#literary presentation of woman

[weed-cat]

kinda cringe to shit on self dxed people unprompted

how dare you say I piss on the poor

[buckets-and-trees]

Between the Lines

Characters/Pairings: Ransom Drysdale x curvy female!Reader Word Count: 4.4k Summary: When presented with a deal you can't resist, you agree to to create an illusion so you can achieve your actual dreams.

Content/Warnings: masturbation, slow burn, forced proximity, fake engagement, annoyed/disgusted to lovers

Notes: This takes place after the events of Knives Out. Yes, all of the movie. No exclusions. Dividers by @vesearartistry and @saradika. My humble offering for week seven of my Countdown to Chris-mas. Thank you @stargazingfangirl18 and @biteofcherry for both indulging some of my plot-talking for this fic!

↠ Main Masterlist | Aspen's Ask Box | Field Guide to the Forest

You sat nervously in the lobby of Blood Like Wine Publishing watching the gears behind the glass display on the elegant clock above the reception desk.

Up until the death of Harlan Thrombey, the publishing house had published his works exclusively with a new murder mystery being produced and translated into dozens of languages each year like clockwork, the gears and cogs a well-tested as the antique clock on display.

With no Harlan, the publishing house had opened to submissions and you and your agent had made it through the initial rounds of querying and contract negotiations.

But now, only a year and a half after the prolific genius’s death and transfer of ownership to his nurse and friend Marta Cabrera, Marta had sold to a new owner - yet to go public in name, and they had asked for a meeting before finalizing the contract.

You tried not to fidget as you gripped the leather armrests of the chair, willing the minutes to pass faster. The lobby was eerily quiet, save for the soft ticking of the clock and the occasional rustle of papers and the soft clacking of the keyboard from the receptionist's desk. The walls were adorned with framed book covers, each one a testament to Harlan Thrombey's literary legacy. You couldn't help but wonder if your own work would ever grace these halls.

As you waited, your mind raced with possibilities. Who was this mysterious new owner? What did they want? Your agent had assured you that this was just a formality, but the knot in your stomach suggested otherwise. You found yourself studying the intricate patterns in the marble floor, tracing the veins of gold and silver that snaked through the stone like the plot twists in one of Thrombey's novels.

Just as the clock struck ten, the elevator dinged, and a tall woman with perfectly coiffed short white hair strode out, her heels clicking authoritatively on the polished marble floor. She paused at the receptionist's desk, speaking in hushed tones before turning her piercing gaze towards you.

"I assume you’re my ten o’clock?" she questioned, her voice sharp and commanding.

You suppressed a gasp and abruptly stood, smoothing your clothes nervously as you approached none other than Linda Drysdale - the legendary daughter of Harlan.

"Yes, that's me.”

She gave you a once-over, then nodded. “Come with me.”

You followed Linda into the elevator, your heart pounding in your chest. The mirrored walls reflected your nervous expression back at you, and you tried to school your features into something more confident. Linda stood beside you, her posture perfect. In contrast to you, she seemed entirely at ease, tapping away at her phone with manicured nails.

When the doors opened, you stepped out into a hallway lined with dark wood paneling and more framed book covers. Linda's office was at the end, a massive space with floor-to-ceiling windows offering a breathtaking view of the city skyline. The room was dominated by an imposing desk made of rich mahogany, its surface neat and organized.

"Please, sit," Linda said, gesturing to one of the leather chairs in front of her desk. As you settled in, she moved to a small bar cart in the corner. "Can I offer you a drink? Perhaps some whiskey? A gin and tonic? Coffee? Tea?"

You shook your head, politely declining. "No, thank you. I'm fine."

Linda shrugged, pouring herself a generous measure of amber liquid into a crystal tumbler. "Suit yourself," she said, returning to her desk and settling into her high-backed leather chair. She took a sip, savoring the whiskey before fixing you with her piercing gaze once more.

"I've read your manuscript," she began, her fingers drumming lightly on the desk's polished surface. "It's intriguing. You have potential, there's no denying that."

Your heart swelled with pride at her words, but you remained silent, sensing there was more to come.

Linda leaned forward, her eyes never leaving yours. "I'm prepared to offer you a book deal. A three-book contract, to be precise. The advance is generous, and the royalties - well, let's just say they're enough to make even my father's ghost smile."

You felt a surge of excitement, but something in Linda's tone made you hesitate. There was a glint in her eye, a slight curl to her lip that suggested there was more to this offer than met the eye.

"However," she continued, swirling the whiskey in her glass, "there is one small condition."

The word hung in the air between you, heavy with implication. You swallowed hard, your mouth suddenly dry. "What kind of condition?" you managed to ask, your voice barely above a whisper.

Linda smiled, but it didn't reach her eyes. "You see, my father liked to play games. In his will, he left us with one final trick. I don’t know how much of this you heard or followed in the news, but he left us nothing - his cash and assets, our home, and this publishing house all went to Marta Cabrera, his nurse at the time of his death.”

You would have been hard-pressed to have missed the news because it had spilled over into scandal.

“I don’t expect to see the sixty million, and that’s tough, but I can live with that - I’ve made my own fortune, and neither Walt and his family nor my sister-in-law and her daughter need to continue suckling off the teat of dad’s treasury. The house still hurts, but I’ll get it back - I can bide my time. But this? It only took me eighteen months of patience and strategy, working through subsidiaries and intermediaries, to close the deal on getting Blood Like Wine back in the family where it belongs.”

“I will go public with my ownership by the end of the week,” she continued, “but for better and for worse, the acquisition has ended up coinciding with my son’s pending release from prison.”

“Ransom?”

Linda nodded, a flicker of emotion crossing her face before disappearing behind her composed facade. "Yes, Ransom. As you can imagine, his... indiscretions have caused quite a stir in our family and social circles."

You shifted uncomfortably in your seat, unsure where this was leading.

"My son made mistakes, grievous ones. But he's served enough time, and now he needs a chance to redeem himself. That's where you come in."

Your brow furrowed in confusion. "I'm not sure I understand, Mrs. Drysdale. What does this have to do with my book deal?"

"The condition," she explained, her voice taking on a steely edge, "is that you convincingly pose as his sweet-as-a-peach fiancé for two years.”

Your mouth fell open in shock. Ransom Drysdale, the man who had attempted to murder Marta Cabrera and frame her for Harlan's death, and she expected you to agree to this? You stared at Linda in disbelief, and the silence stretched between you, broken only by the soft ticking of an antique clock on the bookshelf behind her.

"I... I don't know what to say," you finally managed, voice a little weak in your shock.

Linda leaned back in her chair, taking another sip of whiskey. "It's quite simple, really. You play the role of Ransom's devoted fiancée, help rehabilitate his image, and in return, you get your book deal. Three books, a substantial advance, and the backing of one of the most prestigious publishing houses in the industry.”

"But... Ransom... he tried to kill someone. He went to prison. How could I possibly-"

"Details," Linda waved her hand dismissively. "The public has a short memory. With the right narrative, we can reshape Ransom's image. A reformed bad boy, humbled by his time in prison, now devoted to his charming fiancée and ready to contribute positively to society. We both know the power of a well-crafted story. People will believe anything."

You felt your head spinning. This was so far beyond what you had expected when you'd nervously entered the building this morning. "And what does Ransom think about this plan?" you asked, grasping for any semblance of normalcy in this surreal situation.

Linda's lips curved into a tight smile. "Ransom will do as he's told if he wants to maintain his lifestyle and eventually inherit his share of the family fortune. He knows the stakes."

You sat there, stunned. The offer was tempting - a three-book deal with Blood Like Wine Publishing was beyond your wildest dreams. But to fake an engagement with a convicted criminal? It seemed insane.

"I understand your hesitation," Linda said, her voice softening slightly. "But consider this: you'd have unprecedented access to our family. Think of the material for your future novels. The inside scoop on one of America's most infamous families. Isn't that what every mystery writer dreams of?"

You had to admit, she had a point. The Thrombey-Drysdale saga was the stuff of legend in literary circles. To be on the inside, to see how they really lived and interacted? That alone could draw readers in if they thought there was any chance you’d pull threads and weave it into your future novels.

And besides, this was your dream: a multi-book deal with a prestigious publisher, the chance to see your work in print, and to potentially become not only a published author but one who with Blood Like Wine’s name and marketing department could be a truly successful author. How could you pass it all up?

“What would you say to four books?”

You blinked, taken aback by Linda's sudden offer. "Four books?" you repeated, your voice barely above a whisper.

Linda nodded, a sly smile playing at the corners of her mouth. "Four books. And we'll double the advance. Consider it... hazard pay." She chuckled softly at her own joke.

Your breath caught in your throat. Four books? The offer was even more tempting now, dangling before you like a golden carrot. You found yourself leaning in, drawn into Linda's web despite your better judgment.

"I... I don't know," you stammered, your mind racing. "This is all so sudden. What exactly would be expected of me?"

Linda's smile widened, sensing your wavering resolve. "Nothing too taxing, I assure you. Attend some charity galas, be seen at upscale restaurants, perhaps a carefully orchestrated paparazzi shot or two. We'll craft a beautiful love story for the press - how Ransom found redemption through your unwavering support and love."

You nodded slowly, uncertainty swirling more strongly, gut churning because you were actually considering this. You could do public appearances…

“A year and a half,” you countered.

Linda shook her head firmly. “No, I won’t budge on the time commitment. Two years is a bankable amount of time to make sure we turn enough pages to fully close this chapter. But I’ll give you six books.”

Your heart leapt at that, and even though your gut was uneasy, your brain was shouting that this kind of deal was something you could not refuse. “Six books, and the first two released before the engagement period is over.”

“Deal,” Linda agreed.

You took a deep breath, your mind reeling from the enormity of what you had just agreed to. Six books. A multi-million dollar deal. And all you had to do was pretend to be engaged to a convicted criminal for two years. It seemed surreal, like something out of one of - well not one of Harlan's novels, but whatever romance author was currently trending.

"I think I will have that drink now," you said, your voice sounding distant to your own ears.

Linda's smile widened, a predatory gleam in her eyes. "I find a good whiskey helps smooth over even the most unusual of business deals."

You nodded, watching as she selected a crystal decanter filled with amber liquid. The soft clink of glass on glass filled the room as she poured a generous measure into a tumbler. The rich, peaty aroma of the whiskey wafted towards you, promising warmth and liquid courage.

Linda returned, extending the glass to you. Your fingers wrapped around the cool crystal and your eyes met Linda's. There was a moment of silent understanding between you - a recognition of the Faustian bargain you had just crafted and agreed to.

As you raised the glass to your lips, Linda's voice cut through the silence. "One more thing," she said, her tone casual but her gaze intense. "I'll up the advance to five million if you agree to move in with Ransom."

Your GPS led you to the top of a cul-de-sac in the Brown’s Wood neighborhood of Lincoln, Massachusetts. Beautiful trees and a typical New England landscape ushered you up the drive to the midcentury modern home owned by Hugh Ransom Drysdale. It didn’t scream home, but there was no denying it was a stunning feat of architecture - white walls and black roofing framing a structure of mostly floor-to-ceiling windows.

You sat in your car for a moment, gathering your courage. The enormity of what you had agreed to in Linda’s office had been sinking in all week, but this was it. Five million dollars. Six books. And two years of your life pretending to be engaged to - and now living with - a man who had attempted murder.

Maybe approaching all of this as if it was one big plot so of course it had to all work out was a ridiculous coping strategy, but it’s the one you had adopted.

But when the seven-figure advance had appeared in your bank account, giving you more money than you had earned in your entire life, you didn’t have it in you to back out.

If he murdered you, at least you would have paid off your student loans, credit card debts, provided for your parents’ retirement, and put away enough money in a trust for your nephew’s college fund.

The house loomed before you, a monument to wealth and taste that felt utterly alien. With a deep breath, you grabbed your bags from the passenger seat and made your way to the front door.

Before you could even ring the bell, the door swung open, revealing Ransom Drysdale himself.

He was taller than you expected, his presence filling the doorway. His piercing blue eyes scanned you from head to toe, a smirk playing at the corners of his mouth. "So, you're the lucky lady my mother's picked out for me," he drawled, his voice dripping with sarcasm.

You bristled at his tone but forced a smile. "And you must be the charming ex-convict I've agreed to shackle myself to," you replied, matching his sarcasm with your own. "Can we consider the awkward introductions done now?"

Ransom's smirk widened into a grin, a glint of amusement in his eyes. "Oh, I like you already. Come on in, darling," he said, stepping aside to let you in. "Welcome to Hill House Drysdale. Try not to get too attached - I hear it's only a two-year lease."

You stepped into the house, immediately struck by the minimalist decor and open floor plan. The entire back wall was glass, offering a stunning view of the surrounding woods. It was beautiful, but cold - much like its owner, you mused.

The house was a stark contrast to the warmth of the Thrombey mansion you'd seen in news reports. This place was all clean lines, minimalist furniture, and an abundance of glass and steel.

"Nice place," you commented, setting your bags down. "I half expected to see crime scene tape and chalk outlines."

Ransom's laugh was sharp and humorless. "Sorry to disappoint. I save all my murdering for the family estate. This is my sanctuary."

You couldn't help but chuckle bitterly at his dark humor. At least he wasn't trying to pretend this was anything other than what it was - a business arrangement.

"So, where should I put my things?" you asked, gesturing to your bags. Some of your things had been sent off to a storage unit, but the things a moving consultant had determined would come here with you had been packed up and moved earlier in the day.

"The master suite is upstairs," Ransom said, closing the door behind you. "Stay out unless you’re embarking on a conjugal visit.”

You scoffed. “Charming.”

He winked at you, then began to take you through the house. “Other than that, you’re free to roam the house, and I’ll stay out of your space. Living room here,” he gestured around, then walked to the right, and you followed him into a sleek, modern kitchen. “Two Bosch ovens, a six-burner range, your choice of pretty much any appliance in one of these cupboards.”

“You cook?”

It was his turn to scoff. “God, no.”

He walked you through the length of it, coming out on the other end of the living room, and then walking through a dining room with a long black table and another two walls of floor-to-ceiling windows.

Ransom didn’t strike you as one for entertaining dinner parties, making this more of a feature room than anything else.

At the other end, you came to a new wing of the house.

“This is you,” he said simply. “First door office, second is your bedroom and bathroom.”

You hesitated at the transition point from the dining room to the other side of the house.

“What is it?” Ransom asked, turning and putting his hands on his hips impatiently.

“Linda said a contractor would be brought in to install a door and security system.”

“She said could, and you’ve got locks installed, but I own this house, installing a wall and door here is more invasive than I was willing to agree to, and since she’s a real estate mogul she conceded it would altar the property value.”

“I…”

“You can relax. I’m not likely to try to murder you - the memory of the inconvenience of being incarcerated will probably last for twenty-four to thirty-six months, putting you in the clear.”

You frowned.

“They’re nice rooms, state of the art locks, you’ll be fine,” he reiterated, rolling his eyes. “Digital reinforced with an analog component that you’ll have the only keys to.”

He tossed you a keychain with three keys, which you were quick to catch.

“Downstairs there’s another living room that’ll be for you exclusively and a laundry room.”

“So, you’ll be coming through here to do laundry then?” you asked.

“Cute of you to think I do my own laundry.”

Now it was you who had an eye roll to give.

"Speaking of, all your stuff was delivered safe and sound, but I took the liberty of having some clothes delivered for you. Can't have my fiancée looking like a struggling writer when we're out in public."

You bristled at his comment. "What's wrong with my clothes?"

Ransom's eyes raked over you, his gaze lingering a bit too long for comfort. "Let's just say they don't exactly scream 'trophy wife of a reformed bad boy billionaire.'"

You gritted your teeth, reminding yourself of the substantial paycheck waiting for you at the end of this charade. "Fine. When is the first public outing?"

Ransom checked his watch, a sleek, expensive-looking timepiece that probably cost more than your entire wardrobe. "We have a charity gala tomorrow night. My dear mother thought it would be the perfect opportunity to debut our 'relationship' to society."

Your stomach twisted with anxiety. Tomorrow night? That was so soon. You weren't prepared for this.

“Last thing,” he said, reaching into his pocket. “Here’s your ring.”

Ransom reached into his pocket and pulled out a small, black velvet box. As he opened it, your breath caught in your throat. Nestled inside was a ring that could only be described as breathtaking.

The center stone was a flawless oval-cut diamond, easily 3 carats, that seemed to capture and refract every bit of light in the room. It was held in place by a delicate setting adorned with two smaller diamonds on either side. Each facet of the ring sparkled with an intensity that was almost hypnotic.

"This," Ransom said, his voice uncharacteristically warm, "is a family heirloom. It belonged to my great-grandmother, passed down through the generations. My mother insisted I give it to you."

He carefully removed the ring from its velvet nest and held it out.

You reached for it, holding it delicately and studying it more closely.

“And I am going to insist that you wear it continually,” he added, tone back to its normal bite, “none of this on and off business. We’re engaged and there’s no reason to risk a slip up forgetting to put it on before you leave the house.”

The weight of it in your hand felt significant, both physically and metaphorically. This wasn't just any engagement ring - it was a piece of Thrombey family history.

"It's... stunning," you managed, your voice barely above a whisper.

Ransom's expression softened for a moment, a flicker of something - pride? nostalgia? - passing across his face. "It is, isn't it?" he said, his sarcastic tone momentarily abandoned again. "My great-grandfather proposed with that ring after returning from the war. It's seen its fair share of family drama."

You couldn't help but chuckle at that. "I bet it has."

Ransom cleared his throat, his mask of indifference sliding back into place. "Well, go on then. Put it on.”

"Are you sure about this?" you asked cautiously. "Shouldn't a family heirloom go to someone real?"

Ransom's expression hardened slightly. "I’m hardly that sentimental. This arrangement is real enough for my mother, and it's real enough for me. Besides," he added with a sardonic smile, "you're as close to family as I'm likely to get these days."

With a deep breath, you slipped it onto your left ring finger. The final symbol of the elaborate charade you had chosen to undertake.

It was near midnight, and you were worn out and nearly ready to collapse into your bed. The movers had done most of the work, but you still had had some unpacking to take care of and moved the furniture around in your bedroom and the room that would be your office. After giving you the engagement ring, Ransom had left you alone the rest of the day.

You padded quietly through the dining room that connected the two halves of the house to the kitchen to fill up your water bottle before bed.

The house was eerily quiet as you made your way through the darkened rooms. Moonlight filtered through the expansive windows, casting long shadows across the polished floors. You tried to move silently, not wanting to disturb the stillness of the night or alert Ransom to your presence.

As you entered the kitchen, the cool tile against your bare feet sent a small shiver up your spine. You fumbled for a moment, searching for the light switch, but decided against it. Your eyes had adjusted to the darkness, and the soft glow from the windows was enough to navigate by.

You had just placed your water bottle under the refrigerator's filtered, letting the cool water splash into your bottle, when another sound caught your attention.

At first, it was barely perceptible - a faint, rhythmic creaking from upstairs. You froze, straining your ears. The sound grew clearer: a low, guttural groan, followed by the unmistakable sound of skin moving over skin.

Frozen in place, your cheeks flushed hot as realization dawned. Ransom was fisting his cock and unabashedly enjoying it.

Part of you wanted to flee back to your room immediately, but you were paralyzed, afraid any sound of movement might alert him to your presence.

Your breath caught in your throat as Ransom's moans intensified, echoing through the quiet house. The rhythmic creaking of his bed frame quickened, punctuated by deep, guttural groans that sent shivers down your spine. You stood frozen in the kitchen, your water bottle forgotten as you listened, captivated against your will.

Your body betrayed you, responding to the primal sounds drifting down from above. Heat bloomed in your core, your skin tingling with unwanted arousal. You could almost picture him - his muscular body taut with tension, head thrown back in ecstasy, those piercing blue eyes half-lidded with pleasure. Your imagination filled in the details - the flex of his biceps as he stroked himself, the sheen of sweat on his chest, the way his abs would clench with each thrust into his fist.

You pressed your thighs together, trying to quell the ache building between them.

"Fuck," Ransom's voice drifted down, rough with need.

The raw intensity in his voice sent a jolt through you. Your breath quickened, matching the frantic pace of his movements above. You knew you should leave, retreat to the safety of your room, but your feet remained rooted to the spot.

The sounds grew more urgent, building to a crescendo. Ransom's groans became deeper, more primal. You could hear the desperation in his voice, the need for release. Your own body thrummed with sympathetic tension, your nipples hardening beneath your thin sleep shirt.

Suddenly, Ransom let out a long, guttural moan. The sound of it vibrated through you, igniting every nerve ending. You imagined him arching off the bed, his body taut as a bowstring as he found his release.

The house fell silent once more, save for the pounding of your heart in your ears.

Realizing you were still clutching your water bottle, you turned and tip-toed back to your room as quickly as possible.

You slipped quietly back into your room, closing and locking the door behind you with trembling hands. Your heart was still racing, your body flushed with unwanted arousal. You leaned against the door, trying to steady your breathing.

What had just happened? You'd come to get water and ended up an unwitting eavesdropper to your fake fiancé's private moment. The memory of Ransom's deep groans echoed in your mind, sending another shiver through you.

You shook your head, trying to clear the vivid mental images. This was ridiculous. Ransom was arrogant, infuriating, and had literally tried to murder someone. You shouldn't be affected by him like this.

And yet, the memory of his moans lingered, making your skin tingle and your core ache with need.

When you crawled into bed, you brought a book with you instead of your vibrator, refusing to sate the lust that had been kindled because you didn’t want to risk thinking of him. If you couldn’t resist him the first night living under the same roof, there would be no hope for you to make it two years.

And so you read until your eyes drooped and you were finally succumbed to sleep.

HAPPY KNIVES OUT NOVEMBER! It seemed like an appropriate point during the Countdown to Chris-mas to finally buckle down and write my first Ransom fic!

↠ Main Masterlist | Aspen's Ask Box | Field Guide to the Forest

I do not do tag lists, but FOLLOW @buckets-and-stories and TURN ON NOTIFICATIONS to be updated any time I publish a new work!

[thisischaostragic]

Gatsby: An American Myth is a brilliant literary adaptation. it asks: if we bring to the forefront many of the parts that are implied or hinted at in the text, how does that change how we view it?

if Nick and Jordan are undeniably queer, if Gatsby is actually white-passing and not white, if Myrtle and George’s briefly-possibly-alluded-to lost child is actually talked about, how much sharper does the book’s critique of the “lost” American dream get?

this musical refuses to let you ignore the nuances of these characters that were (more or less) *already present* in the book.

Daisy is absolutely a victim, but she is *also* a wealthy white woman who is willing to (literally) throw a working class woman under the bus (car) for her own safety, and who is willing to let a man of color face the consequences of her actions. Tom tricking George isn’t exclusively about getting rid of Gatsby, but also about a wealthy white man setting two marginalized characters against each other so that he doesn’t have to deal with them.

when we get to the end, when we meet Gatsby’s dad and learn that he’s Indigenous, when we contend with how disproportionately the violence impacts marginalized people, the conclusion is no longer that the American dream is lost or broken, but that it was a stolen thing to begin with.

I am sure there are political critiques I (or others) could / will make, but on first impression, I am blown away by how far it went with displaying the horror of the American machine.

[creature-wizard]

Scams, Hoaxes, Conspiracy Theories, & Cults Everyone Should Know About

Jilly Juice: Jillian Mai Thi Epperly claimed drinking sixteen cups of her super salty cabbage concoction each day could regrow missing limbs and cure everything from cancer to homosexuality. In reality, overdosing on so much salt caused followers a host of health issues that Epperley dismissed as "healing symptoms."

Nonhuman Body Hoax: Jaime Maussan attempted to pass off mummified human remains as nonhuman beings to the Mexican government. (This isn't even Maussan's first hoax, by the way. He has a history.)

Love Has Won: Amy Carlson, a woman who'd walked out on her own children, started a New Age cult in which she presented herself as "Mother God," the creator of the universe. She claimed to be in contact with dead celebrities and alien beings, and taught a conspiratorial worldview. As her health declined, she attempted to treat herself with colloidal silver and alcohol, and her behavior became increasingly abusive. When she finally died, her followers sincerely believed she would return to life and kept her body in a sleeping bag. (She did not return to life.)

Seed Faith Offerings: Reverend Gene Ewing came up with the perfect get-rich-quick scheme to prey on desperate Christian believers: tell believers that if they "sowed seed" by giving money to him, God would bless them with even more money in the future. He made millions of dollars from these donations, while most of his followers never saw the miraculous returns they were promised.

William Walker Atkinson: In the early 20th century, William Walker Atkinson wrote around one hundred books, many of which he wrote under various pseudonyms. Some of these pseudonyms included alleged Hindu mystics. That's right - this guy was practicing literary brownface to sell his mystical ideas.

The LDS Church: In the 19th century, a man named Joseph Smith claimed that an angel had told him where to dig up a set of golden plates that were supposedly written by ancient Hebrews who'd come to North America. Smith even had eleven close associates who vouched for the plates' existence. Yet the script they were allegedly written in bore no relation to actual ancient scripts of the Near East, and the the names the locations in the books he "translated" were very obviously derived from placenames he would have been familiar with. (For example, Oneida/Onidah.) Oh, and actual archaeology and DNA studies have discredited pretty much everything from this guy's weird racist narrative.

Fake Cancer, Fake Cure: Wellness entrepreneur Belle Gibson claimed that she'd cured her brain cancer with natural remedies. Gibson never actually had cancer in the first place.

Medbeds: Back in 2020, QAnons and QAnon-adjacent people started circulating claims that a new form of healing technology was about to become available to the public within the next several months or so. Depending on who you asked, Donald Trump, Elon Musk, and even the Galactic Federation of Light were involved. The time of their supposed unveiling came and went, and what do you know, there are still no functioning medbeds used in actual medicine.

COVID Vaccine Zombies: Conspiracy theorists have been claiming the government practices high-tech mind control for ages now. One recent iteration of this is a conspiracy theory claiming that people who'd received COVID vaccinations would have malicious DNA code activated by 5G on October 4, 2023, turn into zombies, and riot. The time came and went, and no zombie outbreak happened.

Ms.Scribe: In the early 2000s, a Harry Potter fan known as "msscribe" or "Ms.Scribe" faked her own harassment through a number of sockpuppets, with the apparent goal of becoming friends with some Harry Potter fandom bigwigs. She manipulated the fandom for a few years until the deception was finally uncovered.

[pinkinsect]

??

watching a clockwork orange. will report back

[wonder-worker]

A central element of the myth of [Eleanor of Aquitaine] is that of her exceptionalism. Historians and Eleanor biographers have tended to take literally Richard of Devizes’s conventional panegyric of her as ‘an incomparable woman’ [and] a woman out of her time. […] Amazement at Eleanor’s power and independence is born from a presentism that assumes generally that the Middle Ages were a backward age, and specifically that medieval women were all downtrodden and marginalized. Eleanor’s career can, from such a perspective, only be explained by assuming that she was an exception who rose by sheer force of personality above the restrictions placed upon twelfth-century women.

— Michael R. Evans, Inventing Eleanor: The Medieval and Post-Medieval Image of Eleanor of Aquitaine

"...The idea of Eleanor’s exceptionalism rests on an assumption that women of her age were powerless. On the contrary, in Western Europe before the twelfth century there were ‘no really effective barriers to the capacity of women to exercise power; they appear as military leaders, judges, castellans, controllers of property’. […] In an important article published in 1992, Jane Martindale sought to locate Eleanor in context, stripping away much of the conjecture that had grown up around her, and returning to primary sources, including her charters. Martindale also demonstrated how Eleanor was not out of the ordinary for a twelfth-century queen either in the extent of her power or in the criticisms levelled against her.

If we look at Eleanor’s predecessors as Anglo-Norman queens of England, we find many examples of women wielding political power. Matilda of Flanders (wife of William the Conqueror) acted as regent in Normandy during his frequent absences in England following the Conquest, and [the first wife of Henry I, Matilda of Scotland, played some role in governing England during her husband's absences], while during the civil war of Stephen’s reign Matilda of Boulogne led the fight for a time on behalf of her royal husband, who had been captured by the forces of the empress. And if we wish to seek a rebel woman, we need look no further than Juliana, illegitimate daughter of Henry I, who attempted to assassinate him with a crossbow, or Adèle of Champagne, the third wife of Louis VII, who ‘[a]t the moment when Henry II held Eleanor of Aquitaine in jail for her revolt … led a revolt with her brothers against her son, Philip II'.

Eleanor is, therefore, less the exception than the rule – albeit an extreme example of that rule. This can be illustrated by comparing her with a twelfth century woman who has attracted less literary and historical attention. Adela of Blois died in 1137, the year of Eleanor’s marriage to Louis VII. […] The chronicle and charter evidence reveals Adela to have ‘legitimately exercised the powers of comital lordship’ in the domains of Blois-Champagne, both in consort with her husband and alone during his absence on crusade and after his death. […] There was, however, nothing atypical about the nature of Adela’s power. In the words of her biographer Kimberley LoPrete, ‘while the extent of Adela’s powers and the political impact of her actions were exceptional for a woman of her day (and indeed for most men), the sources of her powers and the activities she engaged in were not fundamentally different from those of other women of lordly rank’. These words could equally apply to Eleanor; the extent of her power, as heiress to the richest lordship in France, wife of two kings and mother of two or three more, was remarkable, but the nature of her power was not exceptional. Other noble or royal women governed, arranged marriages and alliances, and were patrons of the church. Eleanor represents one end of a continuum, not an isolated outlier."

[terastalungrad]

The really annoying thing about the "male-presenting Time Lord" line is that, if you remove the gender essentialism, it's very nearly brilliant.

Let's look at the scene:

DOCTOR We've still got to fix you two, because the metacrisis might have slowed down, but that thing is wrapped around your cortex.

DONNA Yes, we know.

ROSE We know everything, thanks.

DONNA And you know nothing. It's a shame you're not a woman any more, cos she'd have understood.

ROSE We've got all that power, but there is a way to get rid of it. Something a male-presenting Time Lord will never understand.

DONNA Just let it go.

ROSE And we choose to let it go.

SHAUN Like I said, mate. How lucky am I?

ROSE After all these years, I'm finally me.

... and let's work out what's happening.

Donna says "cos she'd have understood". Not, "cos you'd have understood". She's not saying the Fourteenth Doctor would understand if he was a woman. She's saying the Thirteenth Doctor would have understood.

Because - we know from Wild Blue Yonder and The Giggle - Donna saw the Thirteenth Doctor. And here, before letting go of the metacrisis, she remembers the Thirteenth Doctor. She can see the ways she was different from the Tenth/Fourteenth.

Donna's talking about letting it go. Letting the Doctor go. Allowing yourself to become what you're supposed to be.

The Tenth Doctor - Donna's Doctor - could never do that. His rage when he realises he's going to give his own life to save Wilf. And his dying words - "I don't want to go".

But the Thirteenth Doctor?

DOCTOR Oh, the blossomiest blossom. That's the only sad thing. I want to know what happens next. Right, then. Doctor Whoever-I'm-about-to-be. Tag, you're it.

She lets it go.

And in The Star Beast, moments before Donna and Rose let it go, the Thirteenth Doctor's regeneration was explicitly framed as a trans narrative. The Doctor is male, and female, and neither, and more.

And Rose's first words after letting go of the metacrisis? "After all these years, I'm finally me."

There's so much to love here. A literary connection between the Tenth and Thirteenth Doctors' deaths. Metacrisis as oppressive cisnormativity - without letting go, Rose can't be herself.

And it's so annoying that the final line as written is a crusty old bit of "tch, men just can't let things go, can they?" The episode gets so close to a wonderful scene that's simultaneously a love letter to the Doctor AND a really vibrant, exciting sci-fi trans story ... but at the last minute, it crashes back to earth. Caught in the mavity well of gender essentialism.

Anyway. Tell you what you should do, and that's listen to Doctor Who Redacted on BBC Sounds. A trans main character, a trans head writer. That's how you do it properly.

[warrioreowynofrohan]

As the latest round of Dracula Daily is about to begin, some reflections on last year’s Tumblr Book Club of it. Fair warning for new readers - this has spoilers for the book.

I’ve loved the novel of Dracula for years, so I was both excited to see how other people on tumblr reacted to it, and nervous that they wouldn’t like it. It was delightful to see people embrace the books amd the characters, and realize how different they were from common tropes and adaptations - and wonderful to see how enthusiastically they dove into context that I’d never thought about before, like the Aerated Bread Company.

One of the things that struck me the most, though, was the reaction to Lucy. I’d largely regarded her simply as a literary contrast to Mina - passive and valued for ‘purity’ and sweetness rather than active and valued for talents and abilities and achievements, the Victorian woman compared with the Edwardian one. And I’d expected tumblr to largely dismiss her as an image of sterotypical Victorian femininity. What I had not expected was for readers to enthusiastically embrace and rally round her and empathize powerfully with her as a sufferer from chronic illness - a characterization that is accurate, but that had never occurred to me in my frustrations with Victorian ideas of female frailty and the era-common trope of the ‘ill girl’. People’s empathy and frustration with Lucy “not wanting to be a burden”, anger as her sufferings went unseen, and satisfaction at Van Helsing’s statement that “not to be all well is an illness” (paraphrased) showed how strongly she’d connected with people who had experienced patronizing attitudes or disregard from the present-day medical community.

In summer of 2021, I’d acquired a chronic illness that left me feeling weak and very easily tired, which was a new and frightening experience to me; I was frightened of what things I wouldn’t be able to do, and frustrated with my inability to meet my previous standards, particularly in terms of my work. By May 2022 I was very much on the mend (I was fortunate to have a diagnosis and prescription process much faster and smoother than many other people with chronic illness), but seeing how people reacted to Lucy still affected me strongly. I’d loved Mina - intelligent, active, contributing Mina - since my first read of Dracula. I didn’t dislike Lucy, but I didn’t care much for her beyond her literary role as a contrast. Seeing tumblr fall in love with her in all her vulnerability helped me see her in a new way, to be more compassionate and empathetic to her - and in consequence, more compassionate towards myself in my own weakness. And I want to thank all the Dracula Daily readers for that.

[spacerockfloater]

hi! i noticed you learnt about what ryan condal said regarding blood and cheese. it was…something. i would like to know your thoughts on the matter. though it would be completely understandable if you need sometime to gather them together or if you would rather not at all! thank you and bye!

Hello beloved, thank you so much for asking me! I’d love to share my opinion!

If anyone’s wondering, @rhaenelle is referring to this interview where Ryan Condal essentially says he believes that Blood & Cheese’s brutality and heinousness was exaggerated by the Greens in a propagandistic attempt to convince their subjects that Rhaenyra and Daemon are the worst villains ever born, hence why he toned the event down; to show us what he thinks is the accurate version of Jaehaerys’ murder.

Now, I am aware that Condal had already warned us that HOTD was going to be a feminist retelling of the events of F&B, which practically means that his plan has always been to whitewash the everlasting fuck out of Rhaenyra. So what do I think about this?

Well, for starters, I think that Ryan Condal is an excellent businessman. He knows what kind of tropes are going to make the audience engage with his show. He understands that people need a hero to cheer for and a villain to hate, therefore he removed the moral ambiguity from all of the characters and divided them into two categories: the Blacks, enlightened revolutionaries full of passion, deserving of admiration and correct in everything they do, and the Greens, pious fools with a moral superiority complex who are stack in the ways of the past and commit despicable crimes. The average viewer does not possess the intelligence to comprehend that both parties have their good and bad moments, and that they’re both correct in fighting for what each believes is rightfully theirs. Simultaneously, he benefits from the modern trends that want women in media to take revenge when they are wronged and emerge as triumphant girlbosses, because of course a white upper class woman’s suffering in a western world (or Westeros) society has everything to do with her gender and nothing to do with her personality or decisions (even if this works solely for Rhaenyra, because Alicent seems to be held accountable for every single one of her actions). Finally, it is obvious that Condal is trying to appease disgruntled Daenerys fans, so he has rebuilt Rhaenyra into this tortured martyr that wishes to change the world for the better in an attempt to make her resemble her great granddaughter six times removed.

For all of these reasons, I find it very logical that he is going out of his way to minimise the tragedy the Greens experience. It just doesn’t make Rhaenyra look good and honestly, who wants that? The producers saw how unhappy Danny’s stans were when they made her lose her shit; they’re not going to make the same mistake twice. They don’t want their show to tank like the last season of GOT did, so they’ll do everything in their power to keep the audience happy. And it’s working! What’s the last thing Condal says in this clip? “You kinda start rooting for [Blood and Cheese]!” and boy oh boy, the TB stans sure do! Literally hundreds of memes that rejoiced at Jaehaerys’ death were posted on X this week, with tens of thousands of likes. But when Lucerys died, it was presented as the most foul thing to ever happen in the ASOIAF universe. It is the TB supporters that dictate which child murder is good and which is bad, and that decision usually depends on which child came out Rhaenyra’s womb, not let’s say, the fact that one kid was a toddler that could barely walk, while the other was a teenager that laughed at the disabled person he mutilated himself.

It’s all just marketing

That being said, I want to clarify that I understand why Condal and the HOTD producers do what they do, but being a good entrepreneur does not necessarily make you a literary genius. Now, I’m not gonna explain why stripping Rhaenyra off of every character trait that made her interesting is a bad decision and that in their attempt to remove the blame from her so that they can elevate her as this righteous patron of feminism, they’re accidentally removing all of her agency and turning her simply into a victim, because I have a whole blog dedicated to that. But let’s just say that presenting Rhaenyra as this sexually liberated idol that’s incapable of evil, when in fact she’s an entitled aristocrat who’s completely at the mercy of men around her, from her father to her husbuncle, is the most performative activism move ever pulled in recent TV history, as well as pushing the narrative that Alicent suffers from internalised misogyny because duh, a woman can only be good and a feminist if she supports Rhaenyra, not when she pursues her own interests.

Ultimately, I think we just have to accept that this show is not meant for TG fans. We are not going to find any satisfaction in it. Everything that was unique and admirable about the Greens in the book has vanished. Their family dynamic is fucked up, Alicent’s children hate her, Aegon and Halaena cannot stand one another, Alicent is constantly a victim and never someone that chases her own ambitions, Halaena is very vague, Aemond appears to be more angsty than angry, Aegon is a stupid rapist, Jaehaerys’ death was turned into a mockery, Alicole was weaponised in order to make us shit on Alicent and Criston even more and so on. This show barely caters to us because we’re not making them any money.

The reason that there are more TB than TG stans is because (I’m gonna get so much fucking hate for this) most people who watch TV are fucking morons. I swear, when F&B came out 6 years ago, no one gave a flying fuck about Rhaenyra, because we all understood that everyone involved in the Dance of the Dragons was fucked up in their own way and that the message of this story, just like the general message of ASOIAF, is that nobody deserves to sit on that fucking throne. We were all in agreement about that. But then this fucking show came along and all the oblivious simpletons that swallowed whatever the producers shoved down their throats, grabbed the book and decided that “Woah, this book is obviously a critique on patriarchy and Rhaenyra is obviously the victim of the story”! As if GRRM, the man who said that he doesn’t sit down and think “Oh, I’m going to write a woman now” but instead he believes women to be people just like men, with complex personalities, would ever do that. And they just can’t believe that it is possible for book!Rhaenyra to be an evil racist classist full of entitlement! Surely it must be because the Greens are rewriting history! There’s no way GRRM, the man that created Cersei fucking Lannister, would ever make a female character that’s vicious and crazy just because she feels like it! Y’all need to sit down for a moment. I say this as a radical feminist that supports the 4B movement: you’re projecting your own ideas onto George’s work. Not all the media we consume has to reflect our ideologies, but if you think that it has to, then this book isn’t the anti misogynistic masterpiece you wish it was.

Like, when it comes to F&B, I am firmly anti Targaryen and did not wish for any side to win. I wanted them all wiped out to be honest. But when it comes to HOTD, I’m TG basically out of spite at this point.

All in all, I just think that things are going to go downhill for us from this point on. They’ll just keep glorifying the Blacks until the very end.

[frmulcahy]

Listening to an episode of the @antiquesfreaks podcast where they cover the costuming in The Terror and here are some amazing moments:

"But Ken, are you the only one of us that put themselves through reading the book?" "I did. Because John Bridgens was trapped inside and I had to get him out and if I read the book good enough, perhaps I could save him"

"If you don't tell these men what to wear, they're gonna look like straight up hoochies."

"As we see in the later episodes of The Terror and discipline does break down and Dundy just starts showing up to command meetings with his suspenders out! Slattern that he is!!!

"Victorian Navy: one to one analog to working at present day Target."

"I heard they flog you at Target."

"I was press ganged into working at Target."

"It's Victorian times. Everyone's wicked fucking repressed and they're about to get wicked un-repressed whether they like it or not, and they're going to show that through their clothing."

"a blur of muttonchops"

"I pre-gamed the show for 5 years with gifsets on tumblr to makes sure I would be able to tell at least the major speaking roles apart, and I still could not tell Little and Jopson apart until I figured out they had different eye colors."

"And now I'm Pilkington SpottingTM as a hobby"

calling JFJ a "fashionable boy" with his "nippies out" because he doesn't button up his coat all the way like Franklin and Crozier

The two regular hosts repeatedly comparing themselves to a delinquent class that their guest is stuck substitute teaching

"I think my character would be hitting a fat doobie right about now"

Discussing Jared Harris being obsessed with his own costuming details like all the mending on Crozier's clothes

Jopson's first appearance - "he's normal and they're normal and everyone's having a normal time here on this completely routine expedition." "It's so normal. Do you ever fall in love with your boss???" "It couldn't have been more erotic if they had just had gay sex."

Stanley and McDonald's button grouping on their uniforms to denote rank

THEY TALK ABOUT THE ICONIC JFJ GANSEEEYYY

Also Irving's Sanquhar scarf :')

"the red sweater of tenderness" sobbing screaming throwing up

"I think The Terror would have been improved if all of the marines had Boston accents for no reason"

Also marines vs normal sailors

comparing sailor's clothes to fast fashion because it's not very tailored lmaooo

The canvas overcoats being period inaccurate but still neat because they're referencing later polar expeditions like what we see on the guys in the Shackleton expedition etc

They talk about irl Goodsir's letter about clothes and the many many shirts!

Nive having to wear a cooling vest under her costume since it was real caribou fur and her coat being patched with sail cloth later.

They go into Yup'ik masks which is super cool! As well as have a conversation about the ethics of visuals/information/knowledge about indigenous artwork being shared with folks outside of those communities.

Repeated! Dan! Simmons! Roasting! As! They! Should!!!!!

Reapted! Nive! Nielsen! Praising! As! They! Should!!!!!!!!

Sophia's "oceanic color theme"

"They let the dresses have colors. The dresses have colors. The dresses have bright beautiful colors, and it's great."

"They had invented aniline dyes and they were about to make it everybody's problem!"

Lady Jane in more solids vs Sophia in more patterns

"'A woman could never possibly understand polar exploration' meanwhil Silna's up there doing it better than all of them."

Clowning on how other period pieces never use bonnets and always fuck up in the hair and makeup department

"I found Harry Goodsir's fursuit btw"

"On a scale of Calypso's Birthday to Fitzjames's Carnivale, how's your impromptu nautical drag ball going?"

"It's actually exactly like The Purge." "It's like a little Victorian maritime Purge."

"As far as metaphor and literary analysis and whatever, scurvy understood the fucking assignment."

"I punched in Scorbutic Nostalgia so that I could remember to read about it later." "I have some literature for you if you want." "Yeah fantastic! I love disease"

"CGI bear expensive"

"This episode comes with a heavy caveat of 'go to Terror Camp'" amazing.

THE DRESSTM

Tozer's Hotspur costume and Dundy's Henry VI costume and their relevance

"This is the last we see of Party!Dundy"

(About Little) "Every day he gets emails :("

Bridgler and Apollo/Hyacinthus stuff fuuuuuccckk

"Hodgepodge, my boy"

"Oompa loompa doompity dacticals, don't indulge your morals over your practicals"

"Rip Hickey you would've loved Joker"

Not a silly quote but just a really fantastic one: "That is what the best historical designers do, is they find these nuggets of information that allow them to tell a story with authenticity, both in a way that is historical but authentic to the characters as well." EXAAAACCCTTTLLLYYYYYY

"Whomst among us has not Joplarped to get through the workday?"

[lucysarah-c]

Do you think that Canon Levi (While he is in the scouts, not post-war) would want a serious relationship or even a family? I love reading fanfictions about him falling in love with someone who is also on the scouts and even having a wife or kids, but he canonically is not a huge fan of marriages and Idk, maybe he doesn't like the idea of putting children in such a dangerous world, you know what I mean? What's your opinion? 

Hi, sweetheart! How are you? Ah, first of all, thank you for stopping by my inbox and asking for my opinion. I always get a little giggly when people ask for my thoughts on anything haha. I promise to do my best to reply to everything to the best of my abilities!

I agree with you to a certain degree, especially since you mentioned not "post-war Levi." I think post-war Levi is a completely different story, you know? This man sat down with two kids to tell them about his childhood and mother. Let's remember that Hange didn't even know about Kenny's existence during the Uprising Arc, which leads me to think that Levi didn't speak to anyone about his past before. Now he does? I mean, yes, it's a literary device—using characters completely alien to the idea to present a first-person POV of the character telling their past. I've used it myself in my main fic. But let's say that's not the case, and Levi is opening up like never before. He seems to be redoing his life and living happily after the war. I wouldn't be surprised if he decides to pursue a partner and kids for himself (if he wants, as kids and romantic relationships aren't necessary for happiness).

But Canon Scout Levi? Let me tell you, first of all, I don't think Levi really "believes" in marriage per se. I think he would treat his girlfriend as if she were his wife; he doesn't think of marriage much beyond "a tradition." Now, I do see him getting married if it would enhance the life or rights of his girlfriend. What do I mean by this? Let's say there's "social judgment" if his girlfriend is publicly in a relationship with him and "being with a man outside of wedlock" causes her social scrutiny—he may marry her. He knows firsthand how women are judged based on their "status" by his mother, so if he can step up and do the right thing, he will. For example, if he were to die and his partner couldn't land jobs because people judge that she's unmarried at her age, he would marry her. Or if she could get a pension from being married to a soldier, and every coin counts, Levi wouldn't mind it. That's what I personally think. Levi knows he won't be the one getting the sour end from not making it official, so he sees it as beneficial to make it legally official.

Then about kids, I don't see Levi "seeking" kids while he's in the Scouts. It's rather clear that Levi likes kids across the story, but he probably wants to give his kids the childhood he didn't have. And yeah, "kids only need someone who loves them, etc.," but the truth is kids need time, dedication, and MONEY. Three things that Scout Levi doesn't have lmao. So I don't see him canonically "seeking to become a dad." If there's contraception in Paradis, he's for sure using it. If there isn't, or accidents happen, and his girlfriend ends up pregnant, he would probably state that it's not the best timing for kids (especially if she's a Scout, as I doubt a woman would be allowed to be a soldier and also raise a kid. She would lose her job and stay behind to be a mother, which was usually the case back in the day). But if she decides to carry on, Levi, being an adult doing adult stuff, will take responsibility and be the best father he can given the circumstances.

Finally, about relationships… I'm a firm believer that you don't truly choose to fall in love or not haha. Like when it happens, it happens, like the cat distribution system lol. Once it knocks at your door, it's your time. Once again, I don't picture Levi going out of his way "searching" for romance. But if he slowly gets to know someone and likes them, and that person likes him back, then well… I don't know. Now that I'm rereading the manga, I'm more sure about this. Levi hardly seems "unapproachable," like "I'm so hurt, I don't want to let anyone in." On the contrary, you see he has good relationships with almost all the Scouts, even telling Nifa about Kenny out of nowhere. He's not one to fall easily, but if it happens, it happens.

I hope this was a good enough answer <3 Thank you so much for your ask.

Have a lovely day!

Stay safe!

[txttletale]

is there any more reliable fact behind what people some trans people say about like cults of cybele

yes! the galli, their practice of self-castration, and their feminine dress and presentation are very well attested by many sources: among them catullus, ovid, varro, livy, and polybius, off the top of my head.

of course, we have no actual accounts from the galli themselves: we can only speculate as to what their subjectivity wrt gender might have been, let alone to the myriad different relationships any individual gallus might have had. however, we can at least know that their presentation was feminine by choice: there is archeological attestation for honorific monuments and art depicting galli in feminine dress, often commissioned by galli themselves, and for them being buried in it. so unlike elagabalus, who in his commissioned statues and coins is always depicted purely masculinely we do have some definitinve information about how the galli at least purposefully presented themselves to the world.

attitudes to them shift throughout Roman history and from source to source, from mild curiosity, to contempt, to violent hatred--we don't, unfortunately, have a lot of writing about the galli in and of themselves--many of their mentions are cautionary tales, a 'what not to do' guide for aristocratic roman men seeking to avoid effeminacy or gender deviance. different authors describe them in different ways: varro calls them 'half-men' (semiviri), while catullus' attis says 'ego mulier' (i, a woman) but also 'ego epherbus, ego puer' (i, a young man and a boy) in her lament over the loss of access to the world of manhood her devotion has resulted in.

but yeah, there is absolutely a gigantic body of evidence for the existence of the itinerant priesthood of cybele being a known and constant part of Roman life, for their having flouted gender roles, practiced self-castration, and adopted feminine presentation, clothing, and appearances of their own accord. take from this what you will! i certainly think that in the project of attempting to locate transfemininity throughout history, it is certainly a more fruitful and worthy ground than the lurid tales of elagabalus and his Big Dick Surveillance Squad.

some recommended reading if you're curious:

“Fabulous Clap-Trap”: Roman Masculinity, the Cult of Magna Mater, and Literary Constructions of the galli at Rome from the Late Republic to Late Antiquity, Jacob Latham

Transgendered Archeology: the Galli and the Catterick Transvestite, Renato Pinto & Gretel Luciano

Looking for eunuchs: the galli and Attis in Roman art, Shelley Hales (in Eunuchs in Antiquity and Beyond, ed. Shaun Tougher)

[yamayuandadu]

From Shinoda Myōjin to Sakaki no Mae: the history of Kuzunoha (and a few others)

Abeno by Shūhō Yamakawa (public domain; via wikimedia commons)

A few months ago I asked a more or less representative group of potential readers how familiar they are with Kuzunoha. Save for a single tongue in check response, "that's the Devil Summoner guy with the sideburns, right", the results were fairly uniform: most people are aware that she is a fox and the mother of Abe no Seimei - but not much beyond that. 

Kuzunoha is simultaneously probably the single most famous Abe no Seimei-adjacent literary character today, overshadowing even actual historical figures. She arguably changed the Abe no Seimei “canon” in a way few other works did. Even with the “onmyōdō boom” still in full swing in modern popculture, many characters from earlier Seimei tradition remain obscure - but Kuzunoha is arguably equally as famous as her son.

This prominence lead to a variety of misconceptions, most notably to viewing the story according to which Seimei was the son of a fox as considerably older and more integral to his fame than in reality. In particularly disreputable online sources you might even see it being presented as THE fox romance story, an archetype example from the dawn of history of Japanese literature. However, despite stories about foxes and onmyōji both being a mainstay of popular entertainment through the middle ages already, Kuzunoha was only invented in the Edo period - and in the case of most of the major developments pertaining to her we can pinpoint the exact sources. 

Read on to find out how the story of Kuzunoha arose and changed through the Edo period, whether the character was always known under this name, what she had to do with Kamo no Yasunori, and more. An excursus will also introduce you to the works and life of Kamo no Yasunori no musume, possibly the most unique thinker of the Heian period. That’s not all you will be able to learn, though.The second half of the article goes beyond Kuzunoha, and introduces a selection of other characters from broadly understood Seimei literature - from Seimei’s wife to an immortal Chinese disciple of the bodhisattva Monju. It was initially intended as a standalone sequel, but I figured it would be preferable to publish both halves in one go. Is listening to gossip a form of divination? How many bones do you need to resurrect a person? What do eclipses have to do with board games? Answers to all these questions - and more - await under the cut!

Before Kuzunoha: introductory notes on foxes in medieval and early modern Japan

Before discussing the development of the story of Kuzunoha, it’s necessary to briefly summarize the history of foxes in Japanese literature. It arguably starts with one of the earliest Japanese chronicles, the Nihon Shoki (720). However, foxes only really appear there as omens. The relevant entries are very brief and essentially boil down to reporting an unusual (for example albinistic) fox was sighted somewhere, or alternatively that a regular fox acted in an unusual way. It’s hard to really call them “stories”. They also don’t really indicate that foxes were regarded as shapeshifters just yet, in contrast with contemporary Chinese sources. The oldest example of a Japanese story involving a fox shapeshifting into a woman - arguably the most famous and widespread subgenre of “fox literature” - appears in the setsuwa collection Nihon Ryōiki (日本霊異記), dated to the early ninth century. This motif, like many other stock elements of fox tales, originates in China. Due to space constraints it is not possible to discuss the development of this genre on the mainland, but it will suffice to say that the literary image of foxes was already fairly solid by the Tang period. A good example of a classic Chinese fox story of a similar sort as the Nihon Ryōiki one is The Tale of Miss Ren from the late eighth century. In both cases, the disguise eventually comes undone, and the true identity of the fox character comes to light, which forces her to leave her human life behind. This remained a mainstay in later periods.

An illustration from Tamamizu Monogatari (Kyoto University Rare Materials Digital Archive; reproduced here for educational purposes only)

The importance of foxes in Japanese literature grew considerably in the “middle ages”, the Kamakura and Muromachi periods. The popularity of stories about animals acting like humans in general increased, in no small part due to the growth of new ideas about the nature of enlightenment. The Tendai school of esoteric Buddhism advanced the view that every living being possessed an innate Buddha nature, and could thus attain enlightenment. A good example of a medieval fox story is Tamamizu Monogatari. It combines elements already present in these discussed earlier, though they are reconfigured in unexpected ways; furthermore, the eponymous fox character’s religious considerations are a fairly major part of the plot.  It is worth noting that the story of Tamamo no Mae, Kuzunoha’s main competitor for the title of most famous fox character in the history of Japanese literature, first developed in the middle ages too. However, it is somewhat unconventional in that the original story is just a really weird twist on Sutra of Humane Kings - the fox theming is ultimately somewhat superficial.

The newfound popularity of fox tales never really declined afterwards, and many new ones arose through the Edo period in a variety of mediums, including but not limited to novels, puppet plays and kabuki. The old material was often reinterpreted in new, unexpected ways to suit the evolving taste of the audience. This is the environment in which Kuzunoha arose.

The evolution of Kuzunoha, from Hoki-shō to kabuki

The oldest prototype of Kuzunoha appears in the Hoki-shō (簠簋抄; “The ritual containers, annotated”), an early seventeenth century commentary on one of the most famous medieval religious treatises, Sangoku Sōden Onmyō Kankatsu Hoki Naiden Kin’u Gyokuto Shū (三國相傳陰陽輨轄簠簋内伝金烏玉兎集, “The Book of the Gold Crow and the Jade Rabbit, Secret and Exposed, of the Round Vessel and the Square Vessel, the Wheel and the Wedge, the Yin and the Yang, Transmitted Through the Three Countries” - the title is basically a long enumeration of various dualities representing yin and yang; as you will soon see, various fictional tomes present in stories about Seimei reference it) or Hoki Naiden (簠簋内伝) for short. Its compiler (or compilers) collected multiple, often contradictory, tales about the source of Abe no Seimei’s supposed supernatural powers - many of which were seemingly adaptations of completely unrelated folk tales.

One of them states that Seimei’s mother wasn’t a human, but donned a human guise before giving birth to him. At the age of three Seimei was abandoned by her, but as a parting gift he received a poem explaining that he will be able to meet her in the Shinoda forest in the Izumi province. Many years later, Seimei recalled the poem and decided to travel there to pray at a local shrine. Its deity, known simply as Shinoda Myōjin (信太明神; Myōjin, “bright deity”, is a common historical title of local deities, cf. the likes of Shinra Myōjin or Sekizan Myōjin), appeared to him in the form of an old fox, and told him she is his mother. It’s not Seimei’s only “origin story” collected in this volume, though - elsewhere it states that he was a being from the Dragon Palace (龍宮, Ryūgū). This seemingly didn’t catch on, and we have yet to see a modern work bold enough to make him some sort of fishman.

Hoki-shō does not explain why Seimei’s mother left him, but another likely contemporary collection of short tales, Tsuki no Karumo Shū (“Seaweed gathered in the moonlight”), provides a hint: here Seimei’s mother composes the poem and leaves because his father cheated on her. She is later encountered first by her ex, and then by Seimei, in the Shinoda forest, in both cases taking the form of a fox, much like in the Hoki-shō. She also provides her son with a jewel which lets him understand animals - an item which also appears in other legends about him, though not necessarily in the same context. Curiously, outside of this supernatural episode, this work generally follows historical information about Seimei. It correctly relays that his father was a low ranking court official and that he studied under the famous onmyōji Kamo no Yasunori.

A breakthrough in the history of Kuzunoha occurred with the publication of Ryōi Asai’s Abe no Seimei Monogatari (安倍晴明物語; “The story of Abe no Seimei) in 1662. Various disconnected legends collected in the Hoki-shō and similar sources came to be forged into a single narrative for the first time ever, which turned out to be a successful approach. Seimei, while never really forgotten, became a favorite of Edo period audiences, and a “Seimei boom” of sorts occurred, with numerous new works focused on his life and exploits being published.

Young Seimei meeting Otohime, as described in Abe no Seimei Monogatari(public domain, via National Archives of Japan Digital Archive; all illustrations from this novel included in this article have been sourced from these scans; another set can be found on the website of the Waseda University Library)

It would be unfair to say that Abe no Seimei Monogatari is just a direct adaptation of Hoki-shō, though. It is an innovative work in many ways, and in some cases rewrites completely unrelated legends with Seimei as the protagonist. For instance, Seimei at one point visits the dragon palace to help Otohime in what is obviously a novel twist on the tale of Urashima Tarō (though it might very well be an echo of his second origin story from the Hoki-shō) - just without any of the repercussions for the protagonist. Seimei was, presumably, built different, to put it colloquially.

Innovations are also present in the section of the story dealing with Seimei’s mother. In contrast with the sources discussed above, Abe no Seimei Monogatari also provides his father with a name - Abe no Yasuna (安倍保名). He is introduced as a farmer living in Abeno, a village near the Shinoda forest (in earlier legends Seimei was said to hail from Nekoshima, located near Hitachi). The reason why the mother leaves is curiously not provided. The novel simply states that one summer day she abandoned her family - and that’s really it for her relevance. 

It is not certain if Abe no Seimei Monogatari was a direct influence on the next major work dealing with Seimei's origin, the 1674 puppet play Shinodazuma Tsurigitsune Tsuketari Abe no Seimei Shusshō (しのだづまつりぎつね并あべ晴明出生; “The Shinoda wife, fox trapping and the birth of Abe no Seimei”). While such a connection is not impossible, it might have alternatively depended on a now lost sekkyōbushi (説経節), a type of Buddhist ballad accompanied by shamisen and puppet performances. However, no direct evidence for the story of Kuzunoha ever being adapted in such a form exists.

Regardless of whether there is a connection or not, the play does follow Abe no Seimei Monogatari when it comes to the identity of the eponymous character’s father. It additionally establishes that Yasuna owns the mystic tome Hoki Naiden, here described as a family heirloom passed down since the times of Abe no Nakamaro (more on him later). Most importantly for the topic of this article, many new details regarding the marriage of Seimei’s parents emerge here for the first time.

Actor Nakayama Bun'emon as Ishikawa Akuemon (ukiyo-e.org; reproduced here for educational purposes only)

A new character shows up in the relevant part of the story, Ishikawa Akuemon (石川悪右衛門), a brother of Dōman, Seimei’s rival from Abe no Seimei Monogatari and a variety of other sources. While Dōman is most likely based on a historical person (though one with no real relation to Seimei - more on that in a sec), Akuemon is entirely fictional. Through Dōman’s influence he received a government post near the Shinoda forest. His modus operandi is to obtain the liver of a white fox, since his brother told him it can be used to heal his ailing wife. Yasuna encounters him during a hunt, and saves a fox from him. This leads to a fight in which he almost ends up killed, until another fox intervenes. By disguising himself as a priest serving in Akuemon’s family temple he tricks him into sparing Yasuna’s life.

Some time later, Yasuna saves a woman from drowning, and subsequently marries her. He has no choice but to live with her in the Shinoda forest, since through a complex string of events resulting from Akuemon killing his father Abe no Yasuaki (安倍泰明) he had to kill him (and is effectively an outlaw, as I understand). He and the woman eventually have a son.

When the son - who is, obviously, Abe no Seimei - is seven years old, his mother accidentally reveals to him that she is a fox who took human form. She becomes so enchanted by blooming chrysanthemums that she loses grasp of her disguise. Kid Seimei is horrified by this revelation, and his mother decides she has to leave. She leaves a letter for him in which she expresses her sadness about this turn of events, and another for Yasuna, in which she reveals that she was the fox he saved, and that everything that happened between them since was an elaborate way to repay that favor.

It might be worth noting that the idea that foxes were particularly fond of chrysanthemums was a well established trope. It goes back to a poem by Bai Juyi, who in turn influenced a host of classic Japanese poets, including but not limited to Miyako no Yoshika, Ki no Haseo, Shimada no Tadaomi, Ono no Takamura and Sugawara no Michizane. By the Edo period, it was essentially common knowledge, so the scene was less surprising to contemporary audiences than it might be for us.

Despite all of the innovations in Shinodazuma Tsurigitsune Tsuketari Abe no Seimei Shusshō, its author felt no need to provide Yasuna’s wife with a name. That wasn’t exactly unique, though it’s worth stressing once again that the first version of this character from Hoki-shō for all intents and purposes did have a name, Shinoda Myōjin.

The name Kuzunoha appears for the first time in the kabuki play Shinodazuma (信太妻) from 1699. However, its origin lies in Shinodazuma Tsurigitsune Tsuketari Abe no Seimei Shusshō. A poem in the letter Seimei receives from his mother in it ends with the line “the kudzu leaves whose backs are visible” - urami kuzunoha (うらみ葛の葉). This phrase appears fairly common in waka poems. Here it serves as a wordplay - hiragana is utilized because depending on the kanji used, urami can refer not just to the underside of a leaf (裏見) but also to bitterness or resentment (怨み or 恨み). According to Cody M. Poulton, the poem actually originates in a story unrelated to Seimei which circulated in the Izumi province. Its protagonist is a hunter who saves a wounded fox, who then takes the form of a woman and marries him; the similarities are otherwise very vague, as no onmyōdo elements are involved, and the fox commits suicide in the end, after leaving behind the poem.

Naming Kuzunoha was not the only innovation of Shinodazuma. It also makes Akuemon the central villain, eliminating Dōman altogether. His villainy reaches truly cartoony heights - before starting the fox hunt already present in the earlier play he actually tries to pressure a priest at a shrine whose kami uses these animals as messengers to procure a white specimen for him.

Some more focus is given to his wife. In the earlier play, not much is said about her other than that she is sick and Akuemon is convinced he knows how to remedy that. She doesn’t even receive a name. In Shinodazuma she is called Satsuki no Mae. Furthermore, we learn that she secretly hates her husband and is only feigning an illness to avoid him. Her real love is a certain Mitani no Zenji, a retainer of Abe no Yasuna. This character already appears in a very minor role in Shinodazuma Tsurigitsune Tsuketari Abe no Seimei Shusshō, but there he is a retainer of Yasuna’s father, not Yasuna himself.

Zenji’s relevance doesn’t end there. Kuzunoha is actually saved by him, not by Yasuna. However, the conventional romance nonetheless happens, though with a twist. Kuzunoha must reveal her true form because Yasuna has an evil younger brother, Dakaku no Suke, who shows up near the end to  try to force Kuzunoha to have sex with him. To achieve that he threatens that he will kill kid Seimei. In response, his mother reveals that she is a fox, and flees. Kuzunoha returns one last time in the final scene of the play after Seimei manages to find her in the Shinoda forest with the help of another new character, a cook named Kisuke. This role was apparently added entirely to accommodate the comedic actor Yamatoya Jinbei II (大和屋甚兵衛).

Elements of Shinodazuma and its earlier partial namesake were both incorporated into yet another play, Shinoda no Mori Onna Urakata (“Female Diviner in the Shinoda Forest”), which in turn influenced the single most famous portrayal of Kuzunoha, commonly referred to simply as, nomen omen, Kuzunoha. It dates to 1734, and was originally the fourth act of a five act play, Ashiya Dōman Ōuchi Kagami (芦屋道満大内鑑; “A Courtly Mirror of Ashiya Dōman”) by Izumo Takeda (竹田出雲) II. However, the full version is rarely performed today.  As you can probably guess from the title, Ashiya Dōman Ōuchi Kagami puts Dōman, here also referred to as Ashiya no Hyōe Michitaru (芦屋兵衛道満), back into the spotlight, reversing the trend of making Akuemon more prominent. The plot is essentially a succession struggle between him and Abe no Yasuna, with a variety of unexpected twists. Both of them are portrayed as students of Kamo no Yasunori (here written as 加茂保憲 instead of the expected 賀茂保憲), who passes away prematurely without designating an heir from among his disciples. This is quite troublesome, not least because the legitimate heir will gain control over the mystical tome Kin’u Gyokuto Shū (金鳥玉兎集), which originally belonged to a Chinese sage named Hakudō (this is not the last time you’ll see him in this article) before being passed down to Yasunori. Various factions in the court aim to secure control over it to effectively control the country with the mystical divinatory knowledge contained within.

Sakaki no Mae (Minneapolis Institute of Art; reproduced here for educational purposes only)

While most characters are unaware of this, Yasunori intended to have his adopted daughter Sakaki no Mae (榊の前) marry Yasuna, and to give him Kin’u Gyokuto Shū. However, as he failed to do so in time, and only provided his daughter with a key to the secret spot where the book is hidden, a plot is set in motion by his wife. She hides the book and accuses Sakaki no Mae of stealing it to give it to Yasuna against her father’s wishes. Sakaki, who is innocent and in fact refused to open the hiding spot of the book (not that it accomplished much since her stepmother illicitly prepared a copy of the key), decides to put the blame entirely on herself to protect Yasuna and then commits suicide. However, when Yasuna learns about that he is overcome by grief and disappears.

Meanwhile, the widow’s brother Jibu no Tayū (治部大輔), who is also her co-conspirator, meets with his son-in-law Michitaru to give him the stolen Kin’u Gyokuto Shū. He orders him to use the book to divine how to make sure Miyasudokoro (御息所; not the Tale of Genji character), one of crown prince Sakuragi’s (桜木親王) concubines, who belongs to the same courtly faction, will be the first to conceive an heir. Michitaru states that the best way will be the dakini no hō (荼枳尼の法) a secret ritual which requires the liver of a white fox. Jibu no Tayū’s minion Akuemon, who as far as I can tell is not a relative of Michitaru/Dōman here, is tasked with procuring it, since he comes from an area where white foxes can be easily found.

It should be noted here that Michitaru is himself not necessarily portrayed as malevolent in this scene. While he is a participant in this scheme, and even performs rituals meant to help Akuemon with killing Rokunokimi (六の君; also not the Tale of Genji character), the concubine favored by Jibu no Tayū’s rivals, he only acts under the threat of losing both Kin’u Gyokuto Shū and his wife Tsukubane (築羽根).

All of the soap opera-worthy courtly drama forms the first act of the play. Kuzunoha only appears in the second. As we learn, she is the younger sister of Sakaki no Mae, and looks exactly the same as her. Yasuna encounters her when he reaches the Shinoda forest. Due to lacking clarity of mind, he at first assumes that he got reunited with Sakaki no Mae. However, Kuzunoha manages to help him overcome his grief, and explains she is not who she assumes she is. Yasuna is nonetheless still smitten, and asks her parents (it would appear Kuzunoha was not adopted by Kamo no Yasunori unlike her sister), Shinoda no Shōji (信太庄司) and his wife Shigarami (柵), to let them get married. 

Alas, it turns out this is impossible, because Kuzunoha’s parents already promised her to her cousin… Akuemon. Following the universal principle of “speak of the devil and he doth appear”, Akuemon promptly appears, chasing a white fox to complete the mission he was entrusted with earlier. He is instantly thwarted by Yasuna and his attendant Yokanbei (与勘平). The latter then leads Kuzunoha and her parents to safety, but Yasuna apparently doesn’t notice this, and for a moment he fears that she was kidnapped. However, his worries soon disappear, as she appears again out of nowhere. In the culmination of the second act, the two then decide to hide for some time in a remote village, Abeno (the same one as in Abe no Seimei Monogatari).

What follows sounds almost like a comedy of errors. Long story short, it turns out that Michitaru has in fact saved Rokunokimi from Akuemon and hid her in his house. When Jibu no Tayū learns about this, he orders her to be killed (again), which triggers a chain reaction. Michitaru by accident kills his father, who had no part in the plot, but tried to take the blame to shield his son from Jibu no Tayū’s wrath. Michitaru’s wife then kills her father, as she has learned about his nefarious intentions and about pressuring Michitaru into helping him. In the aftermath of all of that, Michitaru realizes he has had enough and should go back to honest onmyōdo practice he was supposed to engage in as a student of Kamo no Yasunori full time. He takes the new name Dōman to signify his transformation.

Seimei and Dōman, as depicted by Hokusai (wikimedia commons)

As I already pointed out earlier, the play doesn’t follow Dōman’s usual characterization. Quite the opposite, it’s pretty much a conscious reversal - that’s where the “mirror” in the title actually comes from. Other fictional portrayals of Dōman make him a villainous counterpart of Seimei, and Edo period audiences were well aware of that. There was no shortage of works focused on their rivalry. It’s explored in detail in Abe no Seimei Monogatari, but also for example in the 1792 novel Abe no Seimei Ichidaiki (安倍晴明一代記, “Abe no Seimei’s Life Story”).

It’s worth noting that Dōman’s villainy might have a vague historical basis. It generally assumed that he was inspired by a certain, nomen omen, Dōman (道満), known from the Seiji Yōryaku (政事要略). He was reportedly employed by Takashina no Mitsuko (高階光子) in 1008. He is described as a hōshi onmyōji (法師陰陽師), literally “ priest onmyōji” - a designation for an unofficial onmyōji, basically. Such individuals were seemingly particularly commonly hired by courtiers to curse their rivals (something a regular onmyōji was legally prohibited from engaging with). A reference to a hōshi onmyōji being accused of that is preserved in Fujiwara no Sanesuki’s diary, the Shōyūki (小右記), for example. It is not entirely uncertain if the historical Dōman was involved in similar activities, it is clear that his fictional derivative is based on the curse specialists. 

The connection between history and fiction should not be overestimated, though. The kinship between the historical and fictional Dōmans is ultimately quite vague, and the former didn’t really have anything to do with Seimei; their rivalry is an entirely fictitious invention. In particularly it’s worth pointing out it’s basically the standard to portray Dōman as older than Seimei, while the only references to his historical counterpart postdate Seimei’s death by three years - and considering he was unusually long-lived, it’s easier to assume they had nothing to do with each other than that Dōman was somehow even older than him.

Putting the historical Dōman aside, the third act was essentially custom tailored towards the tastes of contemporary audiences, but surprisingly failed to leave a lasting impact. It is instead the fourth act which became the most famous part of the play, and the most famous portrayal of Kuzunoha. It starts with a timeskip: as we learn, Yasuna and Kuzunoha got married and had a son, who is now five years old. However, it turns out that his mother is in fact not the real Kuzunoha. This is revealed when she appears with her parents to visit Yasuna - she’s been bedridden for years in the aftermath of the escape, and only recovered recently. Her parents decided to let her and Yasuna get married. However, they don’t find him at home, since he left to journey to a number of religious sites to pray for his family. They only encounter his wife. As you can probably guess, it turns out that the “Kuzunoha” Yasuna spent the past half a decade with is in fact the fox he saved from Akuemon. When this comes to light, she bids farewell to her son, and tells him to treat the real Kuzunoha as his mother instead from now on. 

When Yasuna returns, and learns what happened from the real Kuzunoha, he decides that they need to find the fox Kuzunoha. His son and the real Kuzunoha decide to assist him. Like in every other version involving a search, they eventually manage to find the fox Kuzunoha in the Shinoda forest. She shows herself to them in her true form, that of a century old white fox, and reveals that while she has cast away her earthly attachments, she plans to nonetheless still protect her son. However, to that end she had to cast away her human disguise anyway, as a fox who falls in love with a human will eventually lose all supernatural abilities otherwise. This idea is an invention of the author (had this been an established motif earlier, Tamamizu Monogatari’s namesake protagonist would have no inner dilemmas to struggle with, arguably).

After this matter is settled, the protagonists encounter Dōman. Since they are not aware of his recent deeds, they initially assume that his visit is part of some new scheme. They also accuse him of engineering the theft of Kin’u Gyokuto Shū. However, he explains that he was a tool in an evil plot before, but had a change of heart. He admits the theft accusation is not unfounded, but also that he is not responsible for Sakaki no Mae’s suicide. To atone for his past deeds, he gives the book to Yasuna. However, he says that he is too old to use it, and Dōman should instead pass it on to his son (this is probably another intentional subversion - as you’ll see later, in another story Dōman crafts an elaborate scheme to steal this book from Seimei). When the kid receives the book, he is instantly able to interpret its title. He explains that it refers to a rabbit who lives on the moon and a crow who lives in the sun, and that the book contains knowledge necessary to understand everything on earth and in heaven. Dōman praises Yasuna for teaching his son well, but he clarifies that the boy must have inherited the talent of his biological mother, who was a white fox.

Dōman is aware of a case of a supernaturally gifted kid born to a human-fox couple in China (I’m not sure if this references a specific story, also note this is not an universal motif - in at least one Tang period tale children from a similar relationship die prematurely), and therefore to verify Yasuna's claim decides to test his son’s skills. The boy effortlessly answers all of his questions. Dōman is so impressed he bestows the name Seimei upon him - he was simply referred to as Dōji (童子, “boy” - not exactly a creative name) before. To celebrate, Yasuna and Dōman decide to visit the Shinoda shrine, leaving Kuzunoha and Seimei behind.

Nakamura Utaemon III as Yakanbei, Sawamura Kunitarō II as Kuzunoha, and Arashi Rikan II as Yokanbei (Museum of Fine Arts Boston; reproduced here for educational purposes only)

Since things are evidently going too well, Akuemon suddenly appears once again, accompanied by a group of thugs. He confronts the protagonists and tries to kidnap the real Kuzunoha, but his plan is foiled by the intervention of Yokanbei and an associate of fox Kuzunoha, another white fox, who turns into a copy of him. He calls himself Yakanbei (野干平) - a pun on Yokanbei’s name and the term yakan (射干; from Chinese yegan), which could refer either to a fox-like legendary animal, a jackal, or simply a fox. The scene is intentionally comedic, and it actually takes Yokanbei a while to realize there’s a copy of him running around. In some stage adaptations the sequence was extended further with the appearance of a female servant who is yet another fox in disguise. 

After the successful rescue yet another timeskip happens. The final act shows Seimei at the age of eight. His parents decide to finally take him to Kyoto. He is already renowned for his skill, and the crown prince mentioned in passing earlier wants to meet him. However, after arriving in the capital Yasuna temporarily leaves his family, and through an unlucky twist of fate ends up killed by Akuemon, who is busy with a new scheme to curse Rokunokimi. Thankfully, when he later arrives in the court, carrying a crate which contains both a doll meant to be utilized to that end and Yasuna’s corpse, the plot is revealed through a joint effort of Seimei and Dōman. Seimei then resurrects his father, while Akuemon is executed… and that’s where the story ends (with no foxes in sight).

In the end, it might appear at first glance the play regarded as the most famous take on Kuzunoha doesn’t contain all that much Kuzunoha - not the fox Kuzunoha, at least. It’s really a play about Dōman and Yasuna in the end. Kuzunoha actually comes across as sort of expandable and forgettable in dry summaries of the play, and I don’t think mine really gives a different impression. To be fair, it’s actually a genuine theory that the apparent disposability of female characters in this case served as a criticism of the low position of women in Tokugawa society.

Regardless of whether this is true or not, it was ultimately Kuzunoha, and not Dōman, who made the play famous - and that’s why, as I briefly mentioned earlier, it’s uncommon to see the whole play on stage. It’s typically reduced just to act IV - which does actually revolve around Kuzunoha (or, to be more precise, Kuzunohas). There are two reasons behind that.

For starters, the scene of a mother parting with her child emotionally resonated with Edo period audiences to a greater degree than anything else Ashiya Dōman Ōuchi Kagami had to offer. Sure, it might be short, especially compared to the lengthy sections dealing with multi-layered courtly intrigues - but it had something they lacked: it was relatable. Making sure plays resonate with audiences, which consisted largely of commoners - often commoners who represented relatively historically recent social strata molded by changes in economy in the Edo period at that - was a common concern of playwrights. While many dealt with the distant past - especially the Heian period and the tumultuous transition into the middle ages - conscious effort was often made to incorporate contemporary elements, or to emphasize down to earth concerns, precisely to that end. The results weren’t always successful, and in some cases end up heavenly-handed and unintentionally comedic, but Takeda Izumo II evidently pulled it off. It worked so well that the rest of the play became basically unnecessary.

Furthermore, whether adapted in the form of a puppet play (as originally intended) or kabuki, the role of Kuzunoha was considered suitable for showcasing the skills of performers. Special effects, and in particular transformations from one character into another, were incredibly popular - that’s why so many plays from the Edo period have plots involving shapeshifters, doubles, mistaken identity or a combination of some or all of those elements. Foxes naturally provide a great venue for that - and Kuzunoha isn’t even the only time Takeda Izumo II capitalized on it (you will likely get to see another famous example on this blog in a few months).

Kuzunoha writing her parting poem with a brush held in her teeth (wikimedia commons)

When it comes to puppet plays, the greatest accomplishment of Kuzunoha was arguably facilitating the invention of a complex type of puppet requiring three people to operate, utilized for the first time in the scene involving her, Yokanbei and Yakanbei. In kabuki adaptations, Kuzunoha’s shapeshifting between human and fox forms is reflected by rapid change of costumes - basically the default way to measure an actor’s skill. Sometimes this is boosted further by speech quirks also used for other fox characters in kabuki. Furthermore, the actor playing her is often expected to write the poem she leaves before abandoning her family holding a brush in his (it’s an onnagata role, ie. a female character played by a man) teeth, cradling a prop representing infant not-yet-Seimei in both hands. A Meiji innovation making the role even more challenging was to have one actor play both Kuzunohas - which, naturally, required even faster costume changes. In some cases, a hat with a fox mask hidden in it is used to make it particularly rapid. Through this combination of factors, Kuzunoha, initially a minor addition to a corpus of legends about a popular protagonist which grew so large it started to absorb unrelated stories, eventually actually managed to outshine Seimei himself. Of course, it wasn’t that straightforward; Seimei’s disappearance from public consciousness didn’t just boil down to a specific kabuki attaining unexpected levels of renown. It’s also important to bear in mind that onmyōdō as a whole largely vanished from public consciousness after the Meiji reforms - and that even before them, the term didn’t necessarily invoke the image of a Heian period court official anymore (see my previous article dealing with relevant matters for more context). Even though Seimei, an at least vaguely Heian-inspired idea of onmyōdō, and the traditional villainous Dōman all made a comeback after the classic sources were “rediscovered” by new authors starting with the 1980s, Kuzunoha remains a fairly major component of what I earlier described as an “informal Seimei canon” - to the point it’s probably not hard to find people convinced she was a part of it from the very beginning. In that capacity she is a remarkable outlier. Most of the other Edo innovations are now forgotten, and Konjaku Monogatari and other early collections once again define Seimei just as they did for late Heian and early medieval audiences. And yet, the story of the most famous onmyōji being born as the son of a fox and subsequently abandoned evidently continues to resonate with new audiences.

Nothing like Kuzunoha: an excursus about the real daughter of Kamo no Yasunori

There’s an argument to be made that Seimei isn’t the only historical figure who ended up existing in the shadow of Kuzunoha, or more broadly of Ashiya Dōman Ōuchi Kagami. While Kuzunoha and Sakaki no Mae are both fictional characters, the historical Kamo no Yasunori actually did have at least one daughter. It’s safe to say she didn’t influence the creation of any of her fictional “siblings”, though. For all intents and purposes, she went down in history only as Kamo no Yasunori no Musume (賀茂保憲女), “the daughter of Kamo no Yasunori” - her real name is unknown. I personally think that in absence of any information about her name perhaps it would be preferable to use the epithet she used to refer to herself - Kamo uji naru musume, “a woman of the Kamo clan” - but I am not going to tell you to ignore the consensus, obviously. Since referring to her as “Kamo no Yasunori no musume” would get a bit cumbersome quickly, I hope you don’t mind here I will simply refer to her as “ms. Kamo”, though.

The sum of our knowledge about ms. Kamo’s life and career comes from just a single source - but what a source it is! At some point between 993 or 998, at the age of forty or so, she compiled her own poetry collection, today referred to simply as Kamo no Yasunori no Musume no shū (賀茂保憲女集) - “Kamo no Yasunori no Musume’s poetry collection” (hardly the most creative of titles). The uncertain dating reflects the fact that the only clear evidence in the work itself are references to an illness she at some point contracted, which might have been either smallpox (an epidemic occurred in 993) or measles (an epidemic occurred in 998). A lot is up to interpretation, though the illness at least for a time negatively impacted her eyesight, which seems to point at the second option.

The collection resulting from her efforts has the form of a sequence of around 240 poems accompanied by an autobiographical prose preface. This is not unusual in itself - similar collections consisting from a hundred to three hundred poems were fairly common in the later centuries of the Heian period. They were pioneered by Sone no Yoshitada around 960 or so. Depending on the exact dating of ms. Kamo’s sequence, she was either the first or second woman to contribute to this trend, though. Her contemporary Minamoto no Shigeyuki no Musume (源重之女; as you can probably guess, the daughter of Minamoto no Shigeyuki) compiled a hundred poems long sequence around 994.

While common, the hundred (or more) poem sequences were what can be described as an example of avant garde or outsider approach to poetry. In the Heian period most poems were composed during official competitions or for commemorative purposes in the imperial court. In contrast, the long sequences were typically the work of people who didn’t have opportunities to partake in official poetic events, for example lower ranking bureaucrats. Furthermore, the topics were more personal. It was fairly common to complain about unrecognized skills and slow progression in the chosen path of career, for example. This was an universe many lower ranked courtiers, as well as provincial bureaucrats, were familiar with - the Heian court was dominated by the powerful Fujiwara clan, and few people who didn’t belong to it managed to advance to the most prestigious positions (and those who did, like Sugawa no Michizane, could still end up exiled or worse as potential threats to the Fujiwa hegemony). However, in contrast with ultimately fairly formulaic complaints about stalled professional careers, ms. Kamo’s collection is essentially an outlier among outliers. It has an even more distinctly personal character. Of course, part of it is that the experience of a woman was fundamentally different from that of a male courtier. Ms. Kamo had to become a unique author in part simply because she had no models to pattern her poems on. She acknowledged herself that it was viewed as preferable for a woman to remain silent and unseen.

The life ms. Kamo wanted to document was sad and lonely - as she remarked to herself, “there is no one whose circumstances are as unhappy as mine within these islands”. The catalyst for writing was the life-threatening illness she survived, but which pretty clearly took a heavy mental toll on her. In a self-depreciating passage she described herself as "inferior in all ways to others, but better than others in getting an illness". On top of that, she felt isolated and was apparently concerned that she has failed to attain proper maturity, possibly due to remaining single - she only makes vague references to a possible failed past relationship. She apparently blamed her parents, and in one of her poems compared herself to an egg that has already putrefied before even hatching.

While I don’t necessarily think it’s incorrect to speculate that she might have felt this way due to failing to enter a relationship or forming a lasting one, it does seem that she was generally concerned about her life being stagnant, and about being confined in the same place for its entire duration. In some of her poems, she is saddened by own inability to see various wondrous phenomena and partaking in assorted pastimes (she admits she’s not even sure what was in the vogue among other noblewomen). Interestingly, she recognized that her position gives her a degree of freedom she would lack if her poetry conformed to courtly standards, though.

A further peculiar aspect of ms. Kamo’s work is her focus on social inequalities. She devotes some space to explaining why she doesn’t see class as an indication of merit. As she outlines, a virtuous and talented person might nonetheless have an unremarkable career and fail to move up. Furthermore, a humble person won’t necessarily be valued as much as they should. It was apparently a major concern for her overall that success is determined by wealth and family connections more than skill and virtue. That’s tragically a pretty timeless issue.

Some degree of opposition to the prevailing model of stratification of society was not entirely unheard of in the Heian period. Miyako no Yoshika’s uncle Miyako no Haraaka (都腹赤) famously believed that what we would by modern standards define as higher education should be available to all as opposed to hereditary nobility, for example. This was doubtlessly influenced by his own experience - his family background was unremarkable, and he managed to attain a degree of renown only thanks to a then-recent system of civil service examinations. His nephew, whose life followed a similar trajectory, purportedly opposed the encroachment of the Fujiwara clan upon educational institutions because it would limit the already not particularly plentiful opportunities people from more humbled backgrounds had. Ultimately the Chinese-style bureaucratic apparatus which enabled that collapsed, though, and even before that it obviously never managed to become the great equalizer people like Haraaka seemingly wanted it to be (it didn’t even accomplish that in China in the first place, to be fair).

Yoshishige no Yasutane (wikimedia commons) Most importantly, social inequalities are addressed in depth in the Chiteiki (池亭記), the magnum of opus of ms. Kamo’s uncle Yoshishige no Yasutane (慶滋保胤). He might have been an influence on the worldview of his niece, though unlike him she didn’t see the lack of adherence to Confucian teachings as the source of all ills. As a social critic she is ultimately without an exact parallel among her contemporaries. As cliche as that might sound, it would perhaps be most apt to say she was ahead of her times. Rather unusually for her era, she even believed romantic relationships should not be determined by social class, but rather by genuine feelings. She attributed the instability of romances among courtiers to this, even. I will refrain from speculation if this might have anything to do with the references to her own possible failed relationship.

Given the avant garde character of ms. Kamo’s works, it probably comes as no surprise to you to learn that they never had a wide circulation. She did hope for an audience - in the preface she even speculates how people in the future will imagine her based on the content of her poems. However, she never really found it.

Evidently someone had to be aware of her pursuits and kept her up to date with new trends in poetry, though. A possible candidate is, once again, her uncle Yasutane. Furthermore, some of her notes indicate she seemingly was sending at least some of her poems to someone, though whoever that was, they evidently didn’t opt to recommend her as a participant in any events focused on poetry held in the imperial court (or didn’t hold a position which would let them do so). Her poetry thus failed to captivate any larger audience, and didn’t enter the literary canon.

The only pre-modern exceptions are the inclusion of a small handful of her poems in the Shūi Wakashū (拾遺和歌集, “Collection of Gleanings”; 1006; 1 poem), Shin Kokin Wakashū (新古今和歌集, “New Collection of Ancient and Modern Poems”; 1205; 1 poem), Fūga Wakashū (風雅和歌集; “Collection of Elegant Poems”; 1348; 2 poems) and Shinshokukokin Wakashū (新続古今和歌集; “New Later Collection of Ancient and Modern Poems”; 1439; 1 poem). However, in the first two of these anthologies the author is left anonymous, presumably since she was not exactly famous and lived outside the imperial court. In the other two she is identified only as Kamo no Yasunori no musume. 

Something that bugs me a lot is that there are multiple weird unsourced claims on English wikipedia severely overestimating the esteem she enjoyed in the Heian period and beyond. Kamo no Yasunori’s entry calls her an “acclaimed poet” (and similarly without a source asserts she was his second daughter; in reality she is his only female relative we know about). Her own article asserts she was renowned for her talent, despite later citing a researcher who correctly points out she was largely overlooked through history.

I would argue that in addition to being incorrect, these bizarre descriptions are disrespectful, seeing as much of her work is centered on frustrations stemming from not only not being perceived as important, but lacking any venue giving the slightest glimmer of hope for attaining that. I’m not exactly sure if the intent was to be feminist, but I personally think it would in fact be a more feminist approach to stress what motivated her to write, and to honestly report the lack of pre-modern reception. These factors are what makes ms. Kamo unique as a poet.

Sadly even the modern reception of ms. Kamo’s work is limited at best, which is part of why I decided to include her in this article. There are at least two annotated editions of her works aimed at academics in Japanese and a handful of articles, including a single one in English which you can find in the bibliography, but not much beyond that. Ultimately it is probably fair to say her fictional counterparts sadly outshine her, which arguably adds an extra layer to this tragedy. Obviously, Edo period playwrights weren’t deliberately trying to do so - odds are decent they weren’t even aware she existed - but it saddens me a bit that no attempt was made to find room for her in any modern adaptations of stories involving fictionalized portrayals of her father. An argument can even be made that ms. Kamo had some familiarity with onmyōdō. While it is not a major theme in her poetry, and she never referenced yin, yang and related concepts directly, she was evidently familiar with Chinese literature and philosophy to some degree. She references the Book of Changes and the well known (at the time, at least) story of Su Wu, for instance. It might also be worth noting that she was aware it was believed certain ascetic practices can extend the lifespan - for example consuming pine needles. It’s actually fairly likely that some of her familiarity with Chinese literature came from overhearing her brothers’ lessons - we actually know this must have been the case for some women in the Heian period. For instance, Murasaki Shikibu de facto received informal education this way. There’s even a proposal in scholarship which has gained some support that part of ms. Kamo’s bitterness might have come from perceiving herself as equally capable of learning as her brothers, but never really receiving opportunities to prove it.

Beyond Kuzunoha: other figures of note in Seimei narratives

After the largely historical excursus, let’s go back to fiction. As I mentioned earlier, many once popular recurring characters from stories about Seimei - from early legends to Edo period novels - largely languish in obscurity today, even though Seimei himself arguably regained his prominence. I figured it is only fair to discuss some examples I consider particularly interesting as well.

Rika

While Abe no Seimei Monogatari is notable for being one of the earliest works which feature (a prototype of) Kuzunoha, it also provides Seimei with a further fictional female relative, a wife named Rika (梨花). And she is, quite unexpectedly, an antagonist who aids Dōman.

The historical Seimei presumably did have a family, but as far as I am aware no source mentions anything about the identity of his spouse. He definitely had children, most notably Abe no Yoshihira (安倍吉平; 954–1026), which does indicate the existence of a ms. Abe (or at least a mistress whose child was legitimized, I suppose). I won’t dwell much Yoshihira here, as he is largely irrelevant for the matters this article focuses on, though it’s worth noting that he famously managed to enact an onmyōdō takeover of hanshi (反支; from Chinese fanzhi), formerly handled by court physicians. This procedure was supposed to determine if anything inauspicious might happen during the birth of a child.

I’m only aware of a single source predating Abe no Seimei Monogatari which would mention Seimei’s wife at all, and it is similarly a literary text rather than a historical document. However, she is left nameless in it, and her characterization differs considerably. Rather unexpectedly, it’s not strictly speaking a Seimei story, but rather the fourteenth century Genpei Jōsuiki - an extended version of the Heike Monogatari. In the passage in mention Taira no Tokiko performs hashiura (橋占), an unusual form of divination. Instead of the movement of celestial bodies, it required listening to the conversations of passersby on a bridge. She chooses the Ichijō-modoribashi (一条戻 橋) in Kyoto, where she encounters a group of twelve unusual children, who all repeat the same prophecy. She quickly realizes they’re actually shikigami, and not just any shikigami at that, but rather manifestations of the Twelve Heavenly Generals (十二神, jūnishin).

Why are the Twelve Heavenly Generals there, instead of performing the Medicine Buddha and engaging in other typical Heavenly General pursuits? That’s where Seimei’s wife comes in. It is revealed that Seimei sealed the Generals under the bridge because his wife was capable of seeing supernatural beings, including them, just like he was, but was afraid of them. As a result of Seimei’s ritual, hashiura performed there was guaranteed to result in receiving prophetic messages from the Twelve Heavenly Generals, even if they used passersby to convey it. The reference to supernatural powers is certainly interesting - in other literary texts a similar ability is enough for the protagonist to be granted the right to study onmyōdō (a good example is a Konjaku Monogatari story about Kamo no Yasunori’s childhood) - but the topic is not explored further.

Ichijō-modoribashi in 2005, with the shikigami statue on the left (wikimedia commons)

It’s worth noting that the story seemingly had a degree of influence on the surroundings of Ichijō-modoribashi bridge. Today there’s a statue of a shikigami next to it. However, he’s not one of the Twelve Heavenly Generals, but rather an anonymous critter who appears in medieval portraits of Seimei as his personal shikigami. Compare the two depictions below, courtesy of wikimedia commons:

As for Abe no Seimei Monogatari, as thrilling as the summary of Rika’s character sounds, she sadly receives very little spotlight. We don’t learn how she met Seimei, where she came from, or the circumstances of their marriage. No information from the Genpei Jōsuiki episode is referenced, either, and I think it’s safe to say the two takes on Seimei’s wife are independent from each other - though it’s not hard to find people treating them as the same character online. To be fair, it’s not like these sources are impossible to reconcile with each other.

Rika and Seimei are already married when she is mentioned for the first time, when Seimei leaves to China to study under Hakudō Shōnin. In his absence Dōman, who after losing a bet had to become his disciple earlier, conspires with Rika (to be fair, Seimei for whatever reason entrusted him with taking care of her in his absence). His goal is to gain insight into two books Seimei owns: the Kin’u Gyokuto Shū, written by Hakudō Shōnin, and the Hoki Naiden, brought to Japan by Kibi no Makibi. She shows him a box in which Seimei keeps them. He wastes no time and after figuring out how to open it studies both books and copies them.

When Seimei returns, Dōman offers him a wager. He claims that the books were revealed to him in a dream by the bodhisattva Monju, and suggests that he can prove it. Seimei, who does not believe in dream visions, and remains blissfully unaware of Rika’s actions in his absence, agrees, and says that Dōman can kill him if he really does have the books - that’s how implausible this scenario is to him. To his shock, his rival-turned-apprentice reveals the copies he prepared, and in accordance with their agreement kills him. Dōman then gets rid of everyone else in Seimei’s household by turning them into pieces of straw and wood - the only exception is Rika. The two become a couple; the narrator notes this is something he has desired for a long while already, though as far as I can tell the novel doesn’t mention it at any earlier point. We don’t really learn anything about Rika’s views on the matter, sadly.

Dōman’s triumph is short-lived. Through an omen, Hakudō Shōnin learns that Seimei has died and arrives in Japan to resurrect him and let him avenge his death. He visits Dōman and, in a mirror of the trick he played on Seimei earlier, gets him to agree that he should be killed if it turns out Seimei is alive. Seimei, alive and well thanks to Hakudō Shōnin’s magical abilities, promptly appears to complete this wager. Rika attempts to hide behind a curtain to avoid a similar fate, but this proves to be unsuccessful. While she doesn’t make a similar bargain with Hakudō Shōnin, the narrator states that this is ultimately a just outcome. Both conspirators are then buried near the bank of the Gojō River, and that’s basically it for their role in the story. Neither portrayal of Seimei’s wife gained much notoriety in later works. I would assume the fact that through the Edo period ultimately it was the story of his parents that captivated the audience was a factor (it would be hard to explore his own relationships if most new stories had him as a 5-year-old), but this is entirely speculative.

As for modern authors: Yumemakura Baku, whose novels about Seimei contributed towards the development of the “onmyōdō boom” in popculture, acknowledged in an interview that the historical Seimei presumably did have a wife, but said he has no plans to explore this topic.

Makuzu (bottom left) from Okano's adaptation of Yumemakura's novels (MELODY; reproduced here for educational purposes only)

This being said, the manga adaptation of his works by Okano Reiko apparently did introduce a character loosely based on her Genpei Jōsuiki portrayal named Makuzu (真葛). The reception of this addition appears to be mixed, but as I haven't read this series I won’t pass judgment. This being said, if the Makuzu subplot really does involve Seimei learning they’re the reincarnation of a pharaoh and his wife out of blue, let’s just say I think I’d rather stick to Yumemakura’s prose version.

I was also able to find a single modern work which actually features Rika: Onmyōji Abe no Seimei - Saishū Kessen (陰陽師 安倍晴明ー最終決戦; “Onmyōji Abe no Seimei - Final Battle”) a very loose stage play adaptation of Abe no Seimei Monogatari by the troupe Gesshoku Kageki Dan (月蝕華撃團). A recording from 2021 can be found on their youtube channel:

Additionally there are numerous photos of the costumes on their social media (a selection of my favorites: 1, 2, 3, 4, 5). Parts of the plot seem… very avant garde compared to the original, but I do like the actress portraying Seimei, Shiranaga Ayumi  (白永歩美), a lot. Note that Seimei isn’t supposed to be a woman here, though (this remains an idea largely exclusive to Fromsoft’s Kuon); this troupe’s performances pretty commonly involve actresses playing male roles, as I understand. Whether intentional or not, in this case it ends up as a neat parallel to men traditionally playing Kuzunoha in the Edo period and beyond.

Hakudō Shōnin

An illustration of Hakudō Shōnin from the Abe no Seimei Monogatari 

Given that I already brought up Hakudō Shōnin (伯道上人; sometimes translated as “Saint Hakudō”) multiple times, I don’t think it’s particularly shocking that I consider him another character who warrants more spotlight. At least one Edo period source, Jinrin Kinmō Zui (人倫訓蒙図彙; “Illustrated Dictionary of Different Kinds of People”) from 1690, seems to treat him as a historical figure. The entry on diviners (占師, uranaishi) states that Kamo no Yasunori brought Chinese divination methods originally invented by Fuxi to Japan, but also that Abe no Seimei was taught them by Hakudō Shōnin.  In reality, not only is Hakudō entirely fictitious, he didn’t even originate in China. In theory his name would be Bodao Shangren in Chinese - but no Chinese source actually mentions him. He is essentially a representation of the Japanese idea of what a Chinese Buddhist sage slash Daoist immortal (he is described as both simultaneously) would be like. In art he is seemingly generally portrayed in the garb of a monk. I’ve seen a single more unique depiction recently, but I was unable to verify its provenance:

It’s fair to say that in literature Hakudō Shōnin is portrayed as part ascetic, part onmyōji. This might seem unusual - after all, the historical Heian period onmyōji were essentially government officials not too different from other mid-level courtiers. However, Hakudō’s portrayal is not particularly outlandish - it reflects ideas about is onmyōji widespread in medieval sources. The fact that divinatory techniques associated with onmyōdō were often transmitted by shugenja - mountain ascetics - in this period is doubtlessly related, but I won’t pursue this point further here. 

As far as literature goes, the merging of onmyōdō and asceticism is evident in legends about the legendary sage Hōdō Shōnin (法道上人, Sanskrit Dharmamārga) or the historical Tendai monk Jōzō (浄蔵). In the Kojidan (古事談), compiled by Minamoto no Akikane (源顕兼) around 1212-1215, even Seimei himself is described as a hermit who gained mastery of onmyōdō by leading an ascetic life in in Kumano (a particularly favored location for such activities) for a thousand days.

Given that this image of Seimei doesn’t really reemerge in later sources, I’m admittedly curious if perhaps Hakudō wasn’t created to offer an indirect way to incorporate it into broader informal “Seimei canon” - so that instead of Seimei gaining knowledge through asceticism, he instead acquired it from an ascetic? This is entirely speculative on my part, though. Note that there might very well be older sources mentioning Hakudō than those I am aware of, which depending on date could instantly sink this proposal.

Stories involving Hakudō were already in circulation in the fourteenth century. An early example appears in the preface to Hoki Naiden. It describes him as a disciple of the bodhisattva Monju who after attaining enlightenment received the scroll Monju Sesshū Butsurekikyō (“Sutra of Buddha Calendar Assembled by Monju”) from him. He then brought it with him to China, where he came up with a new title for it, Hoki Naiden Kin’u Gyokuto Shū . Many years later Seimei learned about it from him, and made it the to-go point of reference for fellow onmyōji in Japan under its full title. It should be noted here that another tradition had Seimei himself as the author, though. In reality it was most likely only composed in the fourteenth century by a hitherto unidentified descendant of the historical Seimei (or at least someone who saw association with him as a source of own credibility), though.

The Hoki Naiden preface also states that Hakudō arrived in Japan after Seimei’s death to resurrect him. To that end he collected all his bones - “12 big bones and 360 small bones altogether” - and performed a special ritual. Noriko T. Reider notes that this passage resembles a number of legends involving a historical figure either trying to create a new living being out of bones or other body parts (Minamoto no Morofusa and Saigyō in two separate tales from the Senjūshō), or encountering a person created this way (Ki no Haseo in Haseo Zōshi). The difference is obviously that Hakudō brings a specific dead person to life instead of creating a new living being, and that the deed is portrayed firmly positively. Still, given that all of these stories have been composed roughly in the same time period, it does seem fair to say we’re dealing with different takes on the same motif.

It’s worth noting that while Hakudō Shōnin is essentially absent from modern Seimei media - presumably since Seimei is, true to historical sources, usually portrayed as a disciple of Kamo no Yasunori (or, alternatively, his father Kamo no Tadayuki) - in the middle ages he was famous enough to even be referenced in at least one variant of one the most famous medieval Japanese works possible, namely in the Ōeyama Ekotoba (大江山絵詞), a Muromachi period illustrated version of the Shuten Dōji legend. It puts a peculiar twist on the connection between him and Seimei, though. It is revealed that instead of being a disciple and a master, respectively, they are two incarnations of Ryūju Bosatsu (龍樹菩薩) - the bodhisattva form of the early Buddhist philosopher Nāgārjuna, venerated in Japan by the Shingon school. 

Hakudō encountering the bodhisattva Monju Both of the Hoki Naiden legends mentioned above were incorporated into Abe no Seimei Monogatari. An entire section of this novel is additionally dedicated to Hakudō’s early career and the origin of the Hoki Naiden. It states he was born during the reign of the Zhou dynasty (so he’s over a thousand years old - possibly nearly two thousand years old - by the time he meets Seimei), and that he initially lived in Jingshan. He tried to master yin, yang, earth and haven, but failed to do so. This prompted him to go on a journey, during which he encountered a supernatural youth - an incarnation of the bodhisattva Monju -  who informed him that his approach was wrong. He let Hakudō become his disciple on Mt. Wutai (however, in the Hoki-shō his studies take place in India instead). 

Under Monju’s guidance Hakudō managed to learn all of the mysteries he wanted to know, becoming a master of divination in the process. He also attained the rank of an arhat. He later returned to Jingshan, where he compiled the teachings of the bodhisattva revealed to him in 160 volumes.

Donfang Shuo (wikimedia commons)

Through the following centuries, Hakudō secretly revealed small snippets to various rulers and sages, including Jiang Ziya, Fan Li, Zhang Liang, Kong Anguo and Heshang Gong. The scrolls were eventually gifted to emperor Wu of Han, whose courtier Donfang Shuo (a veritable Han dynasty reneissance man) managed to become a great sage just by studying them (remember this detail, it will be relevant later).

As you can probably tell, the passage dealing with Seimei’s resurrection inspired the section of the story involving Rika, which I already summarized above.

Hōdō Shōnin in Abe no Seimei Monogatari As a side note, it’s worth pointing out that Abe no Seimei Monogatari also features Hōdō Shōnin in a small capacity. Somewhat confusingly, he is described both as a Daoist immortal and as a monk from India. Dōman claims to be his disciple to make himself appear greater than in reality, but in reality he merely inherited a book written by ancestor Ashiya no Suguri Kiyofuto (藍屋村主清太; as far as I know, a character invented for this novel), who encountered Hōdō Shōnin around 300 years prior to the events of the story. While this sounds like setting up further intentional parallels between him and Seimei, as far as I can tell it’s not implied that Hōdō and Hakudō were rivals, and the former otherwise appears chiefly in legends unrelated to Seimei - most commonly ones dealing with the foundation of Buddhist temples. It also needs to be noted that since this is a work following the traditional negative portrayal of Dōman, the narrator makes it clear that despite claiming to be Hōdō’s disciple and even dressing up like a monk (a possible allusion to the term for unofficial onmyōji I’ve already discussed, I assume?) he was impious and even committed unspecified crimes. Hakudō Shōnin also makes an appearance in Shinodazuma Tsurigitsune Tsuketari Abe no Seimei Shusshō. In this play Seimei meets him when he is ten years old. Hakudō gives him the Kin’u Gyokuto Shū. It is also revealed that in the past he met Seimei’s ancestor Abe no Nakamaro when the latter acted as an envoy in China. His resurrection ritual is also referenced: when in the final act of the play Dōman’s subordinates kill Seimei’s father Yasuna, he has to be resurrected using Hakudō Shōnin’s bone-gathering method. While as I already summarized earlier Yasuna’s final fate is quite similar in Ashiya Dōman Ōuchi Kagami, no reference is made to any Chinese sages - it’s just one of the many abilities young Seimei has already mastered.

Kibi no Makibi (and Abe no Nakamaro)

An Edo period portrait of Kibi no Makibi (wikimedia commons)

Unlike Rika, who you can at best call semi-historical (in that the real Seimei probably did have a wife) and Hakudō Shōnin, who is entirely fictitious, the final figure I’d like to introduce you to in this article, Kibi no Makibi (吉備真備; 695-775), was a real person. His accomplishments and postmortem career as a literary character would honestly be enough for a separate article - here I will only limit myself to a small handful of sources due to space constraints. Makibi famously traveled to China twice, first as a student and then as an ambassador, and between these two journeys spent around 20 years (around one fourth of his life!) on the mainland. He was considered unusually erudite, and was one of the foremost Japanese scholars of his era. Due to his renown he also held a number of prominent positions in the court, including the incredibly prestigious role of minister of the right (右大臣, udaijin); the only other scholar to ever attain this rank was Sugawara no Michizane.

Next to Seimei and Kamo no Yasunori, Makibi is also probably one of the most famous onmyōji in history - which is quite a feat given that he actually had next to nothing to do with onmyōdō in life. Early sources, such as Shoku Nihongi (797) and Miyoshi no Kiyoyuki’s (三善清行; 847-919) Iken Fūji Jūni Kajō (意見封事十二箇条, “Statement of Opinion on Twelve Matters”) agree that he was unusually skilled, and that in China he mastered many arts, including but not limited to Confucian classics, history, arithmetic, music, poetry, and calligraphy, but they don’t link him with onmyōdō at all.

It’s hard to tell when and why the shift in the perception of Makibi’s knowledge occurred, but he is already described as not just an onmyōji, but the founder of onmyōdō in Fujiwara no Akihira’s (藤原明衡; 989-1066) Shin Sarugōki (新猿楽記, “Account of the New Monkey Music”). Another example can be found in the Konjaku Monogatari, where Makibi is portrayed using his onmyōdō skills to pacify the vengeful spirit of Fujiwara no Hirotsugu. By the twelfth century, regarding Makibi as an onmyōji was common. This is evident in the works most relevant to this article, namely fictionalized accounts of his journey to China. The oldest of them, Kibi Nittō no Kan no Koto (吉備入唐の間の事, “Kibi’s Adventures in China”), is preserved in Ōe no Masafusa’s Gōdanshō (江談抄). A more vague account can be found in the Fusō Ryakki (扶桑略記, "Brief History of Fusang"), though it is likely a derivative of the Gōdanshō one.

Makibi (in black robes) and Chinese officials (all images from this scroll have been taken from the website of the Museum of Fine Arts Boston; reproduced here for educational purposes only)

Masafusa’s account of the journey also inspired the illustrated scroll Kibi Daijin Nittō Emaki (吉備大臣入唐絵巻, “Illustrated Adventures of Minister Kibi in China“), which was most likely commissioned by emperor Go-Shirakawa between the late 1170 and early 1180s. Like other similar contemporary works, Kibi Daijin Nittō Emaki has very little to do with historical reality. It relays that after arriving in China, Makibi was imprisoned by local officials, who feared that due to being exceptionally skilled he would make them look inept in comparison. To regain his freedom he had to overcome a series of trials.

Distinctly oni-like vengeful Nakamaro

Makibi's only ally is the vengeful spirit of Abe no Nakamaro (阿倍仲麻呂; 698-770). He is described as the previous ambassador. After a similar ordeal he died in captivity.

In reality, Nakamaro traveled to China alongside Makibi in 716. However, he was not an envoy, but merely a student who was allowed to join an official delegation. What is true is that he never returned to Japan. This was not the result of any nefarious plot, let alone premature death, though. He successfully completed the Chinese civil service exam and became an official. He did try to return to Japan in 735, but a storm left him shipwrecked at the coast of Annam (a part of modern Vietnam which at the time was a Chinese protectorate), and he opted to return to his career. He also attained some renown as a poet, and was on friendly terms with the poetic superstars of his times, Li Bai and Wang Wei. All around his real life was most likely happier than the story would indicate - though based on his surviving poetry it is safe to assume he did feel homesick in some capacity.

Nakamaro longing for home in Abe no Seimei Monogatari

Obviously, Kibi Daijin Nittō Emaki is a particularly extreme example of reinterpretation of Nakamaro’s life in literature postdating him. However, portrayals focused on his longing for a return home are quite common, and appear as early as in the Tosa Nikki (土佐日記, “Tosa Diary”) by Ki no Tsurayuki, completed around 935. It should be noted that by the tenth century or so, even venturing beyond the capital was commonly described as a daunting task, and dying in exile was one of the greatest fears for courtiers. Based on these developments, it can also be argued that the fictionalized portrayal of Nakamaro is an example of a phenomenon derived from these fears - the belief that people who died far away from home would return as vengeful ghosts. He could thus be considered a peer of the likes of Sugawara no Michizane or prince Sawara. The possibility that someone would move to a far off land voluntarily, and die there peacefully of natural causes, would probably be hard to grasp for late Heian audiences. 

Pacified Nakamaro (right) talking to Makibi (left)

Anyway, back to the story. Makibi’s captors are actually convinced that Nakamaro, who became a vengeful spirit and haunts the tower where the new envoy ends up imprisoned, will kill him. However, even though Nakamaro appears to Makibi in a fierce oni-like form, he ends up pacified through what might be an unusual ritual. Makibi informs him that he is in the presence of an official envoy, and as such needs to take a suitable form. This evidently works - through the rest of the scroll Nakamaro, now a staunch ally of Makibi, is depicted in the attire of a Japanese official, just with an unconventional distinctly orange skin tone. Makibi also learns that Nakamaro is concerned about his relatives, and reassures him that his entire clan is doing well.

Makibi and Nakamaro flying After surviving the encounter with Nakamaro, Makibi is informed that his trials are set to begin. The first of them involves learning the Wen Xuan (文選, “Selections of Refined Literature”). He is not familiar with this anthology, but using a secret art enabling him to fly he manages to secretly reach the imperial palace to listen to scholars reading it. In the illustrated version he masters flight himself, which is presumably meant to show he is in full control of the situation, and there is no genuine threat in his temporary captivity. However, in Masafusa’s forerunner it is Nakamaro who can fly, and Makibi relies on his help. Either way, the aerial journey is successful, and when a Chinese official appears to question Makibi, he reveals a copy of Wen Xuan he prepared in secret based on what he heard, thus completing the first challenge.

Makibi playing go The next day, Makibi is set to face a master of go. This might seem random, but playing it was a fairly standard part of diplomatic visits, and in fact in at least some cases envoys were selected based on their go skills. Makibi is unfamiliar with it, though, and has to learn the rules from Nakamaro. He quickly comes up with an ingenious, if unconventional, strategy. Initially neither side gains an advantage, but eventually Makibi notices an opportunity to use his secret gambit arises He swallows one of his opponent’s pieces, which lets him attain victory. A diviner informs the Chinese officials about this, and they tell Makibi to take a purgative to prove he was cheating, but he manages to counter its effects with his esoteric knowledge.

Makibi’s success infuriates the officials, and they decide that to hinder him they’ll try to starve him. He manages to overcome this hardship with the help of Nakamaro, who secretly brings him food every night. This continues for months, but eventually the time of another challenge comes.

A statue from Saiō-ji depicting Baozhi revealing his nature as an incarnation of the bodhisattva Avalokiteśvara (Kyoto National Museum; reproduced here for educational purposes only)

As it turns out, the officials decided to seek the help of a virtuous Buddhist monk, the Chan master Baozhi (宝志禅师; he actually lived during the reign of Wu of Liang, some 250 years before Makibi’s journey), who prepared a barrier meant to prevent supernatural beings from entering the palace where Makibi will be tested. This means that for the first time he will have to manage without any help from Nakamaro. His new task to interpret a complex poem, Yabatai (邪馬台). Its contents aren’t discussed in the story; it was a purported prophecy according to which Japan will undergo division and ultimately perish after the reign of the hundredth emperor. Needless to say, following the traditional order which includes mythical and legendary emperors, the prophecy evidently didn’t come to pass - Go-Komatsu was #100, Naruhito is #126. Makibi initially cannot even decipher a single sign. In despair, he prays to Sumiyoshi and Kannon of Hasedera. A spider miraculously appears, and moves across the text to help him read it properly. The gathered officials, as well as the Chinese emperor, are in awe. However, they don’t let Makibi return home, and once again lock him in the tower.

Shortly afterwards, Makibi is reunited with his ally Nakamaro, and enlists his help once more. He asks him to find a century old set of sugoroku paraphernalia. With the help of these tools, he causes an eclipse. The emperor learns about its cause from his diviners, and has his officials question Kibi. He claims that the only way to end the eclipse is to let him return to Japan. This time, they oblige, and the story ends. The forerunner preserved by Masafusa indicates that Makibi was also credited with bringing the Wen Xuan, the Yabatai and the game of go to Japan. In reality, go and Wen Xuan were already known in Japan before his journey. Meanwhile, according to the Edo period philosopher Hayashi Gahō Yabatai was most likely a hoax composed in Japan in the Heian period, even though it was held to be the work of Baozhi.

It is commonly assumed in scholarship that the story was meant to reflect somewhat xenophobic attitudes towards China or more broadly towards foreign lands prevalent at the time of its composition. While in Makibi’s and Nakamaro’s times sending envoys to China was relatively common, and Japanese emperors actively sought contact with their Chinese counterparts (though occasionally diplomatic correspondence could end up awkward as both sides aimed to present themselves as superior), with time similar journeys became less frequent, and started to be perceived as increasingly dangerous (to be fair - the risk of getting shipwrecked was genuinely fairly high). It might be significant that formal diplomacy resumed during the reign of Go-Shirakawa, though. It is distinctly possible that he saw this success as a parallel to Makibi’s legendary deeds, and commissioned an illustrated edition to basically congratulate himself.

An alternate proposal is that Kibi Daijin Nittō Emaki arose as a part of an onmyōdō feud between the Kamo and Abe clans. For what it’s worth, it does seem that despite earlier successful arrangements meant to guarantee a division of positions in the court both the Abe and the Kamo would be satisfied with, tensions arose between them during reigns of emperors Toba and Go-Shirakawa, so roughly at the time of its composition. However, the interpretation of the story as a product of this conflict rests on the argument that Makibi is portrayed as more clever and skilled than Nakamaro. This sort of power level discussion is not entirely rooted in the primary sources, where the two clearly work as a team. There are further problems with this interpretation, too.

An obvious issue is that while the link between Abe no Nakamaro and the Abe clan is self-explanatory, it is not exactly evident in which way Makibi would be a representation of the Kamo. It is sometimes claimed in scholarship that the Kamo clan claimed descent from him, but this appears to be an Edo period misconception. It’s most likely a result of confusion between Kamo no Kibimaro (鴨吉備麻呂), a member of the Kamo clan who also traveled to China (his journey occurred earlier, during the final years of the reign of Wu Zetian), and Makibi. No reference to a relation between Makibi and the Kamo can be found in the fourteenth century genealogical treatise Sonpi Bunmyaku (尊卑分脈; “Genealogical Branches of the High and the Low”), though. Kamo no Yasunori is essentially treated as the founder of this lineage. A further problem is that there’s no good reason to doubt that the scroll was prepared for emperor Go-Shirakawa - who himself favored the Abe clan, as evidenced by the esteem Abe no Yasuchika (安倍泰親) enjoyed in his court.

Kibi Daijin Nittō Emaki wasn’t commonly copied in the Kamakura and Muromachi periods, but portraying Makibi as an onmyōji only became more entrenched in literature over the middle ages. He was supposedly responsible for transmitting rituals focused on Tenkeisei (天刑星, “Star of Heavenly Punishment“; this deity was held to be a master of all shikigami, for more info see my previous article) alongside Kamo no Yasunori. In a local tradition from Mount Hiromine, he was credited with enabling the enshrinement of Gozu Tennō by making a pact with him during his journeys to China.

While the examples cited above were essentially new, the specific story illustrated in Kibi Daijin Nittō Emaki evidently wasn’t forgotten either. It regained popularity in the Edo period, as evidenced by its various new adaptations. These include works from various genres, such as Koikawa Harumachi’s novel Kibi no Nihon Jie (吉備能日本知恵, “Japanese Kibi’s Ingenuity”) or the kabuki play Kibi Daijin Shina Tan (吉備大臣支那譚, “Story of Minister Kibi in China”). However, from the perspective of this article what matters the most is that it was incorporated into Abe no Seimei Monogatari, thus firmly becoming a part of Seimei’s origin story.

A personification of Mars, as depicted in Sōkan’s Iconographic Drawings of the Secrets of the Nine Luminaries (public domain; via Metropolitan Museum of Art)

The novel introduces Abe no Nakamaro first, and reveals that he was the reincarnation of Dongfang Shuo (remember him?) and by extension of the planet Mars (sic). Since Dongfang Shuo was incredibly loyal to his country, it was only natural the same was true for his reincarnation. However, as Nakamaro was born in Japan, and not China, this was less than optimal in the specific situation he found himself in. After arriving in China as an envoy, he was imprisoned - as described in earlier works - because his actions were perceived as disrespectful. He dies in prison shortly after.

A year after Nakamaro’s ill fated journey, Kibi no Makibi arrives in China as the next envoy. The Chinese emperor, Xuanzong, is infuriated that the tribute he presented was inadequate, and considers executing him, but decides to give him a way out. If he can complete a series of trials, he will be allowed to return to Japan instead (inadequate tribute be damned). These overlap with the earlier versions, though the order is changed.

Makibi playing go in Abe no Seimei Monogatari

The first of the trials involves go. Makibi is set to face a master of this game, a certain Xiandang (玄東; Gentō in Japanese) in it. His opponent actually doesn’t have a name in any of the early accounts of his adventures in China; it seems this was an innovation of an abbreviated version from the Hoki-shō.

The fateful go match, as imagined by Kunisuda Utagawa; note the inclusion of Xiandang's wife (Egenolf Gallery; reproduced here for educational purposes only) The name evidently caught on, though, since in addition to Abe no Seimei Monogatari it also pops up in other Edo period works, such as the 1852 kabuki play Kin’u Gyokuto Wakoku no Irifune (金烏玉兎倭国入船, “The Golden Crow, the Jade Rabbit, and the Ship that Arrived from Japan”). The resolution also differs somewhat: Makibi learns go by secretly observing Xiandang, who plays it regularly with his wife at home. He wins two matches against him fair and square, without the need to eat any of the pieces.

A spider helps Makibi

The Wenxuan trial is next; it essentially goes the same as in Kibi Daijin Nittō Emaki. The Yabatai trial is altered slightly, though. For starters, Bao Zhi is not physically present - he is only referenced as the poem’s supposed author. The emperor selects it specifically because it’s uniquely difficult, and he can’t read it himself. Nakamaro learns about this, and tells Makibi the best solution might be to pray, which he promptly does. No reference is made to Sumiyoshi, but Kannon of Hasadera gets a more prominent role. Makibi’s devotion to this figure is stressed over and over again. The spider whose help lets him read Yabatai is explicitly identified as a manifestation of this bodhisattva, as well. Reading Yabatai is presented as a grand feat. The entire court cheers (a far cry from the excessively villainous portrayal of courtly officials in Kibi Daijin Niitō Emaki). Even the emperor is deeply moved by Makibi’s skill, and instead of simply letting him go back home as he initially intended he tells him that he can stay as long as he wants in China in order to study. This seems like an attempt at reconciling fictional portrayals of Makibi’s journey with historical reality - I must say I think it works pretty well.

In any case, Makibi accepts the offer, and spends a long time studying various arts in China, much like he did in real life. When he finally decides to return to Japan, Xuanzong bestows various gifts on him, including a variety of literary texts, musical instruments, relics of the Buddha, a robe made from the hide of a “fire-rat” (火鼠, huoshu in Chinese, kaso in Japanese; Makibi could thus complete at least one of the trials of princess Kaguya if he only met her) and, most importantly, the Hoki Naiden (presumably passed down from emperor to emperor, though the story doesn’t state it explicitly). He also ordered a thousand monks to pray to guarantee his voyage back home would be safe.

The Abe no Seimei Monogatari account of Makibi deeds doesn’t end here, in contrast with Kibi Daijin Nittō Emaki. He safely returns to Japan, and the emperor bestows prestigious positions upon him as a reward for his accomplishments in China. Many years later, as an elderly man, he starts feeling like he essentially ended up with a life that should’ve been Nakamaro’s, though (somewhat confusingly, Nakamaro makes no physical appearance after the trials), and decides to find his family. He is unsuccessful, and ultimately writes in his will that he wants his own descendants to seek Nakamaro’s to give them the Hoki Naiden. As it later turns out, they have fallen into poverty, and have no real use for this tome. It ends up hidden until the birth of Abe no Seimei many years later.

The same events are described differently in the Hoki-shō. Makibi acquires the Hoki Naiden basically through the same means as in Abe no Seimei Monogatari, but after returning from China he gives it to young Seimei, who is introduced as a descendant of Nakamaro. In reality, despite sharing the same family name Nakamaro and Seimei were not directly related, though (Abe no Seimei Monogatari approaches this issue slightly differently, by having Seimei be a reincarnation of Nakamaro,as revealed by Hakudō). Furthermore, comparing the dates of Makibi’s journey and Seimei’s birth makes any encounter between them chronologically awkward.

It seems in at least some other works Makibi had one more role to play in setting up Seimei’s career: supposedly Kuzunoha (or, at the very least, Shinoda Myōjin) could be portrayed as his reincarnation. The problem is, while I have no reason to doubt the authenticity of this tradition, I can’t pinpoint its original source for now - this is in part why this article took so long to release. 

More than once I’ve seen an assertion that it comes from a sekkyobushi, but as I outlined earlier, it seems no actual evidence for the existence of such an adaptation is available. Furthermore, the most prominent online source of this claim is seemingly a blog on which I also found posts uncritically discussing Hotsuma Tsutae and JJCAT - which doesn’t exactly fill me with optimism. In the article Kitsunenyōbō Ni Miru Ikai ― Futari no Kuzunoha Ga Deau Koto ― Atsuko Katō states that the notion of Shinoda Myōjin being a reincarnation of Kibi no Makibi comes from Abe no Seimei Monogatari, but either this is a mistake, or for some strange reason a scene was omitted in Nana Miyata’s recent German translation (Die Erzählungen vom Leben und Wirken des Divinationsmeisters Abe no Seimei); unless the reference is actually to be found in the supplement to Abe no Seimei Monogatari which had the form of a divination manual, which is left out of the translation. Finally, the Kuzunoha article from Japanese Wikipedia gives the source as Shinodazuma Tsurigitsune Tsuketari Abe no Seimei Shusshō, relying on an anthology of Edo period puppet plays from 1965, edited by Shigeru Yokoyama. Sadly, I can’t consult the full text of this work to verify. I’ll update this article if I ever manage to solve this conundrum. Until then, though, it must end on a slightly unsatisfying note. Bibliography Tumblr for some unfathomable reason didn't let me include a bibliography here, so sadly you have to visit a google doc to access it. I'm sorry.

[saigethearies]

saige’s terrortober presents…

offering

unbeknownst to you, zeke has chosen you to be his cult’s next virgin sacrifice. a pining eren knows exactly what he needs to do to save you.

cultist!eren jaeger x fem!reader

contents/warnings: mentions of murder, vaginal fingering, unprotected sex, loss of virginity, praise, corruption kink, breeding, protective and possessive eren, mentions of ‘purity’

wc: 2k

18+ MINORS DNI

eren felt as if time had frozen around him when the name of the chosen sacrifice tumbled from zeke’s lips.

your name.

you, the kind girl from his english lecture.

you, who gives him a pencil when he forgets his own.

you, who explains assignments to him with patient words.

you, who shares whatever snack you’ve brought without hesitation.

you, with your soft smile and sweet laugh, who was going to be cut to death on the altar zeke stood behind this upcoming equinox.

“she’s a virgin?” floch’s grimy voice pulled eren back to reality, and it took every ounce of the self-control that already came scarce to him to refrain from knocking the ginger’s teeth in. “could have had me fooled, way too pretty for her cherry not to be popped.”

zeke chuckled at floch’s remark. “my source is never wrong, she’s completely pure. she probably will be our cutest offer yet, though.”

they were gonna kill you, he was supposed to kill you. eren thinks about you when he falls asleep, when he wakes up, and all the hours in between. his little crush that’s been festering since the beginning of the semester would come to a thrilling conclusion when he hands his brother the dagger.

he couldn’t let it happen.

to hell with the brotherhood, he wouldn’t let them take you away from him.

eren knew the sacrifice always had to be a virgin, that was the one golden rule since the founders first drew blood centuries ago.

ascending up the hidden catacomb’s stairs after zeke adjourned the meeting, eren already had his plan mapped out- he just couldn’t tell if he was thinking more with his brain or his dick.

it was time for him to make you unqualified.

____

“thanks for offering to tutor me, i really need it,” eren said with a smile, opening the door to his room.

“it’s no problem! i needed something to do this afternoon, anyways!”

you had that smile on your face again, a little twinkle in your eye as you looked up at him. damn, you were so beautiful. he hoped he could pull this off.

within a few minutes, the two of you were sitting on his bed, you holding a textbook open in your lap as you pointed to different literary techniques. eren’s gaze kept drifting off of the pages and onto the exposed skin of your legs, little skirt you were wearing riding up as you sat.

you trailed off in your description of a motif when you felt a warm hand on your thigh. blinking, you turned to see eren’s face extremely close.

“...is everything okay?” you asked slowly, face heating up. men were never in your personal space like this, much less one as attractive as eren. the proximity was causing you to become flustered.

you tried to stand, get some distance between the two of you, only to trip and land right on eren’s lap. your startled eyes met his shining sea green ones, and the urge to kiss him surged through you.

eren knew he was about to have you right where he wanted, having enough past flings to know the tells of a woman. he just needed to give you one more little push, one more and then he can put his plan into motion.

bringing a hand to cup your cheek, he spoke to you softly. “can i kiss you?”

“i…”

“we don’t have to do anything if you’re uncomfortable,” he said, stroking your face tenderly as if your life wasn’t currently hanging in the balance.

eren’s care felt genuine to you and your eyelids fluttered shut, leaning your lips up to meet his. the kiss was careful, eren gently applying pressure as if he didn’t want to do too much and scare you away.

you felt a shiver run down your spine when his tongue slid into your mouth, trying not to make your lack of experience obvious as he explored the wet cavern.

a hand going under your skirt, however, had you jolting. grabbing eren’s wrist before he could go further, you broke away from his lips with a pant. “wait!”

“what is it?” he asked, already knowing full well what the answer would be.

“i’ve never…you know…” you trailed off, and something about the look on his face told you that he understood perfectly.

“do you want to?”

please say yes, say yes so he can protect you.

you bit your lip, unsure. you knew nothing about sex, and the unknown was always nerve wracking to you. on the other hand, you had this nice, handsome guy that you were already acquainted with offering to take your virginity.

not many girls get this type of opportunity…

you nodded. “yeah, can we please just go slow?”

“of course, princess, we can go as slow as you want.”

it didn’t matter how you wanted it, all that mattered was that eren’s cock got to split your virgin cunt open.

his fingers resumed their trek up your inner thigh, tracing the outline of your panties.

“i’m gonna prep you first, okay, baby? make it hurt less.”

“okay,” you replied, breath hitching when you felt eren’s thumb slide into your underwear, immediately going to rub circles into your sensitive nub.

the stimulation had you jerking instantly, not familiar with the pleasure that was being inflicted on you.

“oh-oh!”

“that feel good?” he asked, sliding a finger into your pussy that was growing slicker by the second.

“mhm.”

this felt so much different than from when you’d play with yourself, not realizing how electrifying it was to have fingers between your folds that weren’t yours.

he added his index finger into your pussy, dark desire twisting his insides at how tightly you clamped on that one finger. starting to pump in and out slowly, eren cooed at you.

“relax, princess, ‘m gonna take care of you. you’re gonna be okay, yeah?”

you nodded at his words, not knowing the double meaning behind them. eren started to thrust his finger faster, rubbing against your bud with more intent. mewls left your lips at the sensation, humping his hand pathetically.

eren’s eyes were trained on you. the sight of you crumbling and succumbing to a man’s touch for the first time was breathtaking. the brunette was starting to think this could be love.

your thighs were quaking around his hand, slick dripping all over his lap. he relished in the mess, knowing that now you were probably loosened up enough.

“alright, pretty girl,” he kissed underneath your ear. “i think you’re ready for my cock.”

he gently maneuvered you off of his lap and onto his bed, lowering you down with so much care it made your throat feel tight. tugging your panties off before taking his own shirt off, he looked down at you.

“can you show me those pretty titties, princess?”

you blinked up at him dreamily, obeying his command as your shirt joined his on the floor. not even a second had passed after your bra fell from your shoulders when his large hands were cupping your breasts, squeezing at them in a way that had your eyes screwing shut.

“eren!”

he gave you a little kiss on your forehead as he leaned over you, palms leaving your chest as he grabbed a pillow to place under your hips. you took a deep breath, trying to settle your jittery nerves as you observed eren remove the rest of his clothing.

eren stopped you when you tried to take your skirt off.

“leave it.”

he pushed it out of the way, your glossy cunt appearing. the view of you completely naked with just your skirt bunched around your waist had eren’s mind shortcircuiting. he wanted to burn this image into his memory forever, and knowing he would be the first person to ever see you like this was even better.

if he had it his way, he’d be the only.

spreading your thighs open wider, eren slotted himself in between them. he grabbed hold of your hips, bringing them closer in a way that had your whole body being dragged down the bed. you yelped at his display of strength.

“sorry, princess,” he said with a sheepish smile. his tip prodded at your entrance. “deep breath f’ me, okay?”

the way he pierced you open was addicting, every inch of his dick spearing your virgin walls had your toes curling. you didn’t expect penetration to feel this good the first time. all your friends told you it would hurt the first several tries, but leave it to eren jaeger to throw you for yet another loop.

you felt his pubic bone become flush against yours.

“taking all of me your very first go? such a good fucking girl, damn.”

it was done. your virginity was his. zeke could no longer butcher you on that cold, stone altar in front of his whole brotherhood. eren had never felt so proud of himself, the knowledge that his girl was now safe and sound due to his plan had his skin tingling in excitement. he tightened his grip on your hips, trying so hard to keep himself grounded. he had promised you slow.

yet, as always, you proved to be heaven-sent.

“eren,” you babbled to him. “move, please! wan’ you to move.”

the frenzied gleam in his eye made your pussy throb. the brunette wasted no time in listening to your plea, bucking into you like his life depended on it- oh, the irony.

you screamed out, hands flying to fist the sheets beside you as eren kept your pelvis locked in place, subject to thrust after thrust of his cock. the pleasure was already swirling inside you as if it was a tornado, the high that was building from earlier now picking back up its rise.

“feel so good, so good, fuck.”

never had he been in a cunt this warm and tight. eren intended on molding it to the shape of him, ruining it for anyone else. he’d make sure you wouldn’t even want anyone else.

“perfect, princess,” he grit out. “fucking perfect pussy.”

his praise and pace made you feel lightheaded, falling further into the haze of ecstasy he was shrouding you in. you weren’t sure how much more you could take.

“i-i think ‘m close…”

“yeah? me too baby.”

with the way you were gripping him, it was a miracle eren hadn’t already busted. he angled his hips to hit even deeper, adding a finger to your clit again in hopes of finishing the both of you off.

“where do you want me?”

your answer shocked him. “inside!”

fuck, you were gonna be the death of him.

“my princess wants to be filled up, huh?”

who was he to deny you?

one final plunge into your walls timed perfectly with the rub of his thumb had you clenching hard on his dick, muscles spasming as you orgasmed. eren was spurred into his own climax, spilling into you. his eyes were glued to your face, your cockdrunk expression almost enchanting to him as he watched you fall apart.

slowly pulling out, the brunette was in awe at his cum leaking out of you. deciding to worry about his sheets later, he crawled up the bed to see your drooping eyes.

laying down next to you, eren engulfed your frame with his. he held your head against his chest as you drifted off, exhaustion taking over.

____

zeke put his book down as he heard his phone ping, surprised to see he had gotten a text from eren. his brother hardly ever messaged him.

his interest was piqued even more when he saw it was a picture.

opening the image, however, had zeke wanting to chuck the device across the room.

while eren made sure to have the covers pulled up enough, the blonde could still tell it was you from your side profile resting on his brother’s torso.

another ping.

“you might need to pick a new offering, my bad.”

zeke knew the smug bastard didn’t feel guilty in the slightest.

____

saige’s terrortober masterlist

[btsgotjams27]

don't push your luck | knj

you’re asked to present at an important meeting, but of course, your rival has to come along for the ride.

✨ title: don't push your luck | one-shot ✨ pairing: namjoon x f!reader ✨ genre/au: angst | ex college rivals, e2l, co-workers, one-bed trope ✨ rating: pg-18 | ✨ word count: 6.4k ✨ warnings: language, joon loves to call reader a lot of pet names, suggestive language, they're both kinda jerks to one another, they've also known each other for a long time (and slept together once), both are literary agents, mentions of surgery and cancer, banter, mentions of alcohol, they sleep in the same bed, there is a small hug, reader has misconceptions of joon, did i mention angst?, reader likes to blame namjoon for her shortcomings ✨ a/n: hi--so this was originally supposed to be out for joonie's birthday lmao and here it is a few weeks later. don't be afraid to let me know what you think. i love hearing from readers.

[ MINI-SERIES MASTERLIST ] | next ~ under the mistletoe (drabble)

“Hold the door!”

A heaving sensation fills your chest and you feel out of breath. Everything you could imagine going wrong before a flight happened—your alarm wasn’t set, the Uber arrived late and hit every traffic light, security ‘needed’ to rifle through your suitcase for suspicious items, and the stupid expensive carry-on you purchased has given up on you.

“You made it just in time,” the attendant smiles and scans your plane ticket.

“Oh, thank god.”

You’re grateful to be in first class and now you can finally relax. It’s even better when you look at your row and the seat next to you is empty. There are a few glares from other passengers, but you don’t care–you’ve made it, and that’s all that matters.

When you settle into your seat, you check your phone for any last-minute work emails. The flight attendant announced the plane was ready to taxi for take-off. They ask everyone to be seated and buckled.

As you’re ready to plug your earbud in, you hear a muffled bang from behind. Peering over your shoulder, you realize you’re in the row before the bathrooms. Great, you think, that’ll be fun. You can hear clinking and clanking from the bathroom door along with someone shuffling out as the door slam shuts.

“Sir, please take your seat. We’re ready for take-off,” the flight attendant says.

The man clears his throat. “Oh, yes, of course. My seat’s right here.”

You look up to see none other than the person who has become the bane of your existence, Kim Namjoon. They say keep your friends close, but your enemies closer and he loved to be so close to you alright–everywhere you are to be exact.

Your jaw clenches as he plops down beside you. A few seconds later, a woman emerges from the bathroom. She brushes past the attendant, holding a card between her fingers as she peers down at Namjoon. “That was fun. Call me sometime,” she grins while walking away.

“You’re disgusting.” A shiver runs down your spine as one can assume what they were doing in there.

Namjoon gives you puppy eyes. “You’re so mean to me,” he pouts, folding his arms against his chest as he looks down. Not a split second later, he turns to you with a smirk. “I can rock your world whenever you want, angel.”

If only he could see the smoke fuming from your ears. He would never let that one time you slept with him go, would he? It was a moment of weakness you wish you could take back.

You scoff at his comment. “I can’t believe they just let anyone on airplanes now.”

His eyes rake over you. “I could say the same about you,” he retorts.

“What are you doing here, anyway?”

“What do you think I’m doing here, darling?”

Your body cringes at the stupid pet name. “Oh, I don’t know, to annoy the fuck out of me?” you say, flashing a wry smile.

“Ah, yes. That’s on my itinerary too, but you know I can’t resist an all-expenses-paid trip when it’s offered.”

This was your chance to make an impression on one of the biggest publishing houses. But with Kim Namjoon tagging along on this little trip? He will consume your thoughts because you can’t think of anything else when he’s around–plotting and scheming ways to take you down.

“Just stay out of my hair tomorrow.”

Namjoon sucks his teeth. “Wish I could, sweetheart. But, whatever Ms. Davis wants, she gets.”

A part of you wondered if Namjoon was sleeping with her to get to the top of the food chain, like the vulture he is. You shivered at the thought of the two in compromising positions. Namjoon’s college shenanigans were something that continued even into adulthood, you guessed. 

The blinking cursor in this blank Word document has been mocking you, thinking you’re a clown. But you blame Kim Namjoon. He’s pushed his seat back, legs crossed and reclined, hands behind his head as he’s laughing obnoxiously at the movie on his computer screen. Every stifled laugh and clap has you rolling your eyes.

You can’t concentrate when he’s around, and that’s how it’s always been since sophomore year of college. The countless conversations with yourself because you had to be ready with a witty remark in case he is a smart-ass about anything and everything.

It was a sweet relief when you walked across that stage to shake the president’s hand and retrieve the rolled-up paper. And when you lifted your tassel from one side to the other, you exhaled because you never had to cross paths with him again.

That is four years into your job, and who shows up sitting in your office? None other than Kim Namjoon–your old academic rival.

You’re 29. No man should have you gritting your teeth, ready to claw at him. Then again, he’s no ordinary man–more like the devil incarnate. He makes your skin crawl. His presence makes you want to jump out of a window–because he’s suffocating, and the air in your lungs doesn’t exist.

Okay–maybe you’re exaggerating. But right now, you want to spill your glass of red wine just so he’ll have a stained shirt.

Your mouth twists as you nudge the giggly goon head. He takes off the noise-canceling headphones. “What?”

“Can you zip it? I can’t concentrate,” you say, repositioning in your seat.

Namjoon snickers. “Aw baby, you weren’t able to concentrate before I even started the movie. What makes you think me turning it off will help now?”

With a click of your tongue, you’re unsure why you even bothered asking him, so you return to your blinking cursor and blank document.

“Ladies and gentlemen, we have begun our descent into New York City….” the announcement continues.

Guess it didn’t matter, anyway. You’ve spent two hours unproductive on a flight while Namjoon lollygags. At least you’ll have time to work on your presentation in peace when you get to your hotel.

You notice the way he walks and the way his bag is slung over his shoulder-practically about to drop, and you can’t forget the stupid overcoat that’s a tad too big for his frame. The crooked black tie contrasts against the crisp white button-down, and you want to help him fix it, only to make it snug enough to choke him a bit. It’s the way his cheeks lightly push against his thick black-rimmed glasses when he smiles, and his crescent eyes disappear, then immediately he widens them. It’s the way his hair falls perfectly above his glasses, and he daintily moves it away like the unflawed prince he is.

You hate you notice all these details about Kim Namjoon, but you’ve been around him long enough to have your guard up in case he pulls any funny business.

He doesn’t even care to check in at the front desk. Instead, he runs off to the bar when he sees a beautiful woman walking the same way.

You’re third in the check-in line, and you can’t help noticing the crowd hanging out in the lobby. Everyone’s dressed as some kind of anime character. It almost makes you feel underdressed in your plain white tee that’s tucked into your jeans.

A nudge from the side causes you to catch your footing. You clench your jaw before breathing out a sigh of frustration. He’s like a fly that won’t leave you alone.

“Want a sip? I think you could use a drink,” Namjoon says, tipping his glass toward you.

“I don’t drink on business trips.”

“Damn, baby. Lighten up. One drink won’t kill you,” he raises a brow and smirks. “Maybe it’ll even warm you up to me.”

If only your eyes could shoot laser beams every time he opened his smart mouth. Facing him, you took a step toward him, pretending to pick off lint from his coat. “It’s cute you think I’d warm up to you,” you pout.

Namjoon gives a lopsided grin, licking his lips. “Don’t worry, love. I’m sure we’ll become real cozy.”

When it’s your turn at the front desk, the receptionist flashes a warm smile, asking for your information. “Is this man with you as well?”

“No,” you say.

“Yes,” Namjoon chimes in.

You roll your eyes, glaring at the man who is the bane of your existence. “No. Nope,” you say, shaking your head. “He is not with me. He needs his own room.”

The receptionist doesn’t respond. She types and clicks around on the computer, her eyes darting around the screen. “I’m sorry ma’am, but it looks like we only have one room left,” she says, avoiding your gaze.

“What do you mean there’s only one room left?” you articulate, gritting your teeth.

The receptionist clicks around her screen again. “Again, I’m so sorry, ma’am. But we’re overbooked because of the anime convention in town. We can book this room for the two of you or give you a free hotel stay for another time to compensate for the inconvenience.”

Free hotel stay for another time? It wasn’t an option at the moment. You needed this hotel room to prepare for your presentation tomorrow.

Someone cosplaying as Sailor Moon walks past you and Namjoon. His elbows are propped on the counter as he faces toward the lobby. He turns to you. “Guess we’ll just have to share,” he raises a brow and licks his lips.

“You cannot think I’ll sleep in the same bed as him. I’d rather burn in hell instead.”

Namjoon turns to the receptionist. “She’s joking. She doesn’t want to sleep in the same bed because she knows she can’t control herself around me,” he grins, holding his hand out for the key card. “We’ll take what you have, love.”

You grumble, muttering curses under your breath as you grab your things, heading toward the elevator. First, he shows up unannounced, and now you have to share a room with him. Let alone a bed? What’s next? He’ll take over your presentation, you bet.

Namjoon whistles a cheerful tune while strolling down the hallway. How is he like a ray of sunshine right now? But to you, he is like a lingering cloud ready to rain on your parade.

When he reaches the door, he turns to you, still whistling, tapping the keycard against the sensor. The door almost slams in your face. You’re struggling to keep the heavy door open while dragging in your luggage.

“Really?” You huff with irritation in your voice.

Your eyes follow him as he makes himself comfortable on the bed. He’s lying down, his legs are dangling off as his feet touch the floor. And you hope the phone screen illuminating his honey skin drops on his face. You’re vile, you know. But Namjoon’s like an itch you can’t seem to reach.

Setting down your things, you walk over to him, slotting yourself between his legs, arms folded against your chest. “What are you doing in my bed?”

He chuckles, placing the phone beside him. He props himself up on his elbows, eyes raking over you. “Waiting for you to hop on, baby,” he sneers, patting his thigh.

How are you supposed to get any work done if he’s around invading the very air you breathe?

“In your dreams, Joon. You’re sleeping on the couch.”

“Oh, baby girl. You don’t even wanna know what you do in my dreams.”

His dreams, huh? You’ve wondered how many times you’ve shown up. “Let me guess, am I strangling you?”

Namjoon sits up, pushing himself off the bed to stand. It forces you to take a step back. There’s a moment of silence before he speaks, “Actually, you’re the one who likes it, remember? Not me, princess.”

You’re inches away from him and you hope he doesn’t see you visibly gulp. It’s like everything is stripped away when Namjoon’s around. As much as you try to hide it, you hope he can’t see through your bullshit.

Clicking your tongue, you try to compose yourself, tilting your head as you gaze into those dragon eyes. “Keep dreaming, Joonie because that’s the closest you’ll ever come to fucking me.”

“Again—” he corrects you. His gaze turns dark as he scans you from head to toe. He grasps your chin between his thumb and forefinger. “Come on, love. Don’t you want another taste?”

You roll your eyes, pushing away his hand. “Another taste of Kim Namjoon?” you tut. “Please—I eat boys like you for breakfast.”

A stupid grin spreads across Namjoon’s face. His scent invades your space again, making you step back. “Well, I’ll be sure to serve you breakfast in bed tomorrow. I hear the sausage is great.”

You huff a breath, glaring at the tall, beefy man. “I swear to god, Kim Namjoon if you don’t stay on your side of the bed—there’s gonna be hell to pay!”

Namjoon puts his hands up in defeat. “Don’t worry, baby. I’ll keep my package safe, but it's cute you think your mouth is big enough for me.” He raises a brow, gently nibbling on his bottom lip.

You scoff. “Don’t flatter yourself, Joon. Always talking a big game, but you gotta put your money where your mouth is love.” You almost retch as the last word rolls off your tongue.

The night you slept with Namjoon was a hazy one. You blame the wine that was coursing through your veins and the critique you received from your professor—it messed with your head and you wanted nothing more than to get your mind off it. Namjoon was in the right place at the right time—annoying you like always. Naturally, he wouldn’t shut up, so you shut him up. One thing led to another and before you knew it, you had slept with your rival.

Walking away, you grab your bag, breathing a sigh of relief once you’re out of the room. It’s a stupid game the two of you have played since college—he riles you up, and you retaliate, but you would try your best to not let him get to you. 

You spent the last few hours sitting in the hotel’s bar, with headphones on as you clicked and clacked away at your laptop, finally getting your thoughts onto this Word document. There’s no music playing. You wanted to drown out the noise of the crowd.

As you’re facing out toward the lobby, you look up, glimpsing the bane of your existence, Kim Namjoon. You watch as he makes his way out of the hotel lobby, and now is your chance to sneak back up to the room and have some quiet for once.

When Namjoon’s out of view, you gather your things, making your way back up. As the door closes, a breath expels from your lips and you can finally breathe again.

Sitting down at the small table, your stomach growls, a reminder that you had ignored for the past hour because this presentation was more important than nourishment. You’re more than halfway finished, and your reward would be a delicious meal.

It’s nearly 9 o’clock, and your meal is nowhere in sight. The outline is finished, talking points are ready to go, but your laptop is dead, and with your luck, you forgot to pack the charger.

You want nothing more than to disappear and crawl into a hole and never come out of it. You’re ready to jump ship without a lifejacket—it’s practically what you’re doing going into this presentation. If only you had more time to prep instead of being thrown into this so last minute. Maybe you shouldn’t have told your boss you’re always ready for whatever’s thrown your way.

The rumbling in your stomach continues, but you’d rather wallow in self-deprecating thoughts than fill your belly with a delicious meal.

Why can’t things go your way for once?

As you’re sitting on the couch beside the window, a sprinkle of rain falls, and it’s perfect, actually–matching your exact mood. You place your chin against the jade-green velvet-colored couch, breathing a sigh of frustration.

How are you meant to get others to care when you're apathetic about why you got into this profession in the first place? You remember discovering your first author and how they made you kick your feet and giggle all night. The feeling of watching someone grow from a small audience into a commercial success made you love your job, and when you and an author are on the same wavelength and both so passionate about a story? You were unmatched when the stars aligned.

But this trip was a different story. You had been working with this author, but Ms. Davis asked Namjoon to chime in, and once something is in Namjoon’s hands, it’s never yours again. It was like a repeat of your college years.

So when Ms. Davis asked you to fill in for Namjoon, you jumped at the chance because you had missed this story and this author, and you hoped Namjoon didn’t distort the beautiful story and world that she had built. You get why everyone fawns over Namjoon. Admitting it crushes your soul just a tad, but he’s smart, charming, suave, and not that bad to look at. You just wished he’d let you have a win now and again. You’re tired of being second best.

When you hear a beep from the door, you sigh, throwing your head back. You don’t acknowledge your roommate for the night and instead focus on the rain droplets hitting the window. Pulling your knees toward your chest, your arms rest on them along with your head as you stare outside. You’re not in the mood to deal with Namjoon right now.

A delectable aroma fills your nose when Namjoon’s presence occupies your space. He sets something next to your feet while on the couch. You look at the box and then at him.

“What’s this?”

“You need to eat.”

“I already ate,” you lie, and your stomach growled, loud enough you’re sure Namjoon heard it too. You make a face, clenching your stomach, hoping it doesn’t do it again.

“Just eat,” he says, bending down to grab the box for you.

“Is this your way of poisoning me, so you can do the presentation tomorrow?”

Namjoon scoffs. “No, actually. It’s me being a decent human being. I saw you at the bar, and I know how you are when you’re in work mode. You forget to eat.”

There’s a fire rising in your chest, and you want nothing more than to be left alone. “I didn’t think the devil had a heart,” you quip back. It’s easier when he isn’t, makes you feel less of an ass—and so much for not being in the mood to argue.

He tuts. “Why are you always like this? Even when we were in school together. You’ve always hated me.”

Maybe it’s how everything’s been handed to him on a silver platter–like how he doesn’t have to work his ass off just to get a sliver of recognition. Maybe it’s because he could be the good guy, but he chooses otherwise. Maybe it’s because somehow he always shows up wherever you are, ready to take things from you.

“I don’t have to explain myself to you.”

“Fine, starve. I don’t even know why I tried.”

You groaned. “Can you just go away? You’re so annoying.”

“Me? Annoying? You’ve had a stick up your ass ever since you saw me on the plane, and I haven’t done shit to you. I’m here out of courtesy for our boss. What am I supposed to do? Say no?”

“Yeah! You should’ve.”

Namjoon shakes his head. “God–there’s no winning with you, is there?”

You ignore his comment, shifting in your seat, eyes focused on the rain again.

His jaw clenched as he backed off. “I was trying to be nice–break the ice, but it’s useless when I keep hitting a wall with you. See you later. I need a drink.”

Your eyes squeeze shut when the door slams. Sometimes you wonder if you’re too harsh or if you channeled your hatred toward something else, if it would benefit you more. But this was the circus of you and Namjoon–mortal rivals, nothing less, nothing more.

It’s well past midnight when you illuminate your phone for the third time. You’ve been tossing and turning, panicking about tomorrow’s presentation. Maybe you’d have to forgo using a slideshow and go off your outline. Graphic design isn’t your passion anyway because Canva was your best friend for presentation templates.

You had prepared yourself for having to share a bed with Namjoon, but you can’t help but notice that he hasn’t returned from wherever he went. You wonder if this was it–if it was the final straw for him, with you and your bitchy attitude.

As you’re on your phone, going over your outline, a beep from the door alerts you that Namjoon is back. You quickly stuff your phone underneath your pillow, turning in the opposite direction with your back facing him.

“Yeah, mom. Don’t worry. I’ll be back.” His voice softens when he sees the lights are out.

An indistinct voice is heard from the other end, but you close your eyes, pretending to be fast asleep.

“Yes, I have it on my calendar and already asked for the days off. I’ll be back before your surgery.”

You feel bad listening in on his conversation and even worse when you realize his mother is having surgery.

Namjoon hums. “I love you too, Mom. I’ll see you next week. Mm–bye.”

He sets his phone down and cards his hand through his dark hair, but it softly falls back in place. You can hear him ruffling through his bag before he walks off to what you guess is the bathroom to wash up.

You turn over when there’s a sudden ache in your side. Your eyes open to see the light shining from underneath the door, and he’s pacing around as he brushes his teeth.

When the water shuts off, he opens the door, turning off the light. The darkened curtains eliminate all light sources in the room, save for the bit peeking through from the moonlight shining on him, revealing his broad shoulders and honey-skin chest. Thank god it’s dark, otherwise if Namjoon saw you ogling him, he’d have a field day. But the gawking ends when he slips on a shirt.

You shift back to the side that’s still aching and Namjoon slips under the cover, keeping his distance. You’re facing away from him, and you can’t help but hear the frustration when he huffs a breath.

Of course, the stupid ache doesn’t dissipate, and you’re back on your side, facing Namjoon. You peek an eye open. His phone is dimly lit before he turns it off, setting it on his chest. Both of his hands are laced behind his head as he stares at the ceiling, and you’re fighting the urge to say something.

What you overheard was personal, something you weren’t meant to hear. After all these years of being academic rivals and co-workers, you knew little about his life except that he was a trust fund baby and had a younger sister.

“Namjoon?” You quietly croak out.

He quickly gazes in your direction. “Sorry—did I wake you? I didn’t mean to.”

“No, I couldn’t sleep, and then I heard you come in.”

A muttered apology escapes his lips along with ‘Night,’ as he turns on his side, facing away from you.

His demeanor is different, almost as if he’s let down his guard. You’ve never seen him distraught before.

“Namjoon?”

He hums but doesn’t turn around to face you.

“Is everything okay with your mom?”

Namjoon clears his throat. “Yeah, she’s okay. At least, I hope so.”

You’re nibbling on your bottom lip. “I couldn’t help but overhear she’s having surgery?”

“Oh—yeah, we, um, recently found out she has breast cancer and has to have a mastectomy.”

“Joon,” you utter. “I’m so sorry. Are you okay? How are you feeling?”

“Yeah, yeah,” he stammers, shifting himself into a more comfortable position. “Everything happened so fast, and I feel like I haven’t had time to process my thoughts. I’m trying my best to stay strong, you know?”

You place your hand under your cheek as you’re staring at his backside. The two of you stay silent for a moment.

“I get that,” you say, lying on your back, bringing the duvet to cover you. “Um, my mom also went through breast cancer a few years ago, if it’s any consolation, I suppose breast cancer is one of the better ones to have? If that’s such a thing—I mean, there’s a lot of research that’s gone into it, and there’s so much support out there if she wants it. So, um, yeah, just keep your head up. Your mom will be okay.”

Namjoon mumbles, “Thanks. I appreciate it.”

He doesn’t turn to you, and you don’t blame him. You have been a bit of an ass to him, but you’re not made of stone—there’s a heart buried somewhere inside.

Flipping on your side, your backs are facing one another, and you hear a sniffle. Immediately, you turn back, hesitant about being in this position. In the time you’ve known Namjoon, he’s never cried in front of you. There are more sniffles, and you can hear him holding back whatever’s caught in his throat.

Your heart’s racing, your breath is slow and controlled. You shift closer to him, removing the pillow you had placed in the middle to separate the two of you.

“Joon?”

He wipes his nose and clears his throat. “Yeah?”

“Would it be okay if I hugged you?”

Namjoon hums in agreement, and you take it upon yourself to inch closer to him. Somehow he seems so much smaller when you’re this close. You snake your arm underneath him, wrapping it around his waist, pressing your body against his. It takes a moment for him to register what’s happening, and then his hand finds yours, entwining them together.

You’ve been where he has and any kind of surgery is scary, especially when it’s a loved one. Your mind can only wander to the worst-case scenarios.

Your bodies are in sync as you can feel his chest rise and fall. But his breath is ragged and shaky. You suppose he’s fighting off any tears threatening to fall.

“You can tell me to fuck off.”

He chuckles. “No, I like this. It feels nice.”

Your mind finally settled during the night, and you could fall asleep. Namjoon’s snores were your alarm clock this morning. The weight of his arm draped over your waist. It was a familiar feeling—just like the day after you had slept with him. Only this time, all your clothes were on, and there was no accompanying headache.

Peering over your shoulder, he was still fast asleep, so this was your chance to sneak away. You were hoping to go over your presentation a few more times before your meeting today with the publisher. But as soon, as you decide to slip away, a buzzing from Namjoon’s side causes you to close your eyes and pretend like you weren’t trying to get up.

It buzzes a few times before Namjoon stirs awake, fumbling around to find his phone. “Hello?” he says in a groggy, raspy voice.

You shift away from him, snuggling underneath the duvet. The conversation is indistinct, and you can’t hear anything but Namjoon’s responses.

“Wait—” Namjoon sits up, turning away from you, his feet planted on the ground. “You want me to do what?”

He’s frustrated by whatever he was told.

“No, I can’t do that to her.” He quickly peers in your direction, and he sees you fast asleep. The voice on the other line continues along with Namjoon’s frustration. He’s rubbing his temple and sighs. “Please don’t make me do this. She already hates me as is.”

You can’t help but wonder who’s on the other line and who the ‘she’ is.

Namjoon shakes his head, and his voice quiets down. “She’s been working so hard on this presentation. I can’t just take this from her.”

Your heart sinks when you realize he’s talking about you. There’s no one else doing a presentation, and Namjoon was working with this author before they were handed back to you.

“Okay, okay. I’ll let her know,” he said dejectedly. Namjoon doesn’t even say goodbye. He’s crouched over, elbows on his knees as his head hangs low.

The soft chimes of your alarm go off. You wait a few seconds before reaching for your phone to silence it. Sitting up, you glance over at Namjoon who’s looking right at you.

“Morning. I hope I didn’t wake you.”

“No, my alarm woke me up,” you say before flipping the duvet over. You stand, smoothing down your hair. “Big presentation today. I should get ready for the day.”

You’re ready to run to the bathroom, but Namjoon stops you. “Um, about that.”

Slowly, you turn to him. “What about it?”

Namjoon’s hands are entwined, and his thumbs fiddled out of nervousness. “Ms. Davis called and wants me to do the presentation.”

You suck in your lower lip, gently chewing on it. “But I worked on it like a madwoman last night. Why would Ms. Davis ask me to do it and then go back to asking you?”

A buzzing from your phone interrupts you. The screen flashes ‘Ms. Davis.’ You peer at Namjoon, then answer the phone. “Hello? Ms. Davis?”

“Good morning, ____. I hope you slept well.”

You hum in response.

“I know I asked you to go to New York, but now that Namjoon is there. I think it’ll be better if he does the presentation. He just has a way with words, and I think he’ll be able to land this deal, don’t you think?”

Namjoon avoids your gaze by scrolling on his phone. You remember Namjoon’s words from the day before, ‘What Ms. Davis wants, Ms. Davis gets.’

You take a moment before responding. “Why yes, Ms. Davis, I agree. Namjoon would be perfect for this presentation.”

She continues about supporting him in whatever way he needs today, and you’re seething like a teakettle that’s ready to burst. You agree with everything she says.

“Mmhm, yes. I’ll make sure he has everything he needs.”

You bid her a chipper farewell before hanging up. Your phone’s clenched in your hand, and your chest is heaving. Thoughts are running rampant—you’re ready to quit on the spot.

Licking your lips, you look at Namjoon. “Well, good luck with your presentation today. Don’t ruin it for our author and Ms. Davis.”

Namjoon shakes his head. “No–you worked hard on it. You should do it.”

You scoff. “Don’t act like you don’t want to take this from me, Joon. It’s what you’re good at. You always get your way—just like when we were in school and now even at work. No matter how hard I work for everything, you’re there to reap the reward.”

His jaw clenches. He stands, walking to you. “You’re so fucking exhausting,” he spits out. “You think I’m some guy who’s out to get you or wants the worst for you–it’s like whatever preconceived notion you’ve fabricated has overlooked the fact that I’m a pretty decent guy if you could get past whatever thing that I’ve done to tick you off.” He sighs. “I’m telling you to do the presentation, but here you are blaming me.”

The warmth from his body is scorching as he nears you–it matches the energy firing inside you. Here he is, allowing you to shoot your shot, but you’re stubborn and temperamental.

Your gaze pierces through him. “Do whatever you want, Joon. I quit.”

Quickly, you gather your things, stuffing them into your carry-on. You know how ridiculous it sounds, but Kim Namjoon tends to bring out your foolishness. You’ve had seven years of him right by your side, which was too many for you. Maybe it was time to find a private island with no form of communication to escape him.

Namjoon doesn’t stop you, he lets you leave. He knows how strong-willed you are and once you’ve decided, there’s no changing it.

You wash up in the hotel lobby’s restroom, rushing off to nowhere because well–you had quit and home was two hours away by flight and it wasn’t leaving until tonight.

Cars and buses screech to a halt along with the sounds of never-ending honking. Chattering from tourists and bicyclists whiz by your side. There’s never a dull moment so you can get your head on straight. 

A buzzing from your bag goes unnoticed because you’re too busy figuring out the next steps. You don’t know what you’re doing. Quitting, so suddenly? Was it out of spite? If you couldn’t even handle Namjoon, how would you handle the next prick that came along? 

You held your arm out, trying to hail a cab, but no one stopped. Well, it was probably the worst time to grab one, anyway. Checking your phone, you noticed a missed call and a voicemail, and it wasn’t from anyone you were expecting.

It was from Noa Skye, the author you were trying to get published.

“Hey ____. I know I’ve been working with Namjoon for the last several months, but when I heard that you’re doing the meeting with HarperCollins instead, I screamed! I know you’ll be able to pitch my book well because you love this story as much as I do. So, yeah, I just wanted to call and wish you good luck. You’re going to do great. Talk to you soon!”

Your heart sank to your stomach when you heard Noa’s voicemail. It was true–you loved her story, and you wanted the entire world to read it so they could laugh and cry along with you. Her book deserved to be on bookshelves and New York’s best-seller list.

Should you buck up the courage and walk in with your head held high? And for once, maybe Namjoon was right–that you were looking for someone to blame and he was conveniently the scapegoat.

Noa deserved better than this ongoing battle between you and Namjoon; maybe more you than him–but regardless, you needed to set aside your ego for the sake of your author.

Huffing out a deep breath, you pulled your hair back, ready to fight for this presentation.

Namjoon was typing furiously, looking through his previous notes on Noa’s novel. He wished he had spoken to you about what you had outlined to get a better grasp. You and Noa had been working on her novel for a couple of months before Namjoon came into the picture. Surely, he knew how to charm the pants off publishers, but sometimes he felt like you captured the heart of these stories better than he did.

You’re jabbing the number seven several times, encouraging the elevator doors to close. Looking at your phone, there’s half an hour before the presentation. You hoped it was enough time to sort things out with Namjoon and go over your outline.

Turning the corner, you find Namjoon sitting with a laptop. He looks up, almost relieved when he sees you, but of course, he doesn’t make it known.

“Thought you quit,” he says when you’re near.

You flash a thin smile, sitting beside him. “I never waste a moment where I can rescue you, because it looks like you need my help.” A glimpse of a nearly empty page proves your point.

In normal Namjoon fashion, he’s ready to bite back, but he holds his tongue. “You’re lucky you’re cute.”

You scoff, rolling your eyes. “You can say ‘thanks’ and I’ll call it even.” He mumbles something indistinct and you cup your hand up to your ear. “I’m sorry. I can’t hear you over the sound of your ego.”

His shoulders slump, and he cocks his head. “Thanks, ___. I owe you one.”

Wiggling in your chair, you’re smiling proudly because this is the first genuine show of gratitude from Kim Namjoon.

“Here’s what I have. Can you tell me what you and Noa have been working on?”

Even without visuals, you felt the presentation went well and did Noa justice with her novel. Namjoon was another surprise. He didn’t interrupt, waited until you finished before adding in his two cents.

Although the presentation and trip to New York were short and sweet, it was eye-opening for you because you had been toying with the idea of opening up a literary agency. The sound of being your own boss sounded lovely.

“We did good, huh?” Namjoon says as he stands beside you.

“We?” You quirk an eyebrow.

He tilts his head. “You. You did a good job.”

You stand proud outside of the hotel’s driveway as the two of you wait for an Uber. “I know. I always save the day.”

Namjoon chuckles. “Well, have a good flight back home.”

Whipping your head back to him, your brows stitched in confusion. “Are you not going back to Chicago?”

He shakes his head. “My mom’s surgery got moved up, so I’m flying straight to Seoul. I’ll be back in Chicago in two weeks.”

“Oh,” you mumble. “I hope everything goes well.”

“Thanks,” he flashes a small smile. A car pulls up to him. “Looks like my ride's here. I’ll see you.”

Namjoon grabs his carry-on, ready to leave, but you stop him. “Joon–” He turns back around. “I’m sorry about what happened this morning. You’re right. I haven’t treated you nicely and have blamed you for a lot of things over the years, and it’s no one’s fault, but my own. I hope things go well with your mom, and if you ever need anyone to talk to, you can call me.”

He lets out a soft chuckle. “Call you, hmm?”

“You know what I mean.”

“I don’t, actually.”

“Just–” you groan. “You know what? Never mind. I don’t even know why I tried.”

Namjoon lets go of his carry-on and walks back to you. “I’m messing with you.” He chuckles lowly, taking another step closer to you. He lifts your chin with his forefinger, his dragon eyes gazing into yours. “It’s our thing, isn’t it? You hate me, I hate you. We find some kind of common ground, then fall in love. Isn’t that in all the books we read?”

You lick your lips and nod, pointing to yourself. “Me? Fall in love with you? Don’t push your luck, Joon.”

read 'under the mistletoe' (a don't push your luck drabble)

[berriesandcherry]

House of the Dragon did not understand Team Black

Hi! This is a follow up post I made about the characterization of the team green Targaryens and now I want to continue the idea explaining how the showrunners did not understand Team Black, or— speaking frankly– Fire and Blood and ASOIAF.

It’s well known that HBO wants to sell ASOIAF as a magical realism series (a literary or artistic genre in which realistic narrative and naturalistic technique are combined with surreal elements of dream or fantasy.) for grown ups, because obviously fantasy is made only for children (side eye). Clearly, that is not what ASOIAF, or in this case Fire and Blood, is. Sure, Fire and Blood may be written like a history book, but that doesn’t mean it’s intended to reflect simple realism. The style is immersive, designed to make readers feel like they’re stepping into the world of Westeros, as if they’re reading the same histories that characters like Jon Snow or Robb Stark might study or to say “This is the book Arianne Martell read and that’s why she compares herself to Rhaenyra!” The narrative is designed to deepen the experience, not to be treated as a purely factual, realistic recounting of events.

House of the Dragon presents itself as a gritty drama, it’s based on Fire and Blood, which is fundamentally a story about Daenerys Targaryen’s legacy and what made her different from the rest of her family. The show’s treatment of Rhaenyra and Alicent, in particular, seems to miss the mark. The show implies that the animosity between Rhaenyra and Alicent was entirely fabricated by the men around them, reducing the complex political and emotional dynamics at play to a simple misunderstanding. But in the books, we don’t need a Renly chapter to know he didn’t view war like Stannis did. We don’t need a Lysa Arryn chapter to know how deeply it affected her to have her child aborted. Their actions speak. You know the lyric from Taylor Swift “You are what you did”? Well, that really applies here.

Daemon, for example. The show’s decision to portray him as someone who ignores or mistreats his wives—especially with the murder of Rhea—is a significant change from the character in Fire and Blood. We don’t need to see him committing such extreme acts for him to remain morally ambiguous; his decisions and actions throughout the story are enough to paint him as a complex figure. We didn’t need to hear how he needed to realize he was not meant to be king. Over and over again, we needed to see him play the game.

The portrayal of Team Black, in general, is a big problem. Yes, they’re flawed—nobody in Westeros is perfect—but they’re also a family united by love and loyalty. The Targaryen family in Fire and Blood was often fractured, but Team Black showed a different side of the Targaryen legacy: a family that, despite their flaws, stood together—it was quite obvious the GRRM wanted to make them the “more Targaryen” team. And as I mentioned in my earlier post, Rhaenyra’s claim to the throne was legally solid–she was made heir by her father, oaths were made, she had the most dragons, the most heirs, more family members on her side and four out of eight great families were on her side (just to clarify, Aegon had two, Baratheon and Lannister).  The narrative of Fire and Blood is about a woman who, despite being the woman for the job, faces an uphill battle for the throne due to the misogyny of her time.

Team Black is the “right side” in the Dance of the Dragons, not necessarily the good side, but the rightful side. Their cause is legitimate, and yet House of the Dragon asks us to sympathize with everyone—Rhaenyra, Alicent, Aegon, Aemond, and the rest. This doesn’t work in a narrative like Fire and Blood, where the characters’ motivations are clear-cut, even if they’re morally complex. In House of the Dragon, the show seems to want us to feel empathy for every character, which ultimately dilutes the central conflict. If everyone’s equally tragic or flawed, what makes Team Black’s struggle so important? This is not ASOAIF where we have multiple characters that are good opposing one another in some way or another. For example, Ned is seen as a good guy, and so is Daenerys, but she doesn’t like him, and that doesn’t make her a bad guy. 

Team Black Characters are the heroes of the story, Rhaenyra is the hero of the Dance.

When one talks about heroes, one thinks of Superman or Naruto, good guys. But ASOIAF is famous because every character is flawed, even the heroes. In fact, a hero is not equal to a good person.

“As a literary device, a hero can be defined as the principal character of a literary work. The term hero has been applied, not only in the classical sense, but also in modern literature, as the principal character of a story, play or novel.” (Hero - Examples and Definition (literarydevices.net)) 

Rhaenyra is the hero of the story, Aegon is the villain. That is literally the story.

That doesn’t mean the story is plain or boring. They are humans. That’s what GRRM does best, and while I already talked about Aegon, let’s go with Rhaenyra.

From the beginning we know who she is. 

“At the center of the merriment, cherished and adored by all, was their only surviving child, Princess Rhaenyra, the little girl the court singers dubbed “the Realm’s Delight.” Though only six when her father came to the Iron Throne, Rhaenyra Targaryen was a precocious child, bright and bold and beautiful as only one of dragon’s blood can be beautiful. At seven, she became a dragonrider, taking to the sky on the young dragon she named Syrax, after a goddess of old Valyria. At eight, the princess was placed into service as a cupbearer…but for her own father, the king." 

"She was very proud and stubborn, and there was a certain petulance to her small mouth."

"Though Rhaenyra could be charming, she was quick to anger and never forgot a slight."

She is a typical princess, like Viserra or Alyssa before her, Rhaenyra knows her position well and is not scared of using her influence and power in her favor. She was raised in comfort and security, cherished by all. Later on we get to know she might have taken a few lovers, some hinted, some are theories, this is not about shipping (like Harwin Strong, Daemon, Laena) there was nothing anyone could do except for the king. And that is not wrong. Laenor and her might have been in an agreement that his parents didn’t mind, and neither did the king. The Velaryon boys were more than likely his. If the king didn’t mind, no one else should. That includes the queen. The show seems to want to make a bigger deal of the “bastard” issue, particularly with Alicent calling Rhaenyra’s children bastards. This, too, is a distortion of the story. In a monarchy, the legitimacy of heirs is decided by the king, and in this case, King Viserys recognized Rhaenyra’s children as his own.

In The Crown, Prince Philipp says “Currently I’m outranked by my 8 year old son” and Queen Elizabeth answers with “Yes, of course, he is the heir to the throne”.

Even in real life, it doesn’t matter how powerful a consort is. The heir outranks them every time. Alicent should have been shown as a smarter queen because Rhaenyra could have had her tongue for that. Rhaenyra’s children are not bastards. It’s ambiguous in the book because them being bastards were rumors from court, like the one Littlefinger made up about sleeping with Catelyn or Cersei’s about Margaery’s lovers; they were made by the opposing faction. But they were recognized by the crown, the king, the father, and the realm. So no, Rhaenyra’s claim was not sullied by her children. And no, she was not a bad person if her children were bastards. And no, it was not the same as Cersei. Rhaenyra is queen, so her line is the one that matters. The children from her second marriage are also heirs because of her. Alyssa Velaryon’s children from Rogar, despite being Jaehaerys' half-siblings, were not heirs because Alyssa is not the ruling queen. She is a consort, like Cersei.

Just as Aegon IV’s legitimization of his bastards went unchallenged because it was the king’s will, Rhaenyra’s status as heir should have been final.

The Dance is meant to have a hero who is flawed and a villain that has a reason.

But in House of the Dragon, we’re left to wonder who we’re supposed to root for. The show’s insistence on moral ambiguity and “grayness” across the board makes it harder to connect with Rhaenyra as the story’s central figure. There’s no room for her to be angry, to take action, to show that she’s not just a pawn in a larger game—she’s a woman fighting for her right to rule. She should have been shown as a more assertive and strong-willed character, capable of standing up for herself in a world that constantly undermines her. She should have moments where we disagree with her, but ultimately, the show wants us to empathize with everyone, but the show is missing the point. Rhaenyra is the tragic hero of this story—her flaws, her ambition, and her fight for power should be central to the narrative. The show seems to misunderstand her complexity, as well as the larger political context that defines her struggle. The Dance of the Dragons isn’t about a bunch of characters fighting for the throne; it’s about the consequences of a society that refuses to allow a woman to sit on the Iron Throne, no matter how capable she is.

Team Black Characterization

Let’s go back to Daemon. Daemon was loved as he was hated, so yes, he can be the internet boyfriend. He is GRRM's favorite character!

Said by the producer: 

"Daemon would have let his brother fall flat on his face. In other words, aren’t all of Daemon’s moments, even the seemingly benevolent ones, ultimately self-serving?"

Hess replied: “I agree with you. He’s become Internet Boyfriend in a way that baffles me."

That was an obvious incorrect interpretation of his character, wherever you see it, but what baffles me is in contrast, the show doesn’t seem to hold Aegon accountable for his more heinous actions, like rape.

Before the marriage to Laena, Daemon’s passion for Rhaenyra was undeniable. Yes, their relationship was controversial, but like the romance between Lyanna Stark and Rhaegar Targaryen, it’s framed as a love story. Daemon loved Rhaenyra, and when he couldn’t have her, he "moved on." Just to be clear, their love story is a very important factor in each other's life, his marriage with Laena, him loving her, does not change it. Anyway! He married Laena, killed a man to be with her, and raised his children with her—Rhaena and Baela—who were cherished regardless of their gender or lack of dragon (in Rhaena’s case). For a time, Daemon raised his daughters alone after Laena’s death. After his marriage with Nyra, surely they had a time when they relied solely on him. He never sent one away. He kept them close. In fact! During the Driftmark incident, the girls were never there. He was the only adult who didn’t have any of his children involved.

Joffrey had run to get his brothers when Aemond took to the sky, and both Jace and Luke had come to his call. The Velaryon princelings were younger than Aemond—Jace was six, Luke five, Joff only three— but there were three of them, and they had armed themselves with wooden swords from the training yard. Now they fell on him with a fury. Aemond fought back, breaking Luke’s nose with a punch, then wrenching the sword from Joff’s hands and cracking it across the back of Jace’s head, driving him to his knees. As the younger boys scrambled back away from him, bloody and bruised, the prince began to mock them, laughing and calling them “the Strongs.” Jace at least was old enough to grasp the insult. He flew at Aemond once again, but the older boy began pummeling him savagely…until Luke, coming to the rescue of his brother, drew his dagger and slashed Aemond across the face, taking out his right eye. By the time the stableboys finally arrived to pull apart the combatants, the prince was writhing on the ground, howling in pain, and Vhagar was roaring as well.

Rhaena was sent to live in luxury during the war, and he never allowed them to get hurt or punished. The storyline with Laena and his twins are not a waste of paper, they are meant to show how much Daemon changed, we are meant to compare his treatment of Rhea (arranged by his grandmother) and Laena (marriage of love) and Rhaenyra (marriage of love and also the person he loved the most) He was charismatic and loyal, he loved his brother, we can assume he was on good terms with Rhaenys. Daemon evolved from a wild, impulsive youth into a family man and a strategic military leader, ultimately giving his life to protect his wife and demonstrate his loyalty.

As for Jace, he was never sidelined or ignored—Rhaenyra understood his role as her heir and supported him. Jace, full of youthful energy, was not just an heir but a skilled strategist in his own right, much like Margaery Tyrell, knowing how to play the game. He loved his family and fought fiercely for them until his last breath. Baela and Rhaena, Daemon’s daughters, were brave and intelligent. Baela had a dragon, but if Rhaena had one, she too would have fought alongside her siblings. The twins were clever and courageous, as we see in the post-Dance regency when they were still teenagers. Luke, too, was a strong character—great with a sword and a worthy heir to Driftmark. His death haunted his family until they all died, his death is the Ned Stark moment of the Dance. Joffrey was older, he was rougher than his brothers, and the most like Daemon, the three Velaryon boys were loved by Corlys AND RHAENYS. Aegon III was older too, and more than likely, he was Daemon’s pride as he had already lost one son, and it was his first with the woman he had fallen in love with years ago. Viserys should’ve had moments of childishness to show and establish his character since he is the ancestor of Daenerys.

Rhaenys’ character, in particular, was wasted in House of the Dragon. Rhaenys knew the game as well,if not better, than Otto. She was fiercely protective of her family and cherished all of her grandchildren. Her death should’ve reflected that! She should be shown having that arrogance and lack of patience the Baratheons had and show her as THE adult against the greens before Rhaenyra came of age.

Corlys Velaryon’s character was another missed opportunity. He should have been shown as a more morally complex figure—an ambitious man with his own secrets, including affairs, showing more why he was called a snake, show why he was intimidated by Rhaenys, show his love for his grandchildren but more than that, how much he loved all the power they would get. Explore how his wealth is influential, that was leverage, like Olenna held the power of Highgarden over Tywin’s head.

These characters are not just “good” or “bad”—they are complex individuals, each with their own motivations, flaws, and growth arcs. The show missed an opportunity to dive deeper into their relationships, their ambitions, and their internal struggles. The mischaracterization was painful to watch, how they handled Daemon/Rhaenyra, how they handled Daemon/Laena, how they failed to show Rhaenyra's most beloved friend and the reason why Jace, Luke and the twins were betrothed. And all of that happened because they tried to be "realistic" even if all that happened was honestly a parody of GRRM work.

Heroes should be well defined

Defining your hero and making it clear why they deserve the audience's loyalty is the foundation of any good story. A strong show knows its protagonist and ensures the audience is invested in their journey. Game of Thrones did this well, even with limited episodes. They introduced heroes and villains, built complex storylines, and made sure we understood who to root for, despite their characters’ flaws. House of the Dragon, however, faltered by trying to make everything morally ambiguous, blurring the lines of who the audience should support. By not clearly defining Team Black as the protagonists, the show undermined the emotional investment of the audience, making it hard to care about the central conflict. Instead of embracing the complexity that made Game of Thrones compelling, House of the Dragon failed to commit, leaving the audience uncertain of who to root for.