#like the trope where we see the character is going to begin this journey

[hozaloza]

Maverick "redemption" arc anyone? (No one wants this and neither do I, however the idea intrigues me and I lowkey wanna see an idea like it where he goes to the psych ward to start his healing process, and by the end of his storyline, he slowly becomes his old self again and accepts he'll be getting help)

...i forgot to write in I'm already writing this oneshot....

[felassan]

David Gaider on Dorian, under a cut for length:

"Now this is a fun one. It's no big secret I have a lot of feelings about Dorian, not least of which because he was my first (and only) gay male companion. There's a lot more to him than that, of course (as there should be), and it was quite a trip. So let's go! Now, DAI is a story all its own, but I'm sticking to the characters. In this case, back at the beginning, the writers were going to try something new: we were going to let the artists take a more active role in the companion creation process. Why? Because not doing so had caused a lot of problems. See, here's the thing: writers and artists speak two different languages. When talking about characters, we talk about their story. Who they are. What they want. We'd write up these briefs, huge and full of information... but it was never the information the artists needed. They wanted visual cues. I don't mean describing their appearance. Sure, we'd usually provide that, especially if there was a story case to be made, but often the artists vetoed us on appearance stuff anyhow so meh. No, I mean they looked for visual language while we tended to only talk about who the characters *were*. What would happen is they'd hone in on something visual in our write-up not intended to be a focus. The first write-up for Anders in DA2, for instance, mentioned he was "haggard" after his journey... and the first concept we got was this pale, shriveled man. "What... is this?" "YOU SAID HAGGARD!" 😅"

"That was the other trick: sometimes when we DID try to be more descriptive, we had to be extra cautious because the words could be interpreted very differently. You encounter this recording VO, too. A VO note says "hysterical" and you *meant* "really upset" but the actor read "scream like a banshee" Thus this caused problems, like I said. The artists would struggle, sometimes conjuring details just to give the character *something* but which would change the character... and, to us, the character was created. Done. We were already invested, probably already writing them. Something had to give. So this time we wrote a bunch of character briefs - but short. One paragraph. We stuck to vibes and the *emotions* we wanted the concepts to evoke. And we didn't name them. They got titles like "Slick Con Man" or "Ice Queen", so we wouldn't get too attached. Then we handed these off to the artists. And it worked nicely. The ones that just weren't inspiring we'd discard, no problem. The others had juice... and the artists felt free to play and offer lots of variations because we weren't set on anything yet. A lot of times, what they produced ended up inspiring US. It was a neat back-and-forth."

"This is what led to Dorian, in fact. He came from a short write-up entitled "Rock Star Mage" and it really boiled down to "I'm cool and I know I'm cool, so take that you cretins". And just like that, the first sketches (by Casper Konefal, I think? I bet I'm wrong) were all amazing. Instant fire. Me: "He looks kind of like... Freddie Mercury?" Him: "Is that bad?" Me: "NO ARE YOU KIDDING THIS IS AMAZING" Plus there was a monkey. Sadly, we had to lose the monkey. There were iterations to come, but this was really where Dorian was born: Tevinter mage, noble, savant, and too cool for school."

"When did he become gay? Not right away. Like I said elsewhere, we didn't talk romance and sexuality until after the concepts were more in place. But as we were brainstorming about why this hot shot mage left Tevinter, the idea DID come up that maybe it was because he was gay. Not directly, however. Homophobia isn't really a thing in Thedas, after all, so at first blush I didn't think that could work. "Rich kid gets kicked out of the house for being gay" wasn't a trope I wanted to explore. But, then again, magister families in Tevinter are *obsessed* with the appearance of perfection, so...? Any deviation from the "norm" is considered scandal-worthy. It said weakness. It said you couldn't control your house. Now... THAT had real promise. The writing pit discussed it a lot. So I think it's fair to say that the gay fairy was already circling Dorian even before we got to the romance talk. I think it's also fair to say that the rest of the team realized I low-key wanted to write him, because when everyone started calling dibs, who was left standing for me? (I pick last, remember.) I gleefully snatched him up and got to work... ...about six months later. I was very busy at the time. 😅 That late start meant I had to design and write VERY quickly. And I did. Somehow, though, this one... it came easily. "Catty gay man" isn't digging very deep, no surprise to anyone who knows me, and it had an extra layer of being so fun because Dorian was confident. He sparred verbally. I loved it."

"There was more to it, however. The conflict between Dorian and his father... ugh, how do I say this? Let's be clear: Dorian's story is not MY story, but it's also not far off. I wrote the entire confrontation scene in one go. After I was done, I probably cried harder than I ever have in my life. 🫠 I was unsure whether it was any good, however. I just didn't feel objective. I passed it over to Cori May - my friend but also Dorian's editor - and asked her to please tell me and be honest. She read it. She walked into my office after, tears streaming down her face, and just nodded. "It's good." Here's the thing. Not everyone is going to agree with this, but: I don't think a writer NEEDS to be a minority in order to write a minority. Sometimes those characters should simply exist, and we want them to. But if that character's story is ABOUT their experience as a minority? That's different. Dorian's story didn't need to revolve around his sexuality - and, honestly, it only did so as a tangent to his family issue, but they're so bound together it's probably irrelevant to split them - but my writing him meant it could be. It allowed me to SAY something. That felt good. It felt right. Ramon Tikaram came on board after a lengthy casting process (so many British Indian accents, oh god). I sat in on a few recording sessions... the confrontation scene, though? Ramon: *says line* Me: (curled up on a nearby sofa in fetal position) *shaky thumbs up* Caroline: "Yep. Great work, Ramon!""

"Dorian's sexuality isn't all he's about, but that's certainly how some viewed it. When the character was announced in 2014, his being gay was mentioned as the last of a number of points, and the instant response from some gamers was to act as if we'd called a press conference just to say THAT. 🙄 It was annoying. Still is. Overall, however, the reaction to Dorian was very positive. The number of straight men who said they romanced him still pleases me. The number of fans who privately contacted me who'd been through conversion therapy, some who said Dorian helped them survive? Well. Gosh. 😭 I did write him for Trespasser - though I hear that a late scope cut meant every conversation had been chopped by 1/3rd or more, and that meant a lot of nuance lost. Which is sad, if true, because it sounds like the result of that left some Dorian romancers a bit cold. Such is how game dev rolls. 😔 If you need more proof of how it was hard for me to let go of him, a short story I wrote after Trespasser came out where Dorian has a bit of closure with his dead father: medium.com/@davidgaider... So yeah. He'll always be my boi. And I'll always be thankful Bio gave me this opportunity. ❤️"

[source thread]

User: "I'm not going to lie, it's hard to take my mind off Dorian almost having a monkey." David Gaider: "If by “almost” you mean there was a picture of a monkey that the concept artist put there as a whim, and which would almost certainly have taken more cinematics and modeling time to put in than we could ever afford… then yes. 😉" [source]

[writingwithfolklore]

Writing a Story from Start to Finish - Guide

                I see you guys in the tags and reblogs talking a lot about how you have a desire to write, but have no clue what to write about, or where to even start figuring that out. While starting any project can be incredibly daunting, I wanted to put together a little guide to hopefully make it a bit more accessible. Be warned, this will probably be a long post.

Step 1: Form an idea

All writing begins with this: an idea. Ideas can start as small as an object, or as big as a world or cast of characters. What’s important is that your idea genuinely interests you, and makes you want to explore it more.

                There are a million ways to gain inspiration for ideas, but my favourite method is a sort of brainstorm/mind map of all the little and big things you find interesting. Any tropes, characters, places, concepts, objects, animals, other stories, etc. you love—write them down. Then, start connecting the pieces. Each connection is one concept or idea you could explore further.

                If this doesn’t work for you, try using some writing prompts or check out 15 ways to spark new ideas.

                If you are a planner, proceed to Step 2. If you are a pantser, skip to step 7.

Step 2: Create your Protagonist

Now that you have a sort of concept or inspiration to work off of, you need your main character. There are about as many ways to create characters as there are characters themselves, and each method is going to work better or worse for every writer.

                At the barest minimum, all your protagonist needs is a Goal to work towards, a Reason for wanting it, and a Flaw that keeps them from having it right away.

                These three things can form a baseline character. Consider what the thing they want, why they want it, and what’s keeping from it says about them as a person.

                Rapunzel (from Disney’s Tangled) wants to see the ‘floating lights’ on her birthday. She wants to because she believes she will learn more about herself through seeing them. Her fear over disappointing and disobeying her ‘mother’ keeps her from it.

                My favourite character creation technique is actually Here—it takes you through creating character in order to create story.

                If that one doesn’t work for you, try this one. It is more focused on defining traits and figuring out the personality of the character first.

Step 3: Your Plot is your Protagonist’s Arc

As stated in the character creation technique I shared in Step 2, character is plot. By that I mean, the character’s journey is the plot of the story. We’re here to see the protagonist transform because of the circumstances incited in the beginning.

                So to form a plot, we need to know who the character is at the beginning, and what they need to learn by the end.

                Your character’s arc is A but B so C:

                A – your character and their flaw

                B – The conflict they go through

                C – how they change

“Obsessed with success, Jenny Beech works tirelessly to earn the approval of her strict parents and graduate top of her class, but when the new girl in town pulls her into a whole new world of excitement and fun, she must stand up for herself against her impossible standards and learn how to be a teen again.”

                This one sentence has everything we need to know about this story and character: “Obsessed with success (character trait/flaw), Jenny Beech works tirelessly to earn the approval of her strict parents and graduate top of her class (goal), but when the new girl in town pulls her into a new world of excitement and fun (conflict), she must stand up for herself against her impossible standards and learn how to be a teen again (change).”

                If you have these three things, congratulations! You already have a story. If you’d like, you may begin writing it now (skip to step 8). Or…

Step 4: Theme

                I did a whole post on theme you should check out here. Essentially, the big takeaway is that your theme is a lesson to impart to the readers—which means it is not a question, it is an answer.

                For the example given above, our theme would likely be something like, “Teens need to balance their additional responsibilities as they mature into young adults with the joy of being young and having fun.” Or, “Friends and a close social network is more important than having the best grades.” Or, “It’s important to take frequent time away from work in order to maintain one’s humanity.” Etc. Etc.

                Theme is conveyed through what your characters need to do to succeed (or what they do that causes their failure). If Jenny lets loose and suffers consequences for it in the end, we’re saying that she should have stuck to her studies rather than letting herself have fun. If she lets loose and is rewarded with a greater relationship with herself and her parents, we’re saying that was the correct thing to do.

Step 5: Outlining

                Now that we have a plot and a theme, we can outline our story. An outline is like a roadmap of what you’re writing. It can be as specific or broad as you want. My outlines tend to follow this structure, and I improvise the little stuff in between, but if you need to get all your ideas within your outline, that’s good too!

                Just make sure your notes make sense to you so when you need to know where to go next, you have a handy tool just for that.

Step 6: Worldbuilding

                Worldbuilding is probably where you’ll spend the most time because there’s just so much. However, I also find it one of the most fun parts. The minimal thing you need to know is your world’s normal, and how that normal is disrupted in the inciting incident.

                Jenny’s normal is school work and trying to impress her parents. The disruption is the new girl in town.

                Rapunzel’s normal is the tower and her hobbies. The disruption is Flynn breaking in.

                I did a more in-depth post on worldbuilding here, but the basics is just ask questions, explore consequences, and do plenty of research.

                Which brings us to…

Step 7: Research

                This can also be done after your first draft, but can’t be skipped entirely. It’s important when trying to convey experiences that may not be wholly your own, or unique perspectives, that you understand the context behind those things in the real world.

                Once again, ask questions, talk to people, and remain open to what you find.

Step 8: We can start writing now

                Now that you have all your planning ducks in a row (or have a good inspiration to jump from) it’s time to start writing! Either go from the outline you built, or just try out scenes. I have some tips for actually writing the dang thing that I’ll put here:

                Let me know how your writing goes, good luck!

[felikatze]

Euphrasie and the End

A Deep Dive into the Head Housemaiden and her symbolic meaning

Introduction

Spoilers for the whole game, and also the prologue, by the way.

Hello everybody. You may know me from that other post about Euphrasie or maybe the ludonarrative essay or the QOL one. No matter the case, today I return to my favorite side character, Euphrasie, the Head Housemaiden.

This all starts with a central thesis you're likely to be familiar with.

Euphrasie represents the end. In the most literal sense, she is where every journey ends. She is the representation of Siffrin's fears. With every repetition, Siffrin grows to dread and fear the sight of her, more than they ever do facing down the King again.

And I want to look at that.

The Damsel

It's a tale as old as time. The big bad has kidnapped the lovely princess! Everyone, we must save her! And so, our epic tale begins, as Mario chases after Peach and Link vows to return and save Zelda -

That, quite obviously, is Euphrasie. Albeit not your traditional princess, she's still a female figure with great importance to our protagonist. (Our protagonist, quite obviously, being Mirabelle.)

Mirabelle's entire journey begins with her fleeing the House and embarking on an adventure with one goal - return home, and free everyone. ISAT invokes many many many stereotypical RPG tropes.

It uses those tropes by going, well, you know how the story goes, let's get right into the meat of it, yeah? Because ISAT is a story that only works on the precipice of an ending. It's the last dungeon! We're back in starter town, transformed by the big bad, and now we gotta take it back. (Like, do I have to invoke Ocarina of Time, or something? You know how it goes, you've seen this story before.)

Siffrin isn't afraid of the journey, the intro makes that blatantly clear all on its own. This entire journey is, quite literally, the happiest Siffrin can ever remember being.

He doesn't want it to end.

The story ends when you save the damsel. She will reward the heroes (usually with a kiss, but this time with a hug), thank them for their efforts, and then the credits roll. If we want to stay here and be pedantic, we can pull examples out of our hats all day for this trope as old as time.

Euphrasie is the end, not just within the context of the game's individual story, but for its type of story. Pretty woman, trapped by the bad guy, last person to be saved, emotional importance to the protagonist, dramatically awaits the rescue by her dashing protagonist after giving her the magic ocarina blessing to give Mirabelle her Special Protagonist Power that makes her super special and immune to the bad guy.

Euphrasie also gets the addition of being the wise mentor, combining tropes a bit, though I don't think it's uncommon for mentor figures to be the kidnappees either, even if the example I'm thinking of first is Eyvel from Thracia 776. (And you see once again, that I am incapable of thinking outside of Fire Emblem comparisons.)

So, simply from her role alone, we expect her to be the story's natural conclusion, but the setting helps that point, too. It's the rooftop of the final dungeon. Very obvious location, yeah?

The game's structure also builds anticipation into meeting her. Here and there, you hear about her from Mirabelle. And, right before facing the King, that's when Mirabelle talks about Euphrasie in-depth, how Euphie should've been the chosen one. We've got a lot of ideas about Euphrasie now, we're thinking about her as we go into the final boss.

And Siffrin dies. Duh.

We're so close to the end, and it's torn away from us. We need to get to it, get to her. Finally get past the King to meet her.

She's the conclusion. And in this moment, she is the goal, too.

Speaking of the King, though --

The True Final Boss

As Siffrin faces the King again and again, they grow less scared. More jaded. If you die to him thrice (or play START AGAIN), you get the option to say "Let's just get right to it", and skip his entire monologue.

After all, you've beaten him once. You can do it again. So who cares about him, yeah? Facing him only gets easier and easier as the game progresses. The King may be scary still in some story aspects, but in gameplay? Not a chance.

ACT 4 doesn't end with him. It ends with her.

As Siffrin faces Euphrasie again and again -

(No, no, no, she could've answered your questions, why?!?)

(Even though you asked for something different at the start of this conversation...)

(WHY IS SHE REPEATING THE EXACT SAME THING?!?)

Siffrin (yelling4): "JUST TALK TO ME!!!

Talking to her again makes her scarier, because Siffrin may have gotten past the King, but he's never gotten past her. For all intents and purposes, Euphrasie is the final boss of the story.

Again, ACT 4 - Siffrin's deepest moment of despair, confirmation of ultimate failure, is her.

Speaking of final bosses...

They both cut a rather striking silhouette, don't they?

Yes, yes, islander theory, white hair. That's an in-universe theory though, but the point is, it does make them look similar. They both have long cascading white hair, they're both extremely tall. They are both similar yet different in appearance.

Euphrasie is rounded where the King is jagged, namely. Soft where he is imposing. But those similarities still remain. Contrasting figures that only enhance the similarities all the more.

(I felt utterly insane for seeing this, but. Do you see it. DO YOU??) (Like. Outside of any theory stuff, her being the only person to have white hair beside King and Siffrin, long white hair to boot, has thematic signifcance as well, yes?)

[Side note: Yes, it is utterly irrelevant here that insertdisc5 said her hair is dyed, because it is STILL a striking resemblance of character design that can be interpreted with symbolic meaning, thank you~)

The trangles.

Though she may overshadow the King as the Endpoint past ACT 2 in ISAT, she does not in START AGAIN.

In START AGAIN, the ending beyond does not exist, for all intents and purposes. The endpoint was pulled forward. Whereas ISAT Siffrin's true dread sets in after beating the King, in SASASAP, it does so in the break room right before facing him.

Or, well, the resignation.

In In Stars and Time:

Siffrin (fake1): "Hi." Siffrin (fake1): "You can start breaking down now." Euphrasie (sorry1): Breaking down...? What do you...

In Start Again:

(You wonder how everyone will die this time.) (Will the King beat them with Craft until they are no more?) (Will he freeze them in time, unable to move or breathe for all eternity?) (How will YOU meet your end?) (In blood and stars maybe... In tears and time perhaps...)

The natural acceptance that, (you can look at the title of this again) this is the end. That there is no getting past this. They are both the last obstacle that can never be overcome, between the games.

Hell, just COMPARE SAP's true ending to like, the end of ACT 4.

Siffrin awakens in the meadow. Everything was in vain. Everything was useless.

Siffrin finally, after a thousand loops or even more, beat the King. This is supposed to be the end, but it's not. So, this proves once and for all that there is no escape. They're trapped here forever.

They built it up for so long in their head that all they have to do is beat the King, and then the suffering's over.

And in ACT 4... Siffrin builds it up for so long in their head... All they have to do is ask the Head Housemaiden about Wish Craft. That's it. That's the answer! After that, it's the end! It'll be over! He just needs to do this one thing...

Loop (away1): ...Is that so? But, didn't you already-- Siffrin (unhinged1): "It is so!" Siffrin (unhinged1): "I might be able to break the loop, somehow!" Loop (away1): ... Siffrin (unhinged1): "You know, it might just be that I need to make everyone's wish come true! And everything will be back to normal!" Siffrin (unhinged1): "If I talk to her, she'll know, she'll be able to tell me what to do..." Siffrin (unhinged4): "If I can just talk to her...!"

And is wrong, of course. They wake up in the meadow and despair. So, this proves once and for all that there is no escape. They're trapped here forever.

Siffrin: "Or, or does it mean-- It means--" Siffrin: "It means I'm stuck here for good, aren't I?" Siffrin: "Forever?" Loop: ... Loop: . . . (. . .) Siffrin: (No.) "You think I'm stuck here forever."

It's the exact same mindset with different characters representing the end point. The parallel becomes even more evident in that Siffrin's very last manic shot at victory is the exact thing that proved Loop's failure - supposing that the King is the true end point.

Yet it's also different, in what these two characters represent.

The King is very much a representation of the past. His fate in ACT 5 ultimately proves what it means to refuse to let go - being frozen in time is both a metaphor and very literal. He's stuck in the past, by choice. He could've lived and chosen to embrace Vaugarde and move on, but he didn't.

Y'know, he's a bad end Siffrin, metaphorically (albeit not literally. Narrative mirrors and all.) He's what Siffrin would end up like if they never learned their lesson. If they keep refusing to let go of the past... and embrace the future.

Euphrasie's Agency and lack thereof

To Siffrin, there is no future. They can't conceive of what happens after this journey. So, the character marking the endpoint of the journey, and the start of a new chapter in Siffrin's life, cannot see a future either.

It's... fascinating, to me. How Euphrasie is a vessel of Siffrin's insecurities by force. Siffrin's Wish has taken hold of her. It's using her as a stop, on purpose.

Odile (worried2): Because... Talking to you... Means our journey to save Vaugarde is really over, isn't it? Odile (gimme1): And for you, Siffrin, it also meant all of us going our separate ways, doesn't it? Isabeau (angry1): The very thing the loops were trying to stop...

(Points at my first point about Euphrasie being the Damsel, and thus the natural endpoint of any given RPG. Hey. Hey do you see how obvious this is yet.)

Euphrasie seems to have some sort of ability to feel Wish Craft, or the Universe, or Change, or whatever. She knows what her role in this play is, most of the time. "I can feel it! We both know this! It's all over when you talk to me!"

(IT'S ALL OVER WHEN YOU TALK TO HER.)

What she says mirrors what Siffrin thinks about her. This becomes most obvious only in retrospect, looking once again at the ACT 4 finale.

Euphrasie always says the same thing, because she is the end and the end can neither change nor ever arrive, but she can only say something new in one circumstance.

Siffrin (angry4): (You just wish she would ANSWER YOU!!!!!!) "Now that you know, now that I know, you can fix it!!!" Euphrasie (ending3): . . . Euphrasie (ending3): Fix it?

When Siffrin wishes for her to. Her capability to act in new ways is directly controlled by Siffrin's desire. Since the entire loops are caused by their subconscious desire to stay with everyone, she fulfills the role of keeping everyone together.

Thinking back on what she says...

"I know you thought your quest was over, but it can't be."

Your quest. Yes, quest is also used in a general story context, especially in fantasy, but Quest has long since become a well-established term in video games of all stripes. Sidequests, Main quest, hey, isn't it weird how ISAT refers to all its storylines as quests?

Friendquests being the obvious example. Fetch Quest, Companion Quest, Tutorial Quest, Really? He doesn't need your help with a quest?

But outside of that... I know I just know these terms because of my script wizard activities, but every storyline is a quest. Kingquest. Loopquest. Friendquest.

There's any number of words that could be chosen ("journey" probably being most prominent) and yet she says quest. By using a term inoxerably tied to video games by this point, she's saying "I know you thought the game was over, but it can't be."

And see how the game uses glitched imagery and static to represent everything breaking down, both at the end of every loop, and in ACT 5. This imagery is just confusing and means nothing to the characters, but is very obvious if you are Playing A Game.

The fuzzy static of an old TV, the bars of screen corruption, random symbols in text, the distorted music like a malfunctioning cassette tape…

If I may be so bold as to harken back to one of my own previous essays... The timeloop is the game.

It all ends when you talk to her. Everything ends when you talk to her. The goddamn game ends when you talk to her for the last time.

I got a bit of track here from the point, which is- her agency.

As we've established, she functions as Siffrin's own stop, on purpose. She can only act independently when Siffrin wishes her to.

And her not doing so is the beginning marker of everything breaking down in ACT 5, as well.

When Mirabelle interrupts her usual greeting speech, Euphrasie reacts differently immediately. She takes a look at Siffrin, diagnoses them with Craft overusage, and says they just need rest.

"But he'll be fine, now that the battle is over."

But, as usual, she can... sense what's happening.

"Every time I've tried to reach out and feel what's happening, I sense... Chaos..." "It feels like something is... Rotting..."

Mirabelle: "...?" Isabeau: "Rotting...?" Euphrasie: "I know you thought your quest was over, but it can't be! Something's broken, something's failing, rotting!"

She even skips back and forwards between all her different lines, everything Siffrin expects of her and has memorized by now, when we've seen that she was acting differently just a moment before.

It's Siffrin's wish kicking in again that marks the final straw once more, their clashing desire to stay in the loop against his desparate will to escape, resulting in Euphrasie being torn between who she actually is (acting new! moving forward!) against what Siffrin needs her to be.

(you're still stuck here) (but isn't it fine?) (eternity is within your grasp)

Mentioning eternity even harkens back both to the King ("I just want eternity.") AND the ACT 4 ending ("To know you'll be trapped for all eternity, Siffrin... I am so sorry!!!").

Again, like, Euphrasie's agency being torn from her, falling back into that old pattern, is what marks Siffrin realizing he's been wishing for eternity this entire time. It's written on the wall all over ACT 4.

Like, literally, textually, if you choose to pray to the intact Change God statue in ACT 4, Siffrin's prayer is "(You wish for eternity.)"

Because in the course of all these loops, Siffrin has been denying everyone's agency. Euphrasie is just the most prominent example. In ACT 5, by wishing for eternity, what Siffrin has (accidentally) forced onto Euphrasie all this time, he is trying to force onto everyone.

Whether or not Euphrasie is allowed to be a person is a direct marker of Siffrin's ability to escape the loop. It's only over when she's allowed to be free.

Euphrasie is the first person in the ending to mention going home.

"Finally, you'll all be able to go home!!!"

But in ACT 6, she doesn't. She doesn't mention going home at all. Instead, she tells everyone a new story. One Siffrin's never heard before.

Allowing Euphrasie to be free turns her back into the symbol of change that she's supposed to be. I'm repeating myself, but it truly is her change that is the definite, 100% sure marker that Siffrin is free, too. That the future is here.

Why are circles a symbol of change, anyway?

In me saying, Euphrasie symbolized stagnation, until Siffrin allows her to stand for the future again, it is irony. It is immense irony that the Head Housemaiden of Change Itself turns into a symbol of endings and stagnation through Siffrin's denial.

And, on the topic of irony, I ask you:

When the hell are circles a symbol of change???

You know. Circles. The things that famously represent cycles (wow, wonder if those words are related), repetition, infinity and eternity.

Isn't that weird. Isn't that ironic. The entire symbology of the House of Change is supposed to represent, well, Change, but just amounts to representing cycles (yknow, THE LOOPS. LITERAL TIME CYCLES.) through the recontextualization of Siffrin's experience with them.

Even the Change God doesn't oppose the time loops, instead being excited for how Siffrin changes as everything else stays the same.

The circle symbol is a witty act of irony from a design standpoint, and one I must only applaud, because why the hell didn't I see that sooner.

No, like, for real. If anybody knows some real life religion or culture where circles represent change and new beginnings instead of revolutions or the turn of seasons or the cycle of life and all that stuff. Please do tell me about it? I'm not omnipotent.

But generally, the irony of Euphrasie carries forward into the irony of the Change religion as in-universe these are symbols of change, but out of universe, to us, the players, they're symbols of repetition. Just like how to everybody else Euphie is a change, but to Siffrin she is stagnation. (Re: my other essay where I compare Siffrin to a video game player and the timeloops to a video game and I go on a whole metanarrative tangent.)

This plays into the metanarrative! Making meaning to the characters and to us incongruent! And it's cool as fuck, what can I say.

To cap off, let's compare what she says in every normal loop, and ACT 6, won't we?

Euphrasie (smiling4): Finally, you'll all be able to go home!!! Euphrasie (smiling3): If there's anything the House of Dormont can do to thank you... Please do not hesitate. Euphrasie (thankyou1): But for now... Bask in the feeling of a job well done!!!

And, in ACT 6….

Euphrasie (smiling2): I'm sure you must have a lot to talk about with everyone. Euphrasie (smiling1): But be sure to talk to me when you're all done! Euphrasie (smiling4): So I can happily bless you and your companions' new journey!!!

A Plain Ol' Euphrasie Character Analysis

Heyo, that finishes my essay on Euphrasie's symbolic meaning about narrative and shit! But...

It feels kind of mean, to write so much about what her agency and lack thereof represent, without actually talking about who she is. I didn't mention that a lot, see, because it's not important. Because that part's not important to Siffrin, because during the timeloops, Siffrin doesn't see her as a person.

So. Let's talk about her! Who is she? What is she like? What does she do?

Personality

The Good and the Funny

She's really funny. I mean it. Generally, she loves to joke around, and she has this ojou-sama style "Ohoho~" laugh that I find utterly delightful.

Siffrin (tired2): "But you might know something about--" Euphrasie (smiling4): Ohohoho! Euphrasie (smiling4): Sorry, I know nothing until you talk to your friends! Euphrasie (smiling3): And quite honestly, it is a little funny to see you get steamed about this, ohoho!

So many things in this bit. This is from when you try to talk to her before all the others in a regular loop. The reason she doesn't talk back first is of course because of the whole Agency thing (see above), but also, it's funny for her to take the piss.

Yet her wanting Siffrin to talk to everyone else first also shows that she's a very considerate person! This is The Saviours' Big Moment, and she is dying to talk to Mirabelle's new friends, but she doesn't want to take away from that. She's gonna give them her moment, and only butt in once all the hugs and tears and cheers have been had.

You can see this in ACT 5, too. She doesn't pass out or anything when Siffrin smacks her away, she just recognizes that her presence is upsetting to Siffrin, she doesn't know them or their problems, so she's gonna step back and let them figure it out themselves.

Euphrasie (smiling4): Ohohoho! Don't worry about me, everyone! Mirabelle (awawa1): H-Head Housemaiden! You're okay!!! Euphrasie (smiling3): I am! I was staying away for a little bit. Euphrasie (thankyou1): You all seemed like you needed to talk, so I was patiently waiting for you all to finish your conversation! Bonnie (serious1): That's very considerate of you. Isabeau (hahaha1): It IS very considerate of you!

She even during the hand holding scene is SO considerate that she doesn't speak up and include herself until Odile asks her to join in. Which might be a bit much, actually.

Odile (lol2): Fine. Let's hold hands, then. (Odile takes Bonnie's hand.) Odile (yeah1): Head Housemaiden? Euphrasie (thankyou1): Oh! Yes, of course!

That lil "Oh!" showing she's surprised to be adressed and included in this conversation.

Anyways, the previous exchange also gives us two OTHER delightful facts about her.

Euphrasie (smiling3): I haven't had this much fun since reading the last issue of "The Cursing of Château Castle"!!!

Meaning:

She's a bit of an adrenaline junkie, and considers getting slapped across the room "fun"

The coveted last issue of Cursing of Chateau Castle in the pottery room is hers.

Delightful woman. I love her.

She's also pretty frank! She talks a lot in snappy phrases and witticisms. She's kind and patient, for one, but really not afraid to mince words.

Euphrasie (smiling4): I thought we all knew that the Change God is a pretty lazy deity! Bonnie (wait1): Wow... Odile (urgh1): Isn't that a sacrilegious thing to say...?

Really makes me like her all the more that secondhand, she comes across as graceful, larger than life, almost, and then she simply doesn't care all that much about propriety and what someone of her station is actually supposed to be like. It really fits in with the Change Belief and the ethos of being true to yourself that she doesn't bend herself like that.

I'll also continue to be delighted that she described the King defeating her as knowing that "[she] was toast", just, she's just so casual.

Guilt and Responsibility

In more serious matters. The guilttttttt.

Yeah, she's casual, but she still obviously puts a lot of focus on her responsibility to the people of the House, of Dormont. We know that she was preparing for the King to arrive. She was studying Wish Craft, she was contemplating counter measures. She was making charts of who wished what to figure out whether this could stop him.

(...The Head Housemaiden...) (She's the one who wrote this. She knows about Wish Craft.) (She knew something was wrong, this whole time.) (She might know... How to...)

There's a degree of paranoia evident that we don't see in any of her time onscreen, but you can wonder what it says about a woman to have a deadly rock trap in front of her office.

AND she doesn't have her key out in the open, she has it taped to the underside of her desk drawer. Not an infallible hiding spot, but still hidden, and not just stored.

The other people in the House were all also revealed to be the ones locking doors in the party's path, hoping that it would stop the King.

Bonnie (sad1): . . .You know, I was wondering... Bonnie (sulk2): Like, the King clearly closed this door, and put the Tears in our way... Bonnie (sad1): But the... But the locked doors, weren't they... Mirabelle (sad2): ... Odile (dotdotdot2): Yes... We were wrong. Odile (dotdotdot1): They were most likely locked by residents of the House.

Speaking of people hoping to stop the King, she has a mountain of notes on him in her office as well.

(Some notes about the King.) (The Head Housemaiden must've been looking for more information about him...)

She hid her key, trapped her door, and before that, gathered information on the King and how to counter him. So, let me ask, do you think she improvised her blessing?

Mirabelle (excited1): She's also a great Crafter! She always creates wonderful items that makes everyone's lives easer! Mirabelle (awkward2): She taught me so much... Most of the Craft skills I know, I learned from her.

She's a skilled Crafter to boot, eh?

Looking at this, I don't really think so. Beneath that jolly front, she is a logical and pragmatic woman. Looking at her ability to specifically counter the King's Curse in context of how much we know she prepared for his arrival, I believe she prepped this blessing beforehand. Whether she actually finished it, I don't know, but she had to pick Mirabelle as a subject for it quickly and under duress.

Mirabelle wasn't the ideal choice. She was the logical choice.

Euphrasie (smiling3): Well, I only had the strength to bless one person, and I was already toast, and you were almost out of the House when the King attacked... Euphrasie (smiling3): So, really, you were the only logical choice!

There are some more emotional reasons for the pick, which I'll go into later when talking about Mira, but, still. She mentions this first, before going into Mirabelle's virtues as a person.

Plus, Claude (who will also get a section later), is the person closest to the King and Euphie. She's got the Secret Ingredient for the bomb on her, and had obviously been working on making a Craft Bomb beforehand, as discovered by the gizmo gadget in her room.

Combined, we can surmise that Euphie and Claude were both making different preparations to counter the King, with Euphie focusing on Craft both by studying Wish Craft and working on a Craft to nullify the King's Curse, whereas Claude just worked on a bomb to blow him the fuck up.

Euphrasie was, simply put, working to protect the people she cared for. It's her responsibility.

And she failed.

LET'S TALK ABOUT HER GUILT!!! WOOOO!!!!

When you talk to the people in Dormont during Loopquest, some of them mention the Head Housemaiden also asking them about their wishes, but none of them know why. This implies that Euphrasie was covert in her research, likely not sharing her information either because she was unsure of its verity, or to not cause undue panic. The only other person we see with less than impromptu countermeasures is, after all, literally just Euphrasie's girlfriend, who would be the number one person Euphie would confide in about this stuff.

Even then, though, there is no concrete evidence that she did confide in Claude, outside of Claude preparing the bomb, which is circumstantial at best. Really, did she not have any issues with Siffrin's treatment of her in ACT 5, or did she just swallow it down out of pragmatism?

Can we be sure that it's sincere, when she brushes off Siffrin's worry for her?

Siffrin (US_guilty2): "You said the things you always say when I come and talk to you." Siffrin (US_guilty2): "About how the world is rotting." Siffrin (US_sad1): "And you can't do anything to help." Euphrasie (sorry3): Hm... Euphrasie (smiling4): Interesting! I don't feel like saying it now, though! Euphrasie (smiling1): Or at all! The wind feels nice and fresh. Euphrasie (smiling4): It just feels like a beautiful day, doesn't it?

After all, in the loops themselves... She's the first to notice it, every time. She knows, deep within her bones, that something's wrong, and that it's her fault.

It's especially potent symbolically, that the phrase she never gets to finish is "I hope you can learn to forgive us."

Which is a phrase that received a slight change from its comic counterpart:

"I hope you can learn to forgive me."

Regardless of the me versus us, she, with the most intimate knowledge of Wish Craft right next to the King, directed the people of Vaugarde's wish, and knows that Siffrin ended up as the Wish's subject. She can't know that this is a side effect of Siffrin's wish being entangled with her own, but she does know her own wish is involved.

She starts crying. She's disraught. She breaks down.

Euphrasie (ending2): I can't fix it on my own, not before it all ends... If only I had noticed sooner!!! Euphrasie (ending1): I should've seen it, prevented it!!!

She says that she should have seen this and prevented it. It was her responsibility to do this, and she failed.

Euphrasie (ending2): It's my fault that you have to suffer like this.

Again, she was the only one who knew, the only one who could have ever possibly had any shot of defeating the King before things got too bad. But she fucked up, he stormed in before she could prepare properly, and she squarely lost whatever confrontation might've occured between her and the King.

Euphrasie: Something goes wrong, every time!!! Euphrasie: If you're here now, asking about Wish Craft, then something must be wrong, isn't it? This isn't the first time you've gotten this far, isn't it?!? Euphrasie: It shouldn't be like this... Why does time loop back, even though the King has been defeated?!? Euphrasie: The only answer I can find... Is it's because we did it wrong.

She's responsible, pragmatic to the point of paranoia, and it wasn't enough. Of course she feels guilt. A lot of it. After all, she believes that she personally has doomed someone to eternal stagnation. That she has caused all of Vaugarde to be trapped, and for one person to suffer for it. That she caused all of Siffrin's suffering.

It's so odd to me that she manages to immediately grasp that Siffrin is in a timeloop. It could be Siffrin's wish using her as a mouthpiece, it could be that weird innate connection to the Universe she seems to have, it could be her own immediate deduction on the logic of Wish Craft, or it could be a combination of all three.

But point is, she recognizes Siffrin's looping without having to ever be told about it. And I do not think that goes away, even in ACT 5 & 6. It's just not the time and place for her to speak on her own struggles right now, not when Siffrin is finally getting the help that she cannot provide. Not when she can recognize that she is the conductor of everything that just occured, which, again, nearly broke the entire work.

Euphrasie: If only... If only we had fought back against the King, instead! If only we didn't wish for such a thing! Euphrasie: If only I knew this would happen, if I had noticed it sooner, I would never have let people wish at all!!! Euphrasie: To know you'll be trapped for all eternity, Siffrin... I am so sorry!!! Euphrasie: It's our fault, all of Vaugarde, that you have to suffer like this!!!

She gathered her intel and made her bet. She just made the wrong one.

(Yet what she never seems to recognize is that this had to happen. That without the timeloops, yeah, the King wouldn't have been defeated! The country would have been frozen!)

(But that doesn't mean anything, does it. When she had to take away Change Itself from some innocent bystander.)

Relationships

Anyways in more cheerful news let's look at the two most important people to Euphrasie we know of.

Mirabelle

Mirabelle!! The Meeble!! Euphrasie is super important to Mirabelle, and Mirabelle, in turn, is super important to Euphrasie.

From the third snack break:

Mirabelle (sad2): The Head Housemaiden... She's such a wonderful person. Mirabelle (sad2): She helped me out so much! I couldn't do anything before I came to the House, I could barely sew my own clothes, and she helped me, she taught me... Mirabelle (sad2): I wouldn't be the person I am without her! Mirabelle (sad2): And when the King attacked...  She protected me. Mirabelle (sad2): Everyone... Everyone was being frozen in time around me... Mirabelle (sad4): And the Head Housemaiden made sure I could escape! Made sure I lived!!! Mirabelle (sad4): She gave me her blessing...!!!

Similarly to some of the other older Housemaidens, Euphrasie had a big part in raising Mirabelle (which does imply some things about Mirabelle's past, but that's not the point right now). We don't know the exact sequence of events for Mirabelle escaping (outside of Mirabelle happening to be closest to the door), but Mirabelle adds some action to Euphrasie during whatever happened, saying Euphrasie "protected her".

From Euphie's office:

Mirabelle (sad2): But the King was too strong, and attacked out of nowhere, and now... I don't know what happened to her. Mirabelle (sad2): When I fled the House... The King might've already... ...

They weren't in the same room, Mirabelle doesn't even know what exactly happened to her, but still says Euphie protected her, and obviously shows great esteem for her all around.

Mirabelle just loves Euphie so much, man!

Euphrasie (sorry3): And, Housemaiden Mirabelle... Euphrasie (smiling1): You have always been the most hardworking Housemaiden in the House. Always striving to learn new things. To better yourself. Euphrasie (smiling2): Always meeting challenges head on, even if you didn't think you'd succeed. Euphrasie (smiling3): You were the only logical choice, yes, but you were also the only RIGHT choice! Mirabelle (sad2): Head Housemaiden... Mirabelle (gentle1): No, Euphrasie... Thank you!!!

Mirabelle credits Euphrasie for the person she is today, but Euphrasie turns that back and gives credit to Mirabelle's own strengths. It's just, very cute. She might have taught Mirabelle her literal skills, but the determination and bravery were all Mirabelle's own.

This scene also demonstrates that the bond goes both ways. Euphie loves Mira right on back, and considers Mira to be "stinking cute!" which even the Change God Themself agrees with. She's so proud of Mira!

I also wanna point to the switch from Mira using Euphie's title, to then using Euphie's name after Euphie reaffirms how proud she is of Mira. Throughout the entire adventure, Mirabelle's unwitting deception (that she had been blessed by the Change God instead of by Euphie) had weighed down on her, and Mirabelle kept questioning why she was the one who had to go on this journey, when Euphrasie would have been so much better at it. Like she stole Euphie's spot.

I think that bled into the relationship, here, that she kept imagining Euphrasie being disappointed in her, so she uses the title to make some distance to that mental image. It shows off how distant and unreachable Euphrasie is.

(It's also just a good show of politeness from Mirabelle. Like, if I'm talking to my mother, I'll call her Mama, but if I am talking about her to someone else, I'll say "my mother", as demonstrated by the first part of this sentence.)

Lastly, really minor thing: apparently, Euphrasie is looking into dual Craft types! That's one of the random papers on her desk.

(It's an essay about the 3.5% of people who are dual Craft types users, like Mirabelle.)

That makes me think she started reading on it because of Mirabelle, which is cute.

Generally, the basis of their relationship is very much mentor-student, yet it goes much deeper than that with Euphrasie's big role in raising Mirabelle. TLDR: they love each other, your honor. Fambly.

Claude

Second on the agenda, Mirabelle's roommate, Claude!

Lookin at Claude. It's obvious they're romantically involved. The first hint is the letter on Euphie's desk, of course, but that could imply this is a recent situation, too.

(It's a lovely, cheesy, mushy love letter from someone named Claude.)

Except, well, no. The letter isn't sealed, otherwise Siffrin wouldn't be able to pick it up and skim it if they had to open it first. It was already open, meaning Euphrasie already read it.

And, in Act 6:

Claude: Okay! We'll come and say hi later, then. I'll need to go and plant a big kiss on Euphie, anyway.

Claude mentions how she has to give Euphie a big kiss, which you wouldn't exactly do with someone you only just confessed to. Meaning the relationship has been ongoing for a while now, and also implying that Claude still writes love letters to Euphie, or that Euphie kept Claude's initial confession on her desk, both options make them big saps, which is really cute.

Also also, Claude's the only one to call Euphie Euphie, an endearing nickname.

I also touched on before how Claude was the only one to also prepare for the King's attack by making the bomb, and...

Mirabelle (sad1): I... used to think she should've become a Defender, because she was always helping people, and trying out weird experiments to solve their problems... Mirabelle (sad2): And she would always, ALWAYS help the Head Housemaiden with hers. Mirabelle (sad2): Always trying new ways to organize her desk... To help her finish tasks... To make sure she'd get some free time... Mirabelle (sad2): She'd do it with a smug smile, saying it wasn't that big of a deal, that she'd do it for anyone, but... Mirabelle (sad2): If she knew that the Head Housemaiden was in danger... She would've ran anywhere, everywhere, so she could help her. Mirabelle (sad2): Not only because the Head Housemaiden would've solved anything, would've beaten the King if she could, but because... Mirabelle (sad3): Because... Mirabelle (sad3): . . . Mirabelle (sad3): If Claude is this far into the House, she must've... tried to stop the King herself, so he wouldn't get to the Head Housemaiden.

Mirabelle trails off on that last "because" concerning Claude's motivation to go rushing to Euphrasie, and I think, considering the love letters, we can guess what that was. It's quite evident from Mirabelle's words that the two are super close. "[t]hat she'd do it for anyone, but... If she knew the Head Housemaiden was in danger... She would've ran anywhere, everywhere, so she could help her."

Mirabelle's framing of it reveals that Claude wouldn't do those things for just anyone. That Euphrasie is special to her.

In both ISAT and SASASAP, Claude is the last frozen NPC you find, the closest to the King. Her bomb wasn't finished, but it's telling that Claude carries the Secret Ingredient on her person. Whatever it is, she probably nabbed it from her room and set out to help Euphrasie in her fight against the King any way she could.

I guess the summary here is more simple, but the devotion on display is amazing. Like, again, the bomb wasn't done, Claude had NO weapons to speak of, but came rushing in anyway, because Euphrasie was in danger. She loves her girlfriend so much!! They're mushy and silly and affectionate, and, if Claude is the one organizing Euphie's desk, did Claude keep her love letter on display just to show off? Again, it's. It's cute! It's a lot of environmental storytelling for an NPC!!

Wah. Clauphie are so cute. We don't see Euphrasie talk about Claude at all (because Euphrasie does have more uhhh pressing things to worry about), but just, from the letter on the desk, it's gotta be reciprocated.

There's just so much to speculate about how things went down when the King "attacked out of nowhere", because Euphrasie is at the top of the House. Even when the King is defeated and the House returns to normal, it's still the roof. So, did she draw him up there on purpose to give everyone else time to escape?

I personally think Euphrasie was probably frozen first, with Claude rushing in second. So she did hold him off as long as she could, and that sacrifice allowed Mirabelle to escape in the first place. Nothing would've been possible without her. Euphie feels so much guilt for what she's done, but Mirabelle and Siffrin would not have suceeded without her, okay. She's instrumental.

Which is less about Claude and more about Euphrasie's importance, but hey, this is my essay, and I can be as uncoordinated as I want.

The Job

Last thing I wanna touch on!! Just a fun lil thing.

What the hell is a Head Housemaiden anyway?

Mirabelle and Isabeau react scandalized at the notion of people sharing shrines, so it seems unlikely that the House functions anything like a church at all. Every Housemaiden has a personalized figure of the Change God that they pray to in private, as we see from Mirabelle talking about them, in addition to basically every room in the House having one, down to people making more in pottery class. So, it's suuuper unlikely that the Head Housemaiden has much of a religious function. Spreading the good word, maybe, but actually leading prayer? No way.

Odile (wonder1): We make shrines for our gods, and everyone shares the shrines. Isabeau (huhwah1): SHARING GODS............

She seems to have a much more logistical function, being more like. The manager of the House. This is a files thing, but the map for her room is actually called "admin". She also has a lot of quote unquote boring administrative papers on her desk that Siffrin doesn't care about. Makes one wonder how the position is selected, whether one is elected into the office, or it's just whoever wants to do the paperwork to keep the House running.

(It looks like boring administrative papers.) (It's a petition to serve more bread at lunch.)

Mirabelle (happy1): She manages the House and makes sure everyone is happy and fulfilled! She organizes a lot of events too!

Among things such as "what to serve at lunch" and "organizing events", she's more like the headmaster of a community college, especially considering how heavy the House just resembles a community center. Less of a religious institution, more just a place to host fun classes and a living space for all who need it.

It's hard to tell whether Euphie demands a lot of respect due to her person and office, or it's just Mirabelle specifically that respects her most, since most of what we know of the House and its people is filtered through Mirabelle's perspective.

Speculation!

It's headcanon time, babey.

Yup, after straying close to actual facts for so long, I wanna get speculative. You're probably already gonna know islander theory. (And if you don't, go read that. This is like, the third time I linked it.)

But I wanna like, talk about how that influences how I read Euphrasie a lot!! I didn't go in-depth with that aspect in the og theory post but you can swear to any god you believe in that I've thought so so much how this enhances other aspects of who she is and stands for and also SHOUTOUT TO OCEAN!!! WHO ALSO THINKS ABOUT THIS SO MUCH!!! And again in fact thought about all of this before I did and is also someone who talk about excessively about this. AND ALSO GOT TO PREVIEW A GOOD CHUNK OF THIS ESSAY and motivated me to finish this eheh.

Anways! I wanna circle back to some points here first!

That whole past vs future thing

You might recall how I compared Euphie and the King a lot, esp between their respective roles in ISAT and SASASAP being pretty identical. And I said the King represents the past, as he is literally frozen in time, choosing to remember what he has lost instead of living in the present, and Euphrasie represents the future, which can only arrive when she is permitted to be her own person!

So yeah, uh, how's that feel when you suppose that they're from the same country, and thus, suffered the same loss.

Reading Euphrasie with this HC in mind opens up a very neat second parallel to Siffrin. King is someone who can't let go of the country, and Siffrin is torn between not wanting to let go and knowing they have to. So to put them up against someone who has let go is just pretty nifty.

Euphrasie is content with her life and the culture she lives in, even being a pillar of the community! Whereas King is a 'bad end' counterpart, Euphie, in her Showing The Future Function, is the 'good end' counterpart for that, showing that someone in Siffrin's situation can overcome their grief and find new fulfillment.

The End

So! That's everything I got on Euphrasie! She represents The End, but just as you gotta break an egg to make an omelette, she represents new beginnings, too. Her agency and freedom are change itself.

Mirabelle (hm3): It's to remind us that before changing, we must stop and think about what will be irreparably destroyed. Mirabelle (hm1): But destruction is just a part of change, and we must accept it... Isabeau (brag1): Yeah! It'd be awful to keep yourself from becoming a person you feel comfortable with just because it would upset someone else. Odile (huh1): Huh... That's a harsher belief than I thought.

In conclusion, I love her. This has been 7.4k words. Good night!

[gffa]

TALES OF THE EMPIRE wound up being a mixed bag for me, there was a lot I enjoyed but there was a lot that just felt really unfulfilled. Morgan's episodes were very pretty to look at but I couldn't help thinking--the entire time I was watching, even--that Filoni's not great at creating new characters that can carry entire episodes like this, none of this felt particularly necessary or like it was fulfilling a void that I wanted to know more about. It doesn't help that I still think her arc in live action was badly handled, that if she was meant to be a Nightsister from the beginning, her first episode should have dealt with that, instead of springing it on us later, so when filling in the background of her on Dathomir in TOTE, it brings all that up for me again.

Morgan's first episode was so pretty and it was interesting to potentially get more Dathomir lore (even if it's incredibly thin and I felt it was too close to the "we see others suffering in the galaxy, but we don't want to get our own hands dirty by fighting for other people or getting involved in helping others, btw we're morally better for that :)" trope for me personally) but everything on Corvus just felt superfluous to me and I spent time trying to figure out why I felt that way. If they had done her story this way or that way, would I have enjoyed it more? If they had included this or that, would I have thought it more necessary?

And ultimately I just kept coming back to that I don't really care about Morgan Elsbeth enough that I wanted three animated shorts dedicated to her, when I could have had so many other characters get fleshed out better. I appreciated that they were showing two characters on opposite journeys, that Morgan was falling into the dark step by step, while Barriss was slowly clawing her way out of it, but that's about all that I appreciated of Morgan's story (other than the beautiful animation).

But I'm not sure I feel like Morgan's motivations were all that well planned out. It's clear that she's looking for revenge and trying to find a new family at the same time, but it's not really clear why she's working with the Empire or how she thinks this leads her to her goals. Grievous is the one who murdered her village, how does working with the Empire (as the Separatists were folded into the Empire, too) achieve that goal? Who or what is her revenge focused on? Is it that she just wants the whole galaxy to burn, because if her village burned, so should everyone else? I feel like that's probably what they were going for, but that it could have been more coherently written.

Barriss' episodes hit a lot harder, where I'm glad that she at least got an arc, but I feel like it just missed so many marks, like why even have Vader there, I'm all for gratuitous Anakin cameos, he's my trash can man and I'm always excited to see him, but absolutely nothing was done with him, despite that he was looking Barriss right in the face there. Not even a moment of showing the audience, "Oh, his soul is so far into the dark of fear, hate, and rage that he doesn't even care about her anymore." Just nothing there, like there was no connection at all. How do you go to the lengths of putting Vader in a scene with Barriss and then treat it like there's no history between her and Anakin??? So completely unsatisfying!

And then it's another series where other guest appearances would have made sense--Barriss has a whole unfinished story with Ahsoka and you don't include her here? I'm as tired of Filoni putting Ahsoka in everything as anyone else, but here it would have made sense and would have brought that relationship full circle on-screen, Barriss' betrayal of her and her clawing her way back to the light after all the trauma and hurt, there's so much she and Ahsoka would have between them. And then nothing.

Or Barriss' relationship with Luminara, TCW never really got into how that must have felt for Luminara, to have her student betray the Jedi so profoundly, for her to fall to the dark, there's such a well of potential there and it's just entirely ignored. She mentions Luminara once and it was a lovely mention, but there's no sense of resolution or completion to that arc.

I did enjoy her story with Lyn and I try not to compare what the show wanted to do with what I wanted the show to do, but I couldn't help it. During all those scenes, all I could think was that this could have been so much more powerful and complete if it had focus on Barriss' established relationships and characters I already care about, because a new random Inquisitor is just not going to hold the same weight for me as my pre-investment in Ahsoka and Luminara. (On the other hand, with the way they butchered Luminara in the last season of TCW, maybe I dodged a bullet!)

For all that negativity, though, I really loved that Barriss found herself in being a healer again, that she found the light again. That's all I've wanted for my girl!!!! (That and put a headdress on her, ffs.) I legitimately took in a hard breath when she said, "Then you have one more Jedi to deal with." because Barriss is still working through too much to fully come back to clarity re: the Jedi at that point , but when it really came down to it, when she really saw what the dark side really was, part of her still was a Jedi. And the way she spoke of her time as a Jedi, once she had a clearer, lighter head again, was sweet, I was so surprised that we got that much from her, but I'm so glad because, if nothing else, Barriss herself deserves to be in the light again.

The way she was settled into her own skin by the time she confronted Lyn on the icy planet, the way she genuinely wanted to help her, but wouldn't let her hurt innocent children, the way she could sidestep Lyn's predictable moves and could stop the blade with just a hand held out, she found her path and what she wanted to do, and oh it was so lovely to see Barriss finding herself again. I loved so much that her unshakable compassion did reach Lyn, it was such a satisfying arc for Barriss to reach that place after all the people she'd hurt. I loved so much that Barriss getting back to this place does a lot to remind us that her foundation is a compassionate one, even if she was lost to the dark for awhile.

I just wish that there had been acknowledgement of those she hurt, the people that died because of her, the betrayal she stabbed people in the back with, rather than just "sees the dark side is bad, walks away, finds the light again", which goes back to that this feels like a generic story that's mostly impactful because I'm filling in the gaps myself because I already know Barriss as a character, rather than that it continues the story that was previously told about her.

At the end of the day, I enjoyed it and I recognize that I'm being a little unfair in how I'm saying I wanted this, this, and this, rather than digesting what the show itself wanted to do, but when you're crafting two stories that are specifically about showing us the journey of two characters that originate elsewhere, you're drawing on the stories from those other origins--except TOTE decided to only halfway do that. There's a lot to love in these shorts, the animation was incredible, the voice work was incredible, Barriss' emotional journey was incredible and I'm so thankful that they even gave her any kind of compassionate resolution. But the specter of how much the shorts ignored hangs over it too heavily for me to say that they were anywhere near what they could have been imo.

[thatbloodycountess]

I know it’s been six years, and the fandom is mostly dead, but I’ve been thinking about FFXV lately. The story was great and I loved the characters, but there were holes in the plot and with character development. I get that the developers had an idea story-wise and made significant changes once Tabata took over. Even after six years, I can still see what was left on the table and I have some ideas on how to remedy these issues.

I loved the beginning where the Regalia broke down. But, the game could’ve started a day or two before the boys left Insomnia. We could’ve had some time with Regis and Clarus and get an idea how them and the boys felt about the journey.

They could’ve added the events from Kingsglaive to the game itself. I’m sure not everyone saw the movie and it would’ve been awesome to play as Nyx. This would’ve lengthened the first chapter too.

The DLCs could’ve been weaved into the main game. The Trails of Cold Steel series did a good job of diverging storylines. Events in these storylines were happening simultaneously and added impact to those plot points. It would’ve been easy to switch to Gladio once Noctis found the mythril, considering both events were happening at the same time.

The same goes for Episodes Ignis and Prompto. Ignis’ DLC could pick up immediately during the chaos in Altissia. The latter could’ve been placed after Prompto fell off the train and ended when he was captured by Ardyn. Or if his memories were being manipulated, when the player sees him strung up on that contraption in Gralea.

SE missed an opportunity to continue the story during the ten years of darkness. That chapter could’ve opened with the beginning of Ardyn’s story and spaced it out a bit until the DLC’s conclusion. Luna and Aranea’s DLCs could kick in here too, considering both would’ve fleshed the story out more. Then bring in Episode Noctis and perhaps have a FFVII lifestream moment as he obtains the knowledge of the Lucian kings.

I’ve read that the ending in Dawn of the Future isn’t canon. It’s an alternative ending like Ignis being healed by the crystal in his DLC. However, it could’ve been just as impactful as the canon ending. Since it makes Bahamut the villain and uses the trope that humans can become stronger than gods. It’s a similar situation Yuna faced in FFX, but she got to challenge her fate. Noctis didn’t.

The chapters were too short for my liking and there should’ve been more foreshadowing about Prompto’s origins other than Aranea’s comment outside of Steyliff Grove. Noctis didn’t find out that he has to sacrifice himself until he was absorbed into the crystal. He accepted his fate too easily. There was no point where he became angry over it or wonder if Regis or Luna knew what his fate would be. Again, he didn’t get the chance to tell Bahamut to go fuck himself.

The game is one of my favorites in the series and always will be. But there were so many missed opportunities and it makes me wonder what could’ve been.

[ninja-muse]

The Dollmakers by Lynn Buchanan is the most original fantasy novel I've read in a good while. It doesn't follow a familiar plot structure. It's peopled by characters rarely seen but true to life. It tackles its issues, themes, and conundrums without turning them into morals or even necessarily reaching conclusions. The magic has been done before, but also not this way. The world, while familiar in some aspects, also feels fresh and different.

Did I like it? I'm not sure. But I definitely think it's worth picking up.

Because this book is so different, it's hard to encapsulate. The premise of a young woman determined to prove herself and gain the job and status she deserves sounds like it should launch a novel of revenge, of conquest, or of an underdog—but this doesn't. A story about magical dolls designed to fight ravening monsters sounds like it should be about great battles and increasing odds—but this isn't. This also isn't a story about a stranger upending a small town, or mentorship, or political conflicts, or even a mystery. Instead, there are elements of all those things, but this novel is too character-driven to fall neatly into boxes. Shean of Pearl is simply going to do what she thinks best and we're along for the journey.

The complexity of the plot is mirrored in its characters. Shean is capable of kindness and delicacy and righteous anger, but she's also tactless and self-absorbed and unwilling to listen to reason. There are brave characters too afraid to interact with society, kind mentors who fail in their mentorship, sour but welcoming villagers, wandering scholars who hold themselves apart until they don't, rule-abiding citizens who can't value originality, thoughtful people who come to snap judgements, and a host of other people who are flawed and complicated as anyone of us might be in their place. There's nobody I can point to and say, "Here, she relied entirely on a trope."* Buchanan's character work is arguably where this book shines most.

As for the themes and issues, I've grown used to fantasy and science fiction with clear morals, clear good guys, and clear political points. Again, this isn't that sort of book. You have to get well into it before you see what Buchanan's talking about on that level and she's more interested about raising questions and pointing out problems than she is in solving anything. We and her characters are left with things to think about, and with introspection. And no, I won't say more than that. Spoilers!

This isn't to say that this book is without flaw. Mostly, on that front, I found Shean's emotional journey a little sudden and jerky at points, with greater or quicker character growth than her personality led me to expect, and there's one particular moment near the beginning that felt exaggerated for the sake of demonstration rather than being true to character. The rest of my problems, and what's holding me back from saying, "This book was amazing!", I think stem from how different this book is. Is my grumble at that minor character's reaction due to weak writing or because they're so perfectly poised within their world that of course they don't act like a "normal" character? Is this plot line wrapping up too neatly or are we being set up for a sequel? That sort of thing. I should point out this is a debut novel and these are issues I've run into with debut novels before—but at the same time, this is much, much more polished and subtle than a lot of debuts are.

As for the magic and the world, I've run on too long to cover them much, but the doll magic is lovely, the monsters are fascinating, the idea that every nation has its own entirely separate culture and magic is familiar while the details are not, and in general, it's all very strong. Buchanan has a lot to play with and I'd happily read more in this world whether or not there's a direct sequel.

To sum up: this is a very strong, very interesting, very unique debut fantasy. It's a novel to mull over and one I'll be sorting through my feelings for. If you're interested in smaller fantasy stories, fantasies that take their time, or are tired of current fantasy trends and plot types, you should absolutely give this one a look. Buchanan's going to be an author to watch, I think.

* apart from third-tier non-speaking characters, like waiters or shopkeepers

[emilykaldwen]

The Maiden and the Drowning Boy | Aegon x OC | Chapter Seventeen

Rating: Explicit

Ships: Aegon II Targaryen x Abrogail Strong (Lyonel Strong's Daughter), Jacaerys Velaryon x Helaena Targaryen

Summary: As the kingdom teeters on the edge of chaos, Alicent Hightower swaps the pieces on the board: Aegon will marry Abrogail Strong, Larys’ younger sister and heir to Harrenhal. Caught in the web of intrigue and political machinations, the pair must figure out where their loyalties lie, and what they mean to one another.

Tropes: Childhood Sweethearts/Friends to Lovers, Generational Trauma and Cycles of Abuse, It's All About the Character Development, Unreliable Narrators, Multi-POV, Canon Divergent, Bisexual Aegon II Targaryen, Book/Show Mash Up, Fix-It Of Sorts, Stopping the Cycle of Abuse before it gets us all killed, Team Neutral, fairy tale vibes meets victorian medievalism meets grrm

No tag list. please follow @emkald-fic and turn on post notifications for updates or subscribe on AO3

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Chapter One | Chapter Two | Chapter Three | Chapter Four | Chapter Five | Chapter Six | Chapter Seven | Chapter Eight | Chapter Nine | Chapter Ten | Chapter Eleven | Chapter Twelve | Chapter Thirteen | Chapter Fourteen | Chapter Fifteen | Chapter Sixteen

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Author's Note: We've got Rhaenyra POV! We've got Aemond POV! We've got a surprise in the end! Thank you for all the support and patience. You're all getting this chapter early since I'm out of town for the weekend! Enjoy!

PLEASE PLEASE subscribe to the series page or my author page so you get updates when we start the next story! You're not going to want to miss it. (And follow @emkald-fic on tumblr if you read here!)

All my love to @vampire-exgirlfriend for her love and support and holding my hand through this chapter that just kept kicking my fucking ass. If you need more Aemond content, you must read, They Say I killed You (Haunt Me Then)! Now complete! (epilogue going up soon!)

CHAPTER SEVENTEEN - Parrying the Daggers Thrown At Us

Rhaenyra receives a letter. Aemond cannot find peace until he gets a taste of it.

Grandfather is still ill, much like we saw him last but he prefers his wheel chaired more oft than not…

Things have been tense, understandably so, but Queen Alicent has been cordial and has made sure we are comfortable and have what we need… 

Aegon and Aemond keep their distance, perhaps so they can glare all the better…

I do not know how to make amends for what happened… 

…and they say Aemond is taken by his pains at times, darkening his room as his head aches from his wound… 

I should make amends, it is right… 

What do you think I should do?...

Heleana has been the warmest… 

…we danced together at the feast and she was quite happy to do so. It is nice spending time with her…

Aegon is happy around Lady Abrogail and she laughs freely with him. He is not like how he used to be as much with her… 

I think Lord Lyonel and Ser Harwin would be pleased to see how well she is treated…

Many houses were represented at Aegon’s nameday… 

Most seemed to wonder if Aegon would have been named heir and displace you but none came to pass… 

…they will inherit Harrenhal. I can see the wisdom in it as Luke will have Driftmark one day, but I think of Joffrey and Aegitsos and my uncles who do not have lands and holds to occupy them…

I love you much, Muñus, I hope you are well and that I will see you soon…

Rhaenyra ran her fingers over her son’s careful script, her mouth twitching in fondness amidst her worry of her zēapos. His letter was long, too much for a raven’s wings and she started from the beginning once she had read it through once. Twice. Her ribs ached as if Jace had been carved out of her to go on this journey and she shook her head, trying to let the feeling flit away on the breeze. Her eldest had a temper, much as she did in her youth, much as his father had, in the ways that drew her in. Time stole away much, and her own bouts of temper had cooled with each broken toy, each yelling fight, each ‘he pulled my hair!’ and ‘He pushed me and won’t share!’

The sounds of swords clanged in the yard and her gaze flitted from her son’s letter - pages crinkled in her grasp - to the courtyard below where Daemon was testing the new recruits to the Dragonstone guard. His silver hair was twisted back from his face in braids as he preferred, something about war and mindset and always be prepared.

He called something towards Joff and Aegitsos as the knight before him panted, having been bested against her husband.

Baela had not written, that much she knew, though Jace had said that she had found a friend in Helaena after a tense standoff. Rhaenyra had found the mention of it surprising, for her little sister, in the times she’d been around her, had been a quiet thing, eyes large in her face, gaze flitting to everyone and no one.

Helaena has been the warmest…

Helaena was not yet married. The match with Aegon had never come to pass.

The invitation lay on the table before her next to the plate of lemon cake she liked for her morning meal on days such as this.

The wedding of Prince Aegon of House Targaryen and Lady Abrogail Strong of Harrenhal…

In five moons, the spectacle would be held in the Riverlands. In five moons, the realm would look upon her brother once more, peacocked and pulled out, as Daemon sneered, by Otto Hightower to show him off as a contender, to put pressure on her father to change his mind. Her father had nearly twenty years to change his mind and still, he had not. Not even in her absence, cowardly as it sometimes felt to retreat and lick her wounds, had her father’s support of the claim and her family seemed to waver. Try as the Hightowers might to scream and spread slanders that would call for bloodshed, her father still would not be swayed. It was the sense of satisfaction that she had felt when he came to her defense in that shadowed hall those years ago, the heated of curl in it that no matter what, there could be no question as to his choice.

He had chosen her.

Even as the feeling waned over time to give over to those moments where she doubted, all the times he had failed to reign his wife in with her abuses and vitriol, the words her son had sent her bolstered her.

I think Lord Lyonel and Ser Harwin would be pleased…

Harwin’s little sister, big blue eyes and red curls bound in braids, peeking curiously over the edge of Lucerys’ cradle next to Jace because ‘She asked if she could see the baby and give him this,’ Harwin had said, as the little girl presented her attempts at embroidering a little dragon on a pillow. Little Abrogail, half Harwin’s, half Alicent’s. She had tried to bring the girl to Dragonstone with them. Would she not be happier away from the court politics with her brother and the quiet? Lord Lyonel had given her a surprised, then hard look, and Rhaenyra had felt chastened in a way her own father had never been able to evoke within her.

“I will keep my daughter with me, and should I send her away, it will be back to her home, at Harrenhal, with her brother.”

Grief washed through her like the crashing of the waves on the rocky shore below and she felt her own jagged edges inside of her. Lyonel Strong had been the best of them, putting the realm first, always by her side at every council meeting she attended, encouraging her, even as his face grew graver with each brunette curled boy she bore.

Violet eyes swept across the parchment again. A servant in the camp had tried to attack the girl, Jace said. Crept into her tent, assuming she would have been alone. Inquiries were being made, but as far as anyone could see, the man had just been a baseborn servant - blending in like no other. Rhaenyra pursed her lips and looked down at the training yard once more, fingers drumming along the stone ledge of the terrace.

She wondered how wrapped around Lady Abrogail’s finger her half-brother might be… and how opportune this moment was.

Alicent’s eldest was marrying and taking a seat in the Riverlands. It was not the bold choice that Rhaenyra had thought would happen. Surely one of the many Lannister girls, or one of the Baratheons - a great house who would be invested in their own daughter becoming queen would have made more sense.

Harrenhal, for the wealth and lands that it had, did not command armies the way the Stormlands did. It did not have endless coffers the way Casterly Rock boasted of. It was a moody fortress on the edge of the God’s Eye, surrounded by lush farmland and woods that were dark and deep and felt that you were somewhere fanciful, somewhere that didn’t hold dragons nor thrones, nothing except for a warm hand wrapped around her own.

The clashing and screaming of steel in the yard below pulled Rhaenyra from her thoughts, and away from the path of her sorrows and regrets. Turning her back to the sight below, she reached for her own parchment and quill, pushing aside the letter from Lord Celtigar.

Lady Abrogail… Good tidings on news of your approaching nuptials…

Aemond pursed his lips, his gaze rising from the book before him, a study on the Conqueror’s approach to the first Dornish war,to squint across the barrel room near the top of the tower that held the library in the Holdfast. He drummed his fingers upon the scarred wooden table, a fingertip running along the crescent burn from the time Abby had accidentally knocked over a candle while they were reading about Harren the Black.

He exhaled slowly, the way the Braavosi manuals advised and looked back at his book.

It had been weeks since his brother’s festivities, and the chill of the end of the growing season had crept in. It was not cold by northern standards, but the air cooled, the rains rolled in for the next several months, and angry storms fell over them  from the Narrow Sea, their winds piercing and frightening, as if they were dragons themselves in the winds that the Storm God rode, threatening to tear apart the Red Keep brick by brick.

Helaena’s nameday had passed with quiet fanfare, the lingering lords of the realm who had not left parading their sons in front of his maiden sister. As if any of them were worthy of a dragonrider, someone as clever and kind as Helaena.

It had been complicated over the past weeks since the talk in the garden, and Aemond still wasn’t entirely sure how he felt. What had been most surprising had been the strange sense of release when his sister let him go, leaving him to sit in the rain before Visenya’s statue, her words ringing in his ears. 

‘I would burn Dorne for you… but I do not want to leave behind a world of ash and bone.’

How desperate Helaena had looked, angry and frightened and full of hope as she begged not to have a husband, but a brother back. ‘How else am I supposed to protect her?' he had wondered. How else could he offer his sister protection and security if it wasn’t to marry her, to tie her to him so that she would never have to fear, never have to doubt her acceptance and those who loved her?

Aegon had not wanted to marry her. She was weird, he’d sneered. How miserable Helaena would be, how miserable they both would have been. Aemond had done the right thing. He’d stepped up, he had gotten Mother and The Tower to break the betrothal. Even if they had not promised him and Helaena to one another, that was alright, it would simply be a matter of time.

He had Vhagar. There could be no further doubt that he was truly a Valyrian. There could be no more doubt as to his place in the world. All that was left was his sister.

Guilt gnawed deep in his stomach, shame twisting around his throat when the thought filtered through. Helaena was not a bauble he needed to collect to prove something. Collecting her was not protecting her. Collecting her was not about her, but for him, and it was this knowledge that he had thought about constantly.

His sister deserved more than being a broodmare, to be a pawn in the games. The forced distance the last few weeks had given him, after Helaena pushed him from the proverbial nest, had left him unsettled and snappish.

The loud thud of a book hitting the stone floor reverberated through the room. A heavy tome, judging from the heft of the sound, followed by a soft giggling, a deeper snickering sound chasing after it before they muffled and fell quiet.

He knew, with the utmost certainty, why it had fallen quiet.

Ever since the betrothal, the grip on his best friend had been slipping. Oh, him and Abrogail were an unlikely pair, but few appreciated books and history as his cousin did. While digging in the dirt and helping Helaena catalog her collection had been fulfilling, there was something joyous in being able to have someone who understood the quiet and sanctity of the library, and who loved books and reading and learning as he did. Lyonel Strong had always indulged his questions when was young - far more enthralling than Mellos and Orwyle were, and he had fostered that curiosity in his daughter.

‘All she’s going to care about is making babies with Aegon!’ Helaena had cried, frustrated and angry when they’d been alone after the fight in the brothel. 

There was a soft cry, and Aemond scowled at his book before his chair scraped across the stone floor and he strode purposefully towards the source of the sound. The histories of the Riverlands were there - not just observational books, but the census, the trade information, things used by the small council’s not-quite-so-small army of clerks and counters and lawmakers. The section of the library that Abby had frequented since the announcement and that he had helped her with.

“Not here,” came the whispered whine, laced with laughter. Aemond rolled his eye as he turned the corner of the aisle. It was shadowed somewhat this far down, The strategically polished silver angled to bounce the light around so as not to pose a fire risk among the precious books, although the day was gray and cloudy and the light reflected was that of a lamp. Abby was pressed against the bookshelves, the blue and silver brocade of her skirts rucked up with her stockings on display, her legs at present, wrapped around his stupid brother’s waist. One arm was stretched out to grab onto the bookshelf behind her, and the fallen book that had been in its place was still on the ground. Aegon’s face was buried into her chest, or maybe her throat? 

He was half-blind, after all, sometimes details could be mercifully missed. Or ignored.

“This,” Aemond said, his voice even and dripping with every ounce of annoyance and betrayal he felt, “is the library, not a brothel.”

Aemond’s fists clenched at the disrespect both of them displayed to a place they knew  was important to him. At the announcement of his presence, Abby squeaked, Aegon’s arms tightening around her as she scrambled to lower herself without sending them both toppling. He held his arms folded behind his back, his hand scraping along his elbow as the pair of them got themselves in order and he shook his head when Aegon looked at him, dragging the back of his hand across his mouth. Abby had turned to straighten her gown.

“Are you really going to act like this?” Aegon said, for it was barely a question. “We weren’t in front of you and your book. You were the one seeking us out.”

“Because you both weren’t as quiet as you thought you were,” Aemond snapped. “It was distracting.”

A lazy smirk crossed across his brother’s flushed face and he wanted to punch him square in his stupid nose. Let him kiss his future wife with his face bashed in. “Well, my lady is distracting-.” There was a soft sound as Abby smacked Aegon’s shoulder, cutting him off with an exaggerated ow, the flinch was nowhere near the violent response that inhabited his brother when it was their mother doing the hitting. She peered around Aegon’s shoulder, her mouth just as swollen, her cheeks just as flushed and her features apologetic.

“We’re sorry, Aemond. Things just got out of hand. I shouldn’t have-”

“Don’t you apologize,” Aegon interrupted her this time, a fierce look on his face. 

“No, actually,” Aemond cut in, taking a step forward, using the few inches he now had on his brother to straighten his shoulders. “She’s right. Thank you, Abby, for apologizing. Are you upset that she has to apologize for you, since your self-awareness is worse than a billy goat ramming his head into things?”

Aegon’s mouth gaped in offense, his flush deepening. There was a bruise along his neck that was going to be difficult to hide. The glib nature of his eldest brother was a trial at the best of times, but this? “You know this isn’t your place to run about as you please. Shall I just unlock my doors, let you roll around in my sheets and over my personal things while you’re at it?”

“It’s the fucking library, Aemond. It doesn’t belong to you-”

Abby let out a startled cry as Aemond’s fist shot out, but as much as he would love to punch his brother, he shoved him instead, feeling the crackling of frustration, the rumble of Vhagar in his chest.  “Because it’s all yours, is that it? You mewling fucking kitten. This isn’t just my library, it’s hers too, but you don’t fucking care about anything that means something to anyone else if it gets in the way of what your limp cock wants.”

“Aemond, truly, we’re sorry - Aegon, no!” Abby’s voice was lost in Aegon’s growl as his brother came back with another shove, sending him back a few steps. Aemond laughed, a hint of a sound like the thin scrape of wind whistling through a crack. Yes, yes let the idiot push him around. Let him continue to pull his friend away from him, from him and Helaena both. His gaze darted briefly to the redhead, blue eyes wide as she pressed herself back against the shelves, before meeting his brother’s lighter gaze.

“You are a glib fucking fool, Aegon,” Aemond said lowly, his mouth curling as he readied for a fight, needing to expend the burn of flame inside of him. “I don’t care what the pair of you do, I’ll say nothing should Mother hear of it, but-” he stepped forward and shoved Aegon hard into the bookstack. The ancient wood creaked and groaned, but the stacks were bolted to the floor to prevent them from topping. A few books fell from the force of Aegon’s frame smacking into it. “Stay the hell out of my library.”

He did not look over his shoulder, even as Abby called his name, apology rife in her tone. He strode through the halls, calling for his horse to be saddled while he went to angrily pull on his riding leathers. The left side of his temple ached as it was wont to do when his face was full of tension. Helaena would make him tea, protect him in the quiet, but that was not meant to be today. The last he saw, his sister was in the gardens with Jacaerys. 

How he ached to wring the stupid bastard’s neck.

How bright he seemed to make Helaena laugh.

How betrayed Aemond felt by it all.

Why hadn’t Helaena said anything? Why hadn’t she told him that she didn’t want to be married? Why had she just let him wander around like a puppy and now left the fool?

‘But hadn’t she told you?’ a little voice drifted through Aemond’s mind and he paused in the lacing of his leathers. Had she not told him by pursuing that fool Warren Fossoway, and the time that he had spied her kissing him - for he had seen Helaena push the squire behind the carved dragon pillar by the gardens. 

‘But she would let me kiss her, she would kiss me, and she’d touch me and I her and-’ The flurry of thoughts ached as he pulled on his boots.

It would not hurt as much if it was anyone but Jacaerys.

The ride to the beach beneath the shadow of the Red Keep was a blur. The rock outcropping of Aegon’s High Hill was a craggy, sheer thing, but the beach below was one that Vhagar enjoyed sunning herself, a guard dog laying at the foot of the bed in a way. Her head lifted as Aemond approached, lowing in greeting and shaking sand from her scales. The tension in Aemond’s chest began to ease at the sight of her, and he approached, patting a gloved hand along her scarred neck, scratching along a vicious scar she must have received in Dorne. There were no words exchanged, not the way Aegon chattered with Sunfyre. Aemond’s bond with Vhagar was one of feeling, of such deep understanding that no words needed to spill from him. In no time, he scaled her great bulk and yelled out the command to fly, which his dragon responded with her own, what he assumed was excited, call in return.

Vhagar landed on the cliffs on the western side of Massey’s Hook, the bay below dotted with smaller fishing boats this far out from King’s Landing and away from the bustle of the capital. Rage and grief, anger and fear were a tempest in his gut and he rankled at the call of Moondancer as his cousin circled above them.

If Baela wanted this fight, then he would meet her, unflinching. Let her see what dragons were made of. They did not all reside on Dragonstone.

“Laodijes peldios!” Baela howled at him, her voice a sharp shout on the breeze, her face twisted and ugly with fury, fists at her side as she readied herself to hit him should he get within reach.

Aemond glared at her, the distance between them shrunk now to an arm length. Vhagar was a great shadow behind him and he could feel the sulfuric heat of her breath as she exhaled buffeting at his back. Moondancer was a little ways away, shrieking fearfully and Aemond could not tell if the dragon reflected her rider’s mood, or her fear of Vhagar.

“You’re a fucking fool. Daemon Targaryen is your father, your mother a Velaryon, and you still don’t realize that a dragon cannot be stolen.”

“You had no fucking right!” Baela snarled. “Vhagar was for Rhaena to claim-”

“If Vhagar had not wanted me, she would have eaten me and you damn well know it.” Aemond cut her off, watching her jaw click shut with a curl of satisfaction. “Vhagar chose me, not your sister. What? You want to kill me to give her another chance at claiming her? Is that what you’re here? To finish the job that you all started?”

“Why would my mother’s dragon choose you?” Balea cried, and this time, there was a choked quality to her rage. Aemond’s eye widened slightly and he leaned back from her, a curl of uncertainty that he despised. His words had been harsh, full of the anger that he had felt simmering these past years. Aemond shrugged it off. He had earned his harshness in this. He’d been the one attacked, the band of them setting upon him simply because he chose to claim his right as a Valyrian prince.

‘Why would my mother’s dragon choose you?’

Aemond ran his tongue over his teeth and leaned back on his foot, watching Baela gasp for air amidst her choking sobs, and turn from him to look out to the bay, towards Driftmark and High Tide.

He remembered his mother’s cries, her rage, her such careful and elegant control snapping as her voice cracked in the silence of the Hall of Nine.

“He’s your son, Viserys.”

“Why did Moondancer choose you?” Aemond asked. “Why did Moondancer choose you, and my egg never hatched?” Baela did not look at him but he could see the way her shoulders tensed. “Why didn’t you go find the guards? Why did you come, thinking a thief had stolen a dragon and Jacaerys brought his blade? Why did they give me a pig, pretending they had found me a dragon as they both had their own? Why did they do nothing but terrorize me with that fact for our childhoods?” 

Aegon had done it too, gone in on the fun, drunk on being the eldest. It had lessened considerably in the wake of Rhaenyra leaving the capital, even if his brother sought other ways to tease him - he’d never again mentioned his lack of dragon.

Aegon had come to him in his sick bed, his curls shorn, red eyed and puffy faced, tears on his cheeks, had knelt at his bedside and vowed to him. 

“We protect our own and I did not protect you. I do not care if you’ve claimed Vhagar, for I was not there for you when you needed me. It will never happen again. I will protect you. I will be by your side.”

Aemond had sometimes wondered how much of the words were his brother’s own, but he had known, with certainty, that the feelings were genuine. His brother was an idiot, and they butted heads, but his brother loved him in his own way, and for as angry as Aegon could make him, he loved him too. In his own way. 

He might admit that on his deathbed, unlike Aegon, who would only need to be in the depths of his cups and into the sad and tearful mourning edge.

“What do you know, Baela?” Aemond said, his voice even, coldness creeping along the edges. “Of fighting and scraping for everything that is owed to you?” He forcefully bit his tongue, copper exploding in his mouth as he broke skin, to keep from pressing further at the loss of her birth right to Driftmark for Rhaenyra’s folly.

“A prince has to scrape for all that is owed to him.” It was rhetorical, biting, and Aemond snorted, taking a step forward, his own gaze looking out at the water.

“You may have been an idiot child, but don’t play me for a fool.” It was impossible not to see how little Viserys thought of his second family, and he had seen it plainly on Jacaerys’ face, the surprise in witnessing it. “I’m sure your father relishes every word you send to him. His little spy.”

Baela’s lip curled in a snarl and she stalked closer. Aemond stayed where he was, watching her with a narrowed eye as Vhagar let out a low growl behind him. She did not move, did not lift her head, but her nostrils flared and Aemond felt the heat of her breath swirl around him. Baela’s eyes widened, and she paused, the indigo of them shining with tears. 

He turned his head slightly to look at Vhagar. “Ȳgha iksi,” he reassured her, feeling Vhagar’s displeasure seeping through him, her warning and the remembered rage from those years ago when she could not protect him or take away his pain. He reached for her snout, pressing his hand to the scar above her left nostril, rubbing against it. He turned his back to his cousin and brought his other hand up, feeling the anger hot as coals, hot as dragonfire in his chest. Vhagar was full of tension. He could feel it. Would she feel that way if it wasn’t him? If she was not so worried for him, would she recognize the girl behind him as the child that Laena Velaryon surely brought to her, as Aemond would have brought his own child? Had his grandfather, Baelon, brought his sons to this dragon before them?

The silence filled the air around them, the wind thick with tension. Aemond pressed his forehead to Vhagar, took strength from her, squeezed his eye shut and ignored the pain that lanced through his head and pulsed behind his scar.

The sob behind him was soft, and Moondancer’s cry was mournful.

“He’s your son, Viserys.”

“I did not mean to tarnish your mother’s memory,” Aemond finally spoke, his voice carrying as he looked, blind side towards Baela. “It was not done to hurt you, or to take something from you. It was… It was my only chance. And it’s something I don’t think you’ll ever be able to understand. I am… I am sorry about the loss of your mother. I did not have the opportunity to give you my condolences then, but I can give them to you now.”

The sound Baela made was strangled. Aemond turned to look at her. Baela was stiff beneath her red and black riding leathers, the metal rings in her hair tinkling as the wind tugged at her braids. He recalled the mourning child she had been sitting by her twin and Jace, the vicious yell she’d let out when she punched him in the nose that night, the howls and scream of pain. He felt Vhagar twitch and groan beneath his touch, another warning and he hushed her again, stroking her snout. He watched her gaze go towards Moondancer, who was crying fitfully, grounded still, her aquamarine wings more green against the lush grass of the clifftop.

“Do you want to pet her?”

Baela stared at him, the hostile lines to her face instantly slacking in surprise. “Skoro syt?” Her voice was small and wary, even as her eyes were wide with grief.

“My condolences,” Aemond repeated, and he found the words genuine. It was not Baela, nor her sister, or even his bastard nephews that rankled him. Oh, he wanted his revenge, He wanted what was due, but more of the blame lay with his eldest sister and their father. Of that, Aemond was secure in. He would gladly feed them both to Vhagar, to take an eye as payment for his mother.

His cousin shifted on her booted feet before whatever compelled her brought her forward. Aemond shifted, beckoning her to take her place by his side as he murmured words to Vhagar. Baela had taken her glove off, her slim, tanned hand reaching tentatively up before resting along the scar on Vhagar’s nostril.

They stood there for how long, Aemond was not sure, quietly beside one another as Baela grieved for the mother at the bottom of the Narrow Sea, and his own grief at what was taken from him.

“Do not mourn me, mother…”

‘But mourn the boy dead on Driftmark.’

It was not lightness or peace that settled over Aemond when he and his cousin parted later. He was not certain how much time had passed, only that after she had sobbed, they sat there in a strange, companionable silence eating hunks of bread and cheese and apple that Baela cut with a wicked blade. She did not give him thanks, she did not say anything, but Aemond took the offering of shared food as her own gesture of whatever truce was settled between them. The exchanged curt nods before parting, Baela northeast and away from the city to what Aemond assumed was High Tide and her grandmother and twin, while he circled back towards the city.

Aemond was not certain of the feeling he held except that it felt like he had scratched something out on a list, or deposited a burden that he was trying to carry with all his other, more cumbersome burdens. It was a closed door. That was enough for Aemond, and there was a part of him that wanted to march to his sisters and tell them that he had made nice, to have Abby’s warm smile proud with him, and Helaena’s little clap and promptly being the receiver of her latest mountain spider that Uncle Rodrik had brought her.

Instead, after entering the inner courtyard of the Red Keep and handing off his horse to one of the stablehands, he made his way to the gardens and to his own preferred solitude when the library - so recently desecrated - was not an option. No, Aemond needed air, he needed the statue of Visenya to look down upon him. There, where Helaena had snipped the strings and released him from the vow he had made, the goal that held him that was more about him than it truly was about her. 

Where his sister had set him free, and he loved her all the more for it.

The problem, he found, upon striding down the paved path and through the dripping ivy, was that his garden was not, in fact, as empty as he hoped. Wylla Karstark was kneeled in front of a bush of hyacinths, carefully cutting the purple blooms and placing them in a basket beside her. She was clad in a dove gray dress, the black fabric of her kirtle beneath poking out through slashes along her shoulders and puffed at her elbows. Her fox features were pinched in concentration and Aemond watched her for a moment, silent as she had clearly not heard his approach.

Wylla Karstark was an unknown. She was pretty enough, with a long nose and sharp jaw, gray eyes that flashed when she was annoyed, which was the majority of the time. She had a rather frustrating talent of being able to look down at him even as she had to arch her neck, for she was as petite as Abby was. Their joint misfortune, just like Aegon’s. She was also well read, their conversation at the feast turning from a mutual annoyance to discussing the book of poetry that he had seen her reading, which itself had turned into a rather long and in depth conversation on the Valyrian poet, Praxilla, whose work had survived by the grace of her living the life of leisure in Lys when the Doom happened. Wylla and his elder brother unknowingly shared a fondness for drinking songs penned by the scribe, although Aemond was smart enough to know he shouldn’t bring that up.

Not until he needed to.

“It is polite to speak when coming upon someone, Your Grace,” Wylla’s northern burr was arch as she focused on her task. “I would curtsy, but you can see I’m already on my knees.”

Aemond’s cheeks flushed at the turn of her words, and he was not certain if she understood how they could be taken. He decided that she didn’t, for she did not turn to look at him, seemingly unbothered. All for the best, he supposed, for Aemond did not think he could meet her gaze should she be facing him.

“Why are you cutting my flowers?”

“Your flowers, Your Grace?” Wylla laughed, a sharp, lilting sort of sound and he wondered if that’s what she sounded like when she sang. Did she sing? He had not asked her. “These flowers belong to Queen Visenya, for it is her garden, is it not?”

“It is my garden,” he pushed back, frowning at the back of her head, the mass of thick, twisted black braids kept in place with a woven, pearl hair net with wicked looking, pearl tipped hair pins to keep the heaviness of it in place. He flexed his hands, wiping them on his riding leathers as he approached. There were other flowers in her basket, like wisteria and some of the roses from the main garden. He sat, bending his one leg to rest an arm on while the other reached in.

Up close, he could see the red flush to her pale cheeks. He did not recall them looking so red when he saw her the day before, outside of the bit of sun all the girls had gotten during the sun.

Her smack was quick, the sound of flesh stinging flesh loud and he immediately pulled back with a hiss and a glare. “How dare-”

“Those aren’t for you,” Wylla said forcefully, the gray eyes of her bright in her face as she finally looked at him. “They’re for Lady Abrogail.”

Aemond had killed a man for the fox-faced woman before him without hesitation, and the knowledge of it settled in him still, generally buried over the past few weeks because he had no idea what to do about it. They’d been attacked in the night, and Wylla Karstark had shoved a knife between the man’s ribs without hesitation. So tall, Wylla Karstark seemed, so loud, filling up the spaces she was in without holding herself back, that he had so often forgotten how small she was.

Until she was there, in front of him, those gray eyes like the storm ridden ocean.

Aemond held her gaze, reaching back into the basket to pluck one of the deep purple, nearly blue anemones that she had gathered, twirling it idly between his long fingers before reaching up to tuck it behind her ear. Wylla was still beside him, her red painted mouth parted slightly, so he could see the flash of her white teeth behind it. Her cheeks deepend in their red to match the paint on her lips and Aemon hummed. 

Abby had been understandably shaken. Knowing her as long as he did, even with the smiles affixed to her face, he knew the signs as intimately as he understood Helaena’s or Aegon’s, or his own mother’s. Wylla Karstark was a mystery. She had been quiet, from what he had seen, but the wedding preparations had taken up much time with the girls, as well as her brother finally leaving the capital earlier that week.

He clenched his jaw, a muscle ticking, before he met her gaze. “Are you alright?”

Her inhale was loud. It trembled and she pressed her red lips together, her throat bobbing with a swallow and looked back at the flowers but did not move to cut anymore. Aemond did not push her, but only waited.

“Yes? No? Strangely yes,” she finally whispered. “I think that’s what bothers me more.”

“That bastard came in with intent to harm,” Aemond said. “If you didn’t kill him, someone else would have. You were incredibly brave.” None knew  where he’d come from. The assailant had been clad in the same red garb as the rest of the servants. A baseborn man. Waters or Storm, Aemond couldn’t remember, much like he had no memory of the man’s face before he stared down at it, red and wheezing before he killed him.

“At least it wasn’t Aegon,” Wylla whispered, her eyes wide, drawing his attention back to her. “What would have that turned into - him sneaking in for them to slobber all over each other. Me thinking he was an attacker and-”

The snort of laughter that escaped Aemond at the idea of it all could not be held back. He bent his head, gasping for air as his shoulders shook and it was only a moment before Wylla’s own peel of laughter joined his. It had been some weeks since he’d laughed, in the wake of what happened at the hunt drying up what little humor he’d indulged in. There was an infectious quality to Wylla Karstark’s amusement that he found comforting. Aemond looked at her, her face flushed from her laughter, and he leaned in, kissing her.

The laughter abruptly stopped, her mouth soft against his, still from her clear surprise. She tasted like oranges. Abby must have indulged in the sweet and sour orange cakes they had at the feast. Wylla did not respond, but she didn’t move away either and Aemond took that as acceptance, and he lifted his hand to cup her cheek, thumb swiping softly against the apple of it. Kisses with Helaena had been different - always expected, always ready, with her initiating many of them. The one time he’d kissed Abby, when they were little and Jace had dared him to, did not count. The both of them had made faces, vowing to never do it again. 

Kissing Wylla, though? He never wanted to stop, especially not when she reached up, the clippers making a soft thump along the grass to wrap around the end of the braid slung over his shoulder. She tugged it gently and Aemond broke away, blinking and gasping. “What?” he asked. “Should I have not done that?”

“Oh, you should have,” she reassured him, breathless and red faced. She licked her lips and looked at her fingers still wound around his braid, toying with the leather tie. “I was just reminded of something someone told me once.”

He cocked his head, mouth pursed. “What was it?”

The smile that cut across Wylla’s face was amused, the scar along the top of her lip giving a mischievous bend to her small, red mouth. “It was about how dragons purr when you pull their hair.”

Whatever thought started to coalesce about her late night conversation with his sisters was pushed right out when her lips found his.

I would love to hear your thoughts! Even if it's just a keyboard smash! Reblog to spread a story around so others may find it! I would love to hear your theories! What did you love? What are you looking forward to? Happy to have you here as always <3

[Next Chapter]

[sitp-recs]

Between the Power Lines by @tackytigerfic (M, 3k)

For Harry Potter, all roads eventually lead to Draco Malfoy. Or: this is not an AU! It's just Harry and Draco meeting by chance in an imported food shop in Connecticut and going on a road trip together. Featuring motels, cacti, Americana, and a hefty dose of pining.

In New Orleans, they got drunk on Bourbon Street, and Malfoy danced on his own (arms bare, laughing; Harry could have watched him all night) and later on, so late it was almost morning, they let themselves into the St Louis Cemetery—Malfoy unpicking the lock so sweetly—and walked around until the sky was pink-edged with the promise of another day’s heat. Then they sat on the steps of a crypt, watched over by sightless eyes of the statue of an angel. She looked exhausted rather than sad, Harry thought, and that made a lot of sense when he thought about his own longstanding, dull-edged grief.

It’s been ages (or 2 years) since I last wrote a rec for Tacky (I usually write for other readers, except when I’m reccing friends - then I write for them) and their birthday was the perfect excuse to put my reccing muscles back to work. I almost bailed out because I know this is one of T’s own faves and “what if I don’t do it justice?” but that tired angel banner has been sitting in my drafts for 3 long years and it deserves a proper rec!

Where to even begin? Anyone who knows Tacky is aware of their superb prose - rich and nuanced, compassionate, effortlessly funny, with a strong sense of place and a soft spot for suds scenes and filthy m-rated sex I mean devastating romance. Their writing breathes heart and personality, very much like Tacky themself. So knowing that this fic came out exactly as they intended it to should be enough to make you go read this right now, but in case you need further incentive, see below all the reasons why this oneshot is so special to me:

1. The *vibes*: if you thought that 3k is nowhere near enough to build the sexiest, most intriguing Americana atmosphere you’ve seen, think again. The aesthetics are impeccable here, decorating the beautiful and strange landscape - cacti and cheap motels included - into something peaceful and desolate, an overarching melancholy making it even more compelling. The dialogue is brilliant but the silences are just as loud and meaningful, with a quiet intimacy and a dreamlike quality that make you feel as if you're intruding a memory.

2. The romance: at this point everyone and their dog know that pining!Harry is Tacky's jam - they luxuriate in making us all suffer with him until the realization that Draco has been loving him back all along slaps us in the face. Harry is so stupid and desperate and wanton, I love it. And the way Tacky reinvents this delicious trope to make it work in new angsty ways blows my mind. Imo the slow burn is particularly effective here, a feat in any 3k story, because the narrative gives us so much character insight. We learn all the little things that make these two lonely boys tick as we watch their ever-changing perception of each other evolve from a tentative truce to reluctant confidants to a comfortable, easy love that comes naturally and earned. We often get those bits of information from imagery and emotions alone, no dialogue needed, and a road trip is the best way to explore those dynamics in a smooth, unhurried pace.

3. The journey: this is truly an immersive journey, not only physical as we keep jumping from one destination to the next, but also emotional, as we learn more about their vulnerabilities and desires the more they gravitate towards each other. This story shows that being far away from home can be both freeing and grounding, when you’re stuck with your hot enemy someone who knows about your darkest hour. It gives you the chance to heal and visualize a different future without forgetting your past or letting go of that which has shaped who you are. I love their chance encounter and how this poignant 30k love story is told in such impressive economy of words.

TL;DR: if you’re a short form fan and prone to melancholy like me believe me when I say it doesn’t get any better than this. The whole road trip shebang mixing grief, romance and nostalgia wrapped in Tacky’s lush writing is a gift to any reader and an elegant work of art. Enjoy!!!

[darkscorpiox]

Utena - Analysis on the opening

I don’t know if someone has already done it, but here’s my interpretation of the opening.

Warning: very, VERY long post and mention of scenes from the show, enough to be considered spoilers (sorry 😅)

Edit: I’ve made an analysis on the first ending as well

Let’s live heroically, let’s live with style. (Just a long, long time.)

The opening starts with our two main characters naked and in a fetal position, indicating their status of “newborn” in the story. Then, they are clad in the garbs of their respective roles. Interestingly, despite facing and leaning toward each other, their eyes remain close. In the case of Utena, it symbolizes her inability to see beyond her own narrative of the heroic prince saving the princess. As for Anthy, it’s her resignation to not see anything beyond her role of Rose Bride which she has played for decades/centuries, hence the long, long time.

Even if the two of us are torn apart… (Let go of me…) …take my revolution.

In the next sequence, not only are they not looking at each other, but they are also back-to-back, another indication that they are positioned to be at odds with each other, whether they want to or not. Still, despite the obstacles thrown at them, despite Anthy’s attempts to make Utena give up on her (“Let go of me…”), the latter doesn’t stop telling her to take her hand (revolution) and that’s what she did.

In the sunlit garden, we both joined out hands.

Miki’s sunlit garden is an idealized memory, so it makes sense to compare Utena’s goal of becoming a prince to the former. Also, the tower, where her journey is supposed to end with her heteronormative “happily ever after”, is where she and Anthy join hands and the latter’s revolution begins.

The sequence where Utena walks with the male students has a “one of the boys” kind of vibe and that might have been the intent. The tomboy character may appear progressive by refusing to conform to traditionally feminine gender norms, but that’s instead a sexist concept because it implies that Utena’s gender, her femininity (and by association, anything branded as “girly”), is the one thing that makes her less than her fellow male schoolmates. Also, she looks over her shoulder, something or someone (Anthy?) catching her attention which stops her from blindly following the other boys’ lead.

Drawing close for comfort, we both swore…

In Anthy’s case, due to her hair and skin color, the vibe she emanates as she walks with her fellow female schoolmates is “not like other girls”, another trope which hurts women by marginalizing the few “different/special ones” from the “normal/average ones” or vice versa. However, the reason she turned around (Utena? Her perspicacity?) is what helps her preserve the part of her identity which is still deep within her. So being different isn’t a bad thing as long as every person, especially girls, are given the same courtesy.

If you read the Japanese lyrics, you would know chikai (from chikau, meaning “to swear/vow”) is at the beginning of Anthy’s sequence, when we see the gates of Ohtori, where she swears to find Utena again.

(Also, did you notice that their respective sequences begin with a shot of where their story in Ohtori ends?)

…never again would we ever fall in love. (Every time.)

This line is sung as our two protagonists stand face to face in Anthy’s cage-like greenhouse, where the cycle of the quest for revolution always (re)starts. That vow of never falling in love again, along with that Every time, makes me wonder about how many games had taken place before Utena. How many times had Anthy been engaged to a “chosen one”? How many of those “chosen ones” did she grow to love, yet still choose to betray? How many times did she swore to never love another again only to do so despite said promise to herself? Utena, by ending the cycle, makes the vow mentioned before much sweeter: she and Anthy choose to never fall in love again because they have pledged their love for each other till death do them part (like a married couple 🥰🤵🏻‍♀️👰🏾‍♀️🥰).

I see that photo of us standing cheek to cheek… …and place a bit of my loneliness in our smiles. (Revolution!)

At this moment, the past represented by Utena and Anthy lying down, facing each other, and the future represented by the lyrics paralleled each other.

Past: a (naively) smiling Utena and a (falsely) smiling Anthy -> Anthy gives the white rose, the symbol of the Prince and by association, patriarchy, the source of her eternal pain, to Utena who is unaware of the dark history connected to it -> (failed) Revolution by dueling (transition to the dueling arena)

Future: the photo at the end of Episode 39 -> Anthy’s longing for Utena -> (successful) Revolution by leaving Akio

Even if I dream, even if I cry, even if I get hurt… …reality keeps on coming recklessly.

This sequence is about the Duelists.

Utena being the one who dreams is self-explanatory.

Saionji, if you pause at the right time, is seen with tears in his eyes. Behind his arrogant attitude is nothing but a mentally weak and insecure boy who throws violent tantrums when things don’t go his way.

Juri is no doubt the one most hurt in the series, not only because of her gender, but also because of her sexual orientation (I’ve made a post about it).

Miki and Nanami being the ones hit by reality makes sense due to the knowledge they idealize the relationship they shared with their respective siblings when they were children.

But what about Touga? Maybe it’s the confidence that he could get the power to revolutionize the (his) world if he emulates the system which had hurt him only to realize that such way of doing things won’t get him closer to his goal. Or, since he’s the first antagonist of the show, giving us a taste of what Akio, another male character whose inside is the opposite of his princely front, could do to girls, maybe he represents the reality/truth of the (imperfect) world.

All these Duelists, these teenagers, fight each other for a purpose and that later turns out to be futile after they find out that the rules they play by are a cover for a much more sinister plot.

I wanna find my own place, the value of being…

The first half, we focus on Utena who raises her sword with a determined look as the blue sky turned golden and the dueling arena crumbled. Utena rejects the narrative Akio wants for her and in the process, breaks the world he has created (and kept Anthy in).

While we zoom in on Utena, symbolizing her will to move forward, it’s the opposite with Anthy. Expression blank, she put some distance between her and Utena/the viewer(s), letting herself (her true self) disappear with Akio’s self-made world.

This sequence foreshadows what will happen in Episode 38.

…the person I’ve been until now…

But as it is shown in Episode 39, Anthy didn’t disappear in the fall of Akio’s world and stood up against her brother (riding a horse), mirroring Utena.

Also, we see Dios opens his eyes as the dueling arena crumbles to dust.

In Episode 13, Akio is conversing with a “sealed” Dios who “glare[s] at” him for wanting to bring the Prince back into the world. Dios had been “sealed away” because playing Prince had been killing him. Anthy had become the world’s sole target of their hatred so that he would no longer carry that great burden on his shoulders ever again. Dios is angry at Akio for not only trying to turn her sacrifice into a fruitless endeavor, but for also taking part in her eternal torment by making her an accomplice in his scheme.

Akio has internalized the teachings of patriarchy. He now idealizes the Prince, forgetting that his current self isn’t the result of Anthy sealing the latter’s power away. He had, of his own volition, casted away his “nobility” and enjoyed the privileges of his gender. He was free of the duties expected from the Prince yet chose to not use that freedom to search for a way to save his sister without taking on that mantle again. Protected by a patriarchal system, Akio is in fact afraid of carrying the weight of the world on his shoulders again despite his desire to return to his “glory days”. He wants to be the Prince again (regression), but also doesn’t want to give up his life of privilege. There is no step toward self-improvement. And that’s why his quest for revolution is nothing but a pretext to play people like a fiddle, especially the vulnerable ones like children and women. I think he subconsciously knows he’s maintaining a perpetual cycle meant to end in failure, but he’s too lost in his self-centeredness to take a third option, to destroy the limits of his coffin. In other words, Akio must let patriarchy (manifested through the game and the dueling arena) disappear in order to regain the lost part of him that is Dios, because what the latter really wants is to live in a better world, one where Princes aren’t needed anymore.

Let’s find the strength to throw it all away. Strip down to nothing all.

Utena having the strength to throw everything away references her decision to give up on the heteronormative “happy ending” given to her at the cost of Anthy’s well-being.

Anthy being stripped of everything references her true (naked) self within her coffin.

Become like rose petals, blowing free!

Honestly, that part was a bit difficult to interpret. We do see petals blown in the wind when Utena beats boys at basketball, but the only time I saw them concerning Anthy (and by association, the duels) was when the Duelist gets “deflowered”, and I didn’t get a feeling of freedom from it. Or so I thought at first. Knowing that the duels are part of Akio’s plot which is nothing but a wild goose chase, it makes sense in the context that losing means some time away from Akio’s control and thus, a chance to reflect and for self-improvement. Also, if the dueling arena is like a groomed flower, then its rubble is the petals. This might be foreshadowed in Episode 9, when Anthy falls with rose petals scattered everywhere as Utena tries to catch her.

Even if the two of us are torn apart… …I swear that I will change the world.

We have a return of Even if the two of us are torn apart… (Let go of me…) / …take my revolution. This time, there’s no request to let go of the other party and Utena is taking the next step toward (self-)improvement. If you pause at the right time, you can see she is not in a fetal position like at the beginning of the opening. Now, it looks like she is opening herself to the real world.

Anthy is not present, but that’s because she hasn’t reunited with Utena yet. Until that day comes, the latter will keep fighting for the world both deserve to live in.

In conclusion, the opening is a summary of the entire series and foreshadows how it would end.

[mswyrr]

"The Terminator" (1984)

Now that it's 2024, this film is 40 years old (!!!). I thought I'd finally sit down and give it a proper viewing (instead of the bits and pieces I've caught of it over the years) and it holds up very well.

Assorted thoughts:

-It's way more of a Horror movie than I'd expected. I knew Sarah Connor as a kid in her T2 Badass form (and from "Sarah Connor Chronicles"). It's neat to see her begin her journey as a Final Girl

-The deliberate pacing was also unexpected - but rewarding. Cameron does a great job building tension and weaving the deepening understanding of what's going on into that. Starting off a police detective plot only to have the detectives die like punks within minutes of coming up against the Terminator? Great subversion of genre tropes that were popular at the time and very effective in raising the stakes.

-THE ROMANCE. oh. delightful. it unfolds in such a way that you see an entirely new side of Reese - first, learning his first name is Kyle and then his deeper truth, who he is as a person that feels rather than a soldier who exists to kill machines.

-huge kudos to the actor playing kyle as he exposes his vulnerability - "i love you. i always have." and you can see the shifts between the hardened soldier he's had to be and what he's kept of his softness and how much she means to that side of him. the chemistry works v well.

-him being a virgin sort of -- consecrated by fate to love her? carrying her photograph with him. (the photograph where he noticed and felt connected to her 'sadness' - not realizing that, in the moment it will be taken, she is sad over his loss). choosing to go back. makes her side of the 'fated to have a kid together' thing less uneven?? kyle is fate's bitch even more than she is. i thought i'd be bothered by how she's destined to be the mom of an important man. but the way kyle is handled makes it work for me. he carries the tragedy deep in his heart and dies gladly for her and their child, not even knowing the truth about john. gorgeous!

i can see why people point to the sex scene here as an example of one that is beautifully in character and specific and INCREDIBLY PLOT RELEVANT lol like, it's absurd that people say sex shouldn't be in movies because it's "not relevant to the plot" but this is the single most plot relevant sex scene ever loll

i really liked:

-repeated shots of their hands gripping tightly -the way kyle is just drinking her in, in awe of her and this moment -linda hamilton's earthy/sincere performance of female desire and sarah working toward orgasm -the final time their hands grip each other tightly - and then the slow release of their fingers and the way the editor chose to have their hands letting go be a fade to black…. poignant, given what's going to happen 😭

"in the few hours that we had together, we loved a lifetime's worth" - love that quote and everything coming together in the end, as you see how the photograph was taken. lovely tragic romance!

[starryalpacasstuff]

The subversion of faen fatale in Last Twilight; and why I love it

Can I just talk for a moment how much I appreciate P'Aof dismantling faen fatale tropes, as well as the notion of 'guys and girls can't be close friends' that is so prevalent in Asian society? Because not only did he do a fabulous job with Ink in Bad Buddy, but he's going above and beyond with it in Last Twilight. We have Gee, who could have so easily been someone who was interested in Day, and come in between their relationship (I was praying for her to not turn out to be a faen fatale when she was introduced). But instead, she's a great friend to Day, and she helps him regain another piece of his life by pushing him to join her at the bar. And then we have Porjai. She's Mhok's ex girlfriend, and the narrative has presented chance after chance for her to regain feelings for Mhok, and present problem for Mhok and Day in so many different ways, but none of them were ever taken.

And part of this feels very intentional to me. Showing us two female characters that could have very easily become barriers to the relationship, they didn't. We see it in the preliminary interactions between Day and Gee, where there's some time where Gee's character could have easily gone one of two ways. And you will not believe how immensely relieved I was when the show made it abundantly clear that Gee is a friend to Day, and nothing more. Similarly, Porjai is introduced to us as Mhok's girlfriend, and later as his ex. It would have been so easy for her to 'catch feelings again', like when Mhok comes to her aid with her ex (forgot his name, won't bother reminding myself). I feel like the show is trying to put the point forward that guys and girls can be friends, and that the girl doesn't always have to be a homewrecker.

And let me tell you this, I absolutely adore that P'Aof is doing this. The trope of female homewreckers, (or faen fatale as we like to call them) is extremely prevalent not only in bls, but in asian media in general. I've seen it everywhere, from bollywood movies to add drama, to serials that have been running for half my lifetime, to keep the viewers watching. I've watched it enough times to have a genuine hatred of it. There's a number of issues with the trope that I'm not going to get into right now, but I'm sure you're all familiar with. But the greatest point is, that it often takes away from a good story. It's a tired trope that serves only to add drama and disinterest the viewers from the story. Last Twilight (and Bad Buddy too) has had a very concrete storyline from the start. The purpose and aim of this story have been clear from the beginning, and in the most recent episode, the show has started to dig a little deeper into Day and Mhok's stories, relationship, and shown us how they're growing together. A faen fatale would absolutely ruin the slow, delicate journey these two are on of growing together, which is where I come to August.

Honestly, I was a little afraid when I realized that Day liked August. Because Day and Mhok have been slowly, but surely growing closer, and they're slowly letting down walls built up due to grief, and loss. But August only serves to help us further understand Day. I'm struggling slightly to put this into words, but in the single episode we had with August, I've learned so much more about Day, and how he works. And, his introduction also highlighted Mhok's caregiving instinct once more, his tendency to always put Day first. There are rare instances when introducing a past crush does so much for a story (another being Bad Buddy, P'Aof the wonder that you are), and I'm absolutely eating this up.

The last scene absolutely crushed me in a way that only Ep 5 [4/4] bls by P'Aof can. Once again, the resubversion of the Faen Fatale trope. When I first saw August, my first reaction was expecting faen fatale, 'and now he's going to take away Day's attention and Mhok's going to leave the flower and we'll all be sad". Well, the last part happened but it was so much more heartbreaking the way it was done. Once again, proving how much better a story can be without the trope that with. I won't lie, I'm still scared about how the knowledge that Day likes August will impact Mhok's actions toward Day. But, it's more of a fear for the characters, and less of a fear for the narrative, as in I'm not afraid that it will take away from the story.

Bad Buddy holds a legacy for subverting an innumerable number of tropes, and I'm glad to see that Last Twilight is holding it's own in the department too. The purposeful subversion of faen fatale made my heart incredibly happy (have you noticed how much I hate this trope? You probably have. I'm sick of it. Most Indian kids are)

Side note- I've seen a number of posts ghostshipping Gee and Porjai, and while it may not be very plausible, we did get InkPa, so it's never impossible

[severalowls]

Hi I played myhouse.wad here is my thoughts on a narrative thing people seem intent on brushing off in favour of tired tropes.

Spoilers for myhouse.wad do not read this if you havent played it go and play it blind thx

So Thomas and Steven are heavily heavily implied to be husbands. The use of Intensely, Notably impersonal language in the journals is a whole other point to analyse irt its authorship but I digress, my (first) point is: Thomas is also Probably trans.

So in the airport you go into the womens bathroom and theres a pill bottle on the way in that says "needs a refill..." and then you do a little loop around the mirror and theres blood in the mirror then blood all over the place and blooddemons spawn in all around you... then you leave and there's a full pill bottle that says something like "such a relief" and when you come out the bathroom signs have switched and the bathroom you came out of is now the mens room.

Now the Le Reddit/gamer dood prevailing interpretation is apparently that this is... a coincidence? That the meticulous insane modder(s) who created this entire mindbending feat of technology Simply Forgot and its a total coincidence. Fuck off.

Now the prevailing theory also seems to be that the airport bloodbath is actually Thomas's father, evidenced by the same empty pill bottle being in the hospital room with the dead man. Nah, that's because they're both Thomas's fuckin pills and that's Thomas.

Steven (the PoV character as it were) is in the same hospital because this is a representation of the critical inciting event of the entire meta narrative: both of them having died, together, at home (probably in a house fire).

Everything we see in the mod represents scenes and events in their lives, and this is the point where Steven departs from the mortal coil and goes to join his husband Thomas, who is flatlining but nonetheless sat bolt upright, locking eyes with Steven who, in the context of the wider story is putting his affairs in order through the medium of Doom. CRUCIALLY this one hospital scene, where the video game gameplay rules of Doom (you die, you reload a save) are defied and we pass into a (god damn it) liminal space between the abstraction of the game and Death, is the only point where they are reunited.

Which then suggests to me that all the "Liminal Space" stuff and Backrooms references aren't just Fun References, but the Thematic Core of the piece, the passing between worlds. Hell, even the narrative being split between docs and the mod. It being a mod for a game at all.

Anyway I'll save this going on 10000 words because I could probably write interpretation for hours but... Myhouse.wad good.

Edit the following morning: There are hints to an "Anna" which the average Gamer assumes is some sadface ex-wife, but the main points where this is referenced are the airport scene and "S+A" in the bonfire/beach endings. Steven and Thomas are described as having reconnected with high school crushes/'friends'. The main time in your life where you're likely to carve your crush in a tree is when you're a teenager.

Steven had a crush on "Anna", reconnected decades later once he'd transitioned, the scenes of the game represent primarily parts of their life together, and in the final moments of the game (bonfire/beach endings) he's reflecting on when they met as kids.

Airport scene, besides the symbolism of journeys and beginnings, could also reference a miscarriage Thomas had at some point, possibly pre-transition since its where "Anna" comes up? (Stillborn baby is referenced a couple of times in the journal + baby bottle item ingame)

Anyway, myhouse.wad good.

[westdesert]

i don't have many complaints about the acolyte finale but there's one thing that's been bugging me over all else.

this. fucking. outfit.

we first see it when osha is walking out to the ship to find mae, when the audience isn't entirely certain on what her goal is when she finds mae or even where she stands with qimir.

this outfit signals to the audience that osha's path is uncertain and that she has come to a crossroads. it's a basic star wars trope that obviously acts as a callback to the morally ambiguous black getup that luke wore at the beginning of rotj.

but luke's sarlacc pit outfit looked GOOD. luke was easily the baddest bitch at the sarlacc pit.

osha's emo outfit, on the other hand?

genuinely. why.

how tf do you cast amandla stenberg- maybe THE most stunning actor you could've got- and put their character in THIS? the star wars equivalent of a potato sack?

i mean, she's drowning in all this nasty ass laptop sleeve fabric. the sleeve-hood-thing deal is just disastrous, made even worse by actual 80s shoulder pads.

even during the emotional climax of the episode, when osha force-chokes sol, this doesn't read as morally-ambiguous-turned-dark-side. it has no visual resemblance to any darksiders we've seen before, nor does it suggest any influence from the jedi in reference to her past. it's just. nothing.

i even wanted to view it as a way to contrast the sisters' positions in the story at this point, but i cannot find any significance aside from the very basic dark-light color contrast. i wondered maybe if osha's clothing is meant to be more angular while mae's is softer, but this godforsaken outfit is somehow both too stiff and too shapeless to mean much.

even in the final moments of osha's journey, her silhouette looks awkward due to the straight sleeves, the knee-length overcoat, and the FUCKING SHOULDER PADS.

osha is literally covered head-to-toe by a duffel bag for this entire episode. if qimir gets to slut it up in a sleeveless flowy outfit, osha's turn to the dark side can give her something a little more flattering too. form-fitting clothing like we had last episode, for example, could contrast the baggy clothes that both qimir and mae wear. or maybe a thinner fabric could be used to make her less stiff, which i think is important because this episode is literally centered around change and fluidity.

my final nitpick, on a slightly different note, is that i feel like it would've gone a long way to do something new with osha's hair in the finale. i haven't hated the little bob (?) situation going on but i think if she had walked out to the ship with a new set of clothing AND her hair tied up out of her face, it would've been a more drastic shift. plus, having her hair back could suggest she's expecting some sort of action to take place when she sees mae. it would've given us a more distinct visual between the sisters when they reunite if we could, like, see osha's tattoo-less forehead or something.

like, with her hair styled a little differently, osha could maybe be distanced from the version of herself we saw in episode 1, because the clothing isn't really enough to set her apart in this moment.

anyways. rant over. praying for a season 2

[storiesofsvu]

Holiday Bingo 2023

That's right besties! It's that time of year again! And in an attempt to keep y'all entertained with your favourite blorbos, I'm hosting this bingo so we can all share our creations and you have something to fixate on while I'm busy as hell at work!

As per usual:

Submissions can be anything! A mood board, a ficlet, headcanons, drabble, gif sets, one shots, social media au's, make it a mini series following the holiday journey of the same two characters! literally whatever you want!

Prompts are all winter/holiday themed. If it specifically says "Christmas" it does not need to be Christmas, it can be whatever holiday this time of year that you want!

Read the rest of the rules under the cut!

Prompts can be made into any genre, make it super spicy, make it tooth rottingly sweet, make it angsty as all hell and break our hearts, make it a wild AU, do whatever you want with them as long as they are what inspired your story. (aka "first snowfall" could be the first time character a is seeing snow, it could be the first snow of the year, it could be the characters baby's/dog's first time seeing snow. It can be cute, catching snow flakes on tongues or sad, bringing back memories with a friend who has passed. Literally whatever you want.) Just make sure to include any and all appropriate warnings/tags at the TOP of the post and I don't want to see any TikTok censoring of words!

Fics can be a ship, a reader insert, an OC, or any kind of crossover! Mix and match, stick with one, try out a new character or fandom!

Accepted Fandoms:

Literally everything and everyone. This is wide open to any and every fandom/show/movie that you want, it's free game besties! It doesn't matter if I write/read that fandom, do what you would like!

Some Inspiration:

-Law and Order (OG, OC, SVU)

-Criminal Minds

-Marvel

-NCIS

-One Chicago

-Abbott Elementary

-Mayans

-Grey's Anatomy/Private Practice

-911/Lonestar

-OUAT

-The L Word

-Wednesday

Rules:

You MUST tag me @storiesofsvu and use the hashtag #storiesofsvuholidaybingo2023 on each creation and I'll put together the masterlist.

Bingo begins on November 25th and will run all the way to January 20th.

You may only post/submit ONE creation per day!

Only one bingo square per creation

No underage characters involved in relations.

Tag all and every warning appropriately at the top of the fic

Anything over 1000 words must be under a readmore!

Everyone is welcomed and encouraged to participate! You do not need to be following me, we don't need to be mutuals, if you see this post and want to play, let's go!

If anyone has questions, feel free to comment or send me a message/ask!

Some playlists to get us in the mood:

________________

tagging some people who might be interested? (if you got tagged and have no idea who i am/where this came from it is likely that i have read your stuff and loved it/have some bookmarked on my to bed read lol. feel free to ignore.)

@prentiss-theorem @swimmingstudentchaos891 @rustyzebra @plaidbooks @thatesqcrush @adarafaelbarba @detective-giggles @mickey-gomez @alexusonfire @bumblebear30 @tropes-and-tales @unitchiefs-blackbirdphoenix @beccabarba @prurientpuddlejumper @fighterkimburgess @baubeautyandthegeek @melk917 @blackbird-brewster @virescent-v @leftoverenvy @iamnotoriginalphil @happenstnces @daddy-heather-dunbar @just-a-torn-up-masterpiece @five-bi-five-main @thehauntingofbasingse @supercriminalbean @h0tch-r0cket @bullet-prooflove @boldlyvoid @astrophileous @slutforsilverfoxes @cissyenthusiast010155 @hotchs-bitch @honeypiehotchner @whiteberryx @v3nusxsky

[paperclipninja]

Ok, I don't know exactly where this is going but I can't stop thinking about the fact we got the Crowley/Aziraphale meet-cute in the opening of season 2 and the way the layers of storytelling utilised the same literary conventions our fave demon and angel were inspired by when trying and get Nina and Maggie together.

We get to see Aziraphale and Crowley's understanding of romance and love, or more importantly, their understanding of what they think it should look like, through their misguided set up attempts, and this primarily reveals to us, a) they're both hopeless romantics and b) they have no idea about the subtle and real indicators of love or a burgeoning relationship between two people. But that's ok, they're celestials whose only reference points are books, films and each other (the most unreliable sources of all, exhibit a: Aziraphale telling Crowley Maggie has a 'pash' on Nina).

You know who does know about those subtle indictors of love and blossoming romance? The very human people watching the show. And so throughout the season we witness a series of tropes and moments that indicate Aziraphale and Crowley are indeed the ones whose love story is unfolding, and as viewers we are drawn into certain conventions that we are conditioned to assume will play out and resolve in a particular way. The nebulae creating meet-cute, the ongoing forbidden relationship that continues to build, the friends to lovers dynamic through the centuries and of course, the comfortable and cosy present-day lives, with 'our car' and 'our bookshop' and drinks at pubs and a relatively open existence together.

With each insight into the past, we catch the cues that indicate the developing affection, trust and care between the two; the way Aziraphale looks at Crowley when he realises the crows are goats, the way Aziraphale and Crowley cover for each other with Job's children, the bullet catch ('nough said) and the drinking of wine afterwards. When humans engage with literature or film, we understand the subtext of such moments, something angels and demons seem to miss as they focus on the overt gestures of romance and love in storytelling as confirmation of its existence.

In the present day, its the perching on the same chair, Crowley knowing the angel's different tones, the way they pop into the room at the back of the shop for private conversations, Aziraphale grabbing Crowley's arm, Crowley answering the bookshop phone with, 'Fell's bookshop, we probably don't have what you're looking for and we wouldn't sell it to you anyway'. While these are only a few of the prompts we are given, our brains piece together this storytelling along with the body language and expressions throughout, understand that all these aspects combined flag a romantic relationship developing and so we are swept up in the love story.

The way the flashbacks are interwoven with the present day is disorientating, because we are simultaneously seeing the sweetness and complexity of the developing relationship over time while in the present, Aziraphale and Crowley begin to fall out of step. Yes it starts with Gabriel's arrival and Crowley vs. Aziraphale's reactions and responses (there are many excellent posts that discuss this in great detail), but any misalignment isn't happening all at once, it in itself is like a dance; they move apart but then move together again, as an audience we think oh no, tension! oh good, that's resolved! However the neat trick here is that with each move apart as the individual characters undertake their own journey within the story, the distance grows a little greater. Meanwhile the interactions between the two characters do not necessarily shift dramatically and the set up through the storytelling still suggests that any threats are ones they will face together and it will be ok in the end.

Even the ball, I wanted to be all *swoon* and swept up. Everything that was happening on my screen told my brain that it should be feeling excited and full of all the feelings of seeing these characters finally starting to make a move, like I should be feeling giddy like Aziraphale seems to be because, just like the attendees at the ball and the very literature that inspired it, there's the music and the soft lighting and the smitten little angel face. But it's all those things and also none of those things, because as has been so brilliantly pointed out in this insight, this is all juxtaposed with the demon invasion happening outside and Crowley's futile attempts to convey the seriousness of the situation to Aziraphale. Crowley is doing the movements but he's not part of their dance in that moment, the dance they've been doing for centuries, and as a viewer it feels off kilter.

But we've seen their story unfold, we know that the love and the relationship is all there, and once again we see Aziraphale and Crowley fend off Heaven and Hell, both taking individual risks to do so and protect each other. Heck, we see that an angel and demon can put their differences aside and disapparate off into the universe together, our brains are poised, but also wary at this point because it can't be this easy, can it?

Crowley has to have it explained to him why their plan didn't work, Maggie and Nina sit him down to do so, and in that moment we are also being told that you can't just be pushed together, the timing has to be right (cue small alarm ringing in the back of my head). Despite this, and we know Metatron is never good news, we, as viewers, are held precariously in the hand of the storyteller as Crowley's emotional declaration clashes with Aziraphale's news in a way that side steps the expectations that have been building throughout the season. The final moment of Aziraphale leaving hits SO hard because the expectations many of the storytelling conventions set in motion are subverted at the very last minute. And it's absolutely brilliant.

Just to be clear, I know there is far more complexity in the show, the characters and the storytelling, and tbh I don't even know if any of this rambling makes sense. But the fact is, my tiny mind is just awestruck at the layers of meta in the way our no.1 angel and demon are calling on literary conventions to try to make two people fall in love, while we're watching these conventions in action showing us two people falling in love. The result?

The most incredible tension, yes between the characters and their sudden divergence (which was actually not so sudden after all, we were just a bit distracted), but also tension in the storytelling as the duality of the love story and the individual character stories collide head first in that final moment and we are left trying to untangle our expectations from the reality of what has unfolded.

(that last paragraph should probably have been the whole post honestly)