her father’s face would change when he finally understood. My daughter always loved me, he would say. 

Soon, soon. It would happen soon. Any second now. 

The moment never came. Instead, the floor creaked, followed by the rough sound of a cane striking the floor. The door opened, and then the king was there, his mighty shoulders shaking. “Coriander,” he whispered. 

“Dad. You know me?”

“Of course.”

“Then you understand now?”

The king’s wrinkled brow knit. “Understand about the salt? Of course, I do. It wasn't such a clever riddle. There was surely no need to ruin my supper with a demonstration.”

Coriander gaped at him. She'd expected questions, explanations, maybe apologies for sending her away. She'd never imagined this.

She wanted very badly to seize her father and demand answers, but then she looked, really looked, at the way he was leaning on his cane. The king was barely upright; his white head was bent low. Her questions would hold until she'd helped her father back into his room. 

“If you knew what I meant–by saying you were like salt in my food– then why did you tell me to go?” she asked once they were situated back in the royal quarters. 

Idly, the king picked at his unseasoned food. “I shouldn’t have done that. Forgive me, Coriander. My anger and hurt got the better of me, and it has brought me much grief. I never expected you to stay away for so long.”

Coriander nodded slowly. Her father's words had always carried such fierce authority. She'd never thought to question if he really meant what he’d said to her. 

“As for the salt,” continued the king, "Is it so wrong that an old man should want to hear his daughters say ‘I love you' before he dies?” 

Coriander rolled the words around in her head, trying to make sense of them. Then, with a sudden mewling sound from her throat, she managed to say, “That's really all you wanted?”  

“That's all. I am old, Cor, and we've spoken too little of love in our house.” He took another bite of his unsalted supper. His hand shook. “That was my failing, I suppose. Perhaps if I’d said it, you girls would have thought to say it back.”

“But father!” gasped Coriander, “That’s not right. We've always known we loved one another! We've shown it a thousand ways. Why, I've spent the last year cataloging them in my head, and I've still not even scratched the surface!”

The king sighed. “Perhaps you will understand when your time comes. I knew, and yet I didn't. What can you really call a thing you’ve never named? How do you know it exists? Perhaps all the love I thought I knew was only a figment.”

“But that’s what I’ve been afraid of all this time,” Coriander bit back. “How could you doubt? If it was real at all– how could you doubt?”

The king’s weathered face grew still. His eyes fell shut and he squeezed them. “Death is close to me, child. A small measure of reassurance is not so very much to ask.”

.

Coriander slept in her old rooms that night. None of it had changed. When she woke the next morning, for a moment she remembered nothing of the last two years. 

She breakfasted in the garden with her father, who came down the steps in a chair-lift. “Coriander,” he murmured. “I half-thought I dreamed you last night.”

“I’m here, Dad,” she replied. “I’m not going anywhere.”

Slowly, the king reached out with one withered hand and caressed Coriander's cheek. Then, his fingers drifted up to what remained of her hair. He ruffled it, then gently tugged on a tuft the way he'd used to playfully tug her long braid when she was a girl. 

“I love you,” he said.

“That was always an I love you, wasn’t it?” replied Coriander. “My hair.”

The king nodded. “Yes, I think it was.”

So Coriander reached out and gently tugged the white hairs of his beard. “You too,” she whispered.

.

“Why salt?” The king was sitting by the fire in his rooms wrapped in two blankets. Coriander was with him, enduring the sweltering heat of the room without complaint. 

She frowned. “You like honesty. We have that in common. I was trying to be honest–accurate–to avoid false flattery.”

The king tugged at the outer blanket, saying nothing. His lips thinned and his eyes dropped to his lap. Coriander wished they wouldn’t. She wished they would hold to hers, steely and ready for combat as they always used to be.

“Would it really have been false?” the king said at last. “Was there no other honest way to say it? Only salt?”

Coriander wanted to deny it, to give speech to the depth and breadth of her love, but once again words failed her. “It was my fault,” she said. “I didn’t know how to heave my heart into my throat.” She still didn’t, for all she wanted to. 

.

When the doctor left, the king was almost too tired to talk. His words came slowly, slurred at the edges and disconnected, like drops of water from a leaky faucet. 

Still, Coriander could tell that he had something to say. She waited patiently as his lips and tongue struggled to form the words. “Love you… so… much… You… and… your sisters… Don’t… worry… if you… can’t…say…how…much. I… know.” 

It was all effort. The king sat back when he was finished. Something was still spasming in his throat, and Coriander wanted to cry.

“I’m glad you know,” she said. “I’m glad. But I still want to tell you.”

Love was effort. If her father wanted words, she would give him words. True words. Kind words. She would try… 

“I love you like salt in my food. You're desperately important to me, and you've always been there, and I don't know what I'll do without you. I don’t want to lose you. And I love you like the soil in a garden. Like rain in the spring. Like a hero. You have the strongest shoulders of anyone I know, and all I ever wanted was to be like you…”

A warm smile spread across the old king’s face. His eyes drifted shut.

[that-howlingdrakesng]

*Ahem*

So remember the Pit Bonnie x reader headcanons ask I posted a while ago? Well, I watched a video of the Into The Pit jumpscares in slow-motion and...

I did not realize the angle of the main jumpscare and it is doing things to me now.