#love them though they are so complex and compelling

[foolishlyzephyrus]

i love nine and twelve because both at first glance seem indifferent but they actually care very deeply

[sskk-manifesto]

(´･ᴗ･ ` )

[physalian]

“Likable” vs “Compelling” Protagonists

Protagonist does not mean “good guy” it means “the person the story is about”.

Antagonist does not mean “bad guy” it means “person in opposition to the protagonist”.

We know this, yes?

So when I’m talking about “likable” protagonists I do not mean that your MC has to be witty, funny, charming, etc—they have to be compelling.

I didn’t much care for Death Note, I thought Light got away with way too much without consequences for his actions, but he was very much the villain and the protagonist. He was an arrogant narcissist with a god complex and you watched the show not to see him win, but to see how badly he would eventually lose.

This was because, despite my dislike of his story, Light was a compelling character. You don’t necessarily agree with his motivations, but you do understand why he does what he does and why he believes what he does about himself and his world.

In contrast, one of my favorite anime is Code Geass. Lelouch (who is often compared to Light) is *constantly* getting kicked in the ass by his own hubris. He's arrogant as well, but he makes mistakes everywhere and suffers if not immediate comeuppance, then drastic consequences later down the line. Which, to me, made a far more compelling character than someone like Light playing with cheat codes.

Most of the time, “likable” and “compelling” go hand in hand, because your protagonist is the “good guy” that we’re supposed to root for.

So one of the worst mistakes I think you can make is writing a hero who just doesn’t want to be here.

—

I recently read a story where MC needed to win a competition, baseline unsponsored underdog story, and everyone loves an underdog. The problem was the MC’s attitude. Nothing pleased them and in their internal monologue, nothing was good enough and everyone else was the problem. They actually hate competitions and can’t wait for this to be over…even though no one forced them into it with a gun to their head. They hate all their competitors for behavior they themself exhibit. They hate their lone sponsor for being a sleezeball, and yet, chose to enter a voluntary competition, knowing this sponsor’s behavior, and still blaming the sponsor for their problems.

The entire time I was reading all I kept thinking was, “Then go home, bitch!”

This was not a high-stakes competition, and the MC didn’t have dire enough circumstances for the reader to believe this was a "life-or-death, even if it sucks, MC has to win," type situation. Not like Hunger Games. This was all completely voluntary.

So I started wondering if the author meant the MC to be the villain with all these personality flaws, but they’re still the underdog with no wins under their belt to support their level of entitled arrogance and no notable skills that make them inherently better than the competition.

So I was rooting for the MC to lose, and I don’t think I was supposed to. Even if I was, the mixup between “underdog hero” and “catty bitchy villain” was too confusing for too much of the story. MC didn't have to be here, didn't want to be here, so... why was MC here?

—

Some suggestions for compelling motivations for your protagonist boils down to this:

Define as quickly as you can these three things for your protagonist of any walk:

What the protagonist wants

How the protagonist plans to get it

And what’s in their way

Specify the stakes, if not physical, then personal. It doesn’t have to be life-or-death, but if they’re entering a risky situation, whatever it is has to be extremely important to them. Luca doesn’t have as high stakes as, say, Toy Story 3 but the moped race is important to the heroes, thus a compelling motivation.

Make this a journey they actually want to be on. Even if it’s grimdark or horror, if your hero is complaining the entire time and wanting to go home, yet plowing forward anyway because the plot’s dragging them on a leash, your audience will be as invested in the story as that character. If they don’t actually have the commitment to see their quest through, why should the audience care?

Alternatively, make this a journey they cannot afford to walk away from. Whether that be pressure from without or within. Frodo didn’t have to take the One Ring to Mordor. He chose to, because it was, in his mind, the right thing to do. He suffered his entire journey with the Ring and got homesick and depressed and discouraged, but he never called his own journey stupid and dumb. He could have put the Ring down and walked away or given it to somebody else, but he chose to carry on, because that’s who he is.

Even reluctant chosen ones have an ulterior reason for remaining in the story. Your long-lost princess might not want the throne being thrust upon her, but she’s chasing something else that accepting the throne and going along with the plot will give her. Maybe it’s power, respect, vengeance, money, protection, connections. So she’ll tolerate the nonsense so long as it still gets her what she wants and her struggle might be trying to not let herself get corrupted by the allure of politics and “the game”. Or, she's playing along merely to stay alive and actively trying to escape and return to her simpler life.

Popular example: Percy Jackson is a reluctant chosen one throughout his entire story in every book, even Last Olympian where he insists that he's the unknown prophecy child. In The Lightning Thief he doesn’t give a damn about the quest for the Master Bolt, he’s there to get his mom back, and cooperating with the quest will give him the means to achieve his goal, and along the way, finds that he doesn’t quite hate it as much as he thought he would.

—

So. Yeah. In no way, shape, or form does your protagonist have to be “likable”. If someone tells you they aren’t, they probably mean that your protagonist is contradictory, or lacks compelling motivation and drive, and lacks a clear goal or aspiration that will define their story. Or, they lack drive to even participate in the story at all.

Or they simply mean that your charcater, who you intend to be likeable, has a nasty flaw that would turn readers off, but a beta should be able to tell you that one easily. If they can't come up with a solid reason why your charcater is unlikable, it's probably a motivation issue.

The earliest draft of a WIP that shall never see the light of day had my protagonist sent on a glorified space field trip by her parents, and wasn’t happy to be there. This not only made her unlikable, but also uncompelling. She didn’t want to participate in the plot and only did it to hold up her end of the deal, she wasn’t excited about the actual trip nor making friends, and eventually grew into it far too late in the story.

I then changed it to have the trip be her idea, and she ran away from home to chase this dream she had. Doing so gave her much more agency as an MC and gave her an immediate motive and goal so you wanted to see her succeed right from the get go.

Even villain protagonists have a goal, and generally they very much enthusiastically want to be in this story. You don’t have to like them, but you do have to want to root for them, if not for their success, then their eventual downfall in a blaze of glory.

—

Interested in a fantasy novel without a "chosen one" protagonist? Eternal Night of the Northern Sky is up for preorder in ebook, paperback on sale 8/25/24. Subscribe for updates if you'd like~

[shorthaltsjester]

the thing is that the “laudna or delilah” debate i think actually misses the complexity of laudna as a character — which i think actually gets magnificently illustrated when marisha talks about and chooses her actions as laudna. like in the game, she tends to act comfortably as laudna even in those delilah filled moments once the initial indication has been made by matt that laudna feels that presence particularly in a given way. but the vehicle of a ttrpg as the medium in which laudna exists and interacts means that there is intractable ambiguity in the “did laudna do this or did delilah?” because the answer is always at the same time that both of them chose it as it is that laudna did, because matt always brings in delilah as a reaction to the choices made, either by laudna in the narrative or by marisha as the creator orienting laudna’s choices. like tonight, marisha certainly didn’t say I’m Looking At This Sword Appealing to Delilah, but she did have laudna who was traumatized by that sword engage with it while also engaged with an action she has pointedly and continuously accounted as a coping mechanism from years of solitude with nothing but the voice in her head. laudna didn’t choose to have delilah in her mind, but she did choose to ask for more power, she did choose to act without orym’s input, she did choose to use her form of dread, whether or not she chose the form which it took. especially with the the indicators that this is a storyline alluding to addiction (something i’ve long suspected but has now been affirmed by marisha in the cooldown), it is extremely compelling that laudna is both insistent of her own responsibility when it comes to intentions but is absolutely avoidant to the point of absolute denial when it comes to consequences. this was especially apparent when imogen asked if laudna’s choices and actions were all her own and laudna insisted they were, but then ended the episode with a form of dread the image of delilah briarwood fading from around her as she repeated “i didn’t mean it.”

it is particularly interesting when she is alongside imogen because i think the thing that is the most compelling to me about them right now si something that laura (iirc) alluded to in the cooldown about how imogen has chosen a significant turn away from predathos at the same time laudna has leaned in hard to delilah. in a lot of ways imogen has been very like laudna when it comes to the importance of intentions vs. consequences, at least insofar as her experience with her powers led to a different kind of isolation than laudna’s but still led imogen to experience situations in which she was confronted by the cruelty of thoughts much more expediently than she was with the cruelty of actions. and while laudna has experienced the cruelty of actions, she ties those intensely to bad intentions as well — cruel actions come from cruel thoughts. i mean, that’s what fun scary refers to — in that first interaction with those kids, we get a clear though undoubtedly unintentional insight into the perspectives that laudna and imogen both have on the cruelty that the world contains. laudna sees no harm in the fear she instills in those children because she loves kids, her intention was fun, her actions can’t be truly harmful if she never intended it. and interestingly, imogen disagrees that laudna is fun scary at all, she actually points out that laudna is scary scary, but in a good way.

and so we have this dynamic between two characters who have been the balms to one another’s solitude — which, as has been expressed in other posts, in both cases emerged from their commitments to their outlooks: laudna continued to appear as a witch on the outskirts of town, likely engaging in haunting behaviour if her actions throughout the campaign have been any indicator, and continued to run until, interestingly, someone who could read her mind was the first person to truly realize she meant no harm. imogen isolated because she was inundated with thoughts and turned misanthropic because of how often those thoughts were negative and cruel, until someone (who partakes in actions that can very easily be considered at least appearing to be negative or scary) had thoughts that were good. and they fell in love — with a confession scene where laudna raised concern that she might be a bad person, because she herself had ill intentions in reaction to bor’dor (absolutely mediated by deliliah, but her own emotional reaction that prompted that mediation). and imogen’s rebuttal isn’t a reference to laudna’s choices or her actions but to the thoughts she’s had that imogen has been witness to.

except. except it’s been months and imogen has a mother who had the best of intentions to start with . intentions that look a lot like imogen’s own, but now she stands at the side of a man willing to risk the entire world so that he can (ostensibly) no longer have to deal with divinity. imogen’s mother who allows the murder of countless people, of every member of the hells themselves except imogen, of oryms family, to get the answers and the solution that imogen herself is looking for. and as imogen has gotten further in the journey, the role of thoughts and intention has become apparent in its limits. because it’s true that they are important, it marks a difference between ludinus and liliana absolutely when it comes to likelihood that they might have a path for redemption, but it doesn’t mark much of a difference for the lives lost. and imogen has become much more concerned with this, i think maybe most clearly in her decisions around her last few predathos diving dreams because her hesitation hasn’t been that they need to consider the sides more, it’s been that, regardless of her intent to come back to the hells, to get information for their mission, her will might still lose the fight against the pull of predathos and if she’s forced to be this vessel which might allow it free, it might not matter as much what her intentions are when she dreams.

and at the same time. laudna has been confronted with the same evidence that her worldview might not paint a complete picture, but she’s still looking at that incomplete image as the whole. as is clear in her reaction to liliana, where she sets up her position to imogen by referring to her own love for her — for laudna, liliana must not actually love imogen, couldn’t possibly if the outcome of her actions is imogen growing up without her mother and liliana aiding and abetting (even if occasionally Maybe limiting) exandrias mage criminal of the decade. except, as imogen who has started to be checked on her flawed thoughts > actions perspective points out, that inconsistency isn’t one that laudna is immune to — laudna loves imogen and the hells and undoubtedly wants to see them live in a world they can thrive in, but she’ll also give up pieces of herself and make decisions without their input that have implications for those she chooses to exclude as evident in her choice with the sword,

and so tonight’s everything was delicious . when marisha’s interparty conflict beam hits it hits and it did tonight but the conversation between laudna and imogen was truly truly fantastic and so compelling because you get both laudna so locked into the familiar comforting behaviour that thinking that her intentions are all that matters is and being confronted by the fact that right now the consequences seem so enormous that the comfort is cold and imogen realizing that the thing that she’s been struggling through with her mother — and don’t get me started about imogen’s response to her mother saying she’s made her choices for imogen and the fact that laudna’s first explanation of why she chose this was a similar appeal to protecting imogen — is the same thing that has a hold of the woman she loves, though in different forms. and god, not to add another unnecessary sidebar, but laura is truly so good at coming up with heartwrenching prompts? dialogue? i dunno what to call it but the way that taliesin is insane with one liners, laura is like that with setting up conversations and then eventually spiking them into my heart because jesus the “i just watch. [as she plunges a dagger into her heart]” “i’ll always love you, i just don’t know what to do with it” “i didn’t mean it” “i know” because that’s the thing, that’s the struggle . ethel cain voice directed at laudna and liliana. imogen temult loves you but not enough to save you. because it doesn’t matter how much anyone loves laudna if she still believes in the necessity of delilah, it doesn’t matter how much anyone loves liliana if she still believes her presence at ludinus’ side is a requirement. and that’s not to reduce the degree to which they both have undoubtedly been trained to believe those things, but it is to say that both in the text and in the real world situations to which people love to refer when reducing agency to make characters more girlboss or whatever — it’s actually explicitly the role that laudna ascribes to her own emotions and choices and value that will lead her to a life where delilah does not have full reign.

the ambiguity and complexity is that as long as laudna wants (which translates to a need for her) her power, she wants delilah and whatever words that delilah will feed her to validate the need for and/or increase that power, which means that her actions are always her own, and the consequences are always hers to bear. the messiness is her continued insistence on separating intention from consequence — because laudna never means harm, for her it’s about protection, even power doesn’t seem to be power for its own sake. even with orym tonight it was about protecting orym from the sword, but also of course about finding power for delilah so that deliliah might also grant her more power so that she can help save imogen and the hells and the world. but that means when she explains to others she can make claims like i didn’t mean to, or that the choice was all her own because as incorrect to anyone else, laudna has completely committed to her founded belief that intentions matter more than anything else when it comes to the judgement of someone and their actions.

[alicentral]

This is a response to a hotd critical post about the "favouritism towards Greens in screen time ratio", and I think it's so interesting how team black also feel like they're being fucked over by the showrunners when, to me, it's blindingly obvious that it's the other way round.

Not only are the show runners villainising the greens, not the blacks, they've also gone out of their way to make the blacks seem like the badass heroes who can do no wrong, and this is the root of the problem for both team black and team green. It oversimplifies the dance and goes against the themes and message of the whole book, rendering the characters either inconsistent, one-dimensional, and worst of all, flat and boring.

Lets start off with the greens. The argument that the showrunners are "gagging on the greens" doesn't hold up when we actually think about it for more than 2 seconds.

With the source material of hotd being a fictional history book with different biases and perspectives (emphasis on different perspectives), the showrunners have cherry picked what to adapt, and have chosen to take the worst of the greens as the objective truth and erase their good moments as "green propaganda". The main example that comes to mind is aegon. Plenty of other people have talked about this in depth before, but in f&b, aegon raping a girl was a rumour spread by mushroom, a narrator with a clear black bias who wasn't even in kings landing at the time. There was no reason in adapting this rumour other than to demonise aegon, and by extension, team green. The way the scene is framed, it is clear that it was never about dyana, how the rape affected her mentally, emotionally, socially, physically. For a supposedly feminist show, dyana's rape was a throwaway scene, it never had any impact on the story further. So what was the point of the scene other than to tell the audience "look at what a monster aegon is. How can you support someone like that?" And it works.

You can see on social media, any time there's something vaguely positive about the greens, you have hoards of people comment "yeah but he's a rapist" "how can you support a rapist?", etc. It forces you to side with team black. Later in the show, the audience gets to know that aegon's dick burst "like a sausage". Why would the audience need to know this? Aegon's mutilated dick is presented as "karma" for dyana and is only meant to humiliate him. And again, after this revelation, so many people on social media were making fun of his "burnt sausage". They've made a laughingstock of aegon, and as the figurehead of team green, it's clear that we're not meant to side with team green.

Furthermore, in bastardising, and sometimes, even completely erasing the relationships between team green, the showrunners have dehumanised them and made them irredeemable villains, because, again, we were never meant to side with those who "usurped the rightful queen".

The loyalty and commitment the greens had to one another made them such compelling characters and heavily shaped their central motivations and actions. Aegon only took the crown to protect his family. Aemond, after rooks rest, never called himself a king, only lord protecter even though he knows he would've made a better king than aegon. Daeron torched the riverlands to get to his mother and sister and sacked bitterbridge as revenge for his nephew. Helaena offered up her life for her son, and chose to sacrifice maelor because she knew he wouldn't understand what was happening. Their actions may not be necessarily good (and in daeron's case, actually happen to be war crimes), and their motivations may be morally grey, but they're understandable, they're sympathetic, seeing as it was out of love and loyalty, something that 21st century society can relate to. Without these complex and compelling ties, the audience is left asking why would the greens stick together if they all seemingly can't stand each other? Why fight for aegon if he doesn't even seem to care for them? What was the point in having the crown then? As a result, the characterisations feel one-dimensional (helaena being reduced to being just an "innocent" amidst her bloodthirsty family) or inconsistent (alicent. just her entire story arc. it could've been interesting if done right, but alas, no such luck), or rushed (suddenly aemond wants to be king in his own right after defending his brother's claim at storms end).

This isn't to say that team green are perfect, far from it, but the close emotional ties and relationships could've been used to elevate the internal conflicts in the show. We could've had complex characters who aren't necessarily good, but they're family and they stick together despite their personal grievances.

And this isn't even mentioning their bonds with their dragons. Where was vhagar roaring when aemond's eye was cut out? Aegon and sunfyre had the closest bond between dragon and human and that was given to rhaenyra in the show and where is dreamfyre?

One last thing on the greens, they are presented as incompetent and not equipped to rule, which is meant to show how it would be oh so much better if rhaenyra was on the throne. Criston parading meleys' head is framed as stupid as meleys was "a beloved dragon", ignoring the fact that she murdered hundreds of smallfolk at the coronation. Alicent is presented as stupid for thinking that after rooks rest, the small council would appoint her the queen, aegon in the small council was meant to be laughed at. Of course, this begs the question, if the greens were meant to be a mess of a faction with only 3 functioning dragons and now 2 effective dragon riders, how did they hold out against the blacks for so long? It's clear that the showrunners haven't thought this through.

So yeah, i don't really understand what this person was trying to say when they say that the showrunners are "gagging on the greens" when they are demonised, humiliated and stripped of compassion. I would like to say here, nothing i've said about the greens here is new to team green fans, and so many more people have gone into more depth about this.

Lets move onto the blacks. In a conflict where no side was meant to be in the right (who has the right to rule is a beast for another day), where there were no winners, only losers, where a dynastic dispute almost tore down the entire aforementioned dynasty, the blacks are framed as the heroes, the side the audience should root for. If they come off as villainised to the audience, i don't think it was done on purpose.

Opposite to the greens, they're mistakes and flaws are glossed over. I think this is the main reason why team black falls flat as opposed to lack of screen time, which i don't really want to count.

An important example of this is blood and cheese. In f&b, blood and cheese was a horrific event which drove queen helaena mad and, importantly, was meant to murder one of aegon and helaena's sons in revenge for lucerys. A son for a son. It was always meant to be jaehaerys. By making blood and cheese all one big mistake in the show, with aemond as the real target and oops, we can't find him so jaehaerys will do, team black and rhaenyra can't be held accountable for the murder of an innocent 6 year old boy. Moreover, the fact that rhaenyra never knew or sanctioned the murder, and it was all daemon going rogue, rhaenyra is even further removed from the horrific murder of a child, because, of course, our heroine can't be responsible for anything bad, she's meant to be the one in the right!

Furthermore, condal and hess try to force the smallfolk's love of rhaenyra during the dance, contrary to the book, which serves to uphold rhaenyra's right to the throne and show how team black are the right side. During the blockade on kings landing, the smallfolk conveniently forget that she's the one causing the blockade when she sends food through (showing that she could've done that at any time). The cheering for rhaenyra and the riot makes no sense, as again, she was the one who caused the blockade in the first place.

The introduction of the prophecy also is only meant to justify any "wrong" rhaenyra and team black do. The death of the dragonseeds and the smallfolk were all in the name of a prophecy so it's ok. And this is the thing which infuriates me the most, because the prophecy could've been a fascinating aspect of team black's motivations if framed right. The idea of committing atrocities in the name of a believed divine, higher purpose could've been used to expand upon team black's character growth and internal conflict vis a vis the knights templar and the crusades. How do they feel about this? Are they even aware of what they're doing? Alas, the show itself buys into the prophecy, buys into the divine purpose and suddenly, the atrocities aren't presented as "that bad" anyways. All of that to say, the show has never intentionally villainised team black.

So we've established that as the heroes, team black can't do anything wrong, and if they do, it's for a higher purpose, so it's alright. Team black's "emotions and conflicts are made secondary" not to "disposable filler scenes of Greens", but to themselves, or rather, to rhaenyra and her right to rule. So many team black scenes were used to uplift rhaenyra to show how she is the rightful queen. The main two examples of this that stick out to me is baela rebuking jace when he rightfully questions rhaenyra's decisions and daemon's whole harrenhal arc, which serves as his redemption and so he can reaffirm his commitment to rhaenyra's right to rule. Of course it's going to be "a bore" if the main characters, the ones we're meant to be cheering haven't got anything going for them except for cheering on rhaenyra.

There's no character interaction, no character growth, no real internal conflict because from the beginning, team black has been presented as in the right and can do no wrong, so there's no room to grow, no room to develop, not because of lack of screen time. When character development almost breaks through (see: jace questioning rhaenyra), it's quickly quashed, because the audience needs to be reminded that rhaenyra is always right. There's a clear good and bad side that the show is trying to force, which doesn't work in this setting because it reinforces the idea of the divine right of kings, the idea that one person, one family is superior to all others, and that person is rhaenyra here. It undermines the idea that no one was in the right for the atrocities they committed. No one can be justified and that fundamentally, these are not good people, they're interesting characters (or could've been interesting characters), but they're not good people.

So why? Why are the blacks presented as the good side and the greens presented as evil? It all comes down to the fact that the showrunners have propagated the idea that the dance is about a woman's struggle to rule in the face of misogyny, rather than the decline of house targaryen due to their belief in targaryen exceptionalism or the consequences of the pursuit of power. Sure, feminism and misogyny is one aspect of the dance, but it's not a major driving factor. The showrunners have backed themselves into a corner here, because they trying to portray the dance through a modern feminist lens, and so they believe that they can't write women being flawed or evil, and so we get the free, liberated good side and the "misogynistic", conservative bad side.

So in conclusion, it is clear that the showrunners aren't villainising the blacks as this person believes, but the greens. In doing this, they've made a clear cut good and bad side which works to the detriment of both team black and team green. It leads team green's characterisation to be inconsistent and one-dimensional and it chokes team black from having character growth.

Listen, i don't know if team black truly have less screen time than team green, but if they do, it's not the reason why team black falls flat.

[nothingbutsweetwords]

ɴᴏʙᴏᴅʏ'ꜱ ꜱᴏɴ, ɴᴏʙᴏᴅʏ'ꜱ ᴅᴀᴜɢʜᴛᴇʀ

ᴀᴇᴍᴏɴᴅ x ʀᴇᴀᴅᴇʀ!ɴɪᴇᴄᴇ

"ᴛʜɪꜱ ʜᴀɴᴅꜱ ʜᴀᴅ ᴛᴏ ʟᴇᴛ ɪᴛ ɢᴏ ꜰʀᴇᴇ ᴀɴᴅ…"

Word count: 7,150.

Fandom: House of the Dragon.

Pairing: Aemond x Reader!Velaryon!Niece.

REUNION — 11. Her.

Her heart skipped a beat when, inadvertently, she nearly collided with him at the threshold of Helaena’s door. Although she should have anticipated the possibility of finding him there, her thoughts had absorbed her so completely that she forgot about that eventuality.

Aemond looked at her intently before slightly inclining his head in a greeting that felt as harsh as a cold slap. “Niece” he pronounced with a formality that seemed unusual, like a barrier that had risen.

It was as if that single word was a reminder of the distance that now lay between them, a sharp contrast to the days when they had called each other by their names, when their voices had been soft and intimate, meant only for each other’s ears.

Upon entering, a feeling of relief enveloped her, as if the warmth of the place allowed her to release the breath she had been holding and as if the very air within had the power to soothe her troubled spirit. 

It was a reflection of Helaena: decorated with soft tones and peculiar objects that seemed to have been chosen with almost ritualistic care. There were antique furnishings and pale blue silk curtains, and delicate aromas of dried flowers and spices pervaded the air. Everything created an atmosphere that made her feel like she was in a world apart, far from the realities waiting outside those walls.

“It is lovely to see you, princess” Helaena said, her voice as soft and ethereal as she remembered, a melody that always seemed to float in the air. Despite the years, she retained that magical aura.

“And you as well, princess” she replied, returning the smile. “I was wondering, could I interest you in a walk through the gardens?”

Helaena’s smile deepened as she nodded, then rose from her chair and approached her. She remembered that she had never been fond of physical contact, so with a subtle gesture, she decided not to offer her arm, respecting that particular trait that had always characterized her.

They walked side by side, exchanging words about trivial matters as they made their way through the halls. The bustle that filled the place and the presence of others compelled them to keep the conversation light, avoiding topics that might attract idle glances. However, there was an undercurrent of unspoken thoughts, a tacit understanding flowing between them.

Eventually, the noise of the castle faded as they reached the gardens. The winding paths were lined with freshness and color, and the murmur of the fountains created a soothing symphony. The sky was a clear blue, dotted with fluffy clouds, and the air was filled with the sweet perfume of flowers and the crisp and salty scent of the sea.

“I heard that you got married” she began gently as she chose her words with care. She watched Helaena closely, noticing the way her serene expression flickered for a brief moment, a fleeting shadow crossing her face. It was a subtle change, almost imperceptible, but it revealed melancholy. A pang of guilt quickly followed, realizing she had touched a delicate subject. “I apologize, I did not intend to…”

“It is quite alright, do not fret” Helaena raised a hand to reassure her, a gesture filled with understanding that eased her discomfort. “This marriage may not have been what any of us would have wished for, but some things simply must be.”

She nodded, feeling a small ache as she saw the resignation in her aunt’s blue eyes, those that used to shine with such pure light and now seemed to have lost some of their sparkle. “He may not be the greatest husband, but he is a good brother” she added, offering a faint smile. Her words were an attempt at comfort, though she knew they carried a weight, an acknowledgment of the complexities and compromises Helaena had to endure.

She found herself wondering how much she had sacrificed, how many dreams had been set aside for the sake of duty. 

“And are you happy here?” she asked, hoping to delve into Helaena’s feelings, into that deep well of emotions her aunt had always carried with her. There was something in her expression, a latent sadness, a yearning for something more that she couldn’t ignore.

Helaena paused, gazing into the distance before she spoke. “Happiness is a curious thing,” she said with a wistful tone, “sometimes it hides in the most unexpected places. I believe I have discovered a peace here that I did not foresee, though it is not what one might imagine.”

She felt admiration and sadness as she listened, recognizing the strength it took to find peace in less-than-ideal circumstances. “That can be a form of happiness” she offered gently, aiming to convey her understanding. “It may differ, but it is nonetheless genuine.”

Helaena smiled softly. “Indeed” she agreed. “It is a gift in itself, and I have learned to cherish it.”

She nodded slowly. She knew her aunt had always had a special connection to the world, a perception that transcended the visible, touching the mystical, the ineffable, and that what she had found was not resignation but a deep acceptance of her place in the grand scheme of things.

“And how has time treated you?” Helaena asked.

She swallowed, aware of the subtext in her own response. “Time can be relentless, yet it is also revealing” she said, with a tone that tried to remain neutral. “However, Dragonstone has truly brought me joy and transformed me.” A faint smile touched her lips as she allowed herself to reflect on the place she had come to love. “I hope you might visit someday; Aegon’s garden is as beautiful as they say. Perhaps less vibrant than this, but just as lovely. There are blueberry trees and numerous pines” she added.

Helaena nodded, her eyes shining. “Yes, I do like it very much” she said.

She cleared her throat, as if preparing to pose a question whose weight could change the course of the conversation. “How has he been?” she finally asked, her voice dropping to a whisper, almost as if fearing that the wind might carry her question away before receiving an answer. 

“My dear brother is quite hard to decipher” she responded. “He has merely been… simply existing.” She paused, then added, “I do believe your visit might prove beneficial for him.”

A sharp, bitter laugh escaped her lips before she could stop it, a sound born of frustration and the nagging doubt that her presence could make any difference. Her expression twisted with sadness and cynicism, the weight of her feelings pressing down on her. “I am uncertain that my presence is what he requires” she muttered, the words tinged with a bitterness she hadn’t intended to show. 

Helaena, however, only chuckled softly at her response, her gaze knowing. “You may be surprised” she said with a smile. “Sometimes, fate takes its toll on us in ways we cannot control” Helaena mused. “I am sure he wishes to speak with you.”

She knew that when Helaena spoke with certainty about the future, her words were more a revelation than a mere observation, so a spark of hope emerged within her.

The sea breeze gently caressed their faces as they continued walking through the gardens. The sound of waves breaking against the sand in the distance provided a soothing backdrop that accompanied their conversation.

“I recall when we used to play here” she said, her eyes sweeping over the landscape that had witnessed so many shared laughs and secrets. “We were so different then, so innocent.”

Helaena nodded. “Time alters us all… Yet, at times, I wonder if we truly change or if we merely uncover who we are meant to be.”

She furrowed her brow, pondering these words. “Perhaps that is the case” she murmured, more to herself than to Helaena, as if trying to unravel the hidden meaning behind that reflection. There was something in her aunt’s serenity that had always puzzled her, a kind of deep calm that contrasted with the turmoil that seemed to envelop the rest of the world.

“So, Silverwing” Helaena said suddenly, smiling with a glint of complicity in her face. She smiled at the simple mention.

“It was magnificent, Helaena” she said, filled with emotion. “I feel as though all the years I awaited have finally borne fruit.”

“I knew it would come to you,” Helaena said softly. “It was destined to be.” She lowered her gaze, her voice descending. “I did see a story repeating” she murmured. “The connection between you and her is deeper than you imagine, and your destiny is tied to hers in ways we do not yet understand.”

The words lingered in the air, imbued with mystery, as if the future was traced on an invisible line only she could see.

She fell silent, immersed in the depth of what she had just heard. The sensation of standing on the edge of a premonition, of knowing that something was coming but being unable to see it clearly, was both intriguing and unsettling. Her mind raced with possibilities, questions, and the fear of the unknown. With a nervous laugh that barely masked her growing unease, she asked, “Should I be fearful?”

Helaena’s expression softened, her lips parting to speak, but before she could respond, the sound of approaching footsteps shattered the fragile moment. A maid appeared before them, and with a respectful bow, informed them that Rhaenyra was awaiting her presence.

She nodded, thanking the maid with a faint smile. She turned to Helaena, who said, “It appears that duty always beckons.” 

“Shall I accompany you back to your chambers?” she asked, hoping to prolong their time together, even if only for a few more minutes. There was so much left unsaid.

“I would prefer to stay here a little longer” Helaena replied softly, almost dreamy.

She nodded again, though her mind remained tangled. As she headed toward the exit of the gardens, her steps grew slower, and before crossing the threshold back to the castle, she turned once more to look at Helaena. There, standing among the flowers and the murmurs of the garden, Helaena with her enigma and wisdom seemed to hold answers to questions she hadn’t yet fully formed. 

As she stood there, torn between staying and leaving, a flicker of movement caught her eye. From one of the nearby galleries, she saw Jacaerys making his way toward the garden. A spark of intrigue ignited within her at the sight of her brother, his presence unexpected.

She watched him for a brief moment, curiosity mingling with a sense of foreboding. With questions swirling in her mind, she finally turned away, continuing on her way.

After a quiet dinner with her family, she retired to her room. Although the bath was meant to be a refuge of calm, it did little to soothe her agitated mind; the words continued to echo in her head like an unrelenting echo.

Once in bed, frustration took hold of her, marking every line of her face with the hardness of unease. Uncertainty gnawed at her inside. Why would he want to talk to her? After years of cold silence, after so many unanswered letters and desperate pleas, what could he possibly have to say? 

She wrestled with the idea of seeking him out. Why should she be the one to make the first move when he had maintained such a cruel distance? She recalled how that very morning, during breakfast, he had shown not the slightest indication of wanting to address her, and that indifference had felt like a calculated insult, intensifying the raw edge of her anger.

The annoyance turned into an oppressive presence. She felt trapped in a cruel paradox: cast aside and yet irresistibly drawn to him. She closed her eyes, grumbling. Worse still, memories began to flood her, each one more painful than the last. Everything about him was etched into her being in an indelible way, and yet, he remained an enigma, a question without an answer.

It was tormenting to dream of the delicate act of brushing his long, silken hair; distressing to aspire to feel the softness of his skin under her fingers; exasperating to imagine being close enough to trace the features that the years had added and molded on his face; unbearable to visualize his imposing presence beside her, and maddening to fantasize about kissing the lips she once knew.

Would it be enough to stand on tiptoe to reach him, or would he have to bend down as well to close their distance? Would his mouth still hold the same sweetness it had that night? Would she still melt under the heat of his proximity with the same intensity?

Then more demoralizing questions arose: Would she still be the only one whose arrival softened his gaze with relief and illuminated it with joy? Would she still be the only one he allowed himself to show his true vulnerability to, the only refuge for his battered soul?

Each memory, each fantasy, was an echo of what had been and what could have been, both a comfort and a torment. Resignation and hope intertwined within her, each struggling to dominate the other, leaving her at an emotional crossroads. The battle between the desire to forget him and the longing to reclaim him was so intense that it offered no peace.

She wanted to hate him for what he had caused her, for the endless nights of loneliness and tears shed in his name. She wanted to hate him for the agony of waiting for a sign that never came, for the affection that remained alive despite the pain. Yet, despite her resolve, she could not. Her soul, bruised and defenseless, could not harbor that hatred. 

“Fuck” she cursed under her breath, burying her face in the pillow as if she could smother everything within her. But it was futile; every emotion refused to be silenced, every memory clung tightly to her soul.

Finally, unable to bear the pressure in her chest any longer, she got out of bed with a nearly frantic impulse. She needed to see him, and needed answers. She hastily dressed, her determined hands slipping into a silk robe that barely covered her attire, and took a candle to light her way.

She left her room, traversing the hallways she had long abandoned. Each step echoed in the night’s silence, and her thoughts raced uncontrollably, driven by an uncontainable longing. She didn’t know what she would find at the end of this path, but something inside her urged her to keep going, to face whatever awaited her in the darkness.

With each step, she questioned her decision, but then she saw him. There, approaching her. The dim light of the candle barely illuminated his features, but she didn’t need more to recognize him. They both stood frozen, staring at each other, each trapped in their own thoughts.

She wondered if he was there for her, if he had felt the same impulse, or if their meeting was merely a coincidence. Before he could confirm the latter, her lips moved forward, and though her voice tried to remain steady, a subtle tremor betrayed her nerves.

“I wished to speak with you” she said, her words hanging in the air, a tentative bridge between the two of them, each waiting for the other to cross it. “Shall we go to your chambers?”

He nodded, and though the dimness made it hard to read his expression, the surprise was evident in the tension of his posture, in the way his shoulders lifted slightly.

He walked silently beside her, guiding her to his room. The space had remained untouched, as if the years had not left their mark. Everything was in place, meticulously ordered.

She set the candle on the bedside table, and with an instinctive gesture, her gaze landed on a sapphire resting in the same spot as the one she had gifted him so many years ago. This one was smaller, less imposing, yet its presence in that familiar place pierced her core in a way she hadn't anticipated. A dull ache pierced her chest.

Without saying a word, she walked to the window, seeking the fresh air that seemed just beyond the glass. She closed her eyes, trying to steady her irregular breathing, but the words slipped from her lips before she could stop them.

“Why?” The word cut through the air like a knife, sharpened by years of pain, unrequited love, and accumulated fear that had festered in silence. She turned on her heels to face him, her voice trembling with the intensity of what she felt. At that moment, more than ever, she needed the truth. 

Why had he ignored her for so long? What invisible force had kept him away, preventing him from responding, from seeking her, even once?

She wasn't sure what answer she was yearning for. Perhaps finding comfort in the notion that he hadn’t cared as much as she had; though such a revelation might break her heart again, it would at least allow her to turn away and bury those fragile hopes that kept her on edge.

Finally, in a grave and almost muted whisper, he said: “Why what?” Hearing him again made her pulse race.

“Why did you never come to see me?” she asked, her composure wavering, barely upheld by the strength of her resolve. 

The silence that followed was unbearable. He looked at her, his eye reflecting a storm of emotions, but his lips remained sealed, as if the answers were trapped in his throat, unable to escape. His mouth opened and closed several times, making no sound, as if the weight of the truth was too heavy to bear.

“I did not know if you wished for my presence” he finally responded, so simple that it seemed almost insulting, only deepening her disbelief.

“Is this some jest? I asked you so many times” she demanded with growing bitterness. “Did my letters mean so little to you that you did not even take the time to read them?” Her voice hardened, laden with a suppressed rage that had been wounding her for too long.

“What letters?” he asked, his confusion evident, etching across his face like a blank canvas, as if he couldn’t comprehend the words she spoke. The question seemed almost naive.

“The letters!” she exclaimed, feeling her short patience running thin with every passing second, “the ones I sent you” she added, stating the obvious. The urgency to clarify the situation was like an unstoppable force, driving her to speak, to bring to light what had remained hidden. “I thought we had something special. Did I imagine it?” She finally cracked. “I waited for so long, I wrote to you so many times, like a fool. I hoped… I hoped for a response, a visit, something to let me know you hadn’t forgotten me” she confessed, her emotions overflowing, raw and naked before him.

“You wrote me?” he asked, as if he needed to hear it once more to fully grasp the reality of her words.

She glared at him, her frustration boiling over. How could he be so cruel as to toy with her emotions? “Do not mock me” she snapped, turning her back on him in anger. 

She felt his proximity, the radiance of his body like a magnet drawing her in, but she forced herself to look out the window, struggling to regain her composure. Then, his voice broke through, filled with a desperation that tugged at her heartstrings. 

“I wrote to you as well, hundreds of times. I swear this to you, by all the gods” he said, pleading. There was something in his tone, an earnestness that made her hesitate. It sounded so genuine, so wounded, that she couldn’t simply dismiss it.

“I never received a single letter from you” she countered, her brow furrowed in confusion.

“Nor did I. Not one. Had I received any, I would have come to you at once. You must believe me" he replied with pain, as if each word cost him dearly. “I thought you did not want to hear from me”

She studied him, trying to read the truth in his eyes, the shadow of anguish that seemed to cling to him. Despite the sincerity she sensed, a veil of doubt still loomed over her, casting a cold shadow over her. He had never deceived her before, and she had no reason to disbelieve him now, but the situation didn’t make sense.

“Why would I not?” she asked, distrustful. His shoulders rose in a gesture of ignorance, unable to offer a concrete answer. The confusion on his face reflected the internal chaos they shared.

Then, a possibility emerged in her mind. What if he was telling the truth? What if the years of separation were not due to their own actions, but to some malevolent force that had kept them apart? The idea was both terrifying and liberating, but she still couldn’t fully accept it.

She shook her head, her mind spinning in a whirlwind of contradictory thoughts. She began to pace nervously around the room, searching for answers in the air. Her steps were quick, uneven, as her mind tried to process what she was hearing. The room felt smaller, as if the walls were closing in. After several minutes of internal struggle, she halted abruptly and turned to face him. He stood still, his gaze fixed on her.

“Are you not upset about this?” she asked, skepticism still marking her tone. If all of this was true, then the situation was even more perplexing, almost impossible to comprehend.

He looked at her intently, his eye piercing through all her barriers, touching her very soul. “I cannot find it within myself to be angry at this moment, not when you are here before me once more” he whispered with a tenderness that seemed straight out of her wildest dreams. His words were heavy with a melancholic sincerity, as if every syllable was a tribute that carried the weight of the years they had been apart. Her own heartbeats began to quicken, almost painfully, resonating in her ears. 

“I never stopped thinking about you, wondering why I never heard from you, missing you” he continued, cutting through the layers of her distrust. “I never wanted to lose you.”

The tears that had been threatening to appear pooled in her eyes, clouding her vision. “Is that true?” she asked, trembling. “Did you truly never stop thinking about me?”

He moved closer slowly, closing the distance between them with each step. “Never,” he confirmed, “not for a single second.” A small shiver ran down her spine as she heard him. The romantic words she had longed for so much, which had seemed like mere whispers in books and songs, were now manifesting in her reality, but it felt so surreal that surrendering to it seemed almost naive.

She bit her lower lip, struggling to maintain control, to not give in. She shook her head, avoiding his gaze, murmuring softly, “This is too much.”

With an air of quiet acceptance, he responded, “I understand. Take all the time you need.”

She turned away, still in shock, her mind unable to fully process what had just happened. Before she could think any further, she turned back and threw herself into his arms, her body acting on her deepest wants.

He, always so prepared for anything, took a step back, caught off guard by her sudden move. Feeling his heart racing, tears began to fall uncontrollably. The embrace was fierce, as if she could hold onto the fragments of their lost time and prevent them from slipping away like the letters they never received.

He held her close, gently resting his head on hers. The only sound in the room was her ragged breathing and the small sobs escaping from her throat, creating an intimate cocoon of shared vulnerability.

“I am sorry, I am sorry for everything” she whispered through her tears. She didn’t quite know the reason for the lament, perhaps for the love they had let slip away, or for the illusion she had created to justify his silence, which didn’t do justice to the boy she had loved. She closed her eyes, letting herself be carried away by the moment, allowing her emotions to overflow.

After a few minutes, she lifted her head to look at him. “What do we do now?” she asked, searching for a glimmer of direction, a way forward amidst the uncertainty.

He raised a hand to her face, gently wiping away the tears that fell, the hot contact on her skin causing a tingling sensation. “I won’t let us be separated again” he said with firm determination. “If you will allow me, I wish to mend what has been broken.”

He looked at her expectantly, searching for a sign of consent, and she nodded softly, accepting the offer. In that moment, she understood that, despite the time and distance, maybe, just maybe, they could find a way back to each other.

Time seemed to stand still, suspended in a heavy silence. Their gazes intertwined, merging in an instant that felt endless. Finally, she slowly pulled away from him, though his hands seemed reluctant to let her go. With her mind overwhelmed, she let out a deep sigh and turned toward the door.

He took the candle and opened the door. He went first, leading the way that she knew better. A small smile appeared on her lips.

Arriving at the door of her room, she pushed it open and entered, pausing to look back at him. He stayed a few inches behind, right at the threshold. “Take it” she said, pointing to the candle. He nodded with a small smile forming at the corner of his lips. “Good night” she added.

“Good night” he replied.

Before closing the door, she gathered her courage and planted a small kiss on his cheek. The contact, though brief, left him momentarily stunned. As the door clicked shut, she leaned against it, allowing herself a moment of solitude, letting out another deep sigh.

As the minutes passed and the echo of his footsteps faded in the hallway, she moved further into the room. She set aside her silk robe and collapsed onto the bed, exhausted. She buried her face in the pillow, stifling a cry of frustration and relief, letting the weight of the evening’s emotions pour out.

Dawn brought a new perspective and a soft light that had yet to filter through the window. She woke up with a sense of duality, both agitated and peaceful, her thoughts still tangled with the events of the previous night.

The revelation that her letters had never reached their recipient, that the words she had poured out with so much love and desperation had been lost in a void of no return, was a bittersweet blow.

It had been both reassuring and heart-wrenching at the same time, a truth that revealed much and, at the same time, very little. It had stolen her years of companionship but also showed her the resilience of a bond that seemed to defy distance and time.

She slowly sat up, the weight of emotions still fresh. Before she could finish getting ready, the door creaked open, and Lyra entered with a look of shock.

“Did you tumble from your bed?” she joked. “Are you well?” she asked, moving closer upon noticing her expression.

She took her friend's hand and gently guided her to the bed. Lyra sat beside her, her eyes filled with silent empathy.

“Has something happened?” Lyra pressed, shifting from playful to serious, and her brow furrowed more intensely.

“I visited his chambers last night” she said directly, without preamble. The reaction was immediate: her mouth fell slightly open.

“Why on earth would you do that?” Lyra asked, her voice rising with indignation. She made a gesture with her hand, signaling her to keep her tone down. “Why?” she repeated, more forcefully this time.

“I needed to speak with him” she replied. The expression on Lyra’s face turned into a blend of understanding and exasperation as she tilted her head, studying her. “You yourself suggested we needed to resolve matters” she justified, trying to validate her actions.

Lyra’s eyes narrowed slightly, a gesture of reprimand. “I did not intend for you to seek him out in his chamber in the middle of the night” she corrected, low and tense. “If someone were to find out…”

“Nothing happened, we merely conversed” she interrupted, trying to defuse the situation. 

“But you are not children any longer” Lyra continued, concerned. “Such a visit would not be well seen, especially not for you.” She nodded, acknowledging the truth in those words. “Well, go on then, what did he say?” Lyra asked finally, her curiosity clearly overcoming her initial concern. 

She took a deep breath, gathering her thoughts. “He claimed he never received my letters and that he had written to me” she replied, quoting his words. “It turns out, both of us were left waiting, each under the impression that the other had moved on.”

“How can that be?” Lyra inquired. “That is a great deal to process.” After a moment of reflection, she asked cautiously, in a barely perceptible whisper, squeezing her hands. “Do you believe him?” 

“Yes, I do. Besides, what motive would he have to deceive me? If he had truly ignored my letters, he would have no reason to deny it.” She sighed before continuing. “Aemond can be unkind at times, but he has never been untrue.”

Lyra nodded, although doubt still lingered in her mind. “Do you think it could have been…?” she began, her tone dropping even further, as if fearing the words she was about to utter, hesitant to voice the suspicion.

“I do not believe so” she replied firmly. “This seems excessive, even for her.” Lyra looked at her skeptically, recalling past actions.

“For the woman who nearly harmed your mother?” Lyra asked, with an incredulous grimace. She bit her lip, knowing that a mother’s desperation can drive one to extreme measures, but she didn’t dismiss the idea entirely.

“But this situation does not solely affect me” she continued, with an intensity reflecting the complexity of the situation. “It affects him as well. And she cares for him deeply.”

“Precisely” Lyra agreed. “She would do whatever it takes to protect him.”

“Protect him from what?” she asked with confusion. The question hung in the air, and Lyra remained silent, without a clear answer.Then, finally spoke, thoughtful. 

“She might have had reasons to keep him away from you, perhaps out of fear or misguided protection.”

She pondered, her mind racing with the possibilities. “But why? What could be so dire that it would justify such measures?”

“I do not know. But at least you have cleared the air now. What comes next?”

“I am not entirely sure” she admitted. 

After a few minutes of silent reflection, a soft chuckle escaped Lyra’s lips, slowly building into a cascade of infectious giggles. The accumulated tension seemed to dissipate with that joyful sound. She looked at her, caught off guard by the sudden shift in mood.

“What is so amusing?” she asked.

Lyra tried to stifle her laughter, covering her mouth with her hand, but her eyes sparkled with a mischievous gleam. “Ever since I arrived, I have been giving him the cold shoulder” she admitted between giggles. “The poor boy must be utterly baffled.”

She couldn’t help but laugh at the mental image of a confused and helpless Aemond. “Do you think he noticed?” she asked, the smile still lingering on her lips.

“Most likely, I looked at him like he was the stranger himself.” Lyra replied, her laughter still bubbling up. “He must have wondered what on earth he did to earn such hostility.”

Their laughter intertwined, filling the room with a warm, rejuvenating energy, washing away the remnants of earlier worries.

“Thank you for always standing by my side” she said with genuine gratitude.

“Always” Lyra replied, her hand gently brushing against hers.

Before long, a soft, persistent knocking at the door interrupted their conversation. Lyra stood up and went to open it, revealing the small figure of her younger brother, peeking in with some shyness.

“I came to fetch you for breakfast” Joffrey said.

She smiled and rose from the bed, feeling a renewed sense of purpose as she got up. She approached him, taking his tiny hand tenderly, and let him lead her.

After breakfast, she enjoyed a leisurely stroll with Joffrey, their small conversation peppered with laughter. Later, they lost themselves in the depths of the library, where he became utterly captivated by the history of dragons, his curiosity leading to a flurry of questions that she eagerly answered, pleased to see his fascination.

As the day wore on, and she returned to her chambers, she began to feel the gentle pull of fatigue settling over her. With thoughts of a possible meeting lingering in her mind, she slipped off her shoes, intending to indulge in a brief nap. But just as she was about to surrender to the comfort of her bed, a series of gentle knocks interrupted her reverie. The sound was unusual, coming from the back door. A flutter of excitement stirred within her as she quickly made her way to the door.

When she opened it, she found him standing there, his expression showing relief. The sight of him brought an instant smile to her lips, one that he mirrored with a sincere, if slightly reserved, smile of his own. The mere sight of his face was a cure for her restless soul. 

“My prince, it’s a pleasure to see you” she said, friendly.

“The pleasure is all mine, my princess” he responded carrying a touch of formality that didn’t quite mask the underlying nervousness. After a brief pause, he cleared his throat and added, with a hint of uncertainty, “I was wondering if you might grace me with your company for lunch.” 

She looked at him, feeling a pleasant warmth spread through her. Her heart fluttered with anticipation. “Yes, I would like that. Shall we dine on the balconies?” she suggested, her tone light and inviting.

He hesitated, a flicker of unease crossing his features as his gaze shifted. “I was thinking… perhaps my chambers” he finally said, unsure whether his proposal would meet her expectations.

She raised her eyebrows in mock startelement, a playful glint as she teased, “Do you truly believe that to be appropriate?”

His composure faltered, and a faint blush crept up his neck. “No, of course not, you are right” he stammered, clearly flustered. “If the balconies are your preference, I can…” His voice faded into a murmur, the words trailing off into an insecure murmur.

She interrupted him with a light laugh, a melody that seemed to dissipate the tension in the air. “I was only jesting, let us be off.” 

She turned away momentarily to slip her shoes back on, then returned to his side, his expression more relaxed. He offered his arm to her, and she took it gently, feeling the heat of the contact despite the leather suit he wore. 

Together, they walked their way down the hall, the midday sun filtering through the narrow windows, bathing their faces in golden light that made the atmosphere feel even more intimate. They couldn’t help but steal furtive glances, trying to decipher each other’s thoughts.

Upon reaching his room, she was greeted by a scene of meticulous preparation. The table near the window was elegantly set, offering a breathtaking view of the city below. Every detail had been considered—the dishes arranged with care, the variety of delicacies laid out like a feast for the senses, all reflecting the thoughtfulness of someone who had taken great pains to create something special.

As they approached the table, he hurried to pull out a chair for her, a courteous gesture that brought a soft smile to her lips. “Thank you” she murmured as she settled into it. 

He sat across from her, and as he did, the atmosphere seemed to soften, the initial tension giving way to a more comforting familiarity. “An entire army could feast on this” she teased, her gaze sweeping over the overflowing table. “Does no one find it strange that you requested so much food?” Her curiosity was laced with a hint of excitement, wondering if he had mentioned she was joining him.

He offered a shy smile, a quiet laugh escaping as he began serving the food. “I was unsure of your preferences” he admitted. “And no, I usually dine with my sister.” His voice held a note of apology that didn’t go unnoticed by her.

“I am sorry for the inconvenience to her” she said, with a slight disappointment, but acknowledging the thoughtfulness behind his gesture. The care he’d taken in preparing the lunch spoke volumes, revealing a sincere desire to share this moment with her.

“No such thing” he reassured, a soft smile tugging at the corners of his lips. She understood the unspoken message—Helaena, no doubt, was already aware and understood.

As they began to serve themselves, the meal took on a significance beyond the food on their plates. Their conversation flowed easily, touching on lighthearted topics—books they had read, childhood memories that evoked shared laughter, recent events that bridged the gap of time they had spent apart. She noticed how his face brightened with each bite, relaxed. Yet, beneath their words, there was a palpable tension underlying it, a tacit acknowledgment that something important was about to be discussed.

When the meal drew to a close, a silence settled between them—not the awkward kind, but rather the type that felt like a collective breath, a pause before something of great importance. It was as if they were both gathering their thoughts, preparing for the conversation they both knew was inevitable. The room, now quieter, holding its breath alongside them, the air thick with anticipation as they hovered on the brink of a pivotal moment.

She stood up slowly, excusing herself before walking toward the window. Perching on its edge, she gazed out, lost in the endless expanse of the city below. After a brief pause, he followed, leaning against the wall beside her, close enough to share the view but leaving a respectful distance. “It seems like the city never rests” she whispered, barely louder than the soft hum of life outside. He followed her gaze, nodding in quiet agreement.

The silence between them grew deeper, as if the world itself had paused to allow them to find the right words. Finally, he broke the silence.

“Last night… I did not truly know what to say” he confessed, his gaze fixed on the ground as if searching for answers in the stones. His hands, usually so sure and steady, now betrayed him, fidgeting with a nervous energy that seemed out of place. “It was… too overwhelming.” She watched him, allowing him to find his own rhythm as he spoke, giving him space to organize his thoughts.

“I cannot help but feel that this is an opportunity the gods have placed before us” he continued, a faint smile playing at the corners of his lips, a fragile flicker of hope igniting within him. “I know not if this is the right moment… or if there ever is a right moment” he added, his fingers scratching at the sensitive skin on the side of his nails.

Before his nervous hands could inflict harm, she reached out, gently enclosing them within her own, her fingers wrapping around his in a tender, reassuring embrace. Under her comforting touch, his anxiety slowly faded. She drew him closer, making him sit beside her, their faces now almost at the same level.

He looked out toward the horizon. “I know I promised you time last night… and if that is what you require, I shall honor it” he murmured. “We can start anew… rediscover who we are now. But I feel that, no matter how much we have changed, deep within… we are still ourselves. And I have spent too many days regretting the words I never spoke, the chances I did not seize.”

He turned his gaze from the horizon back to her. “And if there is one thing of which I am certain, it is what I feel for you” he whispered, raw with emotion.

She met his gaze, her curiosity flickering, the unspoken need to hear the words that had yet to cross his lips. “And what, pray tell, do you feel for me?” she asked softly, aching to uncover the depths of him.

He inched a little closer, his eye locking onto hers with a fierce intensity that seemed to draw in all the light around them and steal her breath away. “A force that compels me to search for you in every corner of my soul, the reason my days feel hollow and incomplete if you are not in them" he said, letting the weight of his feelings settle between them like a fragile, precious thing. "Without you, I am but a dragon without fire, a mere shadow of what I could be… with you by my side”

She stared at him, paralyzed by the beauty of his words, unable to find her voice. The seconds stretched out, feeling like an eternity until he, with a tone laced with vulnerability, asked, “And you, do you feel the same about me?”

A pang of remorse pierced her chest for making him wait and for the doubt she had created in him. “Yes, I do” she answered with the undeniable truth.

He sighed, relief and hope lighting up his face. “I believe we must tread cautiously, at least for a time” he said. “There is still one who does not wish to see us united. If we keep this between us, it will be easier to protect what we share.”

She nodded, caught in a tug-of-war between the desire to proclaim their love to the world and the understanding of his wish for caution. While every fiber of her being longed to declare their victory over the obstacles that had stood in their way, she knew there was wisdom in his words.

“I have missed you” he confessed so soft it was almost swallowed by the quiet of the room.

“And I you” she replied, “dearly”

He looked at her with a tenderness that made her heart swell, then the space between them seemed to dissolve as their hands remained clasped. He leaned in, his forehead resting gently against hers. “Would you like to spend the rest of the afternoon with me?” he asked, his tone gentle and inviting.

@helaenaluvr @purplegardenwhispers @callsignwidow @scarletbedlam @fics-i-love-and-recommend @squidscottjeans @truly-abysmal @fossface @congenialcopycat @that-girl-named-alex @oh-you-mean-me

now it's going to start the good part i promise! besitos.

[bookwormangie]

I don’t think Snape liked his students but I do think he care about their wellbeing - another scene that comes to my mind is in DH when he’s headmaster. Students are being tortured and mutilated on the regular under the new Death Eater curriculum (Snape needs to let it happen to play his role as Voldemort’s servant). But when he catches Ginny and Neville trying to steal the sword from his room, their detention is… dun dun dun… going to the forest with Hagrid.

Yes, that’s a great scene. Though Snape had already promised Dumbledore before his death that he would do anything in his power to protect the students if Voldemort took over. Given his history of safeguarding students from danger, I believe he would’ve acted the same way regardless of Dumbledore's request.

Additionally, comparing McGonagall’s approach to detentions with Snape's under normal circumstances, sheds light on their differing methods. McGonagall sometimes assigns risky detentions—like when she sent four first years into the Forbidden Forest to search for a wounded unicorn, despite warnings to stay out given by the teachers themselves. Snape, on the other hand, tends to give detentions that are tedious and unpleasant, such as cleaning bedpans or disemboweling toads, but never risky.

The scene you brought up, where he sent Ginny and Neville into the forest with Hagrid, was a strategic move on Snape's part and a necessity. He had to give them a risky detention to appease the new regime and avoid suspicion, while covertly shielding them from brutal punishment by the Carrows. It exemplifies Snape’s ability to navigate his loyalty to Voldemort while subtly protecting the students.

I love Snape so much; he’s such a complex character, and I love delving into his motives. Thank you for bringing up this scene—it’s another compelling example of Snape’s concern for his students' physical well-being. 🫶🏻

[luveline]

dad!eddie taking care of you after a fainting spell? and hugs from both munsons please ♡♡ tysm

dad!eddie x reader my love <3 not quite a fainting spell but he takes care of you after a shock!! (almost step mom!reader) 2k

Eddie's daughter, Roan, is screaming from the very top of her lungs. You shoot up in bed, your heart racketeering out of your chest, just begging to burst you open and have you dropping dead right there in the bedroom as you shoot onto your feet. You rush to the top of the stairs, and the closer you get the more distinguishable her words are. 

"We will ROCK!" she's shouting, accompanied by punctuating metallic thuds, wooden spoons against pots and pans. "Because that is what rockstars do! Hold on to your SOCKS!" 

Eddie chuckles from somewhere near her, though through his laughter he says, "Ro! You'll wake Y/N up, baby, you can't be shouting!" 

"She needs to get up already it is nearly the afternoon," she says, with a fierceness only harmed by her disjointed pronunciation. 

"But she was up last night with you, you meanie," Eddie says. 

Roan bangs a pot. "Dad, it's not nice to call people names. You'll give them a col- a compel- a complex," she insists. 

"It's not nice to wake people up when they're sleeping." 

"You wake me up every day." 

You make your way down the stairs as they talk, your heart thud thud thudding against your ribs even though the danger you'd imagined is firmly non-existent. 

"And you keep me up at night. Wanna call it even?" Eddie's asking her. 

You walk past the front door and turn down the hall leading to the kitchen. Roan is sitting on the kitchen floor surrounded by all your pots, and Eddie's sitting at the small dining table with a mug between his hands. He's looking at you before you make it into the kitchen. He must've heard your steps down the stairs. 

"Hey, what's with the face?" he asks. "Are you alright?" 

Are you? Your heart is pounding still, it won't slow down, and your head feels heavy like all the blood has rushed and stayed there. You turn your face to Roan on the floor, in her darling, purple silk pyjamas, her hair nicely brushed. Eddie's bathed her and changed her: last night she looked like a wreck, cotton jammies stained with milk dribbles and melted chocolate chips, her hair a frizzy halo. 

"Roan," you say, "are you okay?" 

"I'm rockin'!" she cheers. She stretches a little foot your way, frilly socks to the ankle. 

"Hey," Eddie says gently, standing up from his chair, coffee mug set aside. He crosses the kitchen, stepping carefully over Roan and her drumset, an expression you've never seen before on his face. "What's the matter?" he asks, hushed, his face hidden from Roan's view. 

"Nothing, I–" Your head throbs with a sharp pain, an ache behind your eye socket. You duck your head. "I don't know what's wrong," you admit. 

"Hey, hey, hey," he says, still so gently. "It's okay. You're okay. Come and sit, okay? I got you." 

You cover your eyes with your hand. Eddie leads you swiftly to a chair in the kitchen, pushing you into it by your shoulders. 

"Roan, baby," he says, "do daddy the biggest favour in the world, yeah? Will you go and get that big fluffy blanket from the living room?"

"It's so heavy," she says dubiously. 

"Drag it, baby." 

Roan jumps up to leave, accidentally kicking one of her drums as she goes. The sound is like an ice pick right into your soft brain. 

"Hey," Eddie murmurs, running a cautious hand down your back. He's bent awkwardly, trying to meet your eyes. "What's wrong, babe? Are you faint?" 

"I don't know what happened. I heard the shouting," you say, licking your lips. "I thought something happened, so I got up, and I realised it was just her having fun but my heart won't stop." 

Eddie puts his hand down your shirt without comment. It's big and warm, covering the top of your breast methodically. His thumb rubs at your collar, one slow steady line. 

"Take a deep breath, baby. It's not too fast right now."

"Sorry," you say, and maybe you're freaking out more than you thought 'cause his comfort makes your eyes water, your apology strangled and weak. 

He shushes you. You'd feel guilty for making him worry if you weren't so conscious of your aching head. 

"It's okay. She's fine, she was shouting about making music like I used to. Roan's okay, and you're okay." His hand presses firmer to your chest. 

"I know, I'm sorry." 

He wipes your tears before they can fall. He isn't as gentle as he usually would be, the few times you've cried in front of him marked by the lightest of touches, and that's your only clue that he's panicked too. 

Roan moans and grumbles as she pulls the blanket into the kitchen, having carried it across the back of her shoulders, a length of it falling into her eyes. 

"It's sooo heavy, daddy," she says. 

"And you're soooo strong." He holds your eyes for a second, an unspoken promise that he's not going anywhere for long. 

He turns to Roan and pulls the blanket off of her head. He kisses the top of her head twice, says, "Thank you muchly," in his Animal voice to make her giggle. 

You don't realise you're shivering until he's wrapped the blanket over your thighs and around your sides. He tucks it between your back and the back of the chair to keep it up, and he stays squatting in front of you with a searching gaze. 

"You're okay." He waits for you to respond with nothing but patience in his eyes. "Hey," he says, tone infused with lightness, hand rubbing roughly at your covered thighs, "it happens to me. It used to happen to me all the time, when she started walking and she'd get out of bed by herself in the mornings before I was awake, she'd climb and she'd– she'd fall." He laughs happily. "She got hurt sometimes and I hated myself. But I got better at knowing when she was up, my amazing dad senses would kick in. I'd get an itchy arm in my sleep and I'd know she was doing something she shouldn't be doing. I think you got a couple of years worth of that all in one go." 

You exhale hard, your head falling toward his. Your foreheads smush together none too gently, but he doesn't say a word after that. He curls his hands behind your neck. 

"What's wrong?" Roan asks quietly. 

Eddie gives your neck a squeeze. "Nothing," he says, leaning back. Roan's looking at you both with a concern too old for her face. 

"You guys look 'spicious. Are you having the bad head ache again?" she whispers. 

"A little bit," you tell her, not really lying.

"Sorry, was it my music?" 

"No. No, princess, it wasn't your music. I woke up with it." 

Eddie licks his lips. He sits down on the floor from his squatting position, hand around your ankle, and doesn't have to beckon for her. Roan drops into his lap and gets immediately hugged to his chest. 

"It's not your fault, but when we were shouting we woke her up, and she thought something bad happened," he explains. 

"Oh. Sorry." 

"No," you say quickly. 

"It's alright," Eddie seconds. "It's nice to say sorry when we make mistakes, but you didn't mean to, and it's not your fault that it scared her, you know? I just want you to know what's wrong." 

"It wasn't you, Roanie," you say, frowning at her crestfallen expression. "Promise. Pinky promise." 

You hold out your pinkie. Roan takes it. You shake your joined little fingers together gently. 

"Well, I won't play any music again," she says. 

"Maybe not for now," Eddie agrees. "But if her headache goes away quick then we can play tonight. Maybe we'll do karaoke!" 

"Yes," she says, though she goes shy, and turns around in Eddie's arms to wrap herself around his neck. Her face dissapears into his long hair. She whispers something you can't hear. 

Eddie lets go of your ankle to pull her in tightly, his hand big enough to cover the majority of her small back. 

"I'm not mad at you," he says, like he's answering a question. 

"I didn't mean to make her feel sick," she whispers. 

"You didn't. It's just a shock sometimes, hearing big noises when you're sleeping. Like when you fell down the step outside of Uncle Wayne's trailer last week. You remember how weird that felt? You didn't hurt yourself, but you were scared. It's like that." 

"Oh, right." 

Roan pulls away from her dad and moves to stand up, but she changes her mind and gives him a quick second hug before she does. Then she climbs off of his lap and turns on the spot to you, her puppy dog eyes wide and soft at the edges, her eyebrows pulled up at the starts. She looks so much like her dad.

"Is it a dark headache or a light one?" she asks. 

You blink at her. "Um…" 

"'Cos sometimes you turn the lights off. Dad can put the shutters down." 

"Oh," you laugh. "No, babe, it's not that bad. The lights need to stay on, anyway, so I can see your beautiful, gorgeous face." You push a curl behind her ear. The older she gets, the straighter her hair becomes, like the weight of it is pulling it down. The ends curls up still, and it looks lovely when it's freshly washed like this. 

"You're beautifuler," Roan says, blushing at the attention. 

"No way, you're the most gaw-juss girl in the world." Prettiest, loveliest, smartest. Isn't that why you'd been as terrified as you were, worrying something bad happened to her? 

"Isn't she prettiest?" you ask Eddie. 

"Why do you girls do this? You have arguments and then I end up in trouble. If I say it's Roan, you'll punch my guts, and if I say it's you you'll both punch my guts. Either way, I get a gut punch and you guys make me grovel." 

"So choose the right one," you say, easing your hands under Roans armpits. 

You pull her into your lap and twist her so you can put your chin over her head. Your eye still aches with a constant shooting pain, but it’s not so bad, and Roan's nice-smelling hair and tiny fingers petting your arm makes it manageable. 

"No. I refuse to choose."

"So neither of us are pretty?" you ask lazily, hiding your face in Roan's downy hair. 

He gasps. Roan gasps. He knows you've set him up and he flicks your ankle. It's code for I'll get you back. 

"Dad, we are pretty!" 

"I know you are! I never ever said you weren't, mom's setting me up!" 

You beam. Mom, interchangeable to both of them with your name, not always used, is a delight to hear. You certainly feel like her mom when you're having conniptions over her safety. 

"No," Roan says loudly. You tamp down a wince. "Mom's sick, you're settling up yourself!" 

Eddie grabs your ankle again, his fingertips breaching the cuff of your sweatpants to feel your calf. 

"You're both equally gorgeous. Now don't ask me again, I need to make breakfast." 

"Okay," Roan says, turning in your lap to push her face against your collar. "Make breakfast. We are hungry." 

You look down at her with a bunch of different feelings. Happy she's alright, entertained by her delivery even if she doesn't mean to sound so deadpan funny. And astonished, most of all, that she loves you. That they love you.

Eddie kisses the top of your head. "Feel better?" he asks. 

"Yeah," you say. You feel much better now. 

—

more eddie and roan ♡ pls reblog if u enjoyed love u!!

[literaryvein-reblogs]

Writing Notes: Subplots

Subplot - a side story that runs parallel to the main plot.

It has a secondary strand of characters and events that can infuse important information into the main storyline.

Also known as a minor story, a subplot creates a richer, more complex narrative arc in novel writing and other storytelling mediums.

When crafting a narrative, a writer’s job is to create a compelling story.

One way to do that is through subplots—secondary storylines found in novels, plays, television shows, and movies.

In creative writing, a subplot can reveal more about secondary characters, create plot twists, and add another dimension to a story.

Most importantly, a good subplot raises the stakes for a main character.

An Example: Romeo and Juliet

William Shakespeare weaves several subplots throughout this tragic love story.

The backstory of the long-running feud between rival families, the Capulets and Montagues, creates the central conflict in the play—two young lovers from warring families desperate to find a way to be together.

The subplots involving the warring families create dramatic plot points that escalate the tension, like when Romeo’s best friend Mercutio is killed by Juliet’s cousin Tybalt.

4 Types of Subplots

When coming up with writing ideas to enhance your main plot, think of using one or more subplots. These could include any of the following:

Mirror subplot: A smaller-scale conflict mirrors the main character’s in order to teach them a valuable lesson or illuminate how to resolve the conflict.

Contrasting subplot: A secondary character faces similar circumstances and dilemmas as the main character but makes different decisions with the opposite outcome.

Complicating subplot: A secondary character makes matters worse for the main character.

Romantic subplot: The main character has a love interest, and this relationship complicates the main plot.

6 Tips for Writing Better Subplots

When you’re writing a book, always brainstorm the best subplot ideas that can deepen the tension and make your main character’s scenario more complex.

Try these tips when you craft your next narrative:

Ensure that your subplots play second fiddle.

A subplot exists to support your main storyline but should never overpower it.

Subplots should end before the main plot.

The exception to this rule is a romantic subplot, which often concludes in the final scene.

Give your subplots a narrative arc.

Subplots are stories, too.

Create a narrative framework for each, though on a smaller scale than your main plot.

Use this technique to tell a supporting character’s story that affects the protagonist’s actions.

You might even incorporate flashbacks as a subplot, mirroring a character’s journey with something that happened in their earlier days, like high school.

Write character-driven subplots.

Just like your main story, characters should drive the action in a subplot.

Create foils that can highlight qualities in your main character.

These characters will either help or hinder the protagonist in the story.

Try a new POV.

Your subplot might provide information that your main character is unaware of.

If your main plot is told in first person, try changing the point of view in the subplot to third person.

Figure out how to connect the subplot and the main plot.

There are numerous ways to use subplots.

A parallel subplot runs throughout the entirety of the story, showing different sides of the same plot.

This builds suspense as the reader waits for the two plots to collide (think The Fugitive).

You can also write small, isolated subplots.

Briefly introduce a character who drops in early on, then revisit their journey near the end of the story to shed light on the deeper meaning of your main plot.

Ramp up the tension with a subplot.

Propel your main story with information revealed in your side stories.

Subplots are a strong medium for foreshadowing events, so use them to drop hints and clues.

Source

[polarspaz]

Was rereading the Knowing Too Much AU (eldritch batfam beloved), and realized that since Barbara's aspect is knowledge does that mean she's the third to figure it out? Maybe after the Cave Incident where everyone's trying to undo the "curse" Tim is under. She wants to know what happened to him, she wants to know why, she wants to know how, she wants to know if she can fix it. And then she stumbles upon his research, and figures out what's really going on. And she changes. (It's not a curse, it's so much worse...)

You are correct! Barbra is the third one to figure out what's really going on. But I'm trying to decided wither or not she tells Tim she knows. Telling Tim might devastate him, as he's clearly been trying to keep this thing suppressed in anyway possible, and telling him could also actually make things even worse.

The less people know about this mess, the better.

I also updated the positive/negative powers for the EldritchFamily

-Tim/Aspect Hope = Power/Teleportation. Tim can create a portal to anywhere, and innately knows where any object or person is. The entity however forces Tim to drag people back to Gotham, wither they want to return or not. Tim is essentially the chain that keeps them tied to city

-Bruce/Aspect Justice = Power/Shadow manipulation. Bruce can warp shadows and make them physical. He can also melt into shadows and use them to travel anywhere there is a patch of darkness. He can also lurk in these spots and spy on people if he wishes. The entity however has a good deal of influence on Bruce and can tamper with his personalty, making him more extreme in his crusade or suppress his emotions.

-Dick/Aspect Humanity = Power/Empathy. Dick can amplify people's positive emotions, like love, happiness, and compassion. His power helps the family retain their humanity, boosts their powers, it can also help compel villains to do good deeds. The negative part to his power though is that the entity will make Dick inject negative emotions into villains, making them even more deranged and violent.

-Jason/Aspect Rebirth = Power/resurrection. Jason's power is the most OP and ironically the most simplistic, he can bring people back to life. The downside? The entity makes him bring back villains too, especially the Joker.

-Cassandra/Aspect Secrets = Power/Invisibility. If Cassandra doesn’t want to be found or suspected, she will never be seen or thought of again until she desires it. She can also turn herself or anything she wants completely invisible, even to technology and the senses, meaning you can't track her through smell or sound either. The entity forces her to hide objects or people that could help the family rebel against it. ((She never remembers doing this either, so she can't just cheat and tell where the shit is lol))

Barbra/Aspect Knowledge = Power…Knowledge lol. If Barbra wants to know something, she will always find the answer to it. She remembers EVERYTHING and instantly understands any complex idea or problem that comes before her. However, whatever she learns, she must share that same knowledge with the entity, meaning whatever she knows, the entity knows too.

Also here's some others who are affected by the entity.

Alfred/Aspect Loyalty. Jim Gordon/Aspect Diligence. Damian/Aspect Redemption. Joker /Aspect Chaos. Catwoman Aspect/Desire. Stephanie /Aspect Mischief.

[cosmerelists]

Cosmere Protagonists Who Would Support the Villain...of Other Cosmere Planets

As requested by @asteroidfieldgame :)

Sure, in their own stories the villains are not well-liked by the majority of the cast. But if we took those villains and had them meet protagonists of other Cosmere novels...well, then it might be different, mightn't it?

[Here there be spoilers! I would skip any entry if you're not caught up on all the books for both characters involved!]

1. Moash: Supported by Kelsier

Kelsier: [holding Moash protectively ala that one meme with Kevin Hart] Kelsier: My boy Moash has LITERALLY never done anything wrong ever! Kelsier: Ooooh, did he kill his oppressors? Is he mean to poor helpless nobility? Did someone Rich experience a Consequence? Moash: (mumbling) I did try to drive my friend to suicide. Kelsier: Shh...baby boy, it's okay! Kelsier: I made my disciple advocate for old people to kill themselves with spikes to preserve their power! Kelsier: You're literally fine.

2. Odium: Supported by Harmony

Harmony: Listen, I'm not saying I agree with everything Odium does. Harmony: But making it so that you have a planet of mighty, battle-hardened residents to prepare for the coming Cosmere-wide conflict? Harmony: Sometimes I wonder if I should have done something more like that. Harmony: Instead of giving everyone an easy life and making giraffes because giraffes are neat. Odium: Have you considered...battle giraffes? Harmony: Please don't patronize me.

3. Hrathen: Supported by Ellista (that one Ardent who was really into romance novels)

Ellista: I am not immune to a handsome man in bloodred armor with a troubled past whose hard, mean exterior is slowly worn away through love. Ellista: A man who chooses love--unrequited love!--over his own god! Ellista: Problematic for an Ardent like me, but so, so compelling. Ellista: (sighs dreamily) Hrathen: ... Hrathen: Could I have someone else's support please?

4. Riina [from Tress]: Supported by Wayne

Wayne (counting off reasons on his fingers): One, if you're gonna be the sort to be giving out curses, giving out breakable curses makes you less of an unforgivable villain and more of a garden-variety dick. Wayne: Two, rats are cute. Makin' someone a rat is better 'n' making them a grub or something. Wayne: Three, and most importantly, her penis spaceship is hilarious. Riina: IT WAS NOT A PENIS SPACESHIP

5. The Lord Ruler: Supported by Dalinar

Dalinar: I suppose I am simply more aware than most that being a king is hard and can involve less-than-ideal-choices. Dalinar: And didn't he essentially become immortal while trying to cage an evil god and save his planet? I am literally setting myself up to maybe experience that as we speak. Dalinar: I know he took an entire population and made them slaves, but I did tell Jasnah not to free our slaves so, like... Dalinar: ... Dalinar: Maybe Wit was right. Maybe I AM a tyrant. Wit: You've never done an enforced breeding program with humans, though. That I know of. The Lord Ruler did that! Like, a lot! Dalinar: ... Dalinar: Wait I want to mitigate my support a little.

6. Taravangian: Supported by Shai

Shai: That Diagram of his...well, it's pure art, isn't it? Shai: I'm not immune to the appeal of incredibly complex and well-researched plans turned into an artistic representation so beautiful that it attracts worshippers. Taravangian: It's really more science than it is art, I'd say. Shai: Hilarious that you think those things are different.

7. Nale: Supported by Marasi

Marasi: He knows the law and follows the law. Marasi: Don't think it would ever occur to him that someone could be quote unquote "above" the law. Marasi: That makes him better than, like, quite a lot of my coworkers.

8. The Machine [from Yumi and the Nightmare Painter]: Supported by Vasher

Vasher: Obviously a soul-eating machine that nearly destroys a planet and turns people into nightmares is not ideal. Vasher: But it's not the machine's fault it was given an ill-considered Command. Vasher: Hey! Bald guy! Wanna gentle-parent the machine too? Szeth: Uh

9. Raboniel: Supported by Elend

Elend: Not for nothing am I chair of the Support Women's Wrongs fanclub. Elend: Nor can I fail to support a Woman in Science. Basic feminism. Elend: And although I know my bar is on floor, a parent who will do anything to save their child from eternal suffering gets me right here. (points to his heart)

10. Straff: Supported by...no one

Straff: ... Straff: ... Straff: OH COME ON

[gojuo]

this show went from aemond killing luke (who took out his eye) to purposely killing his brother, because of some drunken joke.

Aemond embarrassed him at the council by also speaking Valyrian fluently and Egg could barely complete a sentence, they were even!

kill a sibling and and not feeling the slightest bit of guilt He takes aegon's dagger and walks away casually as if it wasn't his full brother dying there) about it is something only the worst of the worst would do such as gregor clegane, euron greyjoy and ramsay bolton. it's sick..nothing like stannis and maekar who killed their brothers but had no happiness about it

even daemon targ didn't dare try to kill viserys wtf

we are doomed. we expected complexity between aegond and we received and we received an attempt at fratricide and regicide 😭

It's just not even remotely an interesting or compelling or sympathetic character arc or motivation to me, sorry. I didn't care for Aemond in the book, I loved him in the show out of spite, now I'm back to not caring about him bc this is just not the type of character whose development, whether it be a progression or a regression, I enjoy following. My bridges are burned 😬

Side note maybe but I've noticed how it's Daemon that's getting the sympathetic portrayal concerning his family over his narrative foil Aemond, which, in my opinion, is another aspect of the Greens Condal is taking away and giving to the Blacks that I've been harping on about in posts and tags everywhere lately.

The greatest of his rivals was Daemon Targaryen, the king’s ambitious, impetuous, moody younger brother.

Fire and Blood, p. 354.

As King Viserys had no living son, Daemon regarded himself as the rightful heir to the Iron Throne, and coveted the title Prince of Dragonstone, which His Grace refused to grant him…but by the end of year 105 AC, he was known to his friends as the Prince of the City and to the smallfolk as Lord Flea Bottom. Though the king did not wish Daemon to succeed him, he remained fond of his younger brother, and was quick to forgive his many offenses.

Fire and Blood, p. 355

Thus did matters stand in King’s Landing late in the year 105 AC, when Queen Aemma was brought to bed in Maegor’s Holdfast and died whilst giving birth to the son that Viserys Targaryen had desired for so long. The boy (named Baelon, after the king’s father) survived her only by a day, leaving king and court bereft... save perhaps for Prince Daemon, who was observed in a brothel on the Street of Silk, making drunken japes with his highborn cronies about the “heir for a day.” When word of this got back to the king (legend says that it was the whore sitting in Daemon’s lap who informed on him, but evidence suggests it was actually one of his drinking companions, a captain in the gold cloaks eager for advancement), Viserys became livid. His Grace had finally had a surfeit of his ungrateful brother and his ambitions.

Fire and Blood, p. 359.

Prince Daemon was not amongst them, however. Furious at the king's decree [naming Rhaenyra heir], the prince quit King's Landing, resigning from the City Watch. He went first to Dragonstone, taking his paramour Mysaria with him upon the back of his dragon Caraxes, the lean red beast the smallfolk called the Blood Wyrm. There he remained for half a year, during which time he got Mysaria with child. When he learned that his concubine was pregnant, Prince Daemon presented her with a dragon's egg, but in this he again went too far and woke his brother's wroth. King Viserys commanded him to return the egg, send his whore away, and return to his lawful wife, or else be attained as a traitor. The prince obeyed, though with ill grace, dispatching Mysaria (eggless) back to Lys, whilst he himself flew to Runestone in the Vale and the unwelcome company of his "bronze bitch." But Mysaria lost her child during a storm on the narrow sea. When word reached Prince Daemon he spoke no syllable of grief, but his heart hardened against the king, his brother. Thereafter he spoke of King Viserys only with disdain, and began to brood day and night on the succession.

Fire and Blood, p. 360.

After Mysaria lost her unborn child, Daemon hated Viserys. He had no love for his brother anymore and began his grooming of an 8-year-old Rhaenyra to get closer to what his biggest wish in life was: the Iron Throne.

Notice how this is not him in the show but Aemond now? The bullying + brothel plotline to make him hate Aegon is not there in the book. In contrast, Aegon, Aemond and Daeron together actually hated the Strong bastards and none of them, especially not Aegon, were friends.

The sins of the fathers are oft visited on the sons, wise men have said; and so it is for the sins of mothers as well. The enmity between Queen Alicent and Princess Rhaenyra was passed on to their sons, and the queen’s three boys, the Princes Aegon, Aemond, and Daeron, grew to be bitter rivals of their Velaryon nephews, resentful of them for having stolen what they regarded as their birthright: the Iron Throne itself. Though all six boys attended the same feasts, balls, and revels, and sometimes trained together in the yard under the same master-at-arms and studied under the same maesters, this enforced closeness only served to feed their mutual mislike, rather than binding them together as brothers.

Fire and Blood, p. 377-378.

It was Viserys actually who hurt Aemond over being dragonless, NOT Aegon.

Only the middle son, Prince Aemond, remained dragonless, but His Grace had hopes of rectifying that, and had put forward the notion that perhaps the court might sojourn at Dragonstone after the funeral. A wealth of dragon’s eggs could be found beneath the Dragonmont, and several young hatchlings as well. Prince Aemond could have his choice, “if the lad is bold enough.” Even at ten, Aemond Targaryen did not lack for boldness. The king’s gibe stung, and he resolved not to wait for Dragonstone.

Fire and Blood, p. 380.

Aemond in the book was also never characterized as lusting after the throne like Daemon was. He's always been presented as a staunch supporter of Aegon's birthright.

One-eyed Prince Aemond, nineteen, was found in the armory, donning plate and mail for his morning practice in the castle yard. “Is Aegon king?” he asked Ser Willis Fell, “or must we kneel and kiss the old whore’s cunny?”

Fire and Blood, p. 397.

The greatest danger was deemed to be Storm’s End, for House Baratheon had always been staunch in support of the claims of Princess Rhaenys and her children. Though old Lord Boremund had died, his son Borros was even more belligerent than his father, and the lesser storm lords would surely follow wherever he led. “Then we must see that he leads them to our king,” Queen Alicent declared. Whereupon she sent for her second son. Thus it was not a raven who took flight for Storm’s End that day, but Vhagar, oldest and largest of the dragons of Westeros. On her back rode Prince Aemond Targaryen, with a sapphire in the place of his missing eye. “Your purpose is to win the hand of one of Lord Baratheon’s daughters,” his grandsire Ser Otto told him, before he flew. “Any of the four will do. Woo her and wed her, and Lord Borros will deliver the stormlands for your brother. Fail—” “I will not fail,” Prince Aemond blustered. “Aegon will have Storm’s End, and I will have this girl.”

Fire and Blood, p. 400.

“You must rule the realm now, until your brother is strong enough to take the crown again,” the King’s Hand told Prince Aemond. Nor did Ser Criston need to say it twice, writes Eustace. And so one-eyed Aemond the Kinslayer took up the iron-and-ruby crown of Aegon the Conqueror. “It looks better on me than it ever did on him,” the prince proclaimed. Yet Aemond did not assume the style of king, but named himself only Protector of the Realm and Prince Regent.

Fire and Blood, p. 437.

I know people like using this passage as evidence that Aemond wanted the crown, but this is the only sentence that insinuates such a thought in the entirety of F&B, and it then also gets shots down immediately in the next sentence after. People can yap about how Aemond knows he can’t do or say anything as long as Maelor is alive, but when this one sentence—which gets rebuked pronto anyway—is the only evidence you have for that headcanon vs. Daemon who in the text explicitly and repeatedly is said to want to throne and hate his brother, then it’s just not a supported notion in the text or subtext at all.

That “‘Tis I the younger brother who studies philosophy, history and swords etc. etc.” is also nowhere in the book. This second son complex is just a show invention that used to be Daemon’s in the book now given to Aemond in the show, because of course Condal wants Daemon to be far more sympathetic in the eyes of the audience through exploring his love and guilt towards his brother and Rhaenyra with the Harrenhal hallucinations, rather than Aemond, whose actions snowballed into Blood and Cheese and who has a far better character arc lying in wait if that love and guilt he feels towards his brother post-B&C had actually been his.

Show!Aemond is such a wasted character, really. They had so much potential in him becoming an unhinged, murderous psycho falling into impatiency (reason for leaving KL and Cole unprotected) and mania (reason for carpetbombing the Riverlands) because of the immeasurable guilt he feels for what his actions have caused his family (Kinslaying!! The greatest sin in Westeros!!! Blood and Cheese!! ASOIAF’s most atrocious event that kinda happened because of him a little bit!!!)... And yes, it’s not a justification but it’s a reason for why he would do such monstrous things in the book because that’s just how a young, 19-year-old, emotionally volatile, new-to-the-horrors-of-war Targaryen prince with access to nukes would act like once he’s wholly consumed by the guilt of Blood and Cheese and war and the failure at Rook’s Rest and his brother’s disability therefore he’d become unable to face his family anymore culminating in what’s basically his suicide above the God’s Eye... His obsession with facing Daemon could have been because he feels like he has to redeem himself towards his brother for kinda being the cause of Jaehaerys’ death... but Ryan Condal does not want the viewer’s focus to stay on Blood and Cheese or else that would mean negative feelings towards Daemon and Rhaenyra are validated, and also the Greens can’t love each other and care about each other or how else can Condal portray them as fuckups unworthy of positivity so that the viewer does not get attached to them or root for them? Blood and Cheese and Jaehaerys have practically been forgotten by the Greens and the show by now. Nobody cares anymore! How many times has anyone even said his name? Uggghhhhh.

That love and loyalty the Greens feel for each other was, of course, all propaganda 🙄 Daemon in the book got his somewhat redemption through saving Nettles at the cost of betraying Rhaenyra, so fuck Condal for switching him and Aemond around and fuck Condal for cutting Nettles in order to whitewash Rhaenyra some more. And then stealing the love and loyalty the Greens had to the family and giving it to the Blacks. Ugh.

[nextstop-fixationstation]

OK analysis time! Matt said that Marcy's affection towards Sasha was more surface level than Anne's, which was described as "complicated." People might assume that this means that Marcy's affection for Sasha wasn't deep, or that their relationship wasn't.

If we're being honest here they weren't presented as having depth to their relationship so much as having acts and services. They're on the level with each other and can interpret each other's needs for a plan but they are lacking somehow when it comes to each other's emotional needs. This is something Darcy touches upon when they say they might not have ever been friends at all, and might be a core conflict between Sasha and Marcy. It's also a good example of why Anne is the actual Heart of their friendship. She connects and makes their dynamic deeper. While Marcy is desperate to keep people together and hates being alone, she admits she lacks a core understanding of emotional intelligence and this is something she admires in Anne. Marcy treats herself as a tool and mostly makes friends by doing things for them and complimenting them. She's kind of the perfect POV character for a journal that gives lore specifically because she's very attentive to things like strengths and weaknesses and team synergy, but isn't necessarily attuned to emotional intelligence. She kind of blocks herself off from feeling certain things too keenly or doubting herself, and masks it using this peppy overachiever persona.

Maybe if Marcy were more emotionally self aware, she would have been even more openly hurt by how dismissive Sasha is of her interests (even though Sasha clearly does like nerdy things), or she would have noticed that her friends don't really care for RP (etc). But in the series what we see is a Marcy so afraid of being left alone that she'll hide every emotion and every hurt aside from what she thinks will make people stay - she delivers compliments, improves infrastructure, says all the right things to earn trust. She's a great twist antagonist! Admitting that her friends don't or can't reciprocate her interests or desires is important to her arc, because it serves as a lesson to her that friendship is more than just doing things together or doing things for each other. Marcy and the others aren't just tools in schemes and plans.

We hear from Anna that Sasha has difficulty knowing when to bring other people to the table, so for someone like Marcy who thinks that she needs to earn everything through acts/upgrades, it makes sense that their relationship remained very surface level. Neither of them pushes the other to see things differently, while Anne does. Anne can acknowledge where people hurt and hurt her, and can acknowledge that this doesn't mean they aren't friends or significant to each other. Anne notes the complexity! It's why she's so compelling.

So, Marcy acknowledging how hurt she is that her friends don't want to do what she wants is significant because she also says, "I believe in you." Love goes beyond the stuff we do for each other. There's a bit of faith, too. What she did isn't right either. Being hurt isn't an excuse.

Darcy isn't just "evil Marcy," the Core is also every temptation for Marcy. Escapism, distraction, perfect friends who go on quests with her whenever she wants. There's a darkness to this kind of insecure attachment that Darcy reveals. Fear of inadequacy and irrelevance. Fear of loss. Fear of change. Fear of what is deeper than skin deep. Maybe my friends will forget me if I move. Maybe I'm just their nerd, just like Sasha's just cool. So their relationship isn't surface level to us, because this nuance is communicated to us through the subtleties of the show's execution. It's a really well acted, well boarded, well written show with fantastic music! It's really amazing!

Sasharcy IS very complicated! But it's complicated because they never dig deeper with each other until it's too late. It's also why it's significant that Sasha is the one to ask, "Can we save this friendship?"

Why is friendship with Marcy so easy? Is it because they got along and there's mutuality here, or is it because they didn't let themselves get any deeper than what was easy? It's so easy for them to just be the controller and the executor.

Forgiveness is hard. Forgiveness takes time. It takes a lot of thought, discussion, and work. Friendship in the long term, deep enough to mean something and hurt when it's gone, is similar. It's not just sentimentality and acts of appeasement.

aaaaand that's what i think matt meant when he was like "marcy's affection for sasha was kind of surface level"! I will admit I was like noooo Matt noooo don't say it was surface level whyyyy but like i had time to think abt it so i'm fine now lol lmk ur thoughts💙

smth i didn't add to my original tweet thread is that i DO find it interesting that marcy appears to specifically empathize with the experience of lonely people who grow up a certain way or doing things a certain way to protect themselves from loneliness. she seems to have an intuitive understanding of people fitting into groups via niches, but is drawn to people who already seem like outcasts as opposed to being able to identify it when someone is surrounded by people they seem to easily connect with. Marcy has this fundamentally insecure and lonely viewpoint that makes her very interesting to read and analyze, and I suspect it also contributes to her popularity. I mean, clearly *I* love her

[essektheylyss]

for the ask game: 🧡🖤💚

🧡: What is a popular (serious) theory you disagree with?

Until I see definitive proof that Ludinus is in fact as old as he wants people to believe he is, I will not believe it. I don't even really have an opinion on how old he is; I just don't think he's as old as he tries to suggest. And lest it be said that I am playing favorites, the thing about Ludinus is that he talks the way Essek talks in 91—and there are a lot of things Essek says at that dinner that I take with a good heaping of salt. It's this sense that they're talking around things that they would rather people not question; they're both very skilled at talking around things in a way where they aren't outright lying, but they'd rather you not think too hard about it because there's shit they're not saying. To be clear I also won't be mad if there does turn out to be some evidence in canon that he is that old, but thus far, there is nothing definitive, and I do not take the word of unreliable NPCs at face value.

🖤: Which character is not as morally good as everyone else seems to think?

I don't think this is really an unpopular opinion at this point, but Jester. Nice =/= good. I don't think she's evil, by any means! But her morality is a lot more complex than it's given credit for and I think it's one of the things that is most interesting about her. I'd actually consider her largely amoral; it's just not really an axis of consideration that she worries about. She doesn't want people to hurt her or her friends and she doesn't want something to destroy the world, but otherwise she doesn't really care much about what someone's morality is. "Just don't be evil to me" is an incredible sentiment for a reason. She cares more that Essek said they were his friends than the fact that he's the traitor they've been looking for. Ludinus is so insignificant to her despite his literally world-spanning evil plots that she has basically forgotten him six years later, even though two members of her friend group have spent the last six years trying to pin him down. Jester is hilariously amoral and I love that for her.

💚: What does everyone else get wrong about your favorite character?

[cracks knuckles] OKAY, this is where I've got receipts, because hooo boy do I have an opinion and I will be proving it.

Essek does not have an opinion on the Prime Deities. He does not really have much of an opinion on religion. He actually does not by the end of the campaign have any real issue with the Luxon, and frankly he primarily expressed issue with the Dynasty's worship because, until he got to Aeor, he wasn't certain that the Luxon was a real entity at all—which he contrasts against the Prime Deities, in fact!—and he seems to believe there is compelling evidence in Aeor that categorically disproves his hypothesis that the beacons are simply constructed Age of Arcanum devices.

Originally he is mostly concerned that the Luxon religion is used as a "crutch" which is "distracting them from what other good things they could do with the time and focus". He does specify that any religion can be used as such, but he only remarks upon the one he knows. His theory about the beacons, as of episode 91, is that they may be "artifacts designed in the Age of Arcanum that have been misread" that could be put to even further use.

He also does parrot the Dynasty party line in their first meeting about the Luxon being "the basis of how we've been able to free ourselves from the binds of the lineage the Betrayer Gods left for us", and while I do not take him at face value here (see the above commentary about unreliable NPCs), I doubt the truth of this statement is lost on him, considering his familial connections to Bazzoxan, which I can only imagine would not exactly endear one to the Betrayers, though this is only conjecture. If we do care to take him at his word here, it's not unreasonable, since he obviously has a lot more interest in the power offered by the beacons than anything else.

With all that being said, his tune on the Luxon itself has at least changed by the time they get to Aeor. He discusses iconography found in Aeor and when prompted by the Nein about whether the beacons were created by mortals, says, "I do not believe that they are made by anyone but the Luxon. They are of the Luxon. But they've been around since the Luxon's been in Exandria, which is the beginning."

So we started with him largely apathetic to religion, uncertain if this god was real, and by the time we circle back to him, he has now sided fairly definitively with the fact that the Luxon is an entity that has been around since at least the Founding. (For those keeping track at home, this is longer than Predathos has been around. In the Dynasty's creation myth, it may also have been around before the Prime Deities arrived, which is technically not incompatible with the creation myth of Exandria at large, but I digress.) Like most of Exandria, and as is perfectly reasonable for both his culture and his region, he probably doesn't have any love for the Betrayer Gods, but doesn't express much opinion if any on the Prime Deities. He has no time for religion, but frankly, he doesn't have time for much except for his own research, so it's hard to really ascribe any noted contempt to that.

Like, look, I've written plenty of religious trauma Essek fic, and I don't doubt that that element of it exists, but overall, in terms of canonical statements, it's pretty tame.

With that being said, I do want to fast forward a bit to draw attention to something else. Because I actually do think he ends the campaign with some measure of respect for, at the very least, the Wildmother.

In 140 after the Raise Dead fails, he talks briefly with Fjord about the unfairness of it. Fjord passively directs him to "if you were to ask my wise friend Caduceus..." Immediately after this exchange, Essek challenges Caleb to not accept defeat, and admits he wishes there was more that he or any of them could do, but concedes that, "Unfortunately, this type of magic is beyond my purview."

Immediately after this exchange, Caduceus asks for divine intervention.

Of course, he then spends several weeks gardening in a temple to the Wildmother, and seems to find some genuine clarity and perspective there, but I think this alone is enough to argue that, for a person as driven by empirical evidence as Essek, this sequence of events in 140 would be plenty to earn a wizard's respect.

So my formal belief is that Essek is not in fact anti-god or anti-religion, let alone against the Prime Deities. My opinion is that it's very easy to imagine him on his post-campaign travels leaving a small offering at any shrine of Melora he might pass, not out of actual worship but as a sign of respect.

[nightcolorz]

Have been actually shocked by the takes of Louis and Armand’s relationship dynamic that I have been seeing in which people act like Armand’s subservience is manipulative and evil.

As someone who was also a victim of grooming in my youth (though obvs not like Armand level of traumatic events bc good lord that boy cannot catch a break) I always found Armand to be a really compelling character, and I loved how they were handling the psychological impact of his abuse on his relationships within the show and they all felt very relatable to a degree. I was like mind blown by the way they handled how Louis and Armand’s pasts related to each others and thought it was super clever and it made me go “holy shit” in a way that a tv show hasn’t made me go in a long time. Though I can see where some of the takes are coming from, it has been really disheartening as a victim of grooming to see people dismiss Armand’s behavior when he’s with Louis as purely a form of manipulation on Armand’s part or a fun silly sex thing 😭😭😭

YES ANON FR!!! also very disheartening and genuinely offensive to me how some ppl talk about Armand and his trauma (also am a victim of grooming lol). I’ve talked about this before, but the way ppl r saying with their full chests that Armand is being manipulative in his trauma responses is like actually fucked up, and it’s low key triggering to me 😭. Just bcus armand manipulates ppl doesn’t mean he is *always* manipulating ppl omfg 💀💀 some nuance pls I beg of u.

to me it seems very clear that Armand falls into subservience and behaves as the victim bcus the abuse he experienced was the closest he ever felt to feeling like he understood what he was doing and understood what he was needed for. For a lot of victims of grooming their abuse can cause them to feel safe in those types of abusive dynamics bcus it’s familiar to them, which def seems to be how it is for Armand. Armand feels constantly lost and confused and by being a slave again he returns to a time where he knew what he was, when he had someone there to tell him what he was. And it comes off very clearly to me that Louis sees this in Armand when Armand tells him about his trauma and (as he’s also in a vulnerable position) realizes that he can use Armand’s pattern of submitting to servitude to his advantage. Which!!! That is objectively fucked up im sorry 😭 and I’m tired of being in a fandom where ppl r acting like just bcus Louis is a likeable sympathetic character and Armand does mistreat Louis also, that means Louis isn’t capable of mistreating Armand. Bcus it sounds like when ppl make those excuses that they r saying sexual exploitation like that is ok 😭. Just bcus Armand agrees to and participates in it doesn’t mean Louis isn’t knowingly exploiting the trauma of a vulnerable person 😭 and it doesn’t make it ok. Like we can find it fun and sexy, but the “face down in the coffin” scene was still borderline non con sensual 😭 yknow what I’m saying? You can like Louis as ur fav and discuss how Armand is shitty to him without acting like it’s ok for Louis to pretend to be Armand’s abuser as he orders him around like an animal so he’ll do what he wants. This is an incredibly complex dynamic with two very fucked up characters who hurt and abuse each other out of fear, and some of u can’t handle that nuance 😭.

and I understand not being able to grasp the nuance of Armand’s character, it took me like a year to fully wrap my head around him. He’s got a lot going on and it’s hard to understand why he behaves the way he does, especially if you haven’t experienced sexual trauma or grooming. But just like, y’all have to remember that it can come off as pretty shitty and bad faith to interpret a character like this as always being evil all the time. Ur reducing someone very complex and ur making some borderline offensive (also borderline racist but that’s a different rant) implications

thank u sm for the ask anon ur so right and I relate so hard to ur annoyances ❤️❤️

[rabarbarzcukrem]

The eternal opposing relationship between the two sides of a mirror

or: In defense of Shiori

I feel like Shiori is one of the most controversial characters in Utena. Some love her, others despise her. And I don't have a problem with people having strong opinions on her character. What bothers me is the tendency to exaggerate her most negative traits, focus on her most harmful actions, completely ignore any redeeming qualities she might have and then paint her as a one dimensional villainous caricature, a mean straight girl who plays with the lesbian's feelings for the sake of it, without anything deeper going on.

I'm aware of the fact that some people refer to her like that in endearment or in a satirical fashion, and I'm not saying that you can't consider her your favorite problematic evil girl representation. I'm only trying to make people realize that it's her complexity that actually makes her such a compelling character.

I've seen people call Shiori all sorts of names, some of which were baffling enough to make me wonder if they even remembered what happens in the show, and weren't just judging a version of the character that they made up in their head.

So, let's look at the things Shiori actually does, throughout the course of the story.

Disclaimer: I'm only going to take the series into the account here, because I think we can all agree that everyone's characterization and personality differs at least slightly in the movie. Background characters also get a lot less screen time to explain their motivations in order to fully focus on Anthy's journey and struggles, which is understandable.

1. She "steals" the boy from Juri.

This is her biggest crime, which seems to define her from the very beginning. Even though Juri didn't actually have any romantic feelings for him, this action is detrimental to their relationship - it breaks the trio apart, isolates Juri from the pair, is an act of betrayal against her and proves it was done with full awareness that it would hurt Juri emotionally.

Shiori is a deeply insecure person, who constantly feels inadequate and beneath other people. The only reason why Juri seemed to actually like her that Shiori could think of was pity, and even when she found out she was the object of her romantic affection all along, she still struggled to comprehend it. Her self loathing and constant perceived inferiority make her desperate to gain any sort of control over her life and relationships, but they're also the exact reason she feels that the only way she could ever do that is by hurting others. She's always one step below and incapable of crossing that distance, therefore the only way to become equal to people is to bring them down to her level, by humiliation.

When she "steals" the boy from Juri, she achieves that. For a moment, she feels good about herself and leaves Ohtori thinking that she has found the answer, the solution. But she's wrong. From that moment on, it becomes more and more apparent to her that what she did was never out of love for the boy, even though she doesn't let herself acknowledge it fully. Because the truth is, Shiori actually regrets hurting Juri, which she admits herself during her elevator confession.

When the guilt starts getting to her, her confidence high wears off, and she ends up feeling ever worse.

That's why she breaks up with him and comes back. She's not ready to leave yet, not ready to progress. There's still something binding her to Ohtori - Juri, and Shiori's unresolved feelings for her.

2. She tries to set things right with Juri and to fix their relationship.

Even though at this point Shiori still thinks that Juri only ever associated herself with her out of pity, she still makes several attempts to get closer to Juri, who understandably (albeit coldly) turns her down ever time. This is a very clear sign of conflicting feelings Shiori has for Juri - jealousy and admiration, resentment and longing, hate and love. After all, Shiori admits that the two practically grew up together. Their friendship may have always felt fake to Shiori, but she clearly cherished it deeply.

3. The Black Rose Arc.

First of all, we should establish what is the purpose of this arc and how it functions. It explores the motivations of background characters and shows their worst side to the audience. The characters that end up in the elevator are the most unstable, vulnerable ones, with the least power in the system, in unequal and/or exploitive relationships with the duelists and their agency under threat. Mikage offers them a way to gain that power by making them follow their most toxic, negative emotions. And despite all other characters doing exactly that, from what I've seen Shiori is the one that gets the most hate for it. I don't think she should be judged any harsher for what she did under the influence of the black rose than, let's say, Wakaba or Kozue. Especially because the reason all of them ended up in that elevator is because they recognized that these urges were harmful and were seeking help and counseling.

What this arc does do is reveal how Shiori's inferiority complex drives her to act against her own desires. Even though she longs for things to be different, even though she is not happy at all with how her relationship with Juri looks like, she is unable to fix it, because that would require her to consider her own affection for Juri. And she can't do that, because it would mean admitting that she's not stronger than Juri, that she hasn't beaten her, that she's doesn't have control and an advantage over her. Although she tries to keep up this smug, self-assured facade, the reality shines through.

They key to understanding Shiori is noticing that she specifically doesn't want to acknowledge that Juri's feelings are reciprocated, and the obsession is mutual. If you paint their relationship as one sided, you're actually falling for her act.

4. She enters a relationship with Ruka.

Ruka is a handsome (arguable), respected boy who appears out of nowhere and starts showing interest in Shiori. It's obvious that for an insecure girl, who in addition struggles with confusing repressed feelings, this would be something unthinkably wonderful. The affection and praise she gets from him is exactly what her low self-esteem craves. You might be wondering why she didn't perceive Juri's feelings for her in the same way. And a part of the answer might be that, post nameless-boy-incident, Juri was nothing but cold to her. She might have been pining after Shiori from afar, but in the end she's distant and untouchable, and they're divided by their messy past. Meanwhile Ruka is a clean slate, seems openly affectionate, engaged in their relationship and he pays attention to her. But I think the main thing that makes Ruka so different from Juri is the fact that...he's a boy. Because, as Revolutionary Girl Utena establishes, gender plays a crucial role in interpersonal dynamics. Attention from a boy is fundamentally coded as romantic, desirable, necessary and most importantly: increases the girl's worth in society's eyes. It makes one a princess. Meanwhile Juri's advances could only be seen as an invitation to friendship, at best. But Juri's status and beauty make her special, while Shiori is not. Therefore, it can only be pity and mockery.

Of course, Ruka only uses Shiori to influence Juri and dumps her as soon as he achieves his goals. It's true that Shiori could have listened to Juri's warnings, but then again... why should she? From her perspective, Juri's her ex-friend that doesn't want anything to do with her, who only suddenly comes to Shiori when she's finally happy and fulfilled, and encourages her to end it. She doesn't know the wider context of the situation, nor does she remember the Black Rose arc. Juri's warnings don't sound sincere to her.

And so, Ruka gets rid of her in the coldest, most indifferent way, not explaining anything or showing even the slightest sign of compassion. Before that though, he makes an interesting remark, about Shiori putting on an act and polishing somebody else's sword.

Honestly, I don't really know how to interpret it in any other way than Shiori actually having feelings for someone else, despite trying her hardest to conceal it. Are my shipping lenses not allowing me to see any different possibilities? Am I going crazy? I don't know.

Nevertheless, Shiori begs him to stay, devastated. Her life got turned around so suddenly, she found appreciation, status, comfort and stability, and now all that's been taken away from her as abruptly as it was given. It's a public humiliation.

I once heard someone say that this would be the perfect moment for Juri to step in and defend her. And to be honest, although it may be true, I'm not completely sure. It may have been the one display of open care that Shiori needed from her, but it might as well have been interpreted by Shiori as Juri affirming her superiority over her and feeling sorry for her again. We will never know. In my opinion, so much of their relationship is going on in their own heads that the only thing that could ever cause positive progress is communication (which neither of them seem to be a fan of).

Instead, Juri only tries to console her after the fact, when Shiori's at her absolute lowest. In the context of all the assumptions Shiori holds and Juri's previous indifference, it quite understandably comes off as a sneering attempt to gloat.

That's about it. You may have noticed that I've summarized all Shiori's appearances into 4 points, and only one of them includes an instance of Shiori hurting Juri voluntarily, out of her own free will, not influenced by anyone. I'm not saying that she was forced to taunt Juri during the Black Rose Arc, I'm not trying to diminish the suffering she's caused or trying to paint her as a perfectly good person. I am trying to make it clear that she is not some cunning plotter, dedicating every minute of her life to finding ways to make Juri suffer that some people seem to take her for. I am trying to humanize people's perception of her a little bit. Especially considering the fact that last scenes of her include those when she waits for Juri and follows her so that they can go home together, and then joins the fencing club. If this doesn't show that she's capable of change, I don't know what does.

She's not an innocent princess, that's true, but she's not just an egoistical, manipulative liar either. She's a bit of both. After all, if Revolutionary Girl Utena is supposed to teach you anything, then I think it's that we're all just people, and the complexities of human experience make it impossible to fit anyone into a box, assigning them definite labels like "princess" or "witch".

And if you look at a teenage girl who, like all people in Ohtori, struggle under the system of patriarchy and heterosexuality, and all you see is a wicked, sinister witch, then you may have just fallen into the trap that the narrative had set for you.