#love them though they are so complex and compelling

[runecatwrites]

Hello! Your LU analyses are delightful to read, thanks for sharing them! I had a fun question for consideration, if that's okay! Previously, we've examined and gushed over the Links' bonds with each other and who gets along best with who. We know that each of them are brothers and would die for each other. But I was curious: What's your take on which Links get along the *least*? E.g. If you were to list out each of the nine, which Links don't tend to click as well with each, and why? (At least at this point we're at in the comics.) Love to hear your insights about that if you're up for it! :D

Oooooh! Thank you for the ask, this is a really fun thing to think about! Here are my takes…

Sky: Time

Four: Wild

Time: Legend

Legend: Sky

Hyrule: Wild

Wind: Wild

Twilight: Warriors

Warriors: Wild

Wild: Warriors

Explanations under the cut!

Disclaimer: I do not hate Wild! In fact, he’s probably my favorite Link. Wild is a compelling character and I love him very much. Read the whole post for elaboration on him.

Second disclaimer: I truly don’t think that any of the members of the chain strongly dislike any other members (even though they may have spats from time to time). Just because one person might not get along with another as well as they do with everyone else, that doesn’t mean they hate that person.

And now for the explanations!

Sky: this guy is so sweet that it’s hard to see him not getting along with someone. The obvious answer here would be Legend, but as we’ve seen, Sky doesn’t seem to mind Lege’s “bullying” at all and actually seems to think it’s kind of endearing. I bet he’s used to that kind of behavior from Groose and therefore easily looks past it. No, as weird as it may sound on the surface, I think the person Sky would have the most trouble getting along with would actually be Time. I don’t think he’d have a hard time getting along with him in a professional sense (they work and fight well together) but rather in a personal sense. Sky and Time have very different histories with the Master Sword and with the whole “call of the hero” experience. Whereas Sky has a very close and positive relationship with Fi and willingly went on his adventure to save his beloved, Time got thrown into his first adventure, yanked around, and aged up pretty much without his consent. Lacking the perspective to understand this, I think Sky might be offended by Time’s complicated feelings towards Fi.

Four: this guy holds practically everyone in the group at arm’s length, so this one’s difficult too. But based on what we’ve seen in LU, I’m going with Wild. These two have clashed several times, most notably over Wild’s supposed impulsiveness. I think the underlying cause is that their brains work so differently at a fundamental level. Wild is a black-and-white thinker, while Four has a much more colorful (heh) mindscape. He views the world around him as a complex one that should be met with open-mindedness, and strives to understand it using his critical thinking skills. Even while merged, his colors probably play into this way of thinking. Wild, on the other hand, has a very narrow worldview and becomes distressed - sometimes even angry - when something doesn’t fit into it. Four sometimes seems to get frustrated by that rigid thinking of Wild’s.

Time: now this is an interesting one. Time is the oldest of the group and regarded as one of the most if not the most mature. Legend on the other hand, while not the youngest, is still an immature kid. Now there’s some nuance there and there are a lot of factors that feed into that immaturity (like the fact that he’s dealt with a lot of trauma and hasn’t had a parental figure since he was like 10) but the point still stands. In recent updates especially, we see that Time appears to have a short temper when it comes to Legend’s behavior. Why? Well if you look past the obvious reasoning of the group being in a dangerous situation and Legend’s antics being ill-suited for that, personally I think that Legend is a lot like Time was in his younger days. You know how sometimes parents say “my kid got their attitude from me and now I’ve gotta argue with a younger version of myself every day!” That’s exactly what’s going on here. Time was an absolute menace as a kid and teenager, and now he’s being faced with the exact same energy and has a hard time dealing with it.

Legend: as explained above, Legend has a bit of a reputation for immaturity and an attitude to go with it. Sky, on the other hand, is the one of the most easygoing, self-assured, approachable people you’ll ever meet. Legend is used to eliciting strong and/or definitive reactions by his behavior. People get angry with him (Time), match his energy (Warriors), or redirect him/calm him down (Hyrule). But Sky? Sky just… doesn’t seem to have much of a reaction at all. He might respond with some light teasing or a halfhearted protest, but nothing beyond that. That confuses Legend, and that confusion leads to anger. No matter what he does, he can’t get a good read on Sky, and that’s very frustrating for Legend.

Hyrule: I think this is going to surprise a lot of people, because Hyrule and Wild are often depicted as twin chaos gremlins by the fandom. But if you actually go through the LU canon (both main story and bonus material), you’ll see that these two actually rarely interact with each other, and on one of those rare occasions, they argue to the point of blows and have to be broken up. Much later, Wild describes Hyrule as “stubborn”, albeit in a positive way. Now, this is where I think the fandom seeing these two as twin chaos gremlins does bear some merit: the two are so alike in many aspects of their personality, notably their stubbornness, that they struggle to get along. A similar situation as with Time and Legend, but in this situation, they’re about the same age and with the same level of maturity. Hyrule and Wild even think the same way, too. During the battle with the Iron Knuckle, Hyrule wanted to rush right in and attack the big guy head on too, but was held back by Legend. Among his companions, though, Hyrule is reputably non-confrontational, which makes the fact that he got in a fight with Wild surprising. Wild is more used to getting into disagreements, so I think that fight would have affected Hyrule emotionally a lot more than Wild.

Wind: I had the hardest time with this little guy. Despite being the youngest, he’s surprisingly emotionally stable and mature, and he gets along with everyone! Literally the only reason I chose Wild is because Wind has snapped at him a few times, examples being for treating him like a kid and for not following his advice for how to take on the Iron Knuckle. That’s literally it. Wind is a perfect ray of sunshine.

Twilight: our rancher is gregarious and gets along with everyone pretty well, but he’s not shy about calling out things that tick him off about others. He rebukes Legend for his immaturity, challenges Time on his overbearing nature, and tries his darnedest to instill some self-restraint in Wild. He’s also very protective, though, especially of Wild. He’s well aware that Wild often has difficulties getting along with others (more on that later), but since he knows Wild better than all the others, he understands why Wild has those difficulties. And right now especially, he very obviously thinks that Warriors is being way too hard on Wild. This is a tricky situation. These Links are all notoriously bad at communication, and with extremely different backgrounds, Twilight and Warriors have even more of a disadvantage. Twilight doesn’t understand Wars’ motives in this situation and thinks he’s being unfair, when in reality Wars is just trying really hard to understand Wild better (explained in my analyses). Despite that, Twi and Wars are still good friends; they were just rubbing shoulders and bantering at each other a few parts ago after all. Twilight just isn’t afraid to openly disagree with one of his friends.

Warriors: yeah, if you’re familiar with my analyses (here and here) you know it’s Wild! I won’t rehash it in this post since I’ve pretty much said everything I can think of on Wars’ point of view in the situation lol

Wild: and conversely, Wild is having a really hard time with Wars specifically right now. That situation is outlined in my previous analyses too. But for this post, I wanted to elaborate more on Wild. Although all of his fellow Links obviously love and accept him, the poor guy has drawn the ire of practically every member of the chain at some point in time. In fact, personally I think that if not for his close bond with Twilight, Wild would have an extremely hard time getting along with the group as a whole. That doesn’t mean he’s a bad person. No, he’s a character with a very unique and compelling past, and that past makes it very difficult for him to successfully engage in teamwork. He’s also dealing with amnesia, imposter syndrome, and an inferiority complex, all of which take a huge toll on his mental health. When your mental health isn’t so great, you often have a short fuse and it can also be hard to maintain healthy relationships. Trust me, I know - I’ve been on medication for depression for 15 years. It’s a real struggle. In spite of this, we have seen significant character growth from Wild recently. He’s begun acknowledging his difficulties and owning up to his transgressions, which shows that he really does want to make things work with everyone. He feels bad for clashing with people and wants to do better, but unfortunately he appears to have very low confidence in himself. His current mindset seems to be “I’m trying really hard not to mess things up, but I’m probably just going to mess it all up anyway.” The thing that matters, though, is that he is trying. Ah, I love Wild so much. My precious blorbo. If he can rid himself of that crippling self-doubt, he can make even bigger strides in improving his relationship with everyone!

[foolishlyzephyrus]

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

[sskk-manifesto]

(´･ᴗ･ ` )

[scurvyboy]

Not to beat a dead horse or whatever, but you don’t see fiddlestan being healthy at any point? I feel like your version of them would have most of their issues figured out by the time they’re old and stuff. Can you talk about their dynamic a bit more pretty please? (I know you just had an ask about this so sorry to keep bringing it up aha 🤪. I’m obsessed with them, and I love your art/au and want to understand them.)

the basis of why i like the fiddlestan ship is strictly because it doesn't work and is doomed to fail. it's a relationship between two extremely damaged people that are only together for transactional reasons.

the way i see it starting: fiddleford comes back to gravity falls after being kicked out by emma may in hopes that he can patch things up with ford. he finds stan there instead and decides to help him fix the portal despite his crushing anxiety about it because he has nowhere else to go. they're both stuck alone in this situation and urges become apparent. things are awkward for a while before they start banging fuck nasty brokeback mountain style.

fiddleford wants stan because he's delusional and still in love with ford. sure he grows to appreciate differences between them and has a separate chemistry with stan, but he is also completely out of touch with reality and rebounding off of his failed marriage with a man who looks just like the one he cheated on his wife with. working on the portal triggers intense panic attacks, which makes him use the memory gun more, which makes him less and less stable.

stan is working himself to death trying to get ford back and just needs affection. the sexual aspect of their relationship helps him blow off steam, but fiddleford also treats him like a person with a brain and allows him to be emotionally vulnerable for the first time in a long while. having someone finally break down his walls is equal parts frightening and addictive for him; he wants to be loved so badly but knows deep down that fiddleford doesn't actually love him, just the person he represents. he's just second best again.

things start to fall apart when it becomes clear that fixing the portal will be impossible without the other journals. fiddleford basically gives up trying to do the work in earnest and just lives in a domestic fantasy world. stan starts to get more and more impatient about the lack of work getting done and the stress makes him a lot more irritated and volatile. the two enter a vicious cycle of violent fights and honeymoon phases until things boil over: stan confronts fiddleford about the memory gun and kicks him out after he tries to use it on him.

post break up fiddleford, now with his cult and savior complex, murder suicides the portal and their affair from both of their memories. however, stan gets his portal memories back being at the shack and goes on to do what he does in canon.

the whole relationship takes place over the course of a few weeks and is as canon compliant as i could manage. i think it's a really fun concept and i think about it all the time.

to be real, i really dislike the idea that all relationships in media have to be healthy and resolved in order to be compelling. the idea that characters NEED to end the story happy and together is just plain unrealistic. i prefer when stories go outside of the limits of "and then they got together and everything was great after that", especially if being in a relationship isn't necessary to a characters arc.

i do think that them getting together when they're older could work and be very nice. however, i also don't think it's entirely necessary, especially since i did make their relationship rotted gutted awful bad. it is cute though, they can kiss and watch tv and marry for taxt purposes i guess.

[hamliet]

Jentry Chau Vs Netflix

So, I watched Jentry Chau Vs. The Underworld.

If you like beautiful (and unique) animation, complex storytelling, themes of coming of age and grief, and references to my favorite band (shout out NCT127), this is a story you should definitely check out. I would recommend it highly, even though I'm going to critique later on in this review.

Complex People and Complex Love

Gugu was a very complex character whom you could both hate as someone who was clearly manipulating Jentry in an almost unforgivable way after doing the unforgivable to her family. And yet, the series opening literally had Gugu sacrificing her life for Jentry, so no matter what was revealed, you always had to handle the uncomfortable reality that Gugu really loved Jentry.

And therein the series explored complexities in love and life, an understanding that comes with growing up and brings on its own grief. The people who raise us, our heroes, turn out to have their own lives and worlds too, their own motivations, that are often not exactly altruistic. We are not at the center of their world as much as we, as children, thought we were.

Jentry's wrestling with her relationship with Gugu was complex and interesting. The handling of Gugu's character was consistently the best in the series, and I loved it even if I'm still not sure I like Gugu. That's a good character--someone you're left pondering the legacy of.

Grief

Jentry working through her grief was a major theme of the series--grief for her parents, and grief for Gugu, not just in terms of her actually dying (which does happen), but in terms of her understanding of who Gugu was and who her parents were.

Jentry's grief journey contrasts with Gugu's grief for Iris and of course Cheng's for Xiao Lan. Which is why Jentry reaching out and healing her inner child through saving Xiao Lan was ultimately a beautiful way of handling her arc. She saw a child who was scared and didn't know what was going on, and destructive in that pain, and saved her.

If you look at the series, Gugu was scared and didn't fully understand the consequences of her actions and destroyed Jentry's family as a result. Kit was scared and didn't understand how to be human and was destructive in that pain.J entry too grieves Kit and projects that fear onto the possibility of losing Michael, which leads to a rift in their relationship. And some of that fear is not understanding who they wanted to be. To quote C.S. Lewis after the death of his wife:

No one ever told me that grief felt so like fear. 

Grief and fear intertwine in many ways in Jentry Chau, including through Moonie allowing herself to be possessed by the Mogui to get her husband back. This also then leads to Gugu's second death.

Gugu's farewell at the end had me full-on sobbing. In a sense, Jentry's entire arc throughout the story is a symbolic way of working through her grief for Gugu, settling with her accepting via choosing to focus on Gugu's love for her, and carrying her memory on in a literal form (the necklace). After accepting Gugu loved her, Jentry loses her fear of the underworld and her powers, and her fear of losing the people closest to her as well.

A Soul Is What You Choose

Jentry's ultimate power isn't burning, but it's being able to see people for whom they want to be. Kit and being human. Ed and being scary. Michael and joining the band.

In a world where everyone, demon or human, is trying to be what they think they need to be, trying to please others, Jentry asks them to be who they want to be, to live how they want to live.

The Best Character and the Worst Writing: Kit

Kit is by far the most compelling character. He's continually sympathetic (while Gugu is somewhat not), conflicted, and torn between how desperately he wants to be human and the inhuman acts he believes he has to commit to be one. Plus, he doesn't understand what it means to be human, nor the complexities of human relationships.

The scene where he helps Jentry create a skinsuit is really a metaphorical sex scene--like fairly obviously. It isn't subtle.

It starts in a bedroom (and yes, animators know what they're doing when they choose setting and objects).

Then we have talking about looking under layers.

Then we have some yonic symbols and this.

Like. And he uses a knife (a traditionally phallic symbol), and the next thing we see is cloth falling... with literal the next frame being clothes (ie, clothes coming off).

Sticking a brush (another traditional phallic symbol) in a vat of wet paint (yonic).

Kit: I've never done this before. It's strange. Jentry: I stand by what I said in class. You do have a soul, and you're more human than you know.

Also note the hand clasped position.

It ends with them literally "becoming one" in Kit embodying a Jentry skin to help Jentry uncover the truth--in other words, they help each other be human.

Which is why what happens next really doesn't make storytelling sense, and is actually kinda offensive.

Love Triangle: What Not To Write

The love triangle pretty clearly was supposed to represent Jentry's links to the supernatural (via Kit) and her links to the human world (via Michael). Great potential for a love triangle, a trope I generally hate because it's almost never well done.

This was not well done. What makes it even more frustrating is that it had a ton of potential to be well done via the thematic and symbolic potential.

Having Kit suddenly go aggressive ex who can't take "no" for an answer was lazy writing, nonsensical within the characters they'd set up, and offensive. Offensive, primarily, because you absolutely should never introduce a triggering element like, oh, harassment and controlling men if you don't plan on dealing with it in the story. And they didn't. At all.

The only reason that element was there was to resolve the love triangle in a clear way--oh, Jentry should be with Michael because Kit acted threatening, even though he never had before. That's just bad writing, because if there's a clear choice in a love triangle, you gotta actually write it. Make Michael the more compelling love interest. (More on how they didn't do this later.)

The entire sequence with Kit makes no sense. Jentry tells him he's actually "hundreds of years old," parroting Tumblr-esque anti arguments about Twilight and every other paranormal love story ever. Except, the story had always explicitly framed Kit as a child being abused by Cheng and "parented" by puppets. His journey to understand who he was, that he mattered, that he could be a human too, was clearly a coming-of-age story.

You don't tend to end coming-of-age stories with death, but they did, pretty much because after the threatening scene there was no coming back.

Plus, Jentry's treatment of Kit actually was pretty bad. Now, there's never an excuse for a threatening ex, but--Kit was right about her hypocrisy in terms of how she treated demons like Ed and himself, something that Jentry isn't really asked to reckon with.

If they wanted Jentry to end up with Michael, that's fair, but her decision was taken away from her because they just decided to stamp Kit with a lazy and offensive development and then kill him off in a redemptive death that emphasizes everything that can go wrong with that trope.

Michael Deserved Better

I feel like they didn't know entirely what to do with Michael. He started off with a cool arc, torn between his desire to be a band geek and his talent for football. His indecision leading to conflict with Stella and Jentry was also a great flaw, especially given that he also has visions of the future. An indecisive teenager with precognition has a ton of potential.

But, Michael's arc vanishes after the festival. Instead he's just... kinda there. Jentry chooses him because she wants to be a normal, human girl. But this isn't a good reason, because she's not (and arguably, he's not either!). Yet this isn't unpacked--the idea that everyone in this triangle is both human and supernatural, to varying degrees.

One interesting idea I spotted during the scene where Kit (as Jentry) gets asked out by Michael is that--well, it's a romantic-coded scene with two men, even if Kit turns him down for Jentry.

But it also coming on the heels of the metaphorical sex scene kinda seemed to almost hint at a throuple. Plus the scene after Kit's death where Jentry views them as merging, and where Michael expresses that Jentry views them the same. This would have actually been a very interesting turn for the story to take in future seasons, if they get those (especially since Stella x Tokki is apparently a thing?).

Because ultimately:

Netflix: The True Enemy

Honestly, almost all of the writing flaws I've talked about come down to the writers just not having enough time. If they had a guarantee of further seasons, they wouldn't have needed to rush to finish the love triangle. They wouldn't have needed to kill Kit. They wouldn't have needed to abort Michael's arc and conflict with Stella.

And really, Netflix continues to disappoint me in emphasizing just how much they focus on profits and money over art. They prefer fast food over an actual nutritious meal. They give shows like one season to get record ratings and if they don't, they get axed. Of course writers are going to rush to cram their story into a single season, because there's no guarantee of another season. Series aren't given any leeway to explore their interesting elements, or to find their footing. It's bad for art. However, Warner Bros exists so Netflix can't fully win the crown for worst example of capitalistic corporations killing art just yet.

I continue to be disappointed that series with no actual story that the writers want to tell (merely a concept of a plan) get renewed for seven seasons based on the writer's reputations (that they then tank with their terrible non-writing) while interesting stories with beautiful art and animation, complex ideas on grief and growing up, have to scramble to beg for another season.

[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 ⚜ Writing Notes & References

[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.

[saintsenara]

How do u think Vernon and petunia met.

Also random but: the Dursleys are an interesting contrast with the Malfoys… husband, wife, one son, all horrible people who nevertheless do seem to love each other dearly…

Also do u think they fuck.

thank you very much for the ask, anon!

yes. vernon and petunia absolutely fuck - as sorry as i am to say it.

the proof is that the one thing i do respect about vernon - even though he goes about it in a way which is near-impossible to admire - is that he's an absolute ride-or-die for his wife and son. i genuinely think this is meant to be an intentional parallel with james... and is certainly a clear parallel with lucius... and both jily and lucissa clearly fuck...

in terms of how they met, i really like the backstory given for petunia on pottermore - that she leaves cokeworth in her teens to take a secretarial course in london, and meets vernon while at work.

because, while jkr undoubtedly intends it to be a bit of an internalised-misogyny-flavoured dig [only a vapid woman would want to be a secretary, and she'd do it so she could flutter her eyelashes at the executives and immediately stop working when she'd ensnared one], it's evidence of something about petunia that isn't ever really explored in canon - that she's brave.

leaving home - presumably aged sixteen or seventeen - in pursuit of creating your own life takes a lot of courage. not least because petunia doesn't move to manchester, liverpool, birmingham, anywhere we can imagine is vaguely near cokeworth, but to london. it's starry-eyed and ambitious, even if we're not supposed to find petunia's stubborn desire to reinvent herself as somebody who'd never heard of magic impressive in the slightest.

this reinvention is interesting in other ways, too. there are some very compelling imbalances in petunia and vernon's relationship - he seems to be considerably older than her, he's obviously from a different class background and she seems to be extremely worried about embarrassing him by fucking up a class performance which isn't familiar to her from childhood - but it's also clear that she sees him as part of her journey towards being the person she actually longs to be, and that his love for her [including his acceptance of magic's existence, however begrudging] is an integral aspect of her self-conception. this is an aspect of love which the series doesn't care for - because it's not love as suffering and sacrifice - but it is love, and i think it's worth exploring.

and so i think it would be fun to see slightly more about the two of them from the fandom.

indeed, i always find it interesting how many complaints i see about the series' female characters being underwritten, because - while this certainly isn't untrue in general - it's also the case that there are several extremely compellingly-written women in the series... they're just not ones who get lots [or any] of the fandom's attention because they're not mainstream romantic leads.

petunia is one of them. she's an extraordinarily complex character from her first introduction - and while vernon [in keeping with the series' general coolness towards men whose main character trait is "father"] is much more one-note, the two of them together are an absolutely fascinating lens through which many of the series' key themes - love, grief, obfuscation, class, conformity, family, desire, jealousy, sacrifice, truth, rationality, motherhood, and the impact of the magical world upon the muggle one - can be examined.

[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.

[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.

[deergravity]

Seeing as my internal rewards system has moved on to 'trans fiction' from 'queer horror audio drama podcast' I thought I should do a little roundup of everything I listened to the past few months.

A rough ranking:

Malevolent. Just squeaking into the top spot here based on 1) technical prowess (iykyk) 2) compelling characters and story and 3) they are my blorbos your honor!!! Mind boggling that Harlan Guthrie has so much chemistry with himself.

The Silt Verses. Only topped by Malevolent bc season 1 is not as polished, but it really doesn't matter. Top tier characters, amazing worldbuilding, intricate plotting and it had something to SAY about the casual violence of systems, the nature of hope, the complexity of being human in a world that tries to make us inhuman. Also, it doesn't rely on some thin recording contrivance (a framing device that has its place) and instead truly takes the mantle of audio drama without apology.

The White Vault. On the topic of framing devices, TWV has a very cool take on found footage recordings. A group of [researchers/archeologists] are sent to investigate a remote site in [Svalbard/Patagonia] and the podcast is structured as a documentarian presenting the notes, recordings and diary entries in a reconstructed timeline. My favorite element is that many of the characters don't make their notes in English, so the segments will often open with the VA speaking German, Spanish, Mandarin, Icelandic, Russian, etc etc before fading into the translation. There are miniseries between the seasons available on their patreon and they were so worth the $10 I paid to access them for a month. Reveals are slow, but worthwhile, and the mythology built for the show is highly original and intriguing.

Deviser. A one season contained story from Harlan Guthrie of Malevolent. Scifi, psychological, lots of wet awful body horror. If you're a fan of Harlan wimpering into a mic, you'll love this one.

WOE.BEGONE. Long, ongoing, and so so so far from the original premise it's hilarious, I'm ranking this higher than it maybe deserves for two factors 1) the creator and the VAs are clearly having a blast and 2) it's riding the line of taking itself serious despite a premise that invites irony poisoning without becoming too wrapped up in itself. It's fun, I think, that keeps w.bg strong.

The Magnus Archives. Should this be one up? Probably. But everyone bloody well knows tma by this point, it's good, great even! Beyoncé of horror podcasts.

I Am In Eskew. Only knocked down due to the actually godawful sound quality. Truly unsettling stories though (the one with the building architect haunts me) and a surprisingly realistic conclusion. You can see the bones of The Silt Verses here, from the same creative team.

The Magnus Protocol. Everything above this is there due to originality. As a sequel series, TMAGP will always suffer in that measure. However, I like our new cast and I do love an alternate reality. Curious to see where season 2 takes us. I'd like to kill Mr Bonzo in a fire.

The Inexplicables. Another one season story, this time from Rusty Quill, with really fun, flawed characters and no recording framing device!

Wolf 359. Storywise, great! Characters, excellent! Kicking it way to the bottom bc they just would NOT STOP referencing H***y P****r. Yes, Doug's characterization hangs on excessive reference humor, but that was one well I wish they'd left alone.

Red Valley. Knocked for HP references too (come ON british podcasters, do better) but more importantly for veering WAY WAY WAY WAY WAY too close to real life in season 3 onward. I was here for a horror sci fi story about cryogenics, not to listen to my worst climate disaster fears brought to life via hearing rich old sods try to buy their way out of consequences while the world burns and eco terrorism escalates. Too real. Not bad storytelling, just very much not fulfilling my escapism needs.

It's kinda crazy to me that anytime I mention this genre to normies in my life they say, "oh, like true crime podcasts?" And then I die inside. No dude, like radio drama. Like War of the Worlds.

Anyway, I'm off to get even less relatable by reading a zillion niche trans novels (hello Welcome to Dorley Hall, aka, what if there really was a 'trans cult' force femming dudes to undermine their masculinity? It's amazing how much yarn we can make by subverting the cis gaze.)

[lines-in-limbo]

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. 🫶🏻

[arrowheadedbitch]

Overview of the things I've decided are canon for my son of zeus au so far (hopefully I don't forget any):

The gods are dicks. They arent *always* dicks, but I don't want to sugarcoat them from their original myths, they do bad shit and often

Denki is favored by Apollo, Dionysus, and Hermes the most, Persephone also likes him pretty well

Zeus is Zeus, meaning who knows when he'll decide he loves his son or hates his son or just genuinely doesn't care, he's such a little hypocrite bitch ain't he

Quirks are the exact same as they are in canon, the presence of the Greek gods didn't affect that at all, the gods have nothing to do with quirks and while they still are probably banging like rabbits they aren't really that active in Japan so no, no one else at UA is a demigod

Zeus slept with Kaminari's mom because he was intrigued by a mortal with a power in his domain (electricity) that didn't come from him

Since Kaminari's powers come from both his quirk and his dad, there's some complexities to them

Kamimari was born with lightning powers but they worked differently before his quirk actually manifested (I'm toying with the idea that his quirk manifested while being smiled by Zeus with lightning? I haven't decided if I like that or not yet)

Kaminari doesn't want other people knowing he's a demigod for classic hero story reasons but also because 1. Greek gods being real is a secret and he ain't about to be the one that spilled it 2. It'd be really complicated and annoying to explain and let's be real, at least one person would come out of that thinking he went crazy

Athena doesn't like him because, well, dunceface, duh. She does appreciate his strategic abilities though

Ares also doesn't like him because he doesn't like killing people, Ares and Athena hate that they dislike the same kid so much that they'd consider changing their tune about him on just that alone

In junior high he went on a big quest, I haven't decided on any details of it, but it involved a lot of fighting way to strong people while way too young as most quests do, this is also how he got into Apollo, Hermes, Dio, and Persephone's (and by extention Hades since he loves Persephone enough to deal with anyone she likes) good graces, the quest was likely given by Zeus and likely involved Hera trying to kill him

He's not really surrounded by people in the ancient greek community, it's not like he has a camp half blood and even if he did he'd skip it to go to UA training anyway, but he is pretty well known in those circles post big quest

I'm toying with the idea that he failed his first quest and thus had to go on a redemption quest

Kaminari doesn't like being serious, but despite what his classmates and teachers think, he CAN do serious, how else would he be such a big shot in the Greek community?

Imma be real, there was probably some kind of war that Kaminari had to lead an army in or something. I'm sorry, child soldier stories just have so many layers to dissect it's not my fault that they're compelling in a way

My point is, serious Kaminari is like war general levels serious, but not even LOA attacks are bad enough to bring out serious kaminari, are you kidding, did you gloss over the part about god war? He's having a little trouble taking literally any threat at UA seriously and he'll have trouble taking almost every threat as a pro hero seriously, it's not his fault junior high set the bar way too high on what situations are serious!

One of Kaminari's demigod powers, as the son of Zeus, is that he can't take fall damage. No matter how high up he falls from, he will never ever get worse than a few scrapes

Pissing him off really badly makes the sky get stormy, I'm talking immediate clear skies to nothing but gray clouds moving in and you can't even SEE the sky anymore, also possibly rain, he doesn't do it often but he can and he'd probably be able to control it if he were to practice his demigod powers along with his quirk but we all know he ain't gonna do that any time soon

He can sword fight, he hopes this never comes up

He has to keep reminding Dionysus about the legal drinking age, Dionysus thinks it's stupid and therefore never listens, they have argued about it multiple times

Apollo and Kaminari play chess together on occasion

Hermes at one point gave Kami a special knife when he decided he liked him enough to give him a gift, it's a magic thief's blade which is just a dagger that cannot be found on his person no matter what you do. Pat him down? You won't feel it. Scan him? It didn't show. Metal detector? It didn't beep at all. But he can pull it out whenever. He won't but he does *have* it just in case. I'm also deciding if making it not be able to leave him would be too much. I don't want it to feel like a riptide ripoff, I'm thinking maybe it sprouts wings and flies to him?

Yes, I've just decided, the Thief's Knife will fly to him if left behind and can squeeze into any crack no matter how small to get to him

I'm shinkami trash so you KNOW shinkami is about to be canon in this au

In either 2A or 3A, Kaminari tells Shinsou his secret about the gods being real and him being Zeus' son, he spends a great amount of time explaining all the details to Shin and answering his questions, it's a lot

What can I say? Shinsou is gus confidant, he was gonna have to tell him at some point 🤷🏻‍♀️💅

He doesnt tell anyone else, but obv they've got to eventually find out somehow, what you think I'd just let it be lame?? Even after they find out, he won't tell them anything he doesn't have to, waits until it comes up to explain things, it's just too complicated he doesn't want to go through all that AGAIN and with twenty people this time

Oh and before you ask, I'm gonna say no on the flying thing. I know it could be a power of a Zeus kid, I know it could be cool, but no. No he cannot fly.

I can't think of anything else right now but I can't wait to wake up in a cold sweat tonight and realise what i forgot

Also, I'm gonna go ahead and tag @iys-cloud since I know iys really likes this au :]

[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!!

[jinxekkotimebomb]

I'm a big fan of how Arcane depicts Ekko and Powder's relationship as children. Their shared interest in invention and similar ideas bonded them as each other's only friend of their age. It's sweet how alike they are and how well that helps them understand one another.

Conversely, this can also have unintended negative effects. Their resemblance is so striking that they don't challenge one another as their mental health deteriorates. Unlike Ekko, who isolates himself, Powder lashes out as a coping mechanism, leading to their separation after she joined Silco.

This is a significant factor contributing to their emotional rift and ongoing struggles after Powder's transformation. Ekko senses a willful transformation in the girl he loved, while Jinx resents his judgmental and unaccepting attitude towards her.

What makes Jinx and Ekko so compelling and believable is their intriguing complexity and differences, even though they share similarities. Shared struggles don't always lead to automatic understanding between people; misunderstandings are common. A mirror image of oneself breeds tension.

Ekko's love and acceptance of Powder and Jinx across the alternate timeline is what makes this story so beautiful to me. He finds that the girl he fell for years ago is the same 'Jinx' that he found so unexplainable and frightening. Jinx is Powder, and Powder is Jinx.

Despite Jinx hating herself for her flaws and insecurities, Ekko accepts her. His love for her stems from them. Years ago, she was the one who made him feel accepted. What I love most about their relationship is how authentic and non-idealized it is.