#like. you have to feel what the characters are feeling for it to be effective

[quantomeno]

I typically prefer the past tense. I consider it as a 'neutral' tense: the reader is unperturbed by it and it makes sense since most of the time you're retelling an event. But the last book I read was written in present tense and I had this distinct 'there's something off here' feeling until I realised it was the tense.

Also there's a bit in The Great Gatsby where Fitzgerald switches from past to present:

At least once a fortnight a corps of caterers came down with several hundred feet of canvas and enough colored lights to make a Christmas tree of Gatsby's enormous garden. On buffet tables, garnished with glistening hors-d'oeuvre, spiced baked hams crowded against salads of harlequin designs and pastry pigs and turkeys bewitched to a dark gold. ... By seven o'clock the orchestra has arrived .... The last swimmers have come in from the beach now and are dressing upstairs; the cars from New York are parked five deep in the drive ... The bar is in full swing and floating rounds of cocktails permeate the garden outside until the air is alive with chatter and laughter and casual innuendo and introductions forgotten on the spot and enthusiastic meetings between women who never knew each other's names.

As you can see, it goes from absolute past (came, crowded) to present perfect (has arrived, have come) to present (is, permeate). It evokes a sense of energy: "the air is alive" and it feels alive because it is in the now.

The past tense is the natural tense because that's how we talk about our personal stories. But you'll notice sometimes you'll use the present tense when recounting: "So I'm walking down the street when I bump into Marie and she keeps me there talking for half an hour, and I'm standing there with my shopping bags digging into my hands and she just yaps away."

The present tense tends to make the reader feel more involved in the situation, it makes the story feel more immediate and more real because it's not relegated to the past. A perfect example would be Se una notte d'inverno un viaggiatore (If on a Winter's Night a Traveller) by Italo Calvino, which not only uses the present tense but the second person ('you') to make the reader a character in the story.

There are also times where the present tense is used in recounting history. I've seen it done. I think it has a similar enlivening effect as it does in fiction.

Personally, I think the present tense is strongest when you use it sparingly. Too much of it can grow tiring. Partly by virtue of being a less commonly used tense it has a more exciting edge.

One last thing though, and as a final reason for the present, is that it makes the reader think the story is playing out now and thus what will happen next is still variable. In the case of the past tense, it's implied that the full story is over and the reader feels the narrator knows how it will end. In the case of the present, it feels more like no one knows what's going on.

Also the past tense is comforting. It is the tense of old tales and sitting by the fireplace, the tense of legends and rumour. It igves things a sense of fixity and truth. Brideshead Revisited, for example, needs to be written in the past tense because it is all about a reminiscence of the halcyon days of youth. Dracula should be written in the past tense since it is a collection of supposedly real diary entries and so it needs to look like things were being recorded properly and fully. The present tense can feel rushed, fleeting, but the past is always there and gives you time to set things down.

As a bonus: the future tense is an odd tense because it implies a degree of certainty, but can also have the feeling things could change still. It is incredibly disorienting and weird and should be only used if you really think it helps the idea you're trying to convey. Don't do things for shock value or o be cool. Like, a future tense horror/thriller story about an impending disaster to evoke a sense of helplessness in the reader might be interesting. Also consider context, because if the story is set in the past, future tense would be really off-putting (that might be the goal, or perhaps it's because a character in the past is predicting the future, there are times I'd say it's justified).

(also obviously I mean this as 'the whole book or a significant section is written in this tense, you can of course have bits where there's a bit of future tense, like that present tense passage in Gatsby. I just mean reading a whole novel in the future would be annoying)

I am thinking about fan fiction writers, but anyone who writes any kind of fiction can answer. (As far as I’m aware, non-fiction is usually written in the past tense - but if I’m wrong do let me know!)

If you like, explain why in the tags!

When I was young I gathered that all serious works of fiction were written in the past tense (past tense third person to be precise) so that is what i did when I started writing. However my mind was blown by the power and immediacy of Margaret Atwood writing in the present tense so I started to experiment with it myself, and now i strongly favour it. I get the impression that past is still the most commonly used, but I’m prepared to be surprised!

Please share!

[cheapshrimpysheep]

Hiii!! is it okay if I request a comfort(?) scenario/headcanons with Vil, Idia, Malleus and Lilia where a female protagonist feels self-conscious about having stretch marks and/or cellulite, thanks (Sorry if it's not spelled well, English is not my native language)

COMMENTS: So... even though I myself am a woman, I genuinely never saw stretch marks or cellulite as something bad or ugly, and I still don't. So maybe making the characters share the same vision as me would be accurate? The only exception to complete indifference is Vil, but not in the way you might be thinking.

Btw, I didn't see any point in writing this in a context other than an already advanced relationship given the topic. Fortunately, the 4 characters are 18 years or older so it doesn't end up being... you know, too weird.

I explain at the end why I couldn't write anything for Malleus or Lilia. But despite that, I hope you and all like what I managed to write. ❤️

CHARACTERS: Vil Schoenheit / Idia Shroud

TAGS: Fluff; Fem!Reader; Comfort; In a Relationship; Suggestive(?)

WORD COUNT: An average of 580 words per character

CONTEXT: I don't think it would make sense for two people to have this kind of intimate conversation outside of a romantic or even sexual relationship. So in that situation, he and you would be in a relationship.

This was an insecurity of yours from the beginning. After all, your boyfriend was none other than Vil Schoenheit. It would be worrying enough if he were a normal model, but he's not only a super model but one of the biggest in all of Twisted Wonderland.

He had already noticed that since you started dating you seemed more worried and less confident about your appearance and that was when he said to you:

“I am the one who needs to be perfect, not you. If I wanted to date a model I could do it, but my standards in romantic relationships are others. Different from some of my colleagues in this field. I will always help you to further improve your image if you wish and feel comfortable with it. Please don't see this as me wanting you to change your appearance, but as an attempt to make you as beautiful on the outside as you are on the inside.” He pauses for a second. “However, for some reason, there's something that bothers me about the possibility of making you start living the same lifestyle as me.”

But he would only get the answer to why that bothered him later.

“The truth is: you are my escape. I don't feel the pressure to be perfect with you because... you know I'm not and yet you look at me with more admiration than anyone else. You are my escape from the superficial and futile parts of my professional life. When you live in these types of environments, you start to lose track of what really matters and what really does you good. Thinking about you being swallowed up by this... and losing your genuine smile... because of me... I can't allow it! Please know that no opinion about your appearance matters other than your own. And it wasn't just that that made me fall in love.”

This may have made you feel more comfortable and confident about your appearance again, but as the relationship became more serious and you became more intimate, eventually your problem with stretch marks and cellulite began to affect your mood again.

At home, Vil had massage sessions from time to time not only to help him relax but also for other healthy effects it had on his body. He thought that now that he was dating you, maybe it would be interesting for him to buy massage products and for you to start having these sessions with each other.

“You deserve a massage probably even more than I do.” He tells you, referring to the hardships you go through with Grim and the others.

And that's when he realizes from your hesitation that something about your appearance has bothered you again. He asks you to tell him and that you can trust him. After all, if you couldn't, what kind of boyfriend would he be? And you end up talking about your stretch marks and cellulite.

“I see.” He says understandingly. “I've never had them myself, but I've met many women in the beauty industry who talk about it to each other. Not to mention the advertisements for products for it. Do you remember what I told you when we first started dating and you felt less confident about your appearance? I am the one who needs to be perfect, not you. Furthermore, from what I understand, these marks are usually found on areas around the stomach, hips, breasts, and thighs.” He looks at you seductively. “You don't really think I would have any kind of criticism if you gave me the honor of seeing these parts of your body, do you? Why don't you let me give you that massage? I'll show you what I truly find beautiful about you.”

At first you didn't even think about it. It was only when the relationship started to get more serious and you started to sleep together from time to time that you started to worry.

Especially when Idia started having less of a problem walking around you shirtless. And giving hints about how he would like to see you wearing his shirts, without pants.

One day he says he wants to acknowledge the elephant in the room, but instead of asking why you hide your body so much, he asks if you still don't consider him worthy of seeing his girlfriend comfortably sexy.

“You never hid the fact that you like to see me shirtless.” He says while playing some game on the computer. “I also want to see you like that. Not necessarily shirtless, that's another level, but like, you know I don't like to embody the confident handsome guy who likes to walk around with little clothing on." His hair starts to turn hot pink.” But... I like how you look at me when I do. And what you say. Which I never understood ‘cause I don't even have good physics. But you do! You would be that character that every player simps for.” He sinks into his chair. “But I understand, getting that kind of look from me is disgusting...”

You may have your insecurities, but he has them too. And finally you feel the need and the comfort enough to reveal to him that that isn’t the problem, that you would also like him to find you hot as you find him and that the problem is your marks.

“What marks? Like scars? Don't tell me you have cool battle scars, like doesn't that make a person even sexier?”

You say you're not talking about scars, but stretch marks and cellulite.

“... Yah... sorry, I think I rolled a natural 1 in intelligence for this. What was that again?”

You say they are marks, irregularities and dimples in the skin and that he can search them on the internet. He does that.

“It says that these are natural things that don't do any harm. But they can impact self-image.” He researches a little more. “Wait! Are you trying to tell me that you find these strips and irregularities ugly enough to the point that you have to hide them? THIS?” He smiles mockingly “Oh no! How horrible! Your skin looks like... skin! What a tragedy!”

He will be very happy if you can laugh with him.

“As if I would even notice that. It says here that these marks are usually found on areas around the stomach, hips, breasts, and thighs. Do you really think that if I saw these parts of your body it would be little stripes and dimples that would catch my attention?” The pink in his hair becomes more intense. “I may be a shut-in but don't lump me in with those worms who define their standards based on adult videos. I can assure you that's not what you'll have to worry about if you take your clothes off in front of me.”

He finally looks at you with a seductive look and smiles confidently when he sees that you are flustered.

I really really really tried to imagine scenarios with Malleus or Lilia, but I couldn't think of anything very meaningful.

Malleus wouldn't understand the problem even if you tried to explain it to him because... it doesn't make sense to him. They're just marks. He also has marks, like, on his forehead. Is there something wrong with this?

And Lilia would just laugh for you thinking this is a problem and just tell you to forget about it.

They wouldn't understand, because it wouldn't make any difference to them at all. And that's it.

With Vil and Idia I was able to think of something because they are, like, from this generation, and because one is in the beauty industry and the other is, probably, chronically online, they can see where your insecurity comes from. But for someone like Malleus or Lilia, this type of insecurity has no basis whatsoever. I really don't know what to write with them.

Sorry. 🥺

If you dropped in here out of the blue and want to read more from me, you can find it in my pinned post: INDEX

[literaryvein-reblogs]

Writing Basics: Descriptive Verbs

A verb is a word that’s used to describe an action.

Descriptive verbs - (or strong verbs) are single-word actions that add to the tableau in the reader’s mind, giving it a boost of color and energy.

In many cases, an engaging, vivid verb is more concise and telling than a straightforward, overused one.

The man ran quickly toward the smoke, versus 

The man sprinted toward the smoke.

Weak verbs are simply common ones—words that describe the bare minimum of the action. Sometimes that’s the best way to keep your writing clean and direct, but it can also lead to a lack of color, or personality.

Types of Descriptive Verbs

The most powerful verbs evoke imagery and emotion in the action of the verb itself. A dog doesn’t just eat its food—it gobbles it. The glass doesn’t just break—it shatters.

Questions to consider when replacing your verbs:

Verbs of movement: Movement is especially ripe for descriptive words. Movements communicate how your characters feel, what they want, and how they present themselves to the world. Is your character merely walking along from point a to b? Or do they project more attitude with a saunter or perhaps swagger? Are they in a skipping mood? These movement verbs can also denote a sense of place, and urgency: Depending on the terrain, perhaps they plod through mud or stagger over jagged rocks. Suspicious characters might slink away into the darkness, or scamper just out of reach.

Verbs of stillness: In real life, stillness is never entirely devoid of movement, and is equally revealing. A nervous character doesn’t merely sit, they perch on the edge of their seat. A rude character might slouch in their chair. A character who has just received terrible news may slump on the couch.

Verbs for speech and expression: With dialogue attribution, you could write an entire novel using only “said,” without having to resort to more descriptive verbs like “shouted,” “cried,” or “whimpered.” The best answer is a balance: try to keep your language from jarring the reader out of the story, but considering your character’s intent when searching for the right descriptive verb in dialogue also allows you to quickly deliver more information to the reader. When is a laugh so cruel it becomes more of a snicker, or so unguarded it bursts forth as a guffaw? Muttering a word under the breath might be a sign of dissent, while a whimper is one of surrender. Create volume in your dialogue by introducing sound-oriented synonyms, like whispers or shouts.

When to Use Descriptive Verbs

The best verbs help you hone your prose to give you the effect you wish to achieve. Think about the tone do you want to set—what feelings or mood do you want to evoke? What kind of language will best deliver the story you want to tell?

Reading your work aloud is an excellent way to both hear the sonic effects of your prose and catch awkward repeated sounds or other unintended effects. Read through your writing and make a note of where things feel too slow, or stale.

Where are the moments where your prose stalls out? Highlight all the verbs you’ve used in that section and find stronger words to heighten the tension or enhance the mood of the scene.

Reasons to Use Descriptive Verbs in Writing

Using descriptive verbs is especially useful when considering pacing; active verbs help anchor your writing in the present tense, contributing to the exciting (or suspenseful, emotional, moody, exuberant) tone you might be going for.

Weak verbs, in general, are often supported by adverbs of manner (those descriptive words that end in “-ly”). Good descriptive verbs rid your sentences of the need for too many adverbs, and can also keep state-of-being verbs (like am, is, are, and was, which lead to passive voice) in check.

Source ⚜ More: Writing Notes & References ⚜ Writing Resources PDFs

[corviiids]

hello thank you for asking i am very flattered. i would be most honoured to give some advice that i am most certainly unqualified to give!!

ok advice 1: hey why does everyone keep telling me to read and write a lot

i think this is the most commonly given advice. i have always found it true but incomplete, because on the face of it this kind of focuses a little too much on volume. which by itself just isn't going to do that much for you, or it will, but it'll do it very slowly and ineffectively, because the second part of this advice i don't see nearly as much (and the part that makes it work for me) is that after you read or write something you need to do The Why Interrogation. what are you looking for?

when you like something, why do you like it? not just in terms of copying and learning an author's stylistic quirks or techniques, but in a more abstract way:

is it the narrative? that the premise is novel, that the progression of the story is unexpected and thrilling, that the stakes are high?

is it the characters? what is it about them? do they have compelling backgrounds? does the author spend a lot of time in their heads? is the pov internal in a way that lets you experience the story from their shoes? does their biased narration tell you more about them? or is it a detached narration that lets you see the characters in a way they don't see themselves, so the gap is intriguing?

is it the telling? maybe the prose is beautiful - what makes it so? sentence structure? unconventional use of grammar and punctuation? elegant, sophisticated vocabulary? or maybe the dialogue is sharp and human so conversation flows naturally. is the story paced carefully? does the author linger more in certain moments?

the same exercise is useful for what ISN'T working.

if your attention is drifting, what's making it drift?

purple prose? clumsy prose?

does the narration drag?

do the characters feel stagnant, and why?

plot doesn't make any sense?

maybe this sounds obvious, but imo it's a crucial piece of the advice that i just don't see as much because people tend to focus on volume of works consumed/created. the reflection and analysis is what makes that volume useful, otherwise you're just churning through content. the question should always be why, why, why. why did that work, why didn't it work, why did i like this, why does it suck. then proceed to: if i were doing this, how could i make it work?

advice 2: don't forget that all the words you need already exist.

this is more subjective advice. this is something that works for me personally. so ymmv. have you ever tried magnet poetry? you should try magnet poetry.

i always see writing as kind of a puzzle. if i have an idea in my head, the idea exists. the job is actually a translation exercise: how do i express the thing in my head as a thing other people can see? in this way it's like visual art, but it's also not like visual art at all. in visual art you choose where all the lines and colours go, completely freely. any line you draw is a brand new line.

in language, all your parts already exist. all the words already exist. (you can make new ones if you want but that's a whole different thing.) you are plucking symbols out of a collective understanding. it is like lego. all you are doing is selecting the most effective pieces and placing them in order. so for me, i am simply trying to find the 'right' words to fit each context as best as possible. it becomes a game of arrangement, which determines your expression.

then syntax and punctuation become your rhythm, which is how you determine flow. sentence length, word length, whether you omit words or use more, whether you want to be a bit unconventional. character also plays into this - i am not writing an advice 3 because i am getting self conscious but advice 3 would have been consistency of voice.

so i would prioritise vocabulary and timing. what are you trying to say (which words do you pick) and how do you want the reader to experience your words, how do you want the words to feel and sound (how will you pace your sentences)? remembering that all the parts are already there. it is the world's biggest game of magnet poetry.

advice 3 which doesn't exist: keep your voice consistent.

this advice doesn't exist. im not writing this i got embarrassed and stopped at 2. but if i did write this it would say, remember who you are. (remember who is writing your story. are you a character or are you god? remember how much you know. remember which feelings you have access to.)

[doginurbloodstream]

i am bive from regretevator!

i dont particularly miss the regretevator universe.. i do enjoy the game though

i know two infected fictionkins, one of which is also unpleasant gradient and poob!

id say im a 3/10, i tend to be a very rational person (i think)

bive is unlabled mspec but wlw and im aroace transmasc

my fictionkin identity doesnt really effect daily life, if at all. it has to be triggered by specific bive related things. the closest its gotten is wanting to yell out "me" whenever the npc me entered the elevator while i was playing with my friend, who does not know im a fictionkin, so there was like an awkward pause where i stopped myself, and then yelled bive. there are random bits of dysphoria i guess, i dont like talking in third person, but its mild and i can get past it.

my fictionkin experience is mainly unpleasant (gradient) unfortunately. shifts are euphoric but also stressful. i tend to have to consciously ground myself a bit, because i have felt like im being watched in the past. i knew/know i wasnt, i just couldnt shake the feeling. i mean coming up with theories for the game where i can just completely let lose is fun, however it is saddening that i will probably never come up with a real one.

death note, touch tone telephone (i was based on that song so its not surprising), and i recently realized the backrooms does too. theres more im not thinking of

im not sure, its not psychological and i think dont believe in most spiritual things. its probably a multiversal thing, but i dont know from there so i usually just say unlabeled.

i do experience shifts! they are always triggered tho, thankfully. i dont get them too often. the first two shifts i had were me being paranoid abt things (the very first one was very out of control, but i was sleep deprived and depressed at the time). the second time i talked about two questions ago. i didnt have any shifts for awhile after that until i my plushie arrived, and i stayed up quite a bit just missing mediamates. that was rough. my later shifts were triggered by trying to come up with theories for the game, altho i wasnt aware i was shifted, until later, i thought i was just excited. the theories were really unhinged, and i thought i was a genius. it was rly fun tho. harmless shift. today i had a brief shift, i was looking at a bive fictionkin stimboard, and there was like a liminal space gif + music was playing, and it looked.. all too much like the lab. i started crying a bit, even tho i do not think have kinmemories, but it ended pretty quickly cuz my friend msged me a joke and the shock value got to me lol. ive also had phantom shifts, but not much recently. i may have had tail shifts, but its difficult to differentiate between kintypes

my media is regretevator on roblox! i do cringe at it sometimes tbh.

when i see fanart, it sort of feels like it was made FOR me specifically lol. what i know abt my canon heavily aligns with the fanon designs so thats cool. when it doesnt align i do feel a bit off tho- like no, that isnt me. you got it wrong. ironically this happened with a recent canon update, when they added melanie WHO IS DEAD. she was supposed to BE dead and STAY dead. and then also, why do i welcome her back?? why am i so friendly?? i mean i get that shes like friends or smth with split, but i just dont trust her. i have no reason not to, i just dont. that is WRONG. you. NO. get OUT.

ooh ooh! i like this question. i have a large, reptile-like (but hairy) non-prehensile tail! my hands and feet are clawed, with only 4 digits. for my feet i have like thumb things coming out of my heels, similar to a bird. i likely am very similar the upcoming remodel, but i cant confirm as i have not seen it. i just know im not a roblox character, and the previews of splits remodel feel very familiar.

ah.. ships. i dont see much of them outside me n split. if i do i just think its a bit weird, and move on. i wish i was seen as more than just someone who likes her. theres more to me. the majority of bive fans are mainly spive fans. i decided to look myself up on tumblr and i was just flooded with shipart. there is MORE TO ME. I AM MORE THAN HER. PLEASE SEE ME FOR ME.

in current lore me and split have feelings for each other (cant relate, im aro, but spive is in my canon tho) and are GOING to confess but that has not happened yet. i feel kinda weird abt it since i have very mixed feelings on romance, but i think we are a thing in my canon, because MY GOD I MISS SPLIT SO MUCH. I MISS HER.

Alex's fictionkin ask game!

(mostly for fictional characters)

🌲 - what is your fictotype?

🪲 - do you miss your home? Or maybe you're happy that you're here?

🐸 - do you have any sourcemates? If yes, who/what are they?

🌳 - in scale 1-10, how are you similar to your canon?

🌿 - does your fictotype have a different sex/gender identity than your body/you?

☘️ - what aspect of life does your identity affect the most?

🪴 - is your fictionkin experience unpleasant or enjoyable for you?

🍃 - what reminds you of your fictotype? (E.g.: a figurine, a doll, a tv series)

🌄 - on what level is your identity? (E.g. spiritual, psychological, psychical)

🐢 - do you experience shifts? Of yes, how do they look like?

🥝 - what is your source?

🐛 - how do you feel about fanarts of you and fanfictions?

🌵 - do you look exactly like in your source or do you look different? If you do, then what is different?

🥀 - what do you think about ships with you?

🦕 - do you have/had a loved one in your source?

♪♪♪

So, yeah, that's all! :D

Reblog this, so the others can ask you questions or answer them all right now, if you want to :>

[irisintheafterglow]

NOW PLAYING...IRIS' ROM-COM SPECIAL (20s)

SELECT YOUR LOVE INTEREST:

THE SWEETHEARTS: kirishima eijiro, todoroki shoto, iwaizumi hajime, bachira meguru, umemiya hajime, kaminari denki. THE PLAYBOYS: gojo satoru, hoshina soshiro, kuroo tetsurou, takami keigo/hawks, miya atsumu. THE BROODERS: sakusa kiyoomi, bakugo katsuki, suna rintaro, roronoa zoro, itoshi sae. THE WILDCARDS: nanami kento, miya osamu, itoshi rin, geto suguru, todoroki touya.

SELECT YOUR SCREENING:

1. 10 THINGS I HATE ABOUT YOU - A newcomer underclassman crushes on your sister, and pulls some strings to get you to go out with the reckless bad boy that is oddly charming. STARRING: ITOSHI RIN 2. LEGALLY BLONDE - Your boyfriend breaks up with you because he's going to law school, so you follow him. What do you do when he decides it's over, even when you're there? Fall for your professor's junior partner, of course! 3. THE PROPOSAL - Your boss asks you for a favor: marry him so he doesn't get kicked from the country. The problem? You're going with him when he proposes to you on holiday at his family home. STARRING: GOJO SATORU 4. 27 DRESSES - You're a bridesmaid for hire whose boss falls in love with your sister. And she wants you to plan her wedding. And the guy who helped you not get a concussion is stupidly cute. STARRING: ITOSHI SAE 5. SLEEPLESS IN SEATTLE - For the record, he doesn't believe in love anymore. But, to appease his son, he talks to the reporter on the radio. Now he has a choice to make: does he risk it all to meet you on Valentine's Day? STARRING: BAKUGO KATSUKI 6. WHILE YOU WERE SLEEPING - You fell in love with the cute guy that always passes you at work. When an accident puts him in a coma and his family thinks you're engaged, what do you do when you fall for his brother instead? STARRING: RORONOA ZORO 7. HOW TO LOSE A GUY IN 10 DAYS - As a writer, your next big project is to create a list of what traits make men lose romantic interest. Too bad your latest target is hellbent on winning a bet of his own: to make you fall in love. STARRING: MIYA ATSUMU // PART II: DENKI KAMINARI 8. THE WEDDING PLANNER - On the eve of celebrating your greatest career achievement, you're saved from imminent disaster by the man of your dreams. Unfortunately, he's engaged...and is hiring you to be his wedding planner. 9. ALWAYS BE MY MAYBE - On again, off again, you and your childhood best friend went separate ways in life. Back in your hometown for the opening of your first restaurant, you don't expect to see him again. Or expect to see that he's hot. STARRING: MIYA OSAMU 10. LA LA LAND - One was a burnt out actor. One was an aspiring jazz musician. Need I say more? STARRING: RORONOA ZORO 11. THE WEDDING DATE - You have the genius idea of hiring a male escort to accompany you to your sibling's wedding, and find there's more to him than his physique. STARRING: GETO SUGURU 12. 50 FIRST DATES - Whether it's a blessing or a curse, the effects of an accident on your brain cause you to fall in love with him again...and again...and again...and again...and... 13. TO ALL THE BOYS I'VE LOVED BEFORE - Your sister sends the letters you'd written to every boy you'd had a crush on. Fake dating and chaos ensues. STARRING: IWAIZUMI HAJIME // PART 2: TODOROKI SHOTO

TO RESERVE YOUR SEAT:

Send me an ask with your love interest and your rom-com title/number, and that's it! I'll add the character to this masterpost and tag you (unless you'd like to be anonymous!) on the final post. Click HERE to send your request!

Requests will continue to be taken until the end of January or all spots are full! (subject to change depending on demand) Tags for this event will all be under #irisromcomspecial

Edit as of 1/9/25 : If there are multiple requests for the same prompt, I'll write a prompt up to three times!

One character per rom-com please, but if you'd like to make multiple requests, feel free! Questions? Feel free to send an ask or leave a comment!

DIRECTOR'S NOTES:

EEK okay so this is my first ever event and it's for my birthday :) I'm a huge fan of rom-coms so I gathered some of my favorites of all time to apply some new characters to and hopefully make you want to watch (or rewatch) them too! I'm very excited to host this event and hopefully have some fun fics released in the process. Thank you all so much for your support on my blog, I appreciate it more than you'll ever know. Disney+ banner was made by me, heart dividers are by the wonderful @cafekitsune !

[zuppizup]

Rayllum, 10 babies and Xadian family planning

I’m trying to post the next chapter of Dark Alternative, but AO3 is very wonky, so you’re going to be subjected to my rambling thoughts on my new WIP for Work in Progress Wednesday.

So, over my vacation, I’ve been plagued by post-season 7 fanfic ideas. Short fics, obviously. No more than three chapters, as usual.

What’s got me intrigued right now, is how the continent of Xadia, or at least, a select group of people, will manage with living with the knowledge that Aaravos, in some form, is coming back in seven years. How would that affect politics and society, as well as the individual characters and the choices they make knowing that?

The regular folks would struggle to miss that whole eternal darkness and dead creatures thing that happened, but what do they know about exactly what went down?

And what do they know about what’s to come?

You know me, I’m a Rayllum person, so pretty much any fic of mine is a Rayllum fic, and this current idea is focused on how this particular threat affects the next stage of their lives.

Without a doubt, when we last saw Rayllum they were totally committed to each other and are fully ride or die… but how would that devotion relate to their future, in particular, the subject of children?

Now, I’m an angster in my deep dark heart, so while I’m sure many people could conceive of a fic where Rayllum are secure in their ability to defeat Aaravos come round two, that ain’t where my brain was ever going to go.

Rayllum are in love and clearly want a future together. Callum was openly planning a quaint little one in the Silvergrove before they were rudely interrupted by the whole end of the world dealio.

So, where does that leave them now (in my angsty reality anyway)?

In their youth, they both leaned into their more paranoid natures (Rayla leaving without Callum in TTM and Callum getting physical with Soren in season 4), and while they’ve both grown and matured since then, would such a threat as the world ending be enough to bring that paranoia right on back?

Which leaves me with my current fic planning conundrum.

Assuming Rayllum decided to forego the whole having kids thing until Aaravos is imprisoned again, how likely is it that they could plan when to have a family.

I’ve seen people say that the world of The Dragon Prince is in a medieval setting, and so people had children younger then, which, aside from not being the entire story, doesn’t feel like it really applies to a world with magic and dragons, a world that lacks the sexism and gender roles that are also associated with medieval times or other more grounded works set then.

Additionally, looking at canon, I think it could be reasonably argued that some form of birth control is readily available in the setting. In fact, I think it’s likely multiple forms of birth control exist in the world of The Dragon Prince.

From humans to elves, we don’t see large families normally associated with the inability to plan a family via the use of effective birth control. The “largest” family we see are the Sunfire monarchs, with three children. Viren and Lissa had two children only. Sarai may well have had more children had she lived, but Rayla’s parents spent multiple years at the Storm Spire and she remained an only child.

I can’t imagine there’s much in the way of entertainment at the Storm Spire either. Sure, they could abstain or get creative, but oof, hasn’t enough been asked of them?

Even looking at prior generations, we do not see large families. Given the closeness in ages of the siblings we know of, it also seems unlikely to me that children were lost in childbirth or to childhood illnesses.

To me, it seems far more likely that family planning is active in Xadia and would be a tool Callum and Rayla could exercise.

Clearly, no birth control is infallible (or I guess it can be, magic and all) and I assume Miyana’s twins were unplanned.

Personally, I head canon Rayla herself was an oopsie baby in order to further explain the complications of her parents being called away to join the Dragon Guard.

Where am I going with this? I don’t even know anymore.

I suppose, to me, it’s not a foregone conclusion that in seven years Rayllum would have a kid (or indeed multiple). The setting of the world doesn’t imply that it’s particularly difficult to prevent pregnancy. In fact, the small families imply to me that family planning is a cultural norm among elves and humans.

Faced with the imminent threat of Aaravos’ return, would Rayllum plan to start a family? Certainly, people put off having children for far lesser reasons.

We also don’t know how using dark magic, even in that limited capacity, has affected Callum and the potential for him to get possessed again. It was clearly enough to physically mark him, but does that go deeper?

Would imprisoning Aaravos once again result in an inevitable possession?

Not great when Dad gets taken over and abandons the family.

Or worse, Mum has to take him out.

Angsty though!

As usual, I’ll be doing my own thing in my fics, but I’m interested to see where Arc 3 goes with this (optimistically assuming we get it). There are a lot of factors at play to explain why we might see a lot of the characters in a state of stasis. Seven years isn’t that long when you’re facing the world ending, after all. Particularly when you’re likely to play a very active part in trying to stop that returning apocalypse.

So, which way to go? I see the angst potential in both.

On one hand, you’ve got the pain and desperation of protecting your kid from a returned Aaravos, or perhaps worse, a possessed Dad.

But on the other, you’ve got two people who likely want to take the next steps in their lives, but feel the pressure of a ticking bomb haunting them and potentially preventing them from moving forward.

Either way, bring on the pain.

[asktheritobowyer]

(This is the blogger here, making a post that I never thought I'd be making, but due to recent events, regarding threads, and my inbox, I feel like I need to)

First of @askthenewritoelder @asktheritochampion @asksakitherito @askaritobard @askthehylianchampion I want to make it make clear, none of you are at fault for this, nor could any of you have predicted your replies, or posts would have caused something like this to happen.

As @asktheritochampion said on their blog, there has been no drama, or anything of the sort between us, just bloggers having fun with the characters, engaging, and creating fun scenario's for us to play out.

Unfortunately with that said, for the past couple of days, my inbox has been flooded with nothing but death threats to myself and the character of Harth.

I've had messages telling me to kill myself. I've had messages telling me they hope Harth commits suicide. I've had messages hoping Harth gets killed in his sleep by Tulin in graphic detail. I've had messages telling me they look forward to Teba stabbing Harth to death and taking Molli. I've had messages saying they hope Revali kidnaps Molli and kills Harth. I've had messages hoping Saki cooks Harth and feeds his remains to Rito Village. I've had messages telling me Harth is going to get hacked into pieces by Link, and he's going to eat him. I've had messages hoping I die for not falling in line and loving Revali like everyone else. I've had asks saying Harth should make a bow and shoot himself with it. etc...

It really is as bad as I'm describing. I sincerely wish it wasn't. Nor will I show the asks, as they're incredibly graphic and disturbing to read. I haven't gotten any genuine asks lately. Just simply death threats, or messages hoping I die, or Harth dies, or Molli getting taken away because Harth gets killed by someone. I've counted 60 so far and counting.

It goes without saying I'm here to have fun. I'm here to enjoy myself. I'm here to interact with others. I'm here to have fun answering asks in character. I'm here to engage with other threads. I'm here to respectfully freely express my feelings and opinions to others, and respect their opinions. I'm here to get into all sorts of fun shenanigans with Harth.

I didn't come here to be harassed. I didn't come here to get ridiculed for being different. I didn't come here to be sent constant death threats because I think differently. I didn't come here so people can tell me they hope Harth dies, so someone else can take his daughter. etc...

I understand people may like a character, but there comes a point where you shouldn't take things to this extent because someone has a different stance to someone else. Things have been taken way out of context, and people have gone to the extremes in my inbox.

We all have different opinions and should respect them. We should be polite to one another regardless of the differences. I'm just someone looking to have fun with others, and create stuff by myself or with them. Nothing more nothing less.

There's a right way to engage with someone and express yourself. This isn't that way. I don't want to make posts like these, but I'm hoping in doing so people are mindful of what their doing and the effect it can have on someone simply wishing to enjoy themselves.

[luv-beam]

SURPRISEEE!!! i finished some things early and realized i had a lot of time tonight, so here i am!!! really, just a treat for me heh:

• dropping us immediately into everything-has-gone-to-shit oh ur praying on our downfall TT like the distance is palpable... and hao 😭 oh sweet, protective big brother hao 😭

• THE TULIPS??!?@!( STRETCHING TOWARD THE SKY??? my chest hurts .. the way yn looks at the garden now. like ik how it feels when something/someplace u once considered ur safe haven or safety net becomes corrupt,, twists the heart

• YOU WOULD NOT COME HERE AGAIN 😭😭😭😭😭😭 UGLY CRYING its the way "at least not alone" comes right after and i wonder if seokmin feels the same bc he also walked by, but only w minghao (granted, this isnt his house but...) and bc u write that they were BOTH affected (im not delulu am i...)

• vapid fop... what if i chuckled hahah

• also HELLO YOON JEONGHAN (u couldn't resist, could u, tara ;))) "a balm to the bruised parts" oh. im honestly living for jeonghans character and that in some other life, he and yn might actually make the perfect match (also mama xu doing mama matchmaker things w said thinly veiled glee is everything)

• its interesting that seok and hannie have kind of switched tropes? idk if that makes sense, but jeonghan as the warm, comforting presence and seokmin as the teasing, haunting ex-relation. its interesting seeing them both in these contexts and i like the subtle way u point to seokmin still having feelings for her or, yk, CARING ABT HER

• oh so nooow u try to play nice ..... jkjk im sorry i have assumed yns soul at this moment LMFAOOO (we're at the return of hao)

• i have sm pettiness in my bones that i emoathize w yn too well in this section LOL like yn was holding back, she could have snubbed him even more thoroughly imo !!! the dettached politeness and careful dismissal of his attempts at conversing w her makes me cackle lol (sorry dk) loved the dialogue/interactions!!!

• "weaving an intoxicating tapestry of distraction" oooooo welcome back tapestry metaphor 😌 i love imagining all of this like one massive tapestry being weaved in of those big ass looms that u think of from ancient greece

• speaking of intoxicating, the way u described jeonghan previously reminded me of champagne teehee

• the fact that every time seokyn make eye contact w one another the world seems to pause makes me ILL. like u cannot make me think of that slow motion, light fading-esque scene every time like my heart cannot take it

• i feel sick 😭😭😭😭 like damn that hurts... like u hate to see them doing so much better than u and u capture that bittersweet heartache/break so well :')))

• like sure seok's reputation might have been scuffed a little when she ran away, but all of that negative social consequence is given to yn, not seokmin. and the domino effect of all her "mistakes" and all this isolation is so... accurate? truly, her isolation and helplessness/defeat can be felt thru the screen

• i can kind of imagine the scene where yns escaped back home and is just sitting in the dark,, like the muffled sounds of partygoers and then the door closes and it's so quiet... man im so sad for her

• "ah i see my sister's charming everyone tonight" PLS I LOVE U HAO 😭😭😭 he's such a sweet older brother bye skfndjfj the way he's so protective im so

• i am kind of curious if yn has realized/forgiven seokmin in some way? like ik she's bitter and also heartbroken cuz she felt stupid for believing he could love her back, but at this point, she seems to have forgiven hao in some capacity for trying to help her "save her prospects" last chapter. so would it be safe to say that she's forgiven seok for going along w it too? or ig,, its a little more complicated than that huh

• damn someone who can make even jeonghan nervous/uncertain? crazy lol

• all this time passing MAKES. ME. SO. SAD. FOR. HER. 😭😭😭

• i agree w yn, the tulips bring an unwelcoke reminder of seokmin 😌 sorry seokmin

• the gaping hole and taut tension during the brief scene of spring age 22 is so JSNFKDJFJ RAAAAAAAAH ik im on yns side but like i need to strap this girl to an armchair so they can talk shit out 😭 i love longing so much but i also wanna tear my hair out

• i looove that u describe each and every ball/society event in its own way, like they have their own unique personalities!! :'))) like this one as a kaleidoscope... so beautiful, its a pleasure to my mind. on a similar note, the way u described sohee's dress and appearance was MWAH!! like i can picture exactly what she looks like, she's such a vibrant and living character in my mind. though the irony is not lost on me how her appearance/dress is described in such similar detail as when yn was a debutante 💔 like she's now been cast aside and it no longer matters how well she dresses; no one expects her to steal the spotlight

• oh but this one hurts 😭 ^ like it was established in chapter one that she must exhibit restraint and hope often slips through ones fingers like water, and it's heartbreaking and utterly depressing that she kind of lives thru these younger girls' experiences bc she never got her happily ever after. ur not only sidelined, but ur forced to watch someone live the life u were supposed to have (its so cruel 😭)

• "i suspect that there's still magic left in ur own waltz" OH I HAAAATE UUUUUUU YOON JEONGHAN WHY DID U HAVE TO END UP SO GOOD 😭 why r u making me like him tara 😭😭😭😭 not the second male lead 😭 now i want him and yn to end up together

• a reminder of what ive lost... the ache... ugh its so good...

• ONCE AGAIN. the imagery is perfection. like ur painting of the gardens at night in my mind is SUBLIME

• SHE WAS MINE FIRST OH JEONGHAN (´Д⊂ヽ OHHHHH I SO WANT U RN ive always sensed this kindred heartache btwn us, bestie. also just both of them coveting a hand that isnt theirs... goddamn, it's always the pining and forbidden that gets me

• but also totally digging the offer for a loveless marriage. like they can totally just make the best of it :')) its clear that they get along, and who knows.. it could turn into some semblance of love :')) i like to think that he's a little desperate himself while trying to convince yn to take up his offer. although a man won't get as much blow back for being unmarried, he's still a viscount. mutual desperation, mutual heartache... just drawing connections heh

• A GARDEN PARTY IN THE QUEEN'S GARDEN AND YET ANOTHER BEAUTIFUL PANEL TO ADD TO OUR GROWING TAPESTRY WEEEE

• "punctuated by the delicate notes" oo i just had to say that i love that word choice, it scratches an itch in my brain

• oh. thats quite the uh scandalous position their seokie... also just the way that time seemed to slow down again, but this time, yns trying so desperately to put on a strong face that seems so ready to slip off at a moment's notice. like i can feel her trying to pull herself up by her bootstraps and not fall apart

• never mind my question was just answered 😭😭😭 yn baby pls i know ur terribly depressed but U NEED TO HEAR HIM OUT . PLEASE.

• I LOOOOVE THE ENDING, LIKE I LOVE THAT WE'VE ENDED UP HERE OF ALL PLACES LIKE OOOOOOO PETTINESS HAHAHAHAH

if u couldn't discern it, i loved this chapter so much!!!! :'))) like the superstar was definitely the tension and the push and pull of emotions as yn experiences her young life flash before eyes skcnkdnf i love that you've ghrown a wrench into the plot of seokyn via one very handsome and persuasive and lovelorn yoon jeonghan 🫂🫂 i cant WAIT to read seok's reaction, and EVERYONE'S reactions for that matter LMFAO i am so enjoying this series so far tara, tysm for ur hard work !!! 💖

The Somerset Affair Chapter 3: Promises Bathed in Moonlight

pairing: lsk x fem!reader genre: Bridgerton AU, friends to (?????) to eventual lovers, brother’s best friend, SLOWWWW BURNNN chapter wc: 8.8k warnings: alcohol consumption, societal expectations, crying, mentions of a panic attack (not being able to breathe), eventual smut, more to be added a/n: sorry sorry i know ch 3 took forever too lol // as always, ENORMOUS thanks to indi @wongyuseokie for this GORGEOUSSSS banner // and to my lovely betas shu @welcometomyoasis lou @tusswrites haneul @chanranghaeys

summary: maybe you really are well and truly alone.

comment to be tagged when chapters are posted, or join the fic taglist here! series masterlist

The First Year: Summer Age 19

The first season after that fateful night was like a hazy dream. When you returned to the social scene, the whispers followed: why had Lord Lee disappeared from your side, so abruptly and publicly, leaving you to stand alone in the wake of his departure?

You endured it with a forced smile, accepting dances from any man who offered. Seokmin, when you saw him, was always nearby yet achingly out of reach, just beyond the edge of the crowd, his gaze never straying to you. Minghao, perhaps sensing the fraught silence between you, would draw you into conversation whenever he could, his manner protective, his eyes wary.

The estate gardens were nothing short of stunning in the late spring. Bursts of red and yellow tulips stretched toward the sky, their vibrant hues softened only by the ivy draping from the nearby trellis. The whole scene was picturesque, brimming with life and warmth. Yet, to you, it held only shadows, echoes of laughter from a time that now felt far away.

You’d meant to pass by quickly, perhaps even avoid the gardens altogether, but the pull was magnetic, the memories nestled there too insistent to ignore. This had been your sanctuary, your haven of whispered secrets and boundless dreams. You had spent countless summer afternoons here with Seokmin, lying on the grass, watching clouds drift lazily by as he teased you with nonsense riddles and ridiculous tales. He’d always made you laugh—those moments had seemed to stretch endlessly, filled with the certainty that nothing would ever change.

But change it had.

Now, as you stood among the tulips, their bright faces tilted toward the sun, you felt as if you were the only one left in shadow. Each flower seemed to mock you, as if asking why you had come back when he was no longer here to share it with you. You could almost hear his laughter in the rustling leaves, a phantom sound that made your heart ache.

You allowed yourself one indulgent moment of memory, one small surrender to the warmth of the past. In that instant, you could almost feel his presence beside you, could almost hear him sigh as he lay back against the grass and urged you to do the same. Tulip, he’d called you once, likening you to the flowers here—delicate, bright, full of life. His voice drifted through your mind like a warm breeze, and you closed your eyes, feeling the bittersweet pang of loss settle deeper into your chest.

Then, a sudden sound cut through the quiet, and you froze. It was the low murmur of a familiar voice—Seokmin’s voice—wafting toward you from the entrance of the garden. You barely made out the words, some easy greeting exchanged with Minghao as the two approached. The cadence of his voice was softer now, more mature perhaps, but unmistakably his. In an instant, the fragile calm you’d managed to summon evaporated, replaced by a panicked urgency to flee.

You turned on your heel, lifting your skirts as you hurried toward a narrow, shaded path, heart pounding as if you were a trespasser in your own sanctuary. You slipped behind the thick ivy-covered trellis, your fingers clutching the delicate lace of your gloves as you pressed your back against the rough wood. There, hidden from sight, you held your breath, willing your heart to quiet, afraid he might hear it even from a distance.

He paused at the garden’s entrance, his voice carrying lightly on the breeze, mingling with the chirping of birds and the gentle rustle of leaves. It was a voice you had known too well, one that had once woven a thousand dreams in these very gardens. But now, standing there alone and concealed, all you could feel was the sharp edge of those dreams turned to dust.

You dared not look, dared not even breathe until his voice faded and the crunch of gravel beneath his feet grew distant. Only then did you step out from your hiding place, the scene around you as unchanged and pristine as ever. But it felt different, achingly empty. He was gone, and so, you realized, was something inside you.

Your shoulders slumped as you turned away from the gardens, swallowing against the emotion lodged in your throat. You would not come here again—at least, not alone.

That first year passed slowly, the memory of him shadowing you at every event, every garden, every dance, leaving you both haunted and empty.

The Second Year: Autumn Age 20

As autumn arrived, the weight of that lost season faded slightly, turning to something colder, something sharper. You found yourself no longer seeking him out at every ball. Instead, you steeled yourself, donning an unapproachable mask that suited you better with each passing day. Your brother had chosen to spend the season traveling, claiming that the sea salt of Grecian air was calling him. The absence of his protection meant that you had to sail the rough shores of that season alone – Minghao’s letters were frequent and welcomed, always ready to provide words of assurance from thousands of miles away. 

Your second season was to be markedly different—by your design and no one else’s. The naive enthusiasm of your first season had faded, replaced by a wariness that had hardened around you like a shell. Suitors still called upon you, though they were fewer and far between, and the gentlemen of impeccable standing, those your mother deemed suitable, grew distant with each passing event. They would approach with polite intentions, murmuring some pleasantry or another, only to bow and make haste to another part of the room where more receptive young ladies waited. 

Yet, for all the polite avoidance and empty conversation, there was Lord Yoon Jeonghan, the Viscount of Hastings. He was different—not at all the cold and detached nobleman that society often produced, nor the vapid fop more concerned with his cufflinks than his conversation. He was witty, charming even, and his remarks would often spark a laugh that you could scarcely suppress. A flicker of intrigue would alight in his eyes every time you spoke, as if you were unraveling a particularly delightful mystery, and for those brief moments, he made you almost forget.

Almost.

You felt his gaze often, lingering in the spaces between words, and sometimes, if you were honest with yourself, it was almost enough to ease the ache that had taken root in your chest. There was a certain warmth to his presence, a lightheartedness that let you slip free from the burdensome weight of the past. Your mother, ever vigilant, noticed his interest immediately. She seized upon his attentions with thinly veiled glee, her gaze often flickering between the two of you at gatherings, assessing, calculating. She would arrange you beside him at dinners, leave you in his company at the slightest opportunity, her encouragement subtle yet unmistakable.

Jeonghan would lean in close, his words laced with humor, often turning some mundane observation into something absurdly funny. And for a fleeting second, the laughter would come easily, a balm to the bruised and hidden parts of yourself. You allowed yourself to think, Maybe this could work.

But the quiet, hollow ache lingered, a constant reminder of the ghost you could not quite shake. And that ghost was Seokmin.

Seokmin, who watched from across the room, his gaze burning, perceptive as ever. He was polite, distant even, but his presence was always there, like the flicker of candlelight that neither dimmed nor died. You could feel it most keenly when you danced with other men, swirling across the floor to the strains of violins and cellos. Once, as you stepped onto the ballroom floor with Jeonghan, you felt Seokmin’s gaze settle on you from across the room. The intensity of it was enough to make your skin prickle, and suddenly you were painfully aware of every step, every turn.

The first misstep was subtle—a slight stumble over the Viscount’s foot. But as you met Seokmin’s eyes, his brow lifted ever so slightly, a smirk hovering just on the edge of his mouth. That subtle, amused expression set your pulse racing in a way you would never confess. And in your distracted state, you stumbled again, this time nearly losing your balance. Jeonghan chuckled, mistaking your lapse for some charming display of nervousness, too oblivious to realize the true reason for your faltering steps.

Seokmin’s gaze, however, saw straight through you. His smirk was knowing, almost taunting, as though he could see past every mask, every effort you’d put into your newfound resolve. It was maddening—the way he could still get under your skin, the way he seemed to enjoy watching you unravel, even if only for a second. The lingering effects of that look stayed with you long after the music ended, clinging to you like perfume.

And so, you spent the season caught between two worlds. Lord Yoon, with his charm and his lightheartedness, who could ease the bitterness that lay thick upon your heart if only for a while. And Seokmin, a relentless presence, haunting you from across every ballroom and garden, his gaze a tether you could never quite sever. It was a delicate dance, one you performed night after night, hoping, in vain, that one day you would not feel his eyes on you at all.

The afternoon sun angled low over the estate, bathing the drawing room in a cool October light that poured through the high windows, softening the sharp edges of the day. Minghao had just returned from his travels and had brought back a novel he thought you would enjoy—Jane Eyre, by a Miss Brontë. The air was thick with the quiet thrill of this gift, the promise of evenings spent lost in its pages, and you had just begun to express your excitement when Minghao, with his usual calm, announced that Seokmin had accompanied him.

You schooled your face to remain pleasant, though your pulse quickened at the mention of his name. And indeed, there he stood by the door, his posture polite yet tense, hands clasped behind his back, and eyes dark with some unreadable emotion. He offered a slight bow, his gaze fixed on you even as you looked firmly at your brother.

"Did you know," Minghao began, oblivious to the tension in the room as he handed you the book, "that the author published it under a man’s name? Some say it’s because she thought her work would be dismissed otherwise."

You managed a small smile, allowing yourself the momentary reprieve of this topic. “Thank you, Minghao,” you replied, fingers grazing the embossed cover. “I’ll cherish it. It sounds wonderful.”

Across the room, Seokmin shifted, clearing his throat. "Do you find time to read often these days?" His voice was tentative, a hint of hope or maybe familiarity clinging to the question, as if reaching for a bridge long burned.

Your reply was smooth and immediate, though you kept your gaze firmly on Minghao, as if Seokmin had merely been a ghost in the room. "I make time, yes. It’s quite necessary, given the, ah… limited options for conversation."

A faint hint of color rose to Seokmin’s cheeks, but he quickly smothered whatever response he had been about to make. Minghao glanced between you, his eyes narrowing slightly as he pieced together the simmering tension, the edges of a puzzle he hadn’t been around to see formed.

There was a brief pause, heavy as stones, before Seokmin tried again. "Do you still ride out to the southern fields? I remember…" He hesitated, his words trailing off before he finished. “The views from the hilltops there were always lovely in the fall.”

It was a simple question, a nod to a pastime you had once enjoyed, but the memories it evoked—the two of you racing across the meadows, laughing breathlessly under the open sky, sharing quiet moments on that hilltop he spoke of—all felt too sharp, too close. You tightened your grip on the book, the rough binding grounding you in the present.

"Occasionally," you murmured, as if speaking to no one in particular. Your tone was clipped, devoid of warmth, and you let the silence stretch, long enough for the weight of his words to fade. After a beat, you forced yourself to stand, smoothing the fabric of your dress as you prepared to excuse yourself. “Please, if you’ll excuse me.”

Seokmin’s face barely shifted, yet the flicker of disappointment that crossed his features was unmistakable. "Wait, please—" he began, his hand reaching out as if to stop you. “I… wanted to know if you might—”

You looked over at Minghao, not giving Seokmin the satisfaction of meeting his gaze. “Thank you for the book, brother,” you said softly. “I’ll look forward to discussing it with you when I’ve read it.” And with that, you turned, leaving the drawing room before Seokmin could finish his thought.

You could feel his eyes on your back, a silent, unyielding weight as you retreated, but you pushed down the churning emotions in your chest.

Later, your mother found you in the library, a faintly exasperated look in her eye. "What has possessed you to act so sharply towards Lord Lee? He is a friend of your brother’s, and a gentleman. I hardly think it was necessary to snub him quite so… thoroughly."

"I simply wasn’t inclined to entertain him," you replied, not lifting your gaze from the book you had barely managed to focus on since leaving the drawing room. “It was not my intention to be rude, Mother.”

She pursed her lips, eyes narrowing. “He asked after you very kindly. And if you cannot manage the simple courtesy of conversation, well…” Her sigh was laden with disappointment, tinged with the faintest trace of resignation. “It does make things rather difficult for you, don’t you think?”

You didn’t respond, clamping your lips shut and focusing on the words of Jane Eyre as if they might hold an escape. What could you say? That politeness was a currency you could not afford to spend on him? That every pleasantry only made the knife in your back twist a little deeper?

There was nothing to be done, and so you said nothing at all. The book lay heavy in your lap, unread, as your mother’s gaze lingered a moment longer, her silence more cutting than words.

The Third Year: Winter Age 21

The winter air nipped at every inch of bare skin as you stepped out of the carriage and into the towering, grand hall where that night’s ball was being held. Snow blanketed the world outside, a thick layer that muffled everything it touched, leaving only the crunch of footsteps and the soft murmur of the wind. The frost bit through your gloves, but it was nothing compared to the cold lodged deep within your chest. You drew yourself up and stepped into the hall, a practiced smile on your face as you greeted the hosts and exchanged pleasantries.

Inside, the ball was already in full swing. Laughter and music filled the air, weaving an intoxicating tapestry of distraction. You navigated through clusters of guests with practiced ease, inclining your head and making idle conversation that barely skimmed the surface. You had come to know the routines well, slipping into this role as though it were armor: a mask of charm, a shield of grace. It kept you safe, even as it kept others at arm’s length.

But then, just as you were making your way toward a friend by the window, you spotted him—Seokmin, across the room. He was surrounded by a small group of gentlemen, his laughter carrying over the din as he shared some amusing story. His cheeks were flushed from the warmth, eyes crinkling at the corners in that way you’d once adored. For a moment, a whisper of memory drifted to you unbidden—those nights by the garden, his laughter mingling with the soft hum of summer crickets, a harmony you’d taken for granted. The sight of him now, seemingly unaffected by the hollow ache that had lodged itself so firmly within you, twisted something in your chest.

As though he could feel your gaze, his eyes turned toward you, catching you unprepared. His laughter faded, and for a moment, the room seemed to still. There was something in his gaze—a flicker of recognition, regret, perhaps. Or something more resigned, an acceptance of the chasm that had grown between you. He made no move toward you; there was only a slight nod, a silent acknowledgement of… something. You couldn’t name it, and you didn’t want to try.

It was his easy return to conversation that undid you. The way he turned back to his companions, laughing once more, as if nothing had changed, as if the years you’d spent trying to bury the echoes of that ball could be erased so simply. The laughter that once filled you with warmth now rang hollow in your ears, a reminder of all that was lost and all that could never be reclaimed.

The walls of the ballroom began to feel oppressive, the cloying warmth of bodies and perfume suffocating. You pressed a gloved hand to your temple, feigning discomfort as you turned to your nearest acquaintance. “I’m afraid I’m not feeling well,” you murmured, a faint tremor in your voice that you hoped was undetectable.

“Oh, my dear, are you all right? You do look rather pale,” she said with concern, her eyes scanning your face. “Perhaps some fresh air?”

“Yes,” you managed, barely holding together the thin fabric of your composure. “Yes, that may be best.”

With a polite smile and promises to catch up at the next event, you drifted toward the doorway, slipping through the crowd as unobtrusively as you could. The cold air in the entry hall was a shock, but you welcomed it, letting it bite into your cheeks and ground you.

Soon enough, you found yourself in your room, finally alone. The silent darkness enveloped you, and for the first time that night, you let yourself drop the mask. You sank into the nearest armchair, clutching the armrests as if they could anchor you. Outside, snowflakes drifted lazily past the window, catching the moonlight like shards of glass. There was no warmth, no comfort in the scene, only the lingering shadows of a memory that refused to fade.

You had no energy to reach for a book, nor did you bother lighting the fireplace. Instead, you sat, letting the silence swell around you, filling the empty spaces that had been left in Seokmin’s wake. Your gaze lingered on the frost etching delicate patterns across the glass, and for a moment, you wondered if he was still at the ball, still laughing, still untouched by the winter that had settled so deep within you.

It felt almost foolish to mourn something you had lost so long ago, but as the hours slipped by, you couldn’t bring yourself to shake the feeling.

The bitterness reached new heights that year. Your relationship with Minghao, however, began to shift. He sensed your resolve, noticed the way you shrank from any mention of Seokmin, and quietly took up the role of your champion. He became your shield at social gatherings, a polite, steadfast presence whenever your mother hinted at your dwindling prospects or a suitor left you standing alone. Your mother’s eyes, ever watchful, lingered upon you with a barely hidden concern, her gaze darting to the eligible gentlemen nearby and then to you with that familiar, expectant look.

“You know,” she began in a low voice, “if you were only a touch more… approachable, it might encourage the young men here to consider you more seriously.”

You forced a small smile, the words heavy and stale from years of repetition. “I’ll do my best, Mama.”

But before she could respond, a familiar voice joined the conversation.

“Ah, I see my sister is charming everyone tonight,” Minghao remarked smoothly as he appeared beside you, offering a short bow to your mother. “May I borrow her for a moment?”

Your mother’s gaze softened—she had never worried over Minghao as she did with you, and his title afforded him some measure of leniency that you could never claim. She nodded, though her expression remained faintly expectant as she watched you both step away.

Minghao led you toward the edge of the ballroom, his arm steady around yours as you wove through the crowd. Once there, he turned to you with a look that spoke of both amusement and concern.

“You looked ready to flee,” he observed, a trace of a smile in his eyes. “Would you like a few minutes’ reprieve?”

You sighed, grateful for his intervention. “I was beginning to feel like a prized cow at market,” you replied, tone dry. “Thank you for sparing me.”

He chuckled softly, but his expression grew more serious as he studied you. “I noticed Mother watching you rather closely. And I know her remarks can be… persistent.”

“Persistent is a kind way of putting it,” you replied, your voice just above a whisper. “She insists that my chances dwindle each season, that—” You cut yourself off, pressing your lips together to hold back the frustration that threatened to spill over.

Minghao’s gaze softened, and he sighed, reaching out to adjust the lace of your cuff in a gentle, brotherly gesture. “You’ve nothing to prove to her or to anyone else here,” he said quietly. “If you feel uncomfortable, I’ll be here to see you through the night.”

Despite the stifling heat of the ballroom, his presence felt like a breath of fresh air—a lifeline against the unrelenting pressure of society and its expectations.

“And if any gentleman dares to turn his back on you tonight,” he added, his voice adopting a playful lilt, “I shall personally see to it that he regrets it.”

The corners of your mouth lifted into a small, appreciative smile. Minghao’s protectiveness was a comfort you rarely admitted to needing, but tonight, you couldn’t help feeling grateful that he saw past your composed exterior to the worry lingering beneath.

The music shifted to a slower waltz, and he extended his hand with a knowing smile. “Shall we dance, sister? A waltz is far more agreeable than enduring Mother’s lectures, I assure you.”

You accepted his hand, letting him lead you to the center of the room. As you twirled together, the swirling silks and laughter around you faded into the background, leaving only the familiar warmth of his presence.

After a moment, he leaned in, his voice low enough for only you to hear. “And for what it’s worth,” he murmured, “you have no need of any of these foppish gentlemen. They should consider themselves lucky if they could win even a passing glance from you.”

The sincerity in his words soothed you, and for a brief moment, the ballroom was no longer a daunting place, nor its occupants a source of anxiety. Minghao’s quiet strength steadied you, his steadfast support as dependable as the rhythm of the waltz beneath your feet.

Yet, even with Minghao’s silent support, Seokmin’s laughter ringing through the ballroom haunted you, echoing a reminder of what you once had and what you had lost.

Across the room, your gaze flickered to a familiar figure, the Lord Viscount Yoon, the lightness of his presence breaking through your somber thoughts. He had been different—his clever banter had a way of making even the most mundane topics feel lively and engaging. When he spoke, it was as if he was inviting you into an exclusive circle of shared secrets and laughter, making you momentarily forget the weight of expectations pressing down on you. 

Even now, he stood amidst a group of gentlemen, engaging in light banter that sent ripples of laughter through the crowd. A flicker of intrigue would alight in his eyes every time he caught your gaze, but he looked away just as quickly, as if your newfound prickly attitude was enough to scare him away. 

Over time, your disinterest had made him less willing to approach you. Though he had shown interest the previous year, the glow in his eyes now held a tinge of uncertainty, as if he had begun to doubt whether your heart remained open to him. Your mother, ever vigilant, noticed his hesitance, her gaze flickering between the two of you at gatherings, assessing, calculating.

“Perhaps if I were a bit more approachable,” you murmured to Minghao, who nodded thoughtfully, his gaze drifting toward Jeonghan.

“Sometimes, it takes more than just approachability,” he replied quietly. “He is a good man, but the more you withdraw, the more he may think he should step back.”

You let the thought linger in your mind, but it was soon drowned out by the sight of Seokmin across the room, leaning in to laugh politely with another woman, a vision of laughter and ease that made your heart twist painfully. The vibrant atmosphere of the ball blurred around you, filled with the laughter of others while your own heart sank, caught between the past and the possibility of a future—one you feared might never be yours again.

The Fourth Year: Spring Age 22

Spring came late that year, but the blossoms in the garden were the most vibrant you had ever seen. Tulips, bright and full of life, lined the path outside your drawing room window. Their sight brought an unwelcome reminder of Seokmin, as if they were mocking the pain that had dulled over the years but never truly healed.

One fateful morning, Seokmin arrived at the estate again, waiting for Minghao in the drawing room. You entered the room unaware of his presence, intending to retrieve a letter you had left on the table. The shock of finding him there, standing alone, was enough to root you to the spot.

He looked at you, his eyes filled with a mixture of regret and longing. “How have you been?” he asked, breaking the silence, his tone formal but softened by something more vulnerable.

“I try to stay busy,” you replied, refusing to meet his gaze, your own fixed on the tulips outside the window, as if they alone could fortify your resolve. The way they leaned toward the glass, reaching out, seemed a cruel reminder of what you could never reach. You clung to your indifference, fearing that one look at him would undo you.

“Ah,” he replied, his voice barely a murmur. “I see.”

The silence was unbearable, stretching long and wide between you, filled with all the words you had left unsaid. For the first time, you could sense his unease, as though he, too, felt the weight of everything that had come between you. You imagined he might say more, but instead, he fell silent, unwilling or unable to breach the chasm.

When Minghao finally entered the room, his gaze shifted from Seokmin to you, sensing the tension immediately. He offered a warm, lighthearted greeting that brought some relief, yet you felt exposed, as though Seokmin could still see every last flicker of pain beneath your carefully controlled exterior. Minghao’s easy conversation filled the room, and you seized on it as a lifeline, grateful that the moment had passed.

But as you left the drawing room, something inside you felt irrevocably changed. The wound you thought had healed now ached anew, as raw and fresh as ever.

Age 22

The season has turned again, and as you step into the grand ballroom, you are met with a kaleidoscope of colors and sounds that fill the air with an electric energy. The chandelier overhead sparkles like a constellation of stars, its crystal droplets refracting the warm glow of candlelight that dances across the room. The polished wooden floors gleam underfoot, reflecting the vivid hues of the gowns that swirl around you like petals caught in a gentle breeze.

After five seasons on the market, the whispers of society have cast you in the role of a spinster. No longer the young debutante brimming with promise, you now find yourself almost a chaperone to the eager, wide-eyed debutantes navigating their first seasons. Your newest charge, Sohee, is a whirlwind of youthful exuberance, her bright pink dress adorned with intricate floral appliqués that seem to bloom against her pale skin. The bodice sparkles with tiny beads, catching the light as she twirls, her laughter ringing like bells. You can see the nervous energy in her movements, the way her hands flutter as she points out various gentlemen across the ballroom.

“Oh, look at Lord Lee—what a fine dancer!” she exclaims, her voice bubbling with excitement as she gazes at Seokmin. His deep navy jacket contrasts sharply with the pristine white of his shirt, and the cravat around his neck is tied with an effortless elegance that only enhances his charm. The way he carries himself, relaxed and confident, seems to draw the attention of everyone around him.

You try to mask the bitterness rising within you as you observe him. Seokmin entertains Sohee’s infatuated chatter with polite smiles, his eyes sparkling with amusement. For a fleeting moment, you are grateful that she has captured his attention, but then the weight of your own feelings crashes over you like a cold wave. The ache in your chest deepens as memories flood your mind—long summers spent chasing fireflies, laughter echoing through the fields as he playfully pursued you with a worm on a stick, or the way he would reward your sharp tongue with that unguarded, carefree laughter.

As if drawn by some invisible thread, Seokmin’s gaze suddenly shifts, catching yours from across the room. Your heart leaps into your throat, a jolt of surprise and embarrassment coursing through you. Mortified that he has noticed your lingering stare, you quickly avert your eyes, but the warmth of your cheeks betrays you. You want to disappear into the vibrant crowd, to escape the intensity of your emotions that seem to swell with every passing second. Yet, even as you force yourself to engage with Sohee’s exuberant chatter, you can feel the weight of Seokmin’s gaze resting on you, a silent reminder of everything you’ve lost and the connection you once shared.

It is a cruel twist of fate, standing on the sidelines while young girls like Sohee chase the dreams you once held so dear. You find yourself in this role, a guide for the naive and hopeful, all the while wishing that you could feel that same thrill of possibility. The grand ballroom, alive with laughter and music, feels both enchanting and suffocating, each dance a reminder of the joys that have slipped through your fingers.

As the music swells and couples begin to sway across the polished floor, you catch glimpses of Sohee and Seokmin amidst the swirling gowns and dapper jackets. They move with an innocent delight that contrasts starkly with the weight of your unspoken feelings. Sohee beams up at him, her laughter bright and infectious, and for a moment, the sight softens the edges of your heartache.

Just then, you feel a presence beside you, and when you turn, you find Viscount Yoon Jeonghan standing there, a knowing smile dancing on his lips. His appearance is as striking as ever; his tailored coat hugs his frame perfectly, and the delicate embroidery along the cuffs catches the light, giving him an almost ethereal glow. His hair falls elegantly around his face, framing those sharp features that always seem to hold a hint of mischief.

“They make quite a pair, do they not?” he murmurs, his voice smooth and warm as he gestures subtly toward the young couple. His eyes sparkle with a mix of humor and curiosity, and for a moment, you’re reminded of the lighthearted conversations you once shared, the way he could lift your spirits without even trying.

You glance back at Sohee and Seokmin, your heart twisting at the sight of them. “It seems so,” you reply, your tone nonchalant, though the bitterness seeps through. “She is quite taken with him.”

Jeonghan’s gaze lingers on the two, but then shifts back to you, an amused glimmer in his eyes. “And yet, I believe it’s Seokmin’s charm that keeps her so enchanted. He has a way of making everyone feel special, does he not?” His words are light, but there’s an underlying sincerity that pulls you in.

“Especially the younger ones,” you add, your voice tinged with a hint of sarcasm. You cross your arms, an instinctive barrier against the swell of emotions threatening to break free. Jeonghan tilts his head, studying you with an intensity that makes you self-conscious.

“Ah, but don’t let that dampen your spirits,” he says, a teasing lilt to his voice. “I suspect that there’s still magic left in your own waltz.”

You scoff softly, trying to hide the warmth spreading across your cheeks. “I’ve had my dance, my Lord. It’s only right that I help guide the next generation.”

He nods, as if he understands more than you’ve revealed. “But it doesn’t mean you can’t enjoy a little bit of the spotlight yourself, does it?” His gaze holds yours for a moment longer, an invitation hanging in the air between you.

Taking a deep breath, you accept his invitation with a gentle nod. Jeonghan extends his hand, and with a sense of determination, you place yours in his. The moment you step onto the dance floor, a familiar spark ignites between you. As you move, you find the rhythm of the waltz is an intoxicating escape from the weight of the evening.

His touch is confident yet gentle, guiding you with an ease that sends warmth through your veins. You laugh softly at his playful quips, the way he effortlessly spins you and twirls you beneath the glimmering chandelier. The surrounding laughter and chatter fade into a soft background hum as the two of you lose yourselves in the moment.

But just as you begin to forget the lingering ache in your heart, a commotion draws your attention away. You glance over to find Sohee in an animated conversation with Seokmin, her eyes wide with excitement. She appears to be swooning—her cheeks flushed a lovely shade of pink as she clutches her fan, fluttering it in the air as if to cool herself.

And then it happens. As the waltz concludes and the music reaches its crescendo, Seokmin leans down to retrieve Sohee's fan, which had slipped from her grasp in her flurry of emotion. The way he effortlessly picks it up and hands it back to her is undeniably charming. She gazes up at him with unrestrained adoration, and in that moment, it’s as if the entire ballroom falls silent, the air thick with their connection.

Your heart sinks, the joyous moment turning into a bitter reminder of your own unfulfilled longing. You feel the weight of your own feelings crashing down, suffocating the lightness of the dance you just shared with Jeonghan. The innocence of Sohee’s crush, her delight at Seokmin’s attention, stabs at something deep within you, twisting the knife of your heartache just a little deeper.

“Lord Lee is such a gentleman,” Sohee breathes, her eyes sparkling with admiration. You try to smile, but the corners of your mouth feel heavy, the happiness you should feel for her overshadowed by the ache in your chest.

“Quite the pair, indeed,” Jeonghan murmurs beside you, his tone shifting slightly. You glance up at him, but the amusement in his eyes has dimmed, replaced with a knowing sympathy that only intensifies your discomfort.

“I should—” you start, desperate to escape the scene unfolding before you, but Jeonghan catches your gaze, his expression serious yet gentle.

“Are you alright?” he asks quietly, concern lacing his voice.

You swallow hard, nodding even though you can feel the tears threatening to brim. “Yes, of course. It’s just… a reminder of what I’ve lost.”

Jeonghan’s eyes soften, understanding radiating from him. “Then let’s step outside for a moment, shall we? A breath of fresh air might do you good.”

You nod again, grateful for his presence, and together you slip away from the dancing couples, leaving behind the laughter and music, hoping the cool night air will ease the weight on your heart. As you step outside, the crisp night air envelops you like a silken shawl, drawing you away from the swirling gaiety of the ballroom. The coolness is a welcome reprieve from the warmth of bodies and laughter, and you relish the soft caress of the breeze against your skin, bringing with it a gentle rustling of leaves that whispers secrets from the garden. The scent of blooming jasmine and sweet honeysuckle mingles in the air, heady and intoxicating, wrapping around you like a lover’s embrace.

You move to the stone balcony, where the moon hangs low in the sky, its silvery glow spilling over the manicured gardens below, illuminating the delicate petals of the flowers that sway gently in the evening light. The grass is cool beneath your feet, a delightful contrast to the warmth of your silk gown, and you can feel the slight dampness of dew beginning to settle on the earth, a reminder of the approaching night.

Fidgeting with the lace hem of your gown, you feel the fabric whisper against your ankles, the soft silk cool to the touch. Your heart races as you catch sight of Jeonghan stepping out to join you, his tall frame silhouetted against the glow of the moonlight. He regards you with an intensity that sends a shiver down your spine.

“You love him,” he states matter-of-factly, a hint of amusement dancing in his eyes.

“I beg your pardon?” You turn to him, surprise etched across your features. Your fingers tighten around the delicate lace, twisting it nervously as if it could shield you from his piercing gaze.

“It is nothing to shy away from,” he continues, his tone surprisingly earnest. “I have observed the two of you for years, engaging in this delightful dance around each other. You love him. That is a fact. Do not shy away from it—love is a beautiful thing, even if it is tinged with loss.”

You force a laugh, the sound almost bitter. “You sound as though you speak from experience.”

“And if I am?” Jeonghan counters, his brow arching slightly, inviting you to delve deeper into the conversation.

“Why, then,” you reply, your heart racing with a mixture of intrigue and dread, “it cannot be that only my secrets are shared tonight.”

“Lady Choi,” he says, the shift in his tone unmistakable, as though he is unearthing a long-buried truth.

“The general’s wife?” you ask, the name escaping your lips with an air of disbelief.

His eyes darken, and for a moment, the lightness of the evening is overshadowed by the weight of his admission. “She was mine first,” he admits, his voice heavy with unspoken emotion. “But her father—he was a cruel man—wished to marry her off before I ever had the chance to court her properly, as adults.”

You draw a sharp breath, the air suddenly feeling thick and heavy around you. “Lord Yoon, it is a sin to desire another man’s wife,” you say softly, your fingers trembling slightly as they continue to play with the delicate fabric of your gown.

“And it is a sin to pine after what cannot be yours,” he replies, a note of melancholy creeping into his voice. “It seems we are both trapped in a most unfortunate dilemma, Miss Xu.”

You hesitate, the truth of his words resonating within you like the toll of a distant bell. You find yourself gazing at the garden below, the moonlight casting long shadows across the path. “I… suppose.”

His expression softens, the tension between you easing slightly as he steps closer, the distance shrinking as if the night conspires to bring you together. “I have an idea, if you are amenable to it,” he proposes, his voice low and conspiratorial.

You raise an eyebrow, curiosity piquing despite the tumult of your thoughts. “I suppose I have no choice but to hear it.”

“Let us… have an arrangement of sorts.”

Your mind races, the absurdity of the suggestion both ludicrous and strangely enticing. “An… arrangement?” you repeat, incredulous, a small smile tugging at your lips.

“A loveless marriage is better than none at all,” he declares, his eyes glinting with a mixture of seriousness and mischief.

You laugh, unable to contain yourself. “You jest. Have you indulged in more champagne than you can manage?”

“I assure you, I am as clear-headed as the sky on a summer’s day,” he insists, maintaining eye contact with a steady gaze that makes your heart flutter. “We are friends, are we not?”

“Friends? My lord, we have danced a few times, to my mother’s delight,” you reply, a teasing lilt in your voice, though your heart feels heavier with the weight of his words.

He feigns a look of mock hurt, placing a hand theatrically over his heart. “You wound me! We have enjoyed such spirited conversations! I do consider you a friend. And a marriage with a friend—a viscount at that—is nothing to scoff at. Have you given no thought to your future? What happens when your dear brother finds a wife and you are no longer his primary concern?”

The reality of his words settles over you, sending a shiver down your spine. You search the moonlit path, pondering the path that lies ahead. “Just… think about it,” he presses, his voice earnest, the night seemingly holding its breath.

The silence stretches between you, the world around you fading as you consider the proposal. You raise your gaze to his, a flurry of emotions swirling in your heart.

But as the moment hangs in the air, he steps back, creating a chasm of space between you once more. The hope in his eyes flickers like the stars above, illuminating the path of unspoken possibilities.

With a lingering glance, Jeonghan turns to leave, the quiet night reclaiming its stillness. Alone now, you stand beneath the watchful gaze of the moon, a companion that seems to mock your predicament, its light dancing across your skin like a playful breeze. The weight of the evening settles around you, the possibilities of what could have been lingering like a sweet perfume in the air. The garden around you, fragrant and alive, seems to echo your turmoil, the gentle rustle of leaves and the soft chirping of crickets a reminder that you are not as alone as you feel—but still, the loneliness wraps around you like a heavy cloak, suffocating and inescapable.

The Queen’s Garden is even more stunning at twilight, an exquisite tapestry of flora bathed in the soft, golden light of the setting sun. Lanterns hang from the branches of ancient trees, casting a warm glow that mingles with the fading daylight, creating a magical ambiance that enchants every guest present. Lush greenery and blooming flowers adorn the paths, their fragrant scents—jasmine, roses, and honeysuckle—drifting through the air like a sweet serenade.

As you weave your way through the throngs of elegantly dressed nobles, the cool evening breeze brushes against your skin, a refreshing contrast to the warmth radiating from the lively crowd. The sounds of laughter and spirited conversation wrap around you, punctuated by the delicate notes of a string quartet nestled among the trees, their melodies intertwining with the soft rustle of leaves overhead.

Amidst the gaiety, you scan the faces around you, searching for Sohee. Her absence hangs like a whisper, pulling at your awareness.

Just then, your gaze lands on Lord Yoon Jeonghan, standing across the garden. His tall frame commands attention, and as you meet his eyes, he offers you a teasing wink, a smirk dancing on his lips. He raises his glass in a casual salute, a playful reminder of the “arrangement” he proposed only weeks prior.

But as you turn to continue your search, you hear a soft rustle behind the curtains of the powder room. A frown creases your brow, and with a sense of trepidation, you pull the curtains aside.

What you find steals the breath from your lungs: Sohee, her dress slightly askew, caught in an intimate embrace with Seokmin, hidden from view. Time seems to freeze as you process the scene before you, the vibrant colors of the garden fading into a blur.

They don’t notice your entrance, the warmth of their laughter drifting toward you, blissfully unaware of the precariousness of their moment. A wave of urgency washes over you; you step back, the laughter and music of the ball dimming behind you, overwhelmed by the tension in the air.

The cool mask of indifference you wear feels like a fragile façade, barely holding up against the storm of emotions roiling within you. Every heartbeat thunders in your ears, a rhythmic reminder of the tension crackling in the air. You force yourself to breathe slowly, deliberately, the sweet scent of blooming flowers mingling with the sharp tang of night air filling your lungs.

You clear your throat, breaking the stillness that envelops the hidden corner where Sohee and Seokmin stand. Your posture is straight, your chin lifted, but your palms feel clammy against the lace of your gown.

“Sohee,” you say, your voice steady and cool, as though dipped in ice, “you should return to your Mama. If anyone else had seen you like this, it would ruin you.” The words hang in the air, each syllable heavy with consequence. You hold her gaze, your eyes fierce, willing her to understand the gravity of the situation.

Sohee’s eyes widen, vulnerability flickering across her face like candlelight. The flush staining her cheeks deepens as she processes your words, a mixture of mortification and gratitude washing over her. She nods, biting her lip, and you watch as she slips past you, shoulders squared despite the embarrassment, grateful for your discretion.

Once she disappears back into the sea of guests, the atmosphere shifts. It’s just you and Seokmin now, the weight of the moment pressing down like a thick fog, the sounds of the ballroom fading into a dull roar. For the first time in years, you stand alone with him, the years of silence and distance palpable between you.

You turn to leave, the flutter of your gown trailing behind you, but his voice stops you, soft and tentative, cutting through the tension like a knife. “Please, don’t go.”

You whirl around, disbelief etched across your features. “Why on earth? What are you doing here?” Your heart pounds, and your fists clench at your sides, the intensity of the moment clawing at your composure.

He takes a step closer, the distance between you shrinking, but the space feels charged with electricity. The use of that name—“tulip”—falls from his lips like a spark igniting a fire inside you. Anger bubbles to the surface, your fingers curling into fists. “You have no right to call me that anymore.”

His expression shifts, desperation creeping into his tone as he opens his palms, a gesture of vulnerability. “It’s been four years, and you still won’t give me the chance to explain myself.”

Your chest tightens at the memories, sharp and unyielding, a storm of emotions swirling within you. “So was it because Minghao told you to?”

His gaze darkens, the flicker of regret visible in his eyes. “Yes, but you need to—”

“Good evening, Seokmin.” The words slip from your mouth like ice, cold and final. You turn to leave, your back straight but your heart racing, and he reaches for you, fingers brushing against your arm like a whisper.

You jerk away, anger and hurt surging through you, the fabric of your dress catching in the air as you turn. “Please, stay,” he begs, his voice thick with emotion, almost desperate. “Stay and let me explain—”

You shake your head slowly, each word heavy with the weight of unspoken history. “You lost the right to that four years ago.” Your voice softens, but the resolve behind it remains, a quiet storm ready to break. In a flurry of lace and silk, you turn on your heel, the sound of your footsteps muffled by the thick grass as you leave him standing there, a distant silhouette against the vibrant backdrop of the garden.

The night air feels cooler as you weave through the crowd, your heart pounding in your chest like a war drum. You seek solace in the bustling ballroom, where laughter and music swirl around you, a cacophony that drowns out the echo of your heartache. The warmth of the candles flickers against your skin, the soft glow momentarily comforting amidst the chaos.

The crowd shifts around you, a blur of color and laughter, but everything feels muted—distant—as you navigate back toward the main hall. Your heart still pounds, each beat a reminder of the encounter that lingers, bitter as smoke. And then, across the room, a familiar pair of eyes finds yours: Jeonghan. His gaze is intent, assessing, and as he raises his glass to you with an amused smirk, his words from weeks before echo in your mind: “It is a sin to pine after what cannot be yours.”

The decision is instant, unbidden, like the snap of a thread pulled too tight. Steeling yourself, you weave through the crowd toward him, your mind clearing with each step. Jeonghan turns slightly as you approach, his attention shifting from the men he’d been conversing with. You stop just a breath away, feeling the weight of the moment settle around you, even as laughter and chatter fill the air.

“My lord,” you say, voice steady as a blade.

He raises an eyebrow, a faint smile playing at the corner of his mouth. “Yes, Miss Xu?” His eyes gleam in the low light, the gold of the candle flames reflecting in them. “I must say, you look rather lovely in this garden.”

“Yes.” The word is simple, yet it feels like a vow, a quiet certainty.

His smile falters for just a second, replaced by a glimmer of surprise in his eyes before he quickly recovers. He leans in slightly, his voice softened but no less intent.

“Yes?”

“Yes,” you reply, your voice calm but resolute. “I shall marry you.”

Jeonghan’s expression settles into something unreadable, a flicker of surprise replaced by the slightest tilt of a smile. He inclines his head, the elegant motion drawing him closer, as though sealing the moment between you.

“A wise decision, Miss Xu,” he murmurs, his gaze never leaving yours. The sounds of the garden around you blur into silence, the perfume of roses and night-blooming jasmine heavy on the air, and though the world presses on with its merriment, this quiet promise, made in the hush of the queen’s garden, feels irrevocable.

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[crime-scene-psychic]

I honestly think that the Nolan Batman trilogy was the best and worst thing to happen to the Batman franchise, because on one hand, it was the first live-action instance of trying to make Batman more gritty and serious (because while the Keaton, Kilmer, Clooney movies took the story much more seriously than the 60s television show, they were still goofy at times, which is why I honestly think they're the best rendition of Batman, because they were able to balance silliness with seriousness, which is what Batman is all about, but that's obviously an entirely different thesis) which then allowed for more people to take comic book movies serious, consequently leading to the rise of the DCEU and, obviously, the MCU (we would not have the MCU today and the actual good movies that came out of it without Nolan's trilogy, there's simply no argument there).

However, the Nolan trilogy also unfortunately made "dark, gritty Batman" the norm, meaning that once anyone tries to actually have some fun with Batman, they immediately get shit on by comic book dude bros. It also created the most annoying characterization of the Joker that everyone has been trying to replicate since and no one will be able to replicate, because they simply do not understand the character (I honest to God think the closest live-action actor who has ever made a Joker character work besider Heath Ledger was Cameron Monaghan in the Gotham television show, and he wasn't even really Joker??? but at least he didn't make it everyone else's problem and was a good mix of goofy and psychotic, not just psychotic) and will never be Heath Ledger (but they don't stop trying much to my forever annoyment).

And while I can recognize the cultural and significant impact on the comic and film community that Nolan's trilogy had, it is still by far my least favorite adaptation because of how serious it takes itself (and of course, the racism. The racism is actually the bigger one for me. Fuck Christopher Nolan for that. Ra's al Ghul is NOT a white man just because you want a plot twist, and you CANNOT just erase Bane being mixed race because you fucking FEEL LIKE IT because him being mixed race is extremely relevant to his origin). Batman has had serious moments in the comics, don't get me wrong, and I know things must evolve and change over time and that I cannot expect an 80 year old character to not be further developed throughout the decades, but it almost feels as if Nolan and Goyer (the writer) read a Sparks Notes version of the history of Batman, cracked their knuckles, and said "yeah, I think I got it."

Spoiler alert: they did not get it.

When I watch the Nolan trilogy (which I haven't in quite some time and I really don't want to, even to prove a point to people on the Internet) I notice how uninspired it feels, story-wise. While the action and cinematography is excellent, the story is lacking for me, and when you're telling a story like Batman, that has decades of content, you cannot just forgo storytelling for cool special effects.

I'd much rather watch a Batman adaptation that has the shittiest effects known to man with a writer who whole-heartily cares for the characters they're writing and has taken time to research. And that's honestly one of the biggest problems the comic book film industry is having now, both DC and Marvel. They're not hiring people who actually care about these characters to write them and they're focusing much more at appealing to everyone they can instead of who the movies should be made for: fans.

You're gonna have such a harder time convincing my mom, a woman who only cares about Wonder Woman, to watch the new Captain America film than you would someone who has read the Sam Wilson Cap comic run. And while this entire issue stems from the fact that the film industry is just that, an industry, and has become less about filmmakers making art and more-so how much money investors and producers can get out of ticket sales, it is still infuriating to see franchises you care deeply about be ruined by guys just there to cash their paychecks and be done with it.

And really, the film industry as we know it needs to be fucking demolished from the inside out, but that will never happen and now we're a bit off-topic. So, back to Batman.

I think another issue I have with newer live-action Batman adaptations is that they choose to forgo a VERY IMPORTANT character when it comes to Batman/Bruce Wayne's evolution as a character and story line.

Robin.

Since whatever the fuck the casting of Chris O'Donnell in 1995 was (why was he, like, a grown man?), people have been afraid to touch a live-action Dick Grayson with a six-foot pole (besides Titans, which I'm gonna get to in a sec). Which is ridiculous, because he is, like I said, an insanely important character when it comes to showing the growth Bruce Wayne goes through.

Bruce Wayne becomes Batman because he is so angry about his parent's deaths and the corruption of Gotham that he doesn't know what else to do. All the money in the world cannot change things for the better, his own father tried and died for his troubles, and he is left with no other option. Bruce Wayne works during the day to fight corruption via charity and his company, Batman works during the night and is able to do what Bruce Wayne can't (beating the shit out of people, mainly). The two are separate sides of the same coin.

And despite this seeming like a good arrangement, it's pretty obvious in most adaptations (at least they get THAT right) that beating the shit out of people in back alleys is not a good replacement for therapy. You're able to see the toll being Batman has on Bruce. He quickly becomes more occupied with being a vigilante than being himself. Bruce needs something to break through this internal struggle and help him balance both lives.

And so a boy named Dick Grayson comes along.

Dick's so important (and so are the other Robins, of course, but Dick being the first means I have to talk about him a bit more) because he forced Bruce to get his shit together. Here's a boy who's about the same age Bruce was when his parents died, who also just saw his parents killed in front of him, and is so full of rage he has no idea what to do. Sounds familiar...

Bruce is able to help himself by helping Dick. He gives him an outlet to vent his anger and frustrations while also looking out for him in the best way he can. While there are many issues with how Robin comes to be in various comic runs (and if this was real life it would be fucking ridiculous) Dick becoming Robin is extremely important. If he hadn't been taken in by Bruce Wayne, if he'd been allowed to let that anger continue to bubble up inside of him, he probably would have killed Tony Zucco and that would have been enough to set Dick down a terrible path he might not recover from.

The same goes for Bruce. If he were to set out and kill the person who shot his parents, he wouldn't be a hero anymore because that single event would shatter the entire point of Batman, which is that he is not meant to decide who lives and dies. If he were, how would he be any different than all the villains in Gotham that he fights as Batman? How would he be better than the corrupt businessman and politicians that he has to battle as Bruce Wayne? He wouldn't.

Batman needs Robin and Robin needs Batman, because they are yin and yang. Light within darkness, darkness within light. You cannot separate these characters and still tell an accurate story, it's impossible. I think that's a huge issue Nolan's movies have, on top of many others. You cannot accurately present to me a Batman story if there is no Robin, just as you couldn't give me a Robin story without Batman.

Every Robin is so important to how Bruce Wayne as a character is developed, and disregarding this as a creator is not only disrespectful to the character, it misses the entire point. I refuse to take your adaptation of Batman seriously if you can't figure out how important Robin is. He isn't just some kid sidekick, he isn't an optional side character, he is what makes Batman human. You cannot have gritty, Neo-noir Batman and forgo Robin just because you see him as the sidekick in tights. When Batman was silly and took itself less seriously, sure, there wasn't a lot to Robin nor Batman's troubling pasts. But now that you want to deep dive into Bruce Wayne's psyche and pick apart what makes him the way he is you wanna throw in the towel and erase the part that humanizes him? Fuck. You.

You can't make a complex Bruce Wayne and take away parts that help audiences understand his complexities, that's fucking STUPID!

Titans, for all its faults and problems, will always have my gratitude as it had the fucking balls to give, without a doubt, the best and most rounded live-action adaptation of Dick Grayson we have ever seen. Titans introduces Dick at a very important and rocky time in his character arch: him leaving Bruce.

If you're not in the know, there's a falling out between Bruce and Dick that's been written a couple different ways over the years, but all comes down to Dick being "fired" from being Robin and leaving Gotham. This is a bit of a newer story line in comparison to how long the character of Dick Grayson has been around, and eventually leads to Dick becoming independent from Bruce, signalling his evolution from "side kick" to his own hero, Nightwing. However, there's issues with Dick having to give up the Robin mantel, because it's something that is whole-heartily Dick Grayson. Robin wasn't something Bruce Wayne came up with, it was the nickname his parents gave to him. Even the colors are his, those were the colors of the Flying Graysons' uniforms. Robin is much more than just a vigilante alter-ego to Dick, it is the last link he has to his past and his parents. So when this is taken away from him and given to another, this causes a huge internal struggle for Dick, as he has to deal with the anger he now has for Bruce, a man he originally looked up to and idolized. This is Dick seeing how wrong it was for Bruce to do some of the things he did to Dick, despite at the time those choices being what both needed.

The way Titans is able to portray this extremely delicate time in Dick's story line in a way that not only makes sense for his character, but also allows for growth is really admirable. Like I said, the show isn't perfect by any means (can I PLEASE get a Romani actor to play Dick PLEASE) but it's the first time I feel that the character is wholeheartedly taken serious in a live-action setting. You can tell the writers have a better idea about how the characters should interact in a live-action setting and while some choices are questionable to me, the heart is there.

Nolan's movies in comparison feel soulless and devoid of all creativity and love. He does not care about these characters, no matter how much he tries to make you think that, and he never will. Christopher Nolan, you will NEVER convince me that you give two shits about Bruce Wayne. And if you, the director, can't bother to care, why should the audience? Why should I care about your adaptation if you can't even be bothered to put an ounce of individuality into it?

With Matt Reeves' Batman films underway, things are getting worse again. For a while, we only had to deal with the shitty Joker adaptations that tried to replicate Ledger's Joker, but with the Reeves Batman movies, the film bros are making themselves known again. I remember when the new design for the Riddler dropped and I said it was shit and people on Twitter and YouTube got SO PISSY at me and told me I just don't understand Batman and that I'm childish for enjoying the designs for Gotham Riddler/ Batman Forever Riddler and whatever and that I'm stupid, which none of those things are true, I hate to be confident in anything, but I think I know more about Batman than you do, Twitter troll.

The suit sucked and the character sucked. They just created a new character but gave him the Riddler's name. That's NOT the Riddler. That's honestly closer to Hush than Riddler, so just... do that? But of course, less people know about Hush than Riddler, and you're not trying to make a film for fans, you're trying to make money, so why would you ever be so silly as to do that! I'm not gonna talk to much about the new Riddler, just because it's super old news and it's not the point I was trying to make here, it's just something that continues to piss me off when it comes to gritty recreations of characters, because Riddler really never was supposed to be some Zodiac Killer wannabe, he's supposed to be a guy who leaves you riddles and makes you solve them and he's supposed to be a little silly about it. And I'm not saying you can't do a more gritty Riddler, because Arkham Knights did it super well imo! Just don't reinvent the wheel! Don't just make a new character and call him by another's name, that's a disservice to the character themselves and their creators.

This is a hard topic, because you have people who get the point of these characters (people who have actually read a comic before and paid attention to the story) but you also have insufferable film/comic bros who worship the ground Nolan and Reeves walks upon and who don't even take time to explore the rest of the Batfamily comics (his gang of vigilante children show up in the stand-alone Batman comics, though, so I don't know how they're missing this, unless they have the reading comprehension of a goldfish, which they probably do tbh). It's why I think a lot of these weirdos don't like Gotham Knights or Wayne Family Adventures, because they hate the thought of there being any semblance of fun in the Batman franchise. Not everything needs to be doom and gloom! Let Dick Grayson be bisexual and let Bruce Wayne have a PTA rival! You can have your cake and eat it too!

I know this seems like a silly sentiment coming from a person who just wrote an entire essay on this, but maybe don't take Batman so seriously? I don't mean, of course, that you can't care about these characters, I'm actually saying the opposite! I care very deeply for these characters, so much that I obviously spat all this out. I just think some people need to fucking chill when it comes to realistically portraying Batman. There's nothing wrong with taking a more serious approach to the characters and I have no problem modernizing them, but you can't just have action hero Batman, you have to have the human behind the mask too. And if you can't balance that, then I'm sorry, but you shouldn't be making Batman adaptations, because you obviously don't understand what the character is about.

I'm nervous to see where Reeves will go with the character, and only time will tell. I've heard rumors he plans to introduce Robin, I've heard rumors he doesn't. Either way, it's obviously out of my hands and I'll have opinions either way, but I really hope he has a better understanding of the history of the franchise than Nolan. While I appreciate, again, what Nolan did for revolutionizing not only the Batman franchise but the comic movie industry as well, I can still find faults in how he went about things. I truly don't believe we can have a worthy adaptation of Batman live action without Robin and without embracing the silliness of Batman's villains and I really hope producers, writers, and directors realize that soon.

Sorry if you read all that...

[stormyoceans]

MONICA'S INCREDIBLY BIASED TOP 5 GL SHOWS OF 2024

1. the loyal pin. a period piece QL with a (believable) happy ending and a fairytale-like quality to it that was able to charm me from the very first episode. while the pace of the story can definitely be slow at times, i was personally just too absorbed in the world that this show created to mind it. the display of traditions, customs, and food from thai culture, along with the beautiful cinematography and the colorful cast of characters, all helped to achieve this fully immersive experience, giving the perfect frame for anin and pin’s romance. becky as anin was also a revelation.

2. ayaka-chan wa hiroko-senpai ni koishiteru. I ADORE THIS LITTLE SHOW WITH ALL MY HEART AND SOUL. i admit that, as a bisexual woman myself, i found the bisexual erasure pretty maddening at first, however i am willing to forgive it in the face of how bright, lively, sweet, and at the same time deep and full of emotion this series is. it’s an age difference office romance that actually addresses the generational gap between the leads by exploring how society’s view on queerness changed throughout the years, and it does so by being funny, delicate, and unapologetically lesbian.

3. reverse 4 you. this is where my bias comes through, because while this show is far from perfect, i have the biggest soft spot for it. in general i tend to really enjoy stories that feature any kind of time related powers, but compared to others the true strength of this series is the familial bond between wa and vi, which shines as much (if not more) than the romantic relationship between wa and four. i do feel like the story needed at least one more episode to wrap up the loose ends more neatly, as some things kinda left me baffled and pretty confused, but my love for this little family of three makes me willing to overlook everything else.

4. pluto. if my meter of judgement to make this list had only consisted in chemistry and performance, then this show would have definitely landed in the first three spots, as namtan and film are incredible in it (the bridge scene in episode 11 is one of the most memorable of the year for me), however some of the plot points don’t sit quite right with me, and the execution of others was a bit lacking, so i unfortunately had to detract a few points. still, i enjoyed the show a lot: it presented a unique story in an interesting way, there was never a dull moment, and not once i skipped the intro because the OST is just amazing.

5. the secret of us. this show being so low in the list doesn't sit quite right with me, but at the same time it doesn't have the originality or the effectiveness in storytelling that other ones have. what it has, however, are ling and orm showcasing fantastic chemistry and very natural acting, which elevated a plot that im not usually particularly fond of (exes meeting again years later) and gave a lot of personality to their characters. the happy ending also feels earned, and some of the side characters are very memorable.

+ honorable mention (because once again, im a cheater)

23.5. i wanted to do a quick shout-out to this show because i feel like the fandom tends to give it a way harsher judgement than it deserves. while the second half did have a few things that bothered me, i still find this show a very accurate representation of teenage emotions, and the way it depicts young queer love healed the part of me that didn't have this kind of series growing up. all in all, it brought me a lot of comfort, and im incredibly grateful for that.

[mercutio-the-velaryon]

A Close Reading of Viktor's 'ascended' Form

Disclaimer: These are very jumbled thoughts but I've been trying to articulate this for a while so I'm just baring it to the public flaws and all.

I am being dead serious when I say that Melvik is a lens of viewing that serves to recentre Mel as a major character and reassert her value in the hextech trio dynamic. I will be utilsing this lens to analyse Viktor's choice to make his 'perfected' beings carry Mel's attributes.

Immediately, I will preface by saying, that although I read Jayce and Viktor's relationship as romantic, this choice has nothing to do with Jayce, at least, not in relation to feelings of romantic jealousy or romantic insecurity.

So, what does it mean when Viktor wears Mel's white and gold? I think it shows that he views Mel as the epitome of Piltover priivilege and the personification of the social barrier he could not supercede through hard work and picking himself up by his own bootstraps.

The scene above where Mel seems to be singularly be imploring Jayce to militarise Hextech as defensive action is essential to understanding why Viktor views her this way.

In this sequence, Mel is originally conversing with Viktor and Jayce on an equal physical level until she presents her ideal plan of action then she stands straight and focuses more on convincing Jayce rather than Viktor. This is not an attempt to be cruel or malicious, though it very well be an expression of her irritation because in Mel's eyes Viktor's reasonable protest seems like a juvenile outburst. As a Noxian and a Medarda Mel is accustomed to war and bloodshed she does not want the carnage of such an event to bring Piltover to ruin. However, she is also painstakingly aware that losing a war would be a death sentence. The stakes are life and death, and I believe based on what I understand of Mel's character that she would not attempt to bypass Viktor's opposition in more normal circumstances. She respects him to an extent but not more than she respects her position, her legacy and not more than she fears the consequences of losing a war.

Additionally, I view the way she stands and directs attention at Jayce as a demonstration of how she is by nature of the social system always above him. That she and Jayce, are classist as is everyone conditioned and socialised in this system, and for them as citizens of Piltover, as members of the bourgeoisie, and the council their dismissal of Viktor is not that active of a choice, its a reflex, its a manifestation of their biases. Which is terrible in its own right. Viktor discovers in this scene, that Jayce can and will go over his head despite hextech being a joint creation because his social positioning is just higher than his is. It always was and it always will be. These are unchangeable factors and immovable dynamics.

That is to say, that I think Mel's show of power in this scene, her long-term investment in hextech as well as very likely witnessing her political maneuvers from a distance during his time as Heimerdinger's assistant has cemented Mel in Viktor's mind as the paragon of Piltover privilege.

I like to imagine this reaction to Mel's powers "the arcane stirs within you" as a twisted delight. Magic is a natural force, its wild and uncharted and its presence in Mel has this undoing effect, it perplexes her, to use it she physically exerts herself, it makes her bare her teeth. It's a side of Mel, Viktor would have never witnessed, in her struggle with this he finds a glimmer of kindredness that briefly enthralls him.

When he creates his ideal form, a white and gold, sleek and slim faceless robot with a gentle elegent gait and manner of movement and is seeking to conform the entire world to it, know that Viktor in his mind is equalising both himself and the rest of the world to what he considers the apex of privilege, therefore ridding the world of social hierarchy, difference and struggle.

The grand irony of this act is that he ends up bypassing the autonomy of literally everyone by subjecting them to this much like Mel bypassed him. Meaning, he hasn't rid the world of this hierarchy at all, he's put all these people beneath him and robbed them of choice and freedom.

Separate Melvik spiel:

Mel and Viktor's inherent relationship to each other through nature, disposition and as narrative foils is just so meticulous I can no longer genuinely view Arcane as a text without noticing the absence of an established personal dynamic between them. The groundwork for a romance is embedded in the text, their relation to each other is already by itself canonically quite romantic, all of their qualities and attributes are either contrasting or is eerily similar, everything about them serves to say something about the other within the constraints of the Arcane narrative (I doubt this will continue in game and in the follow up series). His admiration of her is tainted by his resentfulness at her position and the way she's wielded it. So many characters in media have kissed for less than that.

[ruegarding]

for context, @rosabell14 is referring to tags on this post.

ok we're going off-road w this one

generally speaking, i like the concept of "some things aren't meant to be controlled," which annabeth says to percy after he controls the poison. this is said and then immediately forgotten abt, however, this could be another angle of change, a reoccurring theme in hoo, as well as a continued theme from pjo.

obviously, from pjo, the change is addressed w the myths, the theme of yielding, and w the conclusion of the story:

hoo continues this concept of change w the percy-jason switch, the greek-roman conflict, the idea of what an identity is and how to change it, etc. there's a lot of individual character work w this idea, but there's less of a mythological concept attached to it. gaea is a static and flatly written antagonist, octavian becomes incredibly flat as a character and his development into this sort of fanatical antagonist that is never explored, there's a lot of teeth-gritting abt how the gods are gods and they never change and everyone just has to accept it, the myths aren't challenged in the same way they were in pjo, etc. there's a few major exceptions, i'll get to that.

this is a glaring issue i have w hoo. it wouldn't be as bad as a standalone, but hoo makes the entirety of the previous series meaningless. in tlo, percy asks for kids to get claimed and be trained so when (or if) they have to go on dangerous quests/fight monsters/etc they're both older and more experienced. this is the conclusion to the war and how the status quo is changed (disability accommodations expanded to reach more ppl and work more effectively).

hoo, however, does not do this. camp jupiter infamously has a child army while the adults are retired, all of the new characters are younger than percy (who is still 16), and only two of them have spent a long period of time training, although hazel's isn't formal/in a camp (and piper doesn't even learn how to fight until book four ffs). this sort of immediately bastardizes pjo in a way that is never acknowledge by the series and makes it, and anything after it, a failure as a continuation of pjo.

and that's where this theme could've come in. when bob is remembering who he is, him and percy have this back-and-forth abt identity. percy relates to bob bc he, too, just had his memory erased and that vulnerability exploited (annabeth's perspective in this conversation is very different bc she doesn't have this same experience nor does she understand percy's feelings abt it. a good way to build tension using different povs, but, once again, doesn't get fully utilized). in the conclusion that conversation, there's an interesting moment:

this is that idea again, "some things aren't meant to be controlled," like fate, like identity. titans are meant to "be the same...forever." and here percy is, not only as the catalyst for change by throwing bob into the river lethe, but also by encouraging him to commit to this change once bob should know better. this was percy's role in the previous series, as well, where he constantly challenges the perspective of other characters to be more quote human unquote.

afterwards, annabeth has a similar moment w damasen:

i also think these are very funny to have side-by-side, just as character analysis, bc percy is very much both insecure and empathetic like u can choose ur future, it's up to u, etc, whereas annabeth is like i am right, listen to me.

anyway, both of these moments repeat the idea from pjo/tlo: immortals can't change. but they are changing. and they will change. the rules of the world are malleable (i also think hazel's monologue abt seeing the minotaur as a victim would be another aspect of this to explore). what abt traditions? what abt camp jupiter's child army? how should these change? going back to the og thought, tho, what shouldn't change? what are the "some things" that aren't meant to be controlled? how do you balance traditions and reform (great opportunity to use octavian btw!)? why can't a god be human, act human? why are the ancient rules important? that's an important discussion to have if we're growing this universe.

i don't particularly like that hoo immediately reverts back w the premise of the story, like i was talking abt earlier, nor do i think these characters were introduced or used well in canon, but using these characters, these moments, these conversations, rick could've salvaged this mess by embracing change isn't a static thing. he doesn't, tho, so it's all lost potential.

separately, something i've always liked abt the akhlys fight is that percy wins the literal, physical fight against her, but loses the metaphorical fight. he gets to walk away, but he walks away miserable. and this is bc the gods aren't ppl, they're physical representations of concepts. and percy has this thought abt tartarus and gaea while in tartarus, and i believe it's brought up in boo, but it's barely relevant. it's something i wish was explored more.

now onto specific characters. i talk abt my general idea here, ie this moment in tartarus is forcing percy and annabeth to confront their worst-case scenarios.

for annabeth, i've repeatedly gone on record to say i hate the way annabeth is written in hoo, here is an example, ie her fatal flaw does not come thru in her character (i also think she and percy switched characterizations from pjo to hoo, but...). separate issue is that annabeth's character revolves around percy a lot. so there are two issues i would focus on, largely bc she's not written well and doesn't have established unique conflicts. like,

this is a big revelation at the end of hoh, that she has to "step back" and she can't "protect everyone she love[s]." except it doesn't make any sense. tlo ended w annabeth telling percy to give luke her knife which luke uses to kill himself. not to mention, thalia's sacrifice on hbh. ALSO. percy accepting the prophecy and "taking the brunt of the danger"! and finally. annabeth has been at camp for 7-8 years. 1) she should have relationships w these ppl and 2) she should care that some of the ogs died in the previous war (which would also require rick to figure out who died lol). but the point is, this isn't a new conflict for annabeth!

the thought she had in moa abt having to accept she's not always the best person for the job:

this is not built up nor is it delivered on, but would be interesting, given that she demanded to be on the quest and if there was an actual power struggle instead of writing her as the de facto leader. this would be a better conflict than accepting that "she couldn't protect everyone she loved" when she has historically not been able to protect everyone she loved.

anyway, back on topic.

first, this moment exists to challenge her perception of percy, which is important to challenge bc she quite frankly has an unhealthy attachment to him. other ppl have said this better than i, so here's a post abt codependency and p*rcabeth and here's another one i rbed a while ago.

tldr; rick treats annabeth's abandonment issues/possessiveness/codependency as like. cute, peak romance. and he's been doing this since pjo, right, like annabeth's abandonment issues and possessiveness didn't matter when it was thalia joining the hunters,—bc there's no romance trope here w thalia—but gods forbid percy speak to rachel.

and this doesn't change in hoo. in fact, it's worse. like,

i'm going to [statement redacted] rick for this. what part of this is cute??? i'm killing it with fire.

so anyway, i want to treat annabeth's possessiveness/etc as an actual, consistent, character flaw, that she can grow out of, even. maybe even connect it to her hubris or her rsd. explore her feelings abt luke now that we have her pov to do it in. the fallout from this moment w akhlys is a great way to begin delving into that bc it's a shocking moment for her.

second, and going back to the theme of change, annabeth is different from percy in the sense that she has a different relationship to the gods than him (which i'm comparing bc i think rick (and fandom) has a hard time giving these two consistent and separate personalities/beliefs post pjo). the two times she has rebelled against the gods directly were bc of percy's influence (again, this is percy's role in pjo), 1) in the zoo truck, a scene that only takes place bc percy challenged her view of the poseidon-athena rivalry and their place in it, and 2) w hera where the first words out of annabeth's mouth are literally "percy is right."

i find this interesting especially bc her fatal flaw is hubris, which is common in mythology and frequently ends up fatal bc ppl challenge the gods. so, annabeth using the gods and these stories to keep her hubris in check makes complete sense.

and it seems like this is the same approach she's using w percy:

percy is directly challenging a god for power, and more than that, he's challenging a domain he's not supposed to have control of at all.

very interesting! does not get explored. such is common for hoo.

for percy, this scene is part of a long-running conversation of his powers (which is a huge part of his disability coding!!!!!). and it doesn't go anywhere.

percy has established anger issues and implied emotional dysregulation. this has been a thing since the beginning, literally chapter one of tlt! punishing percy for this when he's clearly not getting the support he needs is. a choice. also there's the issue that hoo kinda. erases this aspect of percy's character until the confrontation w akhlys, which is a separate but related issue.

there really should've been more buildup to this outburst (eg: in son percy punches a shelf in the library and immediately feels guilty bc he scares frank and hazel. percy is in an incredibly stressful situation; this should've happened more), but that would mean rick would treat it and the disability conversation seriously (which falls flat after son) and do less teeth-gritting abt the whole gods thing.

so, to go back on my "using the different povs to build tension was wildly underutilized" train, a featured part of almost everyone's pov is that percy is very kind, and gentle, and forgiving. i discuss a moment w frank being impressed w percy's selflessness here and he also says that he would follow percy anywhere, jason says percy is "a nice guy" after like 2 days, nico has his whole thing, hazel says "percy was a child of poseidon’s better nature," going on to describe him as gentle, etc.

and all of this praise goes nowhere and kinda just becomes percy is so awesome...and then turns into everything is percy's fault in boo...it's bad writing.

but it's an interesting opportunity to play w perspective. percy in pjo is dehumanized in that he is both villainized and idolized, and obviously hoo is continuing the trend w idolization. rick sets up a great plotline w this in moa:

and this doesn't go anywhere bc apparently percy's problem is that he needs to learn to step back. which. part of this is bc rick recycled plotlines from percy and gave them to other characters, which means that percy cannot be in character anymore without making themlook bad (the recycled plotlines i'm talking abt are the idolization, imposter syndrome, wanting to step back but constantly pushed into the spotlight, being seen as different/elevated status bc of ur parentage, struggling to connect to who your parent is, even the dehumanization as a weapon is straight out of percy's writing in pjo). this is a big problem w hoo in general ie characters becoming ooc by necessity (see: bad writing). the other part to blame is that rick is literally trying to redo tlo what w the whole "you are not the hero." it's all the same from pjo except written worse. it's a running theme of hoo (and a bonus). bad writing all the way down!

ANYWAY. so pjo ends w percy at an elevated status bc he 1) survived an unsurvivable prophecy, 2) was offered godhood, and 3) turned down godhood to improve the lives of the demigods while all the demigods watched. and he has the curse of achilles but. we all know how that went. the point is, all of this puts percy on a pedestal. i like to think it's the biggest reason hera kidnapped percy: if he said no, if he refused, she would've lost the support of almost all the demigods at chb (also the metaphor for the audience lol). i think making percy go on the quest, or at least to new rome, is the only good bit of world building rick did between books.

the problem is, rick is kinda all over the place w how percy is perceived and misses both the point of percy's character (callback to what i said abt his disability) and the world building of the previous series (what happened to power-scaling, narrative consequence, etc fr). that's what creates the flip-flopping "percy is perfect" and "everything is percy's fault," and neither are particularly good reads.

going back to annabeth, i don't think she's an exception in idolizing percy. she has no reason to see percy's vindictive side bc he works hard to hide it. even w crusty, annabeth is preoccupied. annabeth is smart, she's not omniscient. instead, there's the famous "percy is too nice" from som. i also like to think this is why she keeps trying to talk to percy abt luke as if luke is a good person who didn't try to kill percy. she doesn't understand that percy would hate luke for betraying him bc why would he? percy is a good person.

(for the record, i think the exceptions are: 1) grover, who chooses not to bring it up w the exception of his nemesis comment in tlt, 2) rachel, who made a painting where percy's "expression in the picture was fierce—disturbing, even—so it was hard to tell if I was the good guy or the bad guy" and simply said that's how he looked, and 3) arguably nico—considering percy has attacked him before—but i do think "very [dangerous]. to his enemies." does a good job of capturing that, it just doesn't go anywhere).

so, to condense all of this, ppl are idolizing percy in terms of both strength and morals and percy feels stifled by this knowing that he is not as strong or good as ppl think (and also by the fault that he was demonized prior and has corresponding low self-esteem bc of that lol). keep this in mind, i'm changing the topic.

in botl, percy's torture scene is used primarily to set up how powerful he is. he can cause an eruption that necessitates the evacuation of thousands of ppl and wake the biggest threat in greek mythos, but he would never know that if he wasn't back into a corner. bc that's not who he is. he shies away from power and titles. he wins his fights w strategy and very rarely relies on his powers to overpower his opponents.

just to clarify, i categorize percy's powers in two sorts of ways: involuntary and voluntary. involuntary is like speaking to sea creatures, healing in water, things that don't require a lot of energy/effort/focus. he's not scared of this. he's wary of the voluntary, powerful explosions, the things that set him apart from his peers. that's what i'm referring to in this section.

so, percy has to come to terms w the fact that he 1) blew up a mountain, 2) survived blowing up a mountain, and 3) woke typhon. and what does he say immediately after that?

he immediately deflects! he wasn't in control, it wasn't him that's powerful, it was an accident, and besides, he can't do it again bc he almost died. and what's even more interesting is the only time he uses his powers after this (in botl) is when grover asks him to stop the fire in the woods.

so, what lesson did percy actually take from mt saint helens? that he's dangerous. very interesting to use this teaching moment and have the protagonist come to the quote wrong unquote conclusion.

in hoh, we don't have a purpose for the torture scene. there's no significance to confronting how powerful percy is. percy is not addressing his self-sacrificing tendencies nor his propensity for bottling his emotions up. there's no questioning of p*rcabeth's relationship. there's no questioning of the gods. it's a cool scene w no narrative purpose.

so, take two. what is percy supposed to be learning from akhlys? how do we relate this to percy taking the wrong lesson from mt st helens?

at the end of botl, nico comes up w the river styx plan and percy takes almost a full year to agree to it. how much further ahead in the war would they have been if percy had accepted the curse sooner? how many fights could percy have won faster if he used his powers? if he trained his powers? if he trusted his powers?

there's a really interesting comparison w phorcys and akhyls where percy doesn't attempt to fight phorcys bc he assumes he won't be able to overpower him,

but w akhyls he tries anyway,

bc he's backed against a corner. and he succeeds.

percy is a character who very much embodies duality. i've talked abt this before wrt his loyalty being both his greatest strength and greatest weakness and how it clashes w his desire for freedom, but it's true for almost every trait. he's honest and manipulative. he's ruthless and merciful. he's kind and violent. he's looked up to and looked down upon. he's the saint and the scapegoat. etc etc. and percy responds to this by frequently trying to deny his quote worse unquote traits until they eventually bubble up and explode out of him. this is part of why juno calls him a loose-canon (which btw, i love. everyone has been treating him as a loose canon and no one on this side has the balls to say it until then, seven books in).

all this to say, *ethan voice* it's abt balance! this moment should've been abt percy confronting his unfair treatment! the idolization from his peers! the demonization of his flaws/disability!

thanks for coming to my tedtalk.

[aimasup]

Thoughts on Stella? Do you think she makes for a good antagonist, if not what would you have done differently?

She's there alright

If they set out to make her as annoying as possible then they succeeded, but i don't hate her because she doesn't feel like a character. She kind of just confuses me.

What would i have done differently? I don't know, uhhh

make her and Stolas a villainous duo with Stolas eventually gaining a remorseful spot for his actions that officially splits them apart, not before showing the effects of royal life and forced marriage on how they grew up as people, displaying how miserable the goetia life is? I mean, Stella doesn't think it's miserable actually she believes it's a natural demon order and doesn't believe in freedom so she's a bitch who controls everyone else. And give her an imp horn collection too

Like they're supposed to be a power couple but they never wanted to be. Maybe this take is worse tho since I came up with it last minute just now o-o;

[thefirstknife]

Go off! It's the Cinemasins Effect. There is no literary analysis, just listing of facts like you're reading a Wikipedia summary. Devoid of accounting for personality traits, external influences, basic human (or alien) contradictory nature, unreliable narration (always present in Destiny), multiple points of view that are clashing (because that's how the world works), etc., these facts tell us little about the actual story so it's easy to misinterpret obvious solutions.

A listed fact might say "Eramis endangered her own house by opening the Vex portal on Europa" and then whenever Eramis talks about caring for her people, someone who engages with only the list might think "That makes no sense!" And it does, if we go deeper and account for her desperation and corruption and how much she did not understand what was happening to her. She desperately tried proving that she has agency, but it was the exact opposite; while fleeing from the Traveler claiming not wanting to be its pawn, she was actually the pawn of the Witness. She was used by the Witness to get us, the real target, to be tempted with stasis and the moment she lost (no longer worthy of being a part of the final shape), she was discarded. However, not entirely, because she still had to remain a pawn potentially to be used later when the Witness needs a convenient and desperate soldier to enact its plans under a threat of a total annihilation of her people; because that's what the Witness does. She literally commented on this, how the Witness is "punishing her" by turning her friends into Scorn.

But we never see even a fraction of this kind of analysis in the most popular circles and "lore masters" will always prioritise just listing events and doing "Ending EXPLAINED!" videos with zero character motivations or analysis mentioned. I won't even go into how much of Destiny story is obviously constricted by technical elements and the type of game it is, which is something people forget all the time and expect Destiny to suddenly have a singleplayer RPG level of game design which simply will not happen. A lot of the perceived faults in the narrative are almost always of technical nature and writers themselves have spoken about this. I feel like that has to be included in any analysis worth a damn because Destiny's story is trapped within the confines of the genre of media it is in (first person looter shooter); while the story is a major part of the game's essence, gameplay comes first, always. If the story has to be constrained for gameplay purposes, it will be. If it has to be constrained because there's not enough time or resources to add more dialogues or cutscenes or to expand the scope of every character or to create a more complex narrative, it will be. Given all of this, I think the team has done a great job for Eramis over the years and kept her arc as consistent as possible which made this ending easy to predict and satisfying because the arc has concluded as it was intended.

At the end of the day, I don't even mind if people have a personal reason to think "Actually I would never have forgiven Eramis." I'm sure there are characters in-setting who think that; either because of a lack of knowledge about her (if you're just some random citizen, you don't know the details of her corruption or her internal feelings) or because you were personally victimised by her (a lot of Eliksni fled House Salvation because of what she did on Europa that endangered their lives; they may never be ready to forgive her or accept her). That's completely fine. As a matter of fact, I expect it! It adds depth to the story.

The issue is that these people usually go about it by blaming the writers and saying that the writers told their own story wrong. That this decision was objectively incorrect or somehow bad for the narrative or a retcon or out of character or whatever. And it's just not. We, the players, who have all information and everyone's internal feelings presented in the story and lore books, know that this was the intended character arc for Eramis since the moment she didn't get killed at the end of Beyond Light.

Eramis Executors are up in arms that our favorite, bitter, lesbian crab didn’t receive a bullet to her head to no one’s surprise. What happened to the overarching themes involving forgiveness and mending the wounds of the past to build a better future for everyone resonating with people? Does the Traveler and what it has been representing for 10 years mean nothing when it comes to Eramis? Were we supposed to abandon the power of friendship? Is punishment with no consideration the only way of dealing with those who have committed wrong acts that people know of?

[annakabeybeh]

Batman & Robin #17 Review

I don't know if there's too much or too little to unpack here. I'm really loving this chapters and leaving me wanting more. It's steady and calm in the pacing without feeling boring. It's just perfect. Little by little it's opening the story of Memento and I absolutely love it.

The mix of past and present could be a little annoying to some but I feel it has a good effect because even if tells you almost nothing it still gives you a precedent of things to happen.

I love the way Damanian's character is being build, it's a change from his always sure demeanor. He always had doubts about himself but he tried to no show them so this Damian is a nice breath for his development.

Spoilers ahead

This panel is important.

1st Is he talking about the way he was raised? Talia and Ras or was a small backhanded comment about Bruce? It could be both but I love the idea of it being about Bruce. Yes, Damian is intellingent and brilliant for his age but that doesn't mean that he should be doing what he's doing. He might at that moment saying that Bruce could be more and do more by being a normal citizen than as Batman and it is a good take, boring in comic sense but it is an amazing take.

2nd The doubt about the need of Batman in Gotham, it is a issue talked about in a book I read, Batman and Psychology. The question is Batman the reason everything happens or everything happens and that's why Batman is needed. The question as far as I know has arose outside comics not in them and this being questioned for me it is interesting. It's a doubt beyond capacity of a character but more of need and reason (Do I make sense? I hope so)

This panel is something that I feel writers had made Bruce do over and over again. Bruce blames others for his failiures (Blamed Dick for Jason's death. Tried to guilt trip Jason about Damian's death -DAMN BRUCE, FUCK YOU!- and he even blamed and guilt tripped Damian about Alfred's death -Again, Fuck you Bruce) but this goes beyond that in my opinion, why? Because this is a Bruce that relies on his Robin, he's not an accessory, he's an extension of himself and it was shown not only with this interaction but with the chapter before but it also goes beyond just passing blame because it also shows that Damian is getting away and he doesn't like that.

Is this just jealousy of a parent as he watch his son drift away?

Damian had been raised to be a villain or a vigilante, his choice nevertheless and his connection with Thomas Wayne was bigger than Bruce expected. He understood him and he liked him, in a way that Damian might not like Bruce but in the way Damian liked and loved Alfred. I love the idea that Damian is seeing Dr. Bashar's as some sort of Alfred's substitute (I do not trust the man but Damian needed that support because let's be honest Bruce is not that, not for Damian and not for anyone.) This show Damian in a nutshell. A person that sees the world and sees not only what's infront of him but what it can be. He sees he can be bigger and better than what he's that moment.

I mean Bruce, your ego, keep it in check. He should have done this since the beggining but he didn't because of his ego but now that Damian is interested in someone else, looking up someone that is not him he became this kind of person. That's what I feel. I find it funny and it will funnier that there's nothing to doubt the man.

This interesting. She had been suspicion that Jack is Batman but this is not a comfimation of the suspicion but to show that despite everything Damian is Bruce's son and I love it. They're different but similar. I feel that this is like comfirming that he won't stop being Robin (Don't do that to me, I need more Damian content I love him so much).

The team up with Jason is something that would fuel more disputes between Bruce and Damian. Some sort of jealousy from both of them and I love the idea, they need to communicate but they are too stuborn to do so. Damian's fears and doubts about himself and what he thinks Bruce wants from him push him to not tell him stuff. That kind of stuff was something he shared with Alfred and he hadn't found someone to confide in so Bashar had stepped because he communicates and Bruce hadn't communicated he never had ease Damian's worries.

The title of the new chapter seems Chef's kiss to me. A reference to both Death in the family and Death of the Family. I have big expectations in next chapters. Tbh this is what Damian is for me.