#maybe we can use this as a catalyst for that .

[sarahreesbrennan]

I remember reading in one of your blog entries (years ago??) that in the new book you were writing, the main character's *sister* had cancer. Does that mean that Alice was originally the main character of Long Live Evil? Was she going to go into the book to save Rae, instead of Rae going in to save herself?

How extremely kind of you to remember!

No, that was actually a YA murder mystery that I wrote while ill, revised while recovering, and sent out into the world where it died on submission. (Which means we sent it out to about 12 editors and the editor either said no, or said yes and took it to acquisitions - a group of people at the publisher including sales and marketing - and acquisitions said no.)

One editor told me she really wanted and really tried to buy it. Another person who worked in publishing (and has since changed jobs, or I wouldn’t share this) said the response at her acquisitions was - if you like this writer, find the next her (implications about health and youth were made).

I was terrified my agent was going to ditch me too, but she said ‘We’ll sell that one day, for now let’s write the next thing.’

I remember another writer telling me she missed my work that wasn’t a tie-in, and I felt ashamed to tell her it wasn’t that I wasn’t writing other things - it was that I couldn’t publish them.

The tie-ins meanwhile were paying the bills (they still are tbh!) and I was and remain so grateful for them. But I also really loved writing them - especially my Sabrina tie-ins, you don’t forget the first, and it reminded me I want to write horror and poly one day - and how they got me to love and sympathise with so many fandoms.

I see the burnout of caregivers all around me, and I wanted to write the story of one. But maybe I also wanted to take a step back from cancer. I didn’t think I did, at the time. I had a whole lot of things I tried writing before Long Live Evil, and I think some of them were really good. One of my critique partners gave me a lipstick with the same name as someone in the murder mystery. There was a romance novel another critique partner said was her favourite thing I’d ever written. But none had someone with cancer at the heart of the story.

And even though Rae isn’t much like me, maybe I had to start there. You can’t make real magic using someone else’s liver. Maybe I had to wait to be brave enough to use my own liver.

I do get requests for advice on how to cope with rejection of your writing, and I always worried I didn’t have anything else to say, but I suppose my example says - if you can, (and I know it’s hard, you feel so terrible at writing and so useless) (and you love the work you’ve done so much and you don’t see a way forward to loving the next thing) (but still, if you possibly can) write the next thing.

Even if the first thing sells, you’ll want the next thing one day. Writing the next thing is more writing practise, so it’ll make you better. Write the next thing.

Ultimately I’m really glad Long Live Evil was my comeback book. I think it needed to be. It took the time it took.

But maybe it was a shade of that past book (where the heroine’s sister with cancer was six, so not much like any of the Time of Iron characters) that made me think of the YA version of this book, which I always had in my mind as something I was intentionally hewing away from - a more straightforward book, a book that might have sold better - in which shy reader Alice was the hero. She’s the one with the suggestive hero name - Alice through the looking glass - the heroine looks, and the more projectable-upon personality. She’d get called annoying less often (though still some, because she’s a girl), partly because she is (with love, Rae knows I’m right) a genuinely less annoying person. Much kinder, much sweeter, and much better at in-depth reading! Her sister being in trouble would’ve been a backstory, a catalyst point, and - you’re totally right - a great motivation for her to get the Flower. Saving a family member is a much more sympathetic and heroic motivation than saving yourself and one I do love (the Hunger Games, Labyrinth, Mahy’s the Changeover, and I write it a lot!). I think Snarky While Tragically Dying Rae would’ve been a pretty popular side character, too. I think it would’ve been a good book! Just not mine.

I love your question because I love thinking about POV, and all the decisions that are the building blocks of a story. To me, the Alice centric Time of Iron is a version that exists. As are several versions of the Lia centric Time of Iron. And versions centring other characters exist to me, too. (Eric, absolutely.)

Speaking of POV musing, I think Rahela the wicked stepsister featured more in the musical than the book. If the Time of Iron series ever became a TV show (and at this point in time I think I’d rather a movie because it wouldn’t… get cancelled…) and I got to write it (don’t know why I would…) I would start with the beginnings for three characters about to go on a journey to somewhere strange to them: Key in the Cauldron, Rae in the hospital, and Vasilisa in the icelands. There are so many possibilities! And I really wanted the sense that there were so many possibilities, too.

But I wanted the chronically ill one to be the centre of the story, and for it to be her villain origin story, and to ask a lot of questions (hence a lot of villains!) about who gets villainised and why. And I thought hers, to my mind, would be the most fun of all the possible stories.

So that’s the one I made. But Long Live Evil has a lot of origins. Thank you for remembering one of them! I don’t think I would’ve dared tell the story, if things hadn’t worked out for me (so far, fingers crossed).

And I also tell it to be clear my publisher was taking a RISK with me and Long Live Evil, and I really appreciate that, and I’m so happy it’s worked out for them (again so far, early days, fingers crossed, etc).

I hope some writers - whether in the process of submission, rejection or making the choices that are the building blocks of story - find this helpful, and some readers find it interesting.

Let this be one of the universes in which your story is told.

[deadnatura11]

I think we need to deconstruct the 'Risky Business' scene and take a step back -

I just watched a video where someone put Ryan's dancing and the actual scene with Tom Cruise side by side for comparison and it was... pretty spot on. Like maybe a 95% accuracy rate.

Now from a production perspective, we write this off as a fun homage and reference to an older movie that was probably pretty popular with the writer's room, which tracks given what we know about the bts workers for the show.

However, if we think about it from a story perspective -

Why would Eddie, in his first allowed moment of actualized joy, recreate the Risky Business dance scene?

On its face, Eddie has probably never lived alone in his life. He went from his childhood home to the army to then sharing a house with his wife and child to then only his child. That man has never had an actual moment of privacy. Here he is essentially 'alone' and he is learning how to be by himself, how to be okay with being alone, which he would have had to learn how to do anyway once Chris goes to college. Chris being in Texas is making Eddie reckon with this much earlier. And in doing so he is learning how to take care of himself and his needs. Circling back to the airplane disaster earlier this season, he needs to put his own mask on before he can help anyone else with theirs. He can't be a good parent to Chris without working on himself. And part of that is giving himself the space to be alone in his house, dancing in his underwear, naked. He is learning to let go of his shame, which we see happen by not even bothering to put pants on when he sees Buck. Usually, when this scene was recreated in other shows, the person "caught" dancing in their underwear feels immediately embarrassed and tries to walk it back. Eddie did no such thing. This is a step in the right direction.

Furthermore, Risky Business was a movie that came out in 1983 (and also was the catalyst for Tom Cruise's long-standing rumors that he was a gay man, which I won't get into here, discuss the validity of these claims, nor how it also relates to Eddie's journey). Given what we know about Eddie, he is a 90s baby. He was born a decade AFTER this movie came out. So by the time he saw it, it was not at the height of its popularity.

Like I've mentioned, this scene has been recreated throughout media since its debut, so there were many opportunities for him to learn about the movie on his own.

But the choice of pulling a Risky Business allows us to infer:

- dancing around is something he has wanted to do

- dancing the Risky Business dance was something he has wanted to do for a long time

Furthermore, the step by step recreation means that Eddie has had to have watched the movie, watched that scene, hundreds of times to do it so flawlessly.

Now imagine a young Eddie Diaz... sitting in front of his living room tv... late at night... the movie muted... rewinding the tape in his VHS to watch Tom Cruise dance around in his underwear and wondering why he can't stop watching and why it makes him happy.

I'll end by including this link to an OUT article about the cultural significance of Tom Cruise in 'Risky Business' to the queer community.

Tl;dr - Eddie saying he is straight means nothing as he was able to flawlessly recreate the 'Risky Business' dance scene from memory.

[jewelstole]

heartbreak starter that we were talking about @mercred

a goodbye on a dreary rooftop. how romantic. she's not meant for this life. not with him. not with his deep rooted feelings for her. she could see it in his eyes , the way that he spoke to her. it was in everything he did. at first , it was fun to take advantage. diamonds and the occasional one night stand really made her feel alive. until it did not anymore. hope manifested in his eyes and made her feel an overwhelming guilt. he would deny such a genuineness as nobody wanted to be someone's lovesick puppy but she is done with this game of cat and mouse.

the soft thud mixed with sounds of rain would have her to turn with ease. " well , well , well .. i'm glad you came. i was .. starting to worry you might not show. " she'd say. green eyes will take him all in. [ it's serious this time , selina. tell him how you really feel about him ! no more excuses ! he's useless to you. ]

" new suit ? " she cannot help but take a detour. heartbreak isn't easy. " i like it. "

[the-everqueen]

my gender is "doomed by the narrative"

[louderfade]

[lesbianrobin]

ok so here is my pitch for my dream buddie catalyst:

eddie and maddie are trapped in some sort of likely-fatal time sensitive situation together (drowning related probably because it's Them) (have they overused it yes is it still thematically appropriate YES) where one person could potentially sacrifice themselves for the other to survive. i want eddie and maddie using their combined experience and ingenuity to survive together and discussing who should be prioritized which means they talk about parenthood and how they both feel they've failed their children by "running," how their lives have been so defined by trauma and they don't want to scar their children any further by leaving them again. of course they're doing everything they can to get out together, but as the situation deteriorates throughout the episode(s) (c'mon something like this could be at LEAST a two-parter) they can't help returning periodically to the world's most morbid debate.

i want buck and chim on the outside both going out of their goddamn minds. they know that eddie and maddie are stuck (wherever), know that they're probably alive, but aren't sure in what condition and if they'll stay that way. rescue operations begin as everybody walks on eggshells around buck and tries to comfort chim, who wants absolutely none of it. time is running out.

eddie says that he couldn't possibly let maddie sacrifice herself for him and look buck and chim in the eye afterwards. maddie says that she couldn't do that either. she says that at least jee-yun would still have her father, and eddie says that christopher would still have buck. maddie says that of course none of them would just abandon christopher if something were to happen to him but—

and eddie cuts her off and says it's in my will. if i die, christopher will have buck. buck will have christopher.

they just look at each other for a weighted moment. maddie makes a decision. she says ...i meant it, you know. that i couldn't let you die down here (wherever here is i don't KNOW okay i'm not here to think up convoluted emergencies i'm here for drama) and look my baby brother in the eye knowing that i could have changed it. eddie says i know, okay, but it's different, you're his sister, and maddie says, yeah, but you're his... and she pauses. and eddie says what? best friend? partner? that doesn't—

and maddie says you're his. eddie, you're his.

and eddie... i want to see something slot into place. i want to watch him understand as maddie spills everything she's been suspecting since the day that buck came out to her and maybe since before she and eddie even met. maddie says you know, when i first came to california, you were all he talked about? you're still all he talks about. you and christopher. you're his. i couldn't... eddie, you're out of your mind if you really don't think that losing you would break him just as much as losing me. he would forgive us both, because he's buck, but i couldn't... i'm no saint, eddie, i want to survive. i don't want my daughter to grow up without me. but i can't do that to him. i don't know if he'd survive it. even if he did, the guilt would eat me alive.

meanwhile. buck is barely holding on to his sanity as rescue efforts are underway and time is running out. chimney is keeping it together as best he can but there isn't much that he and buck can do. he can't let himself fall apart because buck is already a stiff breeze away from clawing his own skin off and somebody has to keep their cool. something goes wrong—suddenly, their short amount of time has gotten shorter, and they may only have enough of a window to get one out before it's too late for the other. buck, who has been ranting and arguing and screaming this whole time... is silent. he is silent, and he stares straight ahead at nothing in particular, and we know that no matter which way the scales tip, his soul will be destroyed all the same.

eddie regards maddie for a moment. grief, heartbreak, anger, all flicker over him, but what settles is determination. he says that neither of them are going to leave again. that they'll survive together, or not at all, or leave it to the universe to decide.

of course they make it out. by the skin of their teeth, they make it out, working together, clawing their way back to life and love and possibility. maddie makes it out first, and eddie sees buck as she falls into chim's waiting arms. he watches as buck sees his sister, and reaches out to take her hand with trembling fingers and white knuckles, but there is no relief, no happiness in his red-rimmed eyes. just a deep, unspeakable grief, until his eyes slide past maddie and meet eddie's.

finally: relief. and then he is in buck's arms, a perfect parallel to chim and maddie, and we see eddie's face over buck's shoulder, and we know. he is in love, and buck is in love, and eddie knows, and he sinks into his partner's embrace with joy and acceptance.

after that, who knows? maybe a grand confession. a moment of quiet understanding. a passionate post-rescue kiss. a chaste, tender kiss in some kitchen or other. maybe eddie panics later, or maybe he's found peace for once. maybe buck has realized something and he makes the first move. maybe it happens immediately. maybe it takes a while, takes discussions about how it'll affect work and christopher and whether it's worth risking all that they have for all that they want.

and maybe they'll ask whether it's even a risk at all.

[mxmollusca]

 A critique I've heard of season two is that we’ve lost a lot of our symbolic objects, archetypes, and motifs. Season one gave us the lighthouse, the kraken, the red silk and the unicorn, the seagull, the auxiliary closet, Gnossienne no. 5, Pinocchio…

And then I think back to Samba sharing a quote from writer Alex Sherman during the ECCC panel:

“Season one is Stede going from a puppet to a real boy, and season two is Stede becomes a man.”

And that’s it, isn’t it? The transformation from object to subject, from something that has things done to it versus someone with agency. We see that transformation throughout season two. Almost every significant object is discarded, every symbol realized in flesh. 

The process starts at the end of season one with the throwing away of all of Stede’s things. So much has been written about Stede’s potential response to that act, and so many folks (myself included) held on to the idea that perhaps Ed kept a little bit, maybe the auxiliary closet. Stede literally no longer cares about those things. He originally brought all the things he loved with him to sea because he didn’t have significant personal relationships. That’s why we hear Gnossienne no. 5 as he goes through the empty cabin pulling out all of the knives. The discordant love motif shows how his priorities have changed, how his love has transformed.

The red silk is gone as well, but instead we have Stede, real and in the flesh wearing the exact same color, clutched in Ed’s hand in the moonlight.

The kraken, a giant monster capable of rending a ship in two? Ed becomes that, literally, disassembling the Revenge to sail her into a storm and destroy her. 

The lighthouse? A warning, Ned Low in his silver suit, a beacon in the dark warning Stede of what he will become if he continues on his course.

The unicorn, the destroyed masthead, literally becomes Izzy, a man taken apart and rebuilt piece by piece out of the parts of Stede Bonnet to become a beloved and respected member of the crew, and perhaps one of the strongest examples of self-actualization so far.

The attempts at reversing the process are demonstrated to be ineffective. The catalyst is when Buttons becomes a seagull, which shows Ed that the process of change is possible—that someone can become something or someone else. And he tries, he throws away his leathers, dons Button’s old jacket, tries to become an archetype. Stede tries to become a “real pirate”, despite the warning from Low. Even in Ed’s vision of Stede as a merman, Stede is being reduced to the role of symbol—a mythical being rather than a very real, very flawed man. They are both still trying to be the object when they need to be the subject. They need to take action, to realize themselves. And it’s a gruesome process. Jim’s version of Pinocchio is about the horrific transmogrification from wood into flesh and the horrors that need to be faced in order to make that transition.

We, the audience, are experiencing discomfort in this process. We are being held right up against the lighthouse lamp, and it burns. This is the emotional equivalent of body horror. It feels like all of our beloved belongings are being thrown overboard, but I promise they aren’t.

They are becoming.

[dollypopup]

People don't give Penelope enough props for the absolute BRAVERY it took in asking Colin for a kiss!!! I am tired of the rancid takes of 'oh, it makes her look pathetic-' no. Penelope asking for that kiss is VITAL in her growth, and pivotal to Polin's love story. Some flowers for Colin, first, for having put in years of work into their relationship so that Penelope trusts Colin to the point where she would even dare to ask it of him, but flowers to Penelope for asking. She trusts him and she's familiar with him and she KNOWS she's safe with him, and she took a leap of faith. So much of Penelope's arc is hiding what she wants and who she is, melding into the shadows, putting on a front. She doesn't confide in much of ANYONE. Not even Eloise knew about her love for Colin, or her existence as Lady Whistledown. Penelope keeps so much close to the chest.

Which makes it such an amazing moment when she opens up with Colin. When she reveals what she desires, and when he responds with 'If you want this, I'll give it to you'. So in that scene, when she's heartbroken and sad, after she has written of her own humiliation in Lady Whistledown to circulate amongst the ton, adding her own name to her list of bullies, when she thinks she is well and firmly on the shelf, and Colin comes to check on her, and he won't allow her to think badly of herself, and he even goes so far as to bribe her maid to have a moment with her, she opens her heart up enough to ask him for what she wants.

And that is beautiful. It deserves props and recognition. To ask for what we want as women is radical, and I'm frankly sick and tired of people thinking she's 'pathetic' for it. Penelope is brave in this scene. She is brave and vulnerable and Colin is there to tell her that is okay. That it should be rewarded. That he will catch her and he is there and she is right to trust him. He is the safety net as she tumbles and steps into the unknown.

Penelope Featherington looked the man that she loves in the eye, and she asked him to kiss her. How many of us would have the iron spine necessary for that? Sure, maybe she thinks she's hit rock bottom, but she could have swallowed her truth as she so often did. She chose not to. Penelope Featherington, who only ever voiced her opinions on a page, anonymously, stood before him with nothing to protect her heart, bare-faced, and told Colin Bridgerton she wanted him to kiss her. That she wanted to be loved.

And he did. He did and it was lovely. It was a fantastic kiss, and in that moment, you can tell that she *was* loved. Is loved. He held her like she was starlight, precious, delicately grasping her chin, brushing her cheek; he pecked her once and then went in for more. That kiss had desire and longing and tenderness in it. It was gentle and wholehearted. It was them learning each other, the both of them flaying away another layer for the other to keep. Penelope asked him for what she wanted and she got it. And it was ultimately the catalyst for all her desires to come to fruition.

I feel like we as women are told we must be passive so often: don't be too loud, don't ask them out, don't look 'desperate'. But fuck that: Penelope is an active participant in her love story. She asks Colin for what she wants and he provides it for her eagerly. That kiss made him realize that what he felt for her was far more than just friendship, and it started with 'Would you kiss me, Colin?' and ended with him outrunning HORSES to catch up with Penelope so he could, on his knees, profess how much he wants her and how he can't stop dreaming of their kiss. She toppled that first domino. May we all be so courageous. May we all be so bold. May we all be so loved.

Penelope put her own love story into motion with that kiss. We should fucking applaud her.

[ennn]

Guys, Agatha and Rio fighting because of Billy is OKAY

Because it’s not really about Billy. It’s about them. Billy’s just the immediate problem, the catalyst for a fight that’s been brewing since the first episode.

Now I know there’s been more focus on Billy lately, the same way Wandavision at times focused on Monica and her hero origin story – but Billy's story is here because of what it tells us about Agatha – who's projecting hard on the boy (see my other meta post on their relationship).

And this development isn't a twist. The situation between two has always been tense (in ways good and bad). And it looks like these two messy bitches are basically making their relationship problems everyone’s problem.

Let’s look at what the text’s been telling us, shall we?

GIF credit to michaun

There’s animosity between Agatha and Rio that’s unresolved

As sexy their fight in episode one was (and boy was it), there’s certainly anger and resentment between the two, or at least the easily combustible grounds for it. Now we have an idea of why Agatha is mad at Rio (Nicky) although we're less clear about what Agatha did to piss Rio off: was it just Agatha running away or was it something specific she did?

Regardless I don't think Rio is kidding when making threats of bodily harm.

GIF credit: sersi

And neither does Agatha. But she knows all too well how quickly Rio caves to her pouty flirting (and let’s be honest Rio knows too), and basically manages to get a reprieve from her exe’s retribution in episode 1.

GIF credit: marril96

The agreement: They’ll continue fighting it out once Agatha gets her powers back.

We know this is a serious threat on the backburner because you can hear Agatha muttering about how "she's unstoppable" at the start of episode 2 while planning to flee.

More obviously, Agatha touches on it again in episode 4, asking for Rio to hold off on her violence until she finishes the Road, and they can hang out like old times: “Maybe the Road is like Switzerland…”

GIF credit daisjohnson

I absolutely get how it can be confusing because these two clearly still care for each other and are still attracted to each other, with lots of yearning looks across episode 4 and 5. As Schaeffer puts it, the muscle memory of that love is still there, feelings are still there. They were in love and there is still love between them.

But they never worked through what tore them apart in the first place.

And you can see this when Rio gently and firmly reminds Agatha that Billy isn't her son – that Nicky is really gone, and Rio still did the thing that Agatha hates her for.

Agatha closes herself off and runs, and Rio feels her scar tear open again.

Notably, Rio isn't sorry for doing her job. Her heartfelt confession – possibly the most emotionally vulnerable she can be – isn't an apology. She didn't want to hurt Agatha, but she couldn't do what Agatha wanted either. There's a disconnect there.

Chaotic vs Lawful: Billy is basically the new Nicky

Now we know Nicky was the reason they first separated. And it’s still a theory but I think there's a good chance of Rio wanting Billy dead because he probably should be. Billy Maximoff, born from The Hex, "broke the rules" to survive and some piece of Billy Kaplan still lives on despite a fatal car crash.

And that's partly why Agatha is hardcore-projecting on Billy, Agatha "I did not break the rules, they simply bent to my power" Harkness has always been a rule-breaker. That's what started her path to become the infamous witch-killer.

Not to mention Agatha is a shameless survivor. She'll certainly cheat or take shortcuts if she can get away with it. See episode 3:

GIF credit: daisjohnsons

Rio, by contrast, follows certain rules – which Agatha taunts her for — "You can't kill me, it's not allowed" – and she has a job she has to do, even if she doesn't want to. There’s a clash here of value systems as well.

To be fair, at this point Rio's motivations aren't entirely clear. It's possible Rio just wants more dead witches, or she gets impatient and angry and decides to go at that emotional vulnerability as a way of hurting her (“You’re vulnerable.” “Only physically.”)

Either way, Rio taking away a boy that Agatha now considers hers (even if only with a massive amount of projecting) after Agatha’s freshly reliving and processing the absolute devastation of Nicky's death. That is sure to bring things to an open conflict.

And these two (in their own way) are so dramatic.

Change and Growth

There are other factors as well, in terms of Agatha’s character arc and journey, which I’ve talked about in my other meta post on these two being star-crossed lovers.

It's a tragic, complicated story with these two. It’s about them, it’s about more than them.

[crystalsenergy]

Challenges

& learnings of your personal year

(Solar Return chart) ☀️ Asc ✨

The goals are to transform challenges and discover growth in your personal journey!

Based on my personal experience and that of others, I've noticed that the Ascendant in the Solar Return chart largely defines what we deal with during the year.

Indeed, the topics already known to be associated with the Ascendant for the year receive much emphasis from the sign in the Solar Return chart.

I have a post on the meanings of Ascendants in signs in the Solar Return chart.

The intention is not to foresee what will "inevitably" be touched upon, no, but rather to use the astrological moment to understand what will truly be brought to the surface within us.

Think of yourself as a vast cauldron with many colors.

Like a gradient, colorful cauldron… 🌈

And with each astrological movement, it's as if things from within us begin to bubble up from this cauldron - things we already knew about, or maybe didn't…

Being a deep cauldron full of ingredients, a mixture (just like we are!), among other reasons, perhaps you may not be fully aware or consciously remember all aspects of your personality that need healing, balancing, expanding, evolving.

Because of this, I believe in the importance of seeing astrological movements as catalysts to stir up everything that is already within us.

Nothing that astrological movements bring continuously and intensely was not with us to some extent, whether on a personal level or in the morphogenetic field*

(*= difficulties that our family members bring, which we may not necessarily have activated, but which can be brought to the surface because, to some extent, even if slight, it existed in our personality too).

Therefore, the extent to which these issues will arise and affect each person will be extremely personal.

Below are some possible challenges for each Ascendant:

In terms of TEMPERAMENT, behavioral tendencies, first IMPRESSIONS that you will convey.

Ascendant in Aries: agitation, more nervous temperament, greater impatience, difficulty asking for help, impression of being angrier, more serious, more impenetrable, tendencies towards reactivity and impulsivity, excessive focus on the physical body and appearance.

The importance of reconsidering what it means to be authentic and a person with presence. Do you worry too much about achieving a specific image? An image of being strong, of being impenetrable, for example.

Ascendant in Taurus: difficulty in leaving situations (due to attachment, lack of initiative, comfort zone), more stubborn behavior than usual. Slower to move forward, more tendency to approach the world purely materialistically.

May have a tendency to accumulate more unnecessary things. The importance of understanding the real value of the things you have in your life now and what you intend to do with what you have (possessions and values, also, value in terms of ethics, even morality).

Ascendant in Gemini: challenges with being present in the here and now. Mental inconsistency, difficulty focusing, more agitated temperament, greater possibility of being distracted, difficulty having just one goal.

A busy mind, filled with interests but lacking concentration. The importance of working on effective communication.

Ascendant in Cancer: may take everything personally, memories from the past that you are still emotionally attached to but that do not serve you well may resurface, difficulty moving towards new things, such as new relationships, new emotions.

The importance of looking at your emotions as signals of what still needs to be healed. It will be a year with many emotional things coming to the surface! Observe.

Ascendant in Leo: difficulty with stubbornness, excessive focus on appearance, on what people will see and think of you. Slightly inflated and distorted self-awareness. Pride. Defense mechanisms. Reactivity.

Issues with self-esteem needing to be looked at with more care and healthy self-awareness. Approach to the world less focused on ego.

Ascendant in Virgo: more tendency to deal with the world purely materialistically and utilitarianly. Review your concept of time, of usefulness (yours and others'). More connection with the material world, exaggeration in focusing on productivity, on completing tasks, on feeling useful. Issues with self-criticism and perfectionism.

Be mindful not to fall into jobs and tasks that do not contribute to your growth, that reinforce patterns of endless demand, without ever "really getting there". The importance of paying attention to how much time you allocate to other areas of your life, outside of tasks and work. Physical health care is also important, look into this area as well.

Ascendant in Libra: a tendency to be more predisposed to environments and people, which, in a more negative sense, may end up representing a predisposition to others' desires.

Positively, this has good meanings, but as the focus of this post is on aspects to pay more attention to, I mention: difficulty saying no; greater need for approval; whether you perceive it or not, changing a lot depending on the environment, Libran issues in imbalance that already existed in your personality coming more to the surface in terms of your relationship with yourself and your way of presenting yourself to the world.

Ascendant in Scorpio: challenges with deeper emotions, including those that have been stored away in your emotional field for some time, which will now be brought to the surface with great force, since Scorpio brings forth everything that was hidden in a very strong way, challenges with anger, hurt, fantasies of revenge, which can be quite self-destructive.

In general, challenges with emotionally deep situations. It is also important to pay attention to how much negative and self-destructive patterns are brought to the surface to be seen. Do not hold onto them. Let go, release everything that does not serve you and/or others well!

Ascendant in Sagittarius: challenges with sincerity, excessive humor in meaningless situations, approach to avoiding emotional issues or emotionally more complex issues, toxic positivity, impulsivity, impatience, invasive extroversion, setting aside planning in situations where it would be important, acting with a certain irresponsibility.

It is important to see which points of your personality will be brought to the surface and act in the most appropriate way to be more healthy!

Ascendant in Capricorn: challenges with emotional approaches and being more sensitive to yourself and to life itself. A heavier, more serious, overly responsible approach that leaves no time and space for rest, leisure, and lightness. Dealing with difficulties and problems in a more controlling manner. Competitiveness. Individualism.

Limiting beliefs coming more to the surface. Greater focus on traditional ideas, visions, and practices that no longer serve your own good. It is important to review your paradigms, limiting beliefs, including in relation to your professional life, and how your more serious approach to yourself only reflects an inner child to be rediscovered, released! The lighter we are, the happier we live. And the less serious we are.

Ascendant in Aquarius: challenges with looking at yourself and others more closely, including emotionally, focusing on rationalizing everything, avoiding understanding subtlety and nuances (moving away from your intuition and the more sensitive aspects of your personality), excessive impersonality, excessive detachment, mental inflexibility.

It is important to review how much your internal life is based on logic and how healthy this is for the feminine-masculine balance in your personality. We are one. We don't need halves to fill us, right? Your feminine side may also need to be more integrated.

Ascendant in Pisces: more tendency to connect with energies from the external, from the collective unconscious and conscious, but especially the former. Greater tendency to get lost in the roles of this collective unconscious and have difficulties in centering on your own essence.

The importance of reviewing and reconnecting with your sensitivity, where there are things from the past and from your unconscious to be reinterpreted, transmuted, and perhaps even a moment to balance your mediumship, if you believe in that.

[bunnwich]

A bit of controversial post maybe??? (feel free to skip)

Not to be controversial but I keep seeing how ppl are reading the “Leona is kind to Sally” situation and just thinking how my perspective is bit…different.  (if you don't care about my opinion ofc you can always skip)

SPOILERS FOR EVENT

When I saw it, these were my thoughts:

"Oh I love this so much!! It's adorable for one, and I’ve been saying for years that Leona is only mean to ppl he doesn't like/finds annoying or doesn’t care about. Like he HAS the ability, like everyone else to be polite and nice but we only see him interact with ppl who annoy him etc. Which is...um most of the cast. AND we rarely get a peak at how he would be with someone he likes.

I hope that this helps ppl see that he can be gentler to act toward someone he's SUPPOSED to like as a friend or even like romantically. 

Banter is one thing but I don’t believe he'd ever act straight-up rude to someone he was true friends with, dating or had a crush on?" 

So, a lot of ppl loved this scene I DO TOO! However…

This whole “Leona said men ain’t shit” joke is worrisome. Like…do you guys think that Leona would in fact be ruder or less gentle to a masc or nonbinary S/O vs a femme one? Some of these remarks…feel uh not really nice to those who have nonbinary/masc pairing with him.

He grew up in a matriarchal society, he respects women NO DOUBT.

I just think it would be nice to for us to be kinder in how we phrase things like this. I know they are jokes but still Yumes and ships mean a lot to ppl and I think it's just another catalyst for masc and masc-leaning fans to feel further alienated in the fandom space, yk?

Do I believe he respects women OFC, but much like those who had the “consent king” take about the voiceline of him being offended at Scully kissing the MC's hand I ONLY agree to an extent. WHY? Bc Leona is a big-ass hypocrite! Leona, for all I defend him, is not always keen on physical boundaries himself and can be quite rude. I think that line is more him being annoyed at Scully than genuinely worried for anyone's virtue, yk?

And to bring it back to the Sally/Leona thing I think it's not just bc Sally is a woman he is nice to her, bc she is SMART and cunning and was quickly underestimated by the rest of the cast. She was able take care of herself. He liked that about her. I really don't think it was just cause she was girl by itself.

Idk thats all I have to say, this is just my opinion as usual but it just didn’t sit right with me from a fandom perspective and I genuinely feel the “Leona is the feminist king of all time” is not a full reading of the character when we’ve seen him be nice to others and neutral to other women. Plus, he’s IS a hypocrite about the manners thing! The cast even call him out on it.

Leona is still flawed just like any other character in twst and I don't think him “bowing down at every women's feet” is something I subscribe to. Not in the way some ppl are acting anyways.

And frankly how some ppl are wording themselves in their tags and reblogs of these posts about Leona “drinking respect women’s juice bc he dislikes men” feels alienating toward those who have nonbinary/masc ships with him.

This is meant as no offense to anyone's fun I just thought I’d give my perspective on it. 

TLDR: I do think that it is genuinely funny and endearing to see the juxtaposition of how Leona treats everyone else VS Sally HOWEVER I don't think it is purely a gender thing and making that just doesn't sit right with me.

[thewriteadviceforwriters]

Hey! I was reading on your character arcs and was wondering how you would write character regression over the course of the story :)

Hey there, fellow writer! Thanks so much for your message. Sorry, this response took so long. But, I'm thrilled that you found my posts on character arcs helpful, and I'm excited to dive into the topic of character regression with you. It's a fascinating and complex aspect of storytelling that can add so much depth to our narratives when done well.

What is Character Regression?

Before we dive into the nitty-gritty, let's define what we mean by character regression. In essence, character regression is the opposite of character growth or development. It's when a character moves backwards in terms of their personal growth, beliefs, or behavior. They might lose skills they once had, revert to old, harmful patterns, or abandon positive traits they've developed.

This doesn't mean your character simply becomes "worse" or "evil." Regression is a nuanced process that can happen for various reasons and manifest in different ways. It's about your character losing ground on their personal journey, facing setbacks, or struggling with challenges that push them back towards old habits or mindsets.

Why Use Character Regression?

Now, you might be wondering, "Why would I want my character to regress? Isn't that the opposite of what we usually aim for in storytelling?" Great question! While it's true that we often focus on character growth, regression can be an incredibly powerful tool in your storytelling toolkit. Here's why:

Realism: Let's face it, real life isn't a straight line of constant improvement. We all face setbacks, make mistakes, and sometimes fall back into old patterns. Including regression in your character's journey can make them feel more authentic and relatable.

Conflict and Tension: Regression can create internal conflict for your character and tension in your story. It gives your character something to struggle against, adding depth to their arc.

Emotional Impact: Watching a character we care about struggle or backslide can be incredibly emotional for readers, creating a strong connection to the story.

Set-up for Greater Growth: Sometimes, a character needs to hit rock bottom before they can truly grow. Regression can set the stage for even more significant character development later in the story.

Exploring Complex Themes: Character regression allows you to delve into themes like addiction, trauma, fear of change, or the difficulty of personal growth.

How to Write Character Regression

Alright, now that we've covered the what and why, let's get into the how. Writing character regression requires a delicate touch and careful planning. Here are some steps and tips to help you navigate this tricky terrain:

(Beware Very Long Post!)

Establish a Baseline

Before you can show regression, you need to establish where your character starts. What skills do they have? What are their core beliefs and values? What positive traits define them? This baseline will be crucial for showing how the character changes over time.

For example, let's say we have a character named Alex who starts the story as a confident, outgoing person with a strong sense of right and wrong. This is our baseline. (I will be using "Alex" as an example character for the remainder of the post)

Identify the Catalyst

Regression doesn't happen in a vacuum. There's usually a triggering event or series of events that start the process. This could be a traumatic experience, a significant loss, a series of failures, or even a gradual wearing down of the character's resolve.

In Alex's case, maybe they witness a horrific crime that shakes their faith in humanity and the justice system.

Show Gradual Changes

Regression, like growth, usually happens gradually. Start with small changes in behavior, thought patterns, or reactions to situations. These should be subtle at first, things that the character (and maybe even the reader) might not immediately notice.

Alex might start being a little less friendly to strangers, or hesitate before helping someone in need – small shifts that hint at bigger changes to come.

Internal Conflict

As the character begins to regress, show their internal struggle. They likely won't be happy about these changes and might fight against them. This internal conflict can be a great source of tension and character depth.

Alex might berate themselves for their newfound hesitation, trying to force themselves to be the person they used to be.

External Consequences

The character's regression should have real consequences in their world. How does it affect their relationships? Their job? Their role in the main plot of your story?

Maybe Alex's friends start to notice their withdrawal and become concerned. Or perhaps their hesitation in a crucial moment leads to negative consequences in the main plot.

Escalation

As the story progresses, the regression should become more pronounced. The character might start to rationalize their behavior, or fully embrace their new, regressed self.

Alex might start actively avoiding social situations, or develop a cynical worldview that contrasts sharply with their former optimism.

Rock Bottom

In many stories with character regression, there's a "rock bottom" moment – a point where the regression reaches its peak. This is often a powerful, emotional scene that fully illustrates how far the character has fallen.

For Alex, this might be a moment where they refuse to help someone in danger, fully betraying their former values.

Potential for Redemption

Even if your story ends with the character in a regressed state, it can be powerful to show a glimmer of their former self. This hints at the potential for future growth and can leave the reader with a sense of hope (or tragedy, if that potential is never realized).

Maybe in Alex's darkest moment, they have a flicker of doubt about their new worldview, or a memory of who they used to be.

Tips for Writing Effective Character Regression

Now that we've covered the general process, here are some additional tips to help you write compelling character regression:

Keep it Believable: The reasons for the regression should make sense for the character and the story. Don't have a character completely change overnight without good reason.

Show, Don't Tell: Instead of simply stating that a character has regressed, show it through their actions, thoughts, and dialogue.

Use Supporting Characters: Other characters can serve as mirrors, reflecting the changes in your regressing character and providing commentary on those changes.

Maintain Sympathy: Even as your character regresses, try to maintain reader sympathy. Help the reader understand why the character is making these choices, even if they don't agree with them.

Consider the Pacing: Regression can happen at different speeds. It might be a slow burn throughout the story, or a rapid descent following a major event. Choose the pacing that works best for your narrative.

Don't Forget the Positives: Regression doesn't mean a character loses all their positive traits. They might still show flashes of their old self, adding complexity to their portrayal.

Use Metaphors and Symbolism: Visual cues, recurring motifs, or symbolic elements can help underscore the character's regression in subtle ways.

Explore Different Types of Regression: Regression can be moral, emotional, professional, or related to specific skills or relationships. Mix and match for a nuanced portrayal.

Common Pitfalls to Avoid

As with any writing technique, there are some common pitfalls to watch out for when writing character regression:

Making it Too Sudden: Unless there's a massively traumatic event, regression usually doesn't happen overnight. Be careful not to have your character change too quickly without proper buildup.

Losing Reader Sympathy: If your character's regression makes them completely unlikeable, you risk losing reader investment. Always strive to keep them understandable, even if not always sympathetic.

Inconsistent Motivation: Make sure the reasons for your character's regression remain consistent and logical within the context of your story.

Ignoring the Impact on Plot: Remember that character regression should impact your main story. Don't let it become a subplot that doesn't connect to the main narrative.

Overdoing It: Regression doesn't mean your character has to become a completely different person. Maintain some core aspects of their personality to keep them recognizable.

Examples from Literature and Media

Sometimes, it helps to see how other writers have handled character regression. Here are a few examples you might find inspiring:

Walter White from "Breaking Bad": His transformation from mild-mannered teacher to drug kingpin is a masterclass in character regression.

Daenerys Targaryen from "Game of Thrones": Her descent into ruthlessness in the final season is a controversial but noteworthy example of character regression.

Oscar Wilde's Dorian Gray: His moral decay over the course of the novel is a classic example of character regression in literature.

Michael Corleone in "The Godfather": His transformation from war hero to ruthless mafia boss is a powerful portrayal of moral regression.

Studying these and other examples can give you ideas on how to handle regression in your own writing.

Final Thoughts

Writing character regression can be challenging, but it's also an incredibly rewarding aspect of storytelling. It allows us to explore the complexities of human nature, the fragility of personal growth, and the myriad ways that life can shape and reshape us. When done well, it can create some of the most memorable and impactful characters in literature.

Remember, there's no one "right" way to write character regression. The key is to make it authentic to your character and your story. Let it grow organically from the events of your plot and the unique personality of your character. And most importantly, don't be afraid to dig deep into the messy, complicated aspects of human nature.

As writers, we have the privilege and responsibility of reflecting the full spectrum of human experience in our work. Character regression is a part of that spectrum, and embracing it can lead to richer, more nuanced storytelling.

Balancing Regression and Reader Expectations

One thing to keep in mind as you write character regression is the balance between realistic portrayal and reader expectations. Readers often come to stories expecting character growth, so a character who regresses can be jarring or even frustrating if not handled carefully.

Here are a few strategies to help manage this:

Foreshadowing: Hint at the potential for regression early in the story. This can help prepare readers for what's to come.

Clear Motivation: Make sure the reasons for the regression are clear and understandable, even if not agreeable.

Moments of Hope: Intersperse moments where the character shows glimmers of their former self or potential for growth. This can help maintain reader investment.

Character Self-Awareness: Having the character acknowledge their regression can help readers process it.

Narrative Purpose: Ensure the regression serves a clear purpose in your overall story. If readers can see why it's necessary, they're more likely to accept it.

Character Regression in Different Genres

The way you approach character regression might vary depending on the genre you're writing in. Here's how it might look in different contexts:

In Literary Fiction: Character regression often serves as a deep exploration of human nature and societal influences. It might be subtle and psychological, focusing on internal changes rather than external actions.

In Fantasy or Science Fiction: Regression might be tied to magical or technological elements. Perhaps a character loses special abilities, or technology they relied on fails them, forcing them to regress to a more primitive state.

In Romance: Regression could manifest as a character retreating from emotional vulnerability, perhaps due to heartbreak or fear. The challenge becomes learning to open up again.

In Thrillers or Crime Fiction: A character might regress morally, crossing lines they never thought they would. This can create intense internal conflict and external tension.

In Horror: Regression might take on a more visceral or psychological form, with characters losing their grip on reality or reverting to primal states in the face of terror.

Character Regression and Story Structure

Consider how character regression fits into your overall story structure. It can be a powerful tool at different points in your narrative:

As an Inciting Incident: A character's sudden regression could be the event that kicks off your main plot.

During the Rising Action: Regression can add complications and raise the stakes as your story progresses.

At the Midpoint: A significant regression at the midpoint can dramatically shift the direction of your story.

During the Dark Night of the Soul: This low point in many story structures is a perfect place for a character to experience severe regression.

In the Resolution: Sometimes, a story might end with a character's regression, leaving readers with a sense of tragedy or unresolved tension.

The Role of Regression in Character Ensembles

If you're writing a story with multiple main characters, character regression can play an interesting role in group dynamics. Here are a few ways to use it:

Contrast: Have one character regress while others grow, highlighting the different paths people can take when faced with similar challenges.

Domino Effect: One character's regression might trigger changes in others, either pushing them to grow in response or causing them to regress as well.

Support Systems: Show how a group responds to one member's regression. Do they try to help? Enable the behavior? Distance themselves?

Power Dynamics: Regression can shift the balance of power within a group, creating new conflicts and alliances.

Regression and Theme

Character regression can be a powerful way to explore and reinforce your story's themes. For example:

If your theme is about the corrupting influence of power, showing a character regress morally as they gain more influence can underscore this idea.

For a theme about the importance of human connection, you might show a character regressing into isolation and the negative effects this has.

If you're exploring ideas about identity, having a character regress to an earlier version of themselves can raise interesting questions about who we really are.

A Word of Encouragement

As I wrap up this deep dive into character regression, I want to offer a word of encouragement. Writing regression can be emotionally taxing. It often requires us to delve into dark places, to imagine our characters at their worst, to confront difficult truths about human nature. This can be challenging, even distressing at times.

Remember to take care of yourself as you write. It's okay to step back if things get too intense. Talk to fellow writers about what you're working on. Engage in self-care practices that help you process and separate from the darker elements of your work.

And most importantly, don't lose sight of why you're including regression in your story. Whether it's to create a more realistic character journey, to explore complex themes, or to set up a powerful redemption arc, keep that purpose in mind. Let it guide you through the difficult moments of writing.

Remember, every character's journey is unique. There's no one-size-fits-all approach to writing regression. Trust your instincts, stay true to your character and your story, and don't be afraid to push boundaries and explore uncomfortable truths. That's where the most powerful writing often emerges.

I hope this deep dive into character regression has been helpful! Keep writing, keep exploring, and never stop pushing yourself to grow as a storyteller. Your voices and your stories matter.

Happy writing, - Rin T

Sources:

K.M. Weiland's blog post: "How to Write Character Arcs: The Flat Arc"

K.M. Weiland's "Helping Writers Become Authors" blog: "5 Ways to Write a Negative Character Arc"

TV Tropes: "Fallen Hero" 

[goodlucktai]

15. "This is going to hurt, okay?" with leo for your zombie apocalypse au (maybe leo losing his arm??)

dialogue prompts

15. “This is going to hurt, okay?”

x

When the initial outbreak hit New York City like a bomb, Splinter was adamant that they bunker down in the Hidden City until the world was safe again. One almost-apocalypse was enough for him, thank you. This second one could be someone else’s problem.

Frankly, Donatello could see the merit in that. For those initial frightening forty-eight hours he was all but glued to the TV. A handful of staff and one anchor had remained barricaded in the Channel 6 news room, broadcasting what information they could until the station ultimately went dark like all the others. And what they had to share was grim. 

Whistleblowers had been quick to throw CEO Theo Audrey’s pharmaceutical subsidiary under the bus as the catalyst, claiming the corporation was in the business of bioweapons. Whether or not that was true, it gave the world a name for the violently aggressive infected: Auds. 

Raphael argued that they had the ability to help people, which meant they had the responsibility to. He was more careful with the word ‘hero’ than he used to be, careful in general with what he said around impressionable little brothers who wanted to live up to whatever idea he had in his head that they should be. But it was obvious to all of them what he thought was the right thing to do. 

They had all looked at Leo then, their fearless leader. He was still growing into the role, but he had always been the voice of common sense that kept their heads above water.

Leo didn’t say anything right away, his mind racing ahead as he chased the thread of each argument to its end. He could account for inevitabilities and pitfalls and curveballs as easily as if it was all one big game of chess. 

And finally he came to the decision he could live with, and said, “Raph’s right. We have to help who we can. But we’ll be safe, papa.”

That was three months ago. The world is still ending, and no cure is in sight, and Donatello doesn’t want to think about how those without portal magic are surviving when they have no choice but to venture out for food or water or medicine.

Sometimes he thinks Splinter was right. Other times he thinks about all the people who are still alive only because of his brothers’ inherent goodness and he can’t imagine having done anything else. 

Today, the portal that brings the patrol team home is orange, not blue. Donnie’s heart is in his throat even before he processes the screaming. 

“POPS!” Raph’s voice tears through the lair. He hasn’t sounded that frightened since those seconds before the Technodrome exploded in the sky. “Donnie, April—somebody!” 

Donnie bursts out of the tunnel into the terminal that makes up their living room and all the air leaves his lungs at once. 

Raph’s hands are bloody, and Mikey is crying, and Leo is writhing in their big brother’s hold. The once-bright yellow hoodie Mikey had been wearing that morning is stained an ugly rust color and pressed hard against Leo’s right arm.

“Shh, hey, it’s okay, we’re home,” Raph murmurs, none of the panic on his face making it into his trembling voice. “Raph’s gotta show Don. This is gonna hurt, okay?” He peels away the hoodie, fighting Leo’s grip on his own arm to do it. Leo chirps in distress, and it’s horrible, and Raph all but trips over himself to soothe, “I know, baby, hold on. Hold on.” 

He finally reveals a gruesome, gaping tear in the flesh above Leo’s elbow. The edges are shaped like teeth.

“No,” Donnie says. 

“We found a few families trapped in an apartment building. One of them had a little girl and she—” Mikey manages to choke out. “She started crying. It was so loud. The Odds swarmed the level we were on in seconds.”

No, is all he can think. No no no.

What apocalypse? The world is ending right here. The world is in Raph’s arms, bleeding and gasping and dying. 

“Move,” Draxum says, as good as appearing out of thin air. Donnie’s situational awareness is apparently nonexistent right now but he still hears it when Splinter dashes into the room a second later, if only because of the wounded sound his father makes. 

Draxum places his hands on Leo’s wounded arm just above the bite and they begin to glow. Donnie loses the strength in his legs before he completes the last couple steps between himself and his brothers, so he just crawls the rest of the way. He takes his twin’s hand and pretends there is nothing that could force him to ever let go. 

“From what we have seen, the infection turns a new host in a manner of minutes,” Draxum says, expression fierce with focus. “How long did it take you to get him home?”

“Um,” Mikey says, scrambling to grab hold of something other than grief and fear the way he would rifle chaotically through the mess of sticker paper and sketchbooks on his desk for the right color copic or drawing pen. Blinking hard and rubbing away fresh tears on his sleeve, their youngest finds the courage to do anything besides just wail and scream the way they all would like to and says, “It wasn’t right away. My portals aren’t instant like L—like Lee’s are. I have to, um, draw the sigils in my mind the way you taught me.”

“Four minutes,” Raph offers. “And twenty-one seconds,” he adds a beat later. “Raph was counting.”

He leans down and presses his cheek to Leo’s forehead. He isn’t saying goodbye, but he’s holding close just in case. He’s giving Leo something sweet to go out on if he has to go. He’s crying, too, a steady, silent drip.

Splinter strokes Leo’s cheek with the backs of his fingers. Donnie isn’t brave enough to look at him. He can’t look at anyone. 

There is no other way for this to end. There isn’t a cure. Any bite or scratch is an instant death sentence. Then Donnie’s twin would become something else, a violent, hungry shell of someone once good and loved, and they would have to deal with that. They would have to see it, the ugly wretchedness of it, and never make peace with it for as long as they lived. 

And yet— 

“He should have turned by now,” April says from just behind Donnie. Her voice is shaking, and she looks like she wants to collapse where she’s standing, but she still manages to claw something shaped like hope out of the worst moment of their lives. “That’s what you’re saying.”

“That’s what I’m saying. This virus is human in nature—mortal. There is a reason the Hidden City is unaffected. Yokai are creatures of magic. In much the same way I could not catch the flu from you, O’Neil, we cannot be infected by Odds. You Hamato call yourselves mutants, but you are yokai. At least in part.”

“And you wouldn’t have thought to mention something like this sooner?” Splinter hisses, something close to hate in his voice. 

“How would you have liked me to test it, Lou?” Draxum bites back. 

“Shut up,” April says. “What does that mean, Barry?”

“It means the virus has been isolated at the site of the infection,” Draxum says. “It will not remain that way for long. It will spread, very slowly, and eventually take him. This pain that he is in will not wane until he is gone. We must act before it is too late.”

Donatello’s mind is as quick as Leonardo’s, even though they are constantly racing down different avenues. He understands what Draxum has not yet said. What exactly he’s proposing. 

They have to remove the site of the infection.

“I can’t do that,” he blurts, too loud.

“Someone must,” Draxum replies, not pulling any punches. “If you want it to be me, then it will be me.”

“What are you talking about?” Mikey says. “Dee?”

Donnie can’t speak. He presses his forehead to the corner of Leo’s that isn’t crammed fitfully against Raph’s shoulder. 

It’s a terrible risk. Amateur amputations are the stuff of nightmares. And it might not even work. There’s no precedent. There’s just a one in a million chance and a family desperate enough to take it.

“Leo,” he whispers. “Hey. Nardo. Please. I can’t just. I need you to—I need you to tell me it’s okay. Lee. I need you to tell me what to do.” 

He feels it almost instantly, the click and connect of a mind meld. Leo’s mind flows into Donnie’s as effortlessly as it has every time they’ve done this before, the mischievous wind of his ninpo breezing through Donnie’s lightning storm like the skies they belong to are one and the same. 

There isn’t a conversation. Leo’s thoughts are muddled, fever-bright and confused, not at all like the shape they take when the wickedly clever slider is feeling like himself. But Donnie hears him anyway. 

He understands just from this instant of togetherness that Leo doesn’t want to leave them. He wants to stay where they are. He would do anything to stay. 

Donnie parts from him with a gasp. His siblings watch him avidly, tears streaming down their faces unchecked. Leo looks tiny in Raph’s arms. There’s already so little of him, and now they are going to whittle him down even more. 

But the helpless screaming fear is no longer the loudest thing in Donnie’s head. It’s drowned out by the deafening rumble of a storm, that faraway sky that flashes with purple lightning and playful gales of blue. Nothing could be louder than the two of them when they have something to prove. 

“You’re not going anywhere,” he says, one hand on his twin’s plastron over the spot where that fearless, unyielding heart beats for them. “Hear me? I’m taking this arm, but I’ll give you back a better one.” 

The air goes out of the room as all of his siblings and his father suck in a breath and hold it. Raph’s grip on Leo tightens, as if he needs just one more second in a world where this doesn’t have to happen, where there’s another way. 

Then he lifts his mismatched eyes and there’s only trust there when he looks at Donnie. Mikey’s hand grips the wrist of the one Donnie has on Leo. April puts her arm around Mikey.

They’re all here. They’re all going to stay right here.  

[captainmera]

Any HC’s on how abomination magic specifically works?

I DO ACTUALLY - OH MY GODS, I DO ACTUALLY!

Because it's clearly different than plant magic! It's not earth magic, even though it's some sort of... soil. Of sort. And Amity says she had missed it when she returned to the demon-realm.

So WHAT IS IT?

Now, I think a big point of what could-have-been season 3, is that MAYHAPS Amity would be much less helpful in magic. Giving Willow space to be "the strong/powerful one" and thus their friendship could have a continued arc.

But it's just one of those big question marks of; Is that intentionally something that only exist in the demon realm? If so, what point to the story does that serve? And if not - what difference is it to plant/earth magic at all?

I genuinely can't answer that.

Anyhow, let's identify what it is that could make it different from plant magic.

My headcanon, based on the little I can scrape together from the show's world building and plot direction.

I deduce that abomination is very specifically made out of grime and slime, like, the sort of thing you'd scrape away to make something clean again. Dust, muck, flakes, waste, dead skin, carcass, slags, mould, rot... Things that would make you feel Oh yeah, that's very boiling isles-esque.

So, dead and gross things.

Plant magic is making things grow, turns and moves the earth, terraforms.

And abomination is kind of an opposite.

To me, this makes sense. Since Darius is on the good-guys' side, and Terra is on the bad-guys' side. Putting these two seemingly similar but actual opposites against one another makes thematic sense.

it also makes aesthetic sense, since we see in season 3 that the TOH-Crew make the aesthetic choice to give Luz a typical villain aesthetic and the collector the typical hero aesthetic (pastels, round stars, childish happiness, etc).

Willow vs Amity would have been a cool fight to see, or, if not a fight. At the very least see Amity try to calm Willow's growing emotional storm (ah, pun!) Which they were rounding up for Willow in season 3.

This is a side-track, but all that they put in episode 2 of season 3, I feel were things they always wanted to give resolution to. I know a lot of fans are ???? about boscha and kikimora getting a lot of attention, but specifically Boscha - with Amity, and Willow. I get the sense that they had much more in store for the hex girls friendship than what we got. But alas. They sho-horned what they wanted in there and maybe forgot that the audience doesnt have the knowledge of intent as the crew does. So it comes off as a bit "why did this get attention instead of X thing?"

Okay anyway back to biz.

The fashion direction and aesthetic of the Demon-Realm is, to me, like if you took a fantasy renaissance fair and slapped cheap halloween decor on it. Jester hat? Glue some fussy spiders on it with fangs. A colourful vest? It has batwings and eyeballs for buttons.

This is important, actually!

Alador has abomination magic, and Amity's dad, he is aesthetically designed to look very much like a stereotypical it's aliiiiveeee crazy scientist. But with the mellowness of a tired workaholic dad.

Amity's mother has oracle magic.

Together they make evil steam punk science. In a show that canonically built it's catalystic event on a brother murdering his brother and is haunted by his ghost, while trying to ressurect copies of him that he also murders.....

You cannot look me in the eyes and tell me that the protagonists love interest's magical ability has no visual direction that connects the two. And I will tell you why I'm right.

Visually we are guided to connect Amity's parents. Look at their factory, at aladors lab, look at how it's pleading us to look at their manor as a typical gothic horror. (mind you, their home is also one of the few buildings that doesnt have eye-motifs on it, and instead has a star/moon symbols. The only other place I can think of that does is the library and the collector disc & Titan tower.)

Amity doesn't use abomination magic in the human realm. Not even in the fight against Belos. There's... something purple, for sure, a kind of smokey bomb-attack thing. But no abomination.

Amity has used other non-abomination purple magic before too, when she caged Luz at the knee to keep her safe. A cage, much similar to what Odalia can do.

Which means that PERHAPS Amity knows, and can, use oracle magic.

If we are to take Amity's comment on Camila saying "you were really holding back in the human realm, huh?", Amity says "maybe a little"

And she calls it slime.

So perhaps it is something that also exist in the human realm too? But she didn't use it in battle. Or maybe this comment is to referr to that she had to hold back on her preferred magic style, because there wasnt much of this *particular type* of slime.

Meaning she'd be forced to use oracle magic? And maybe have an arc where she reclaims that magic. It would also be more useful to the gang, since they would be going through a story-line of uncovering Belos' past in Gravesfield's history.

Her mixing both oracle and abomination magic, I feel, would also bring forth more purpose to the episode where a basilisk invaded the school.

The whole purpose of the episode was to show that you should be allowed to have more than one preferred magic - but NONE of the main hex-squads ever dabble in that. Making the episode somewhat purposeless - but if Amity gets to reclaim oracle magic as her own.. I feel like this would tie into the thematics of GOLEMS.

Abominations already are designed to look like golems. But the real life folklore dabbles in re-animating clay with LIFE. Much like a zombie, or what have you. Grimwalker, anybody? no? Just me? Very well.

I feel that would have been a perfect story segway to put pressure on Hunter and Luz hiding that Hunter is a grimwalker. The more they find out about Philip, the closer the pieces would be put together. Drrrraamaa~!

I have a feeling Amity and Gus would become closer, as illusion magic would be very useful to them all as well, moving amongst humans. Perhaps this would play into Willow's insecurities that we see her having in season 3.

Which, also, by Amity and Gus becoming closer (Amity being closest to Luz, Gus with Hunter) this would also put pressure on their secret. And the two of them would have insight, being the twos confidants. Leaving Willow, again, a little to the wayside - giving more fuel to her arc of trying to overcompensate with being the strong friend, as she slowly disconnects a bit with the group and her emotional turmoil grows.

ANYWAY.

I think abomination is meant to be something that Amity would combine with oracle magic. Something that would be fundamentally different than if you combined oracle with plant magic.

Perhaps there are more layers to Belos wanting the magics to be apart. Clearly, mixing magic doesn't only make a witch stronger, perhaps their creativity is the only limit to what a witch could do.

What if you oracle a ghost into a clay figure? What if the human version of abomination is hardened mud (clay), or metals like steel (coal and iron), what then? DUNNO. Sky's the limit. Write a fanfic.

That's my headcanons and thoughts on abomination magic, anyway.

[scoobydoodean]

y'know. a thought hit me about the whole john apologist discourse with sam and dean. john sacrificing his life to save dean was the best thing he could've done in sam's eyes and the worst thing he could've done in dean's eyes. and from there on, their respective forgiveness and bitterness grows. just thought you might find it interesting?

That's a great point. In looking at Sam's turnaround on John, I've looked more at a common trauma as the catalyst and the Stanford fight. Sam's feelings on his father start to shift in 1.02 when, after losing Jess, he suddenly shares a traumatic experience with his father almost play for play and is full of rage. He asks Dean brokenly how their father manages to handle the trauma. He suddently has an understanding of his father's pain that was explicitly absent in 1.01 on the bridge, when he said he didn't remember Mary and hadn't really lost anyone. Now he feels out of control and wonders how John even manages at all. But the big wound of the Stanford fight remains—how Sam thought John didn't love him and just saw him as an embarrassment. In 1.08, when he learns that John's actions were born out of fear, and that John had checked up on him periodically to make sure he was safe, his mood shifts and he outright says he wants to see John and apologize to him. I'm not one to say there's any excuse for John telling Sam never to come back, but I think for SAM, hearing his father show vulnerability and admit that he was afraid was important and needed—we can see how much it means to Sam to hear that John worried for him in 1.08 and 1.20. That certainly doesn't mean they don't butt heads though, as we see in 1.10, 1.11, 1.20, and 1.21. They're both so headstrong and they both want to be in charge—Sam spends all of 1.20 challenging John's authority, but then all of 1.22 (until the end when he sides with Dean) trying to enforce that authority in John's absence. As soon as they're in the same room again in 2.01, they're back to butting heads, but now Sam is furious on Dean's behalf, assuming that John doesn't care that Dean is dying. It's what their last ever fight is about, and it's absolutely vicious, and John very cruelly blames Sam for Dean's condition, and then... Sam tells him to go to hell. Which is a pretty mild insult, but it actually... happens—and because Sam had misjudged what John was up to, and thought he was summoning Yellow Eyes for another revenge plan... from Sam's perspective looking back, he got this whole thing so wrong. He was screaming at John for not caring about Dean when John was about to make the ultimate sacrifice to save Dean, and he told his father to "go to hell". What's more, even John's cruel words—blaming Sam for Dean's condition because it would all be over if Sam had just shot John when he had the chance—they reveal John's suicidality. We know explicitly that Sam regrets their last conversation being a fight (2.02) but I think a part of Sam thinks "If only I hadn't screamed. If only I hadn't picked a fight. If only I could have told him not to leave us, he could have looked for another way." Maybe it's even more than John sacrificing for Dean being a symbol of love, but Sam having so deeply misjudged John's intentions and not clocked his mental state. It leads Sam to reel back so far in guilt and regret that he arguably overcorrects, rewriting a lot of the things John did to be less traumatic than they were. This doesn't fully stop until 6.02, and even then, it's soulless Sam criticizing John, and quite arguably because he knows from their big fight in 4.19 that he can terrify Dean into coming with him by filling his head with fears about turning into their father.

But yeah! To Sam, dying for Dean is this ultimate proof that John loved them and that Sam was wrong about him, and he backpedals hard from being (in his mind) so wrong (and potentially feeding into John's suicidality, even though that isn't Sam's fault). Meanwhile, Dean is furious with his father for abandoning him with all the responsibilities, but he can't really grab onto that anger and process it because at the same time, he knows John did it because he actually does value Dean's life (something Dean was starting to question) and he's grieving and Sam is doing revisionist history and it all leaves Dean clammed up and silently seething and unable to process what any of it means. And that anger builds and builds and then in 3.10, he explodes, and then spends several seasons calling his father a worthless deadbeat before also cooling down some.

[i-am-not-a-who-i-am-a-what]

so about the header that proceeded today's statement:

Viability as agent: Low

Viability as subject: None

Viability as catalyst: Medium

i didn't know what to think of this part of the entry at first, but the longer the statement went on... was the institute in this universe trying to manufacture avatars?

the dice can't do anything without someone to use them, they can't be an "agent" by themselves, but might be capable of manipulation, so in that aspect their viability is "low."

the dice could be a "subject" in the sense that they could use further studying, but the statement itself was a very thorough investigation of their workings, so in that aspect their viability is "none."

the dice seem to influence their holder to roll them, or at least find more victims to roll them, and could therefore be described as a "catalyst" for someone's becoming. but, as seen in the statement, their owner can give the dice to someone else (albeit not without consequences), so in that aspect their viability is only "medium."

so what about the line following all this, what does "Recommend referral to Catalytics for Enrichment applicability assessment" mean? if we go by this interpretation, i'd say it could mean the institute wanted to find a way to make the dice even more potent as an artifact, maybe even remove that pesky ability for their owner to reject them.

imho all of this this brings a whole new level of context to the events of episode seven, of unknown violent agents going after an influx of objects that seemed straight out of artifact storage. was that the nature of the titular "magnus protocol" first mentioned in episode four, the one that involved the starkwall group? containing or destroying potential artifacts before the institute could get their hands on them?

it also makes their "gifted kids program," and sam's link to it as one of the kids being studied, all the more horrifying to think about. was it not just avatars in general they were after, but child avatars specifically? no wonder gertrude got so defensive over the possibility of sam and celia dragging gerry back into the institute's business last episode, we all picked up on her clearly knowing more than she's letting on but now we might know the shape of that information a bit better.

and one final bit of food for thought... this statement had a lot of familiar themes, didn't it? free will or the illusion of it, gambling and not-so-random chance, the statement giver being done in by one final hit from what feels like a bit of an addition... all hallmarks of a certain mother of puppets. doesn't it seem fitting that "chester" would use this kind of statement to warn sam about what harm pursuing the magnus institute could bring to him, considering the one his voice might draw from? and doesn't it seem so painfully ironic that his warning seems to have only driven sam further into that web?