#me when things are not mutually exclusive

[celestie0]

gojo satoru x reader | fake marriage au [18+]

in holy matriphony ch5. child's play

ᰔ pairing. fake marriage au - neighbor&realtor!gojo x nurse!reader (ft. choso x reader & suguru x reader)

ᰔ summary. gojo satoru is your extremely annoying next-door-neighbor who you're pretty sure is the most insufferable man you've ever met. given the fact that you exclusively work the night shift at a chaotic emergency dept, just got broken up with your boyfriend of seven years, and have been taking care of your sick mother ever since her multitude of diagnoses, yet somehow your neighbor is the main source of stress in your life should speak volumes. but when your mother's medical bills start to skyrocket to more than you can manage, and you learn that said neighbor of yours has the best private health insurance plan in the country, you ask him to enter a matrimonial agreement with you for the spousal benefits all in the name of saving a few hundred thousand dollars. but you'll have to see if suffering cohabitation w him is worth any amount of money.

ᰔ genre/tags. fluff, smut, angst, enemies to lovers (sort of), annoyances to lovers (that's more like it), small town romance, fake marriage, next door neighbors, lots of bickering, suburban shenanigans, slow burn, mutual pining, gojo likes to play house but you don't, hatred for the american healthcare system, gojo always forgets to mow the lawn, jealousy, an insane amount of profanity, mentions of cigarettes, depression/anxiety; btw gojo in this fic is in his mid 30s n reader is in her late 20s

ᰔ warnings. reader in this fic has a sick mother w alzheimer's & cancer so there is secondary medical angst!!

ᰔ chapter. 5/x

ᰔ words. 4.8k

a/n. helloo my ihm friends! long time no see. hope you're all doing well and thank you so much to everyone who sent me kind messages about the whole ihm gojo ex wife thing haha. i really appreciate it :) i feel more confident about my writing decisions now, and that's all thanks to you guys! anyways, i will be posting shorter chapters for ihm going forward, so sorry if some chapters have slightly abrupt endings or stuff like that. i guess my goal is to post shorter chapters but more frequently! we'll see how it works out. anyways, hope you enjoy this chapter and see you at the bottom!!

nav. ch1 :: ch2 :: ch3 :: ch4 :: ch5 :: ch6 (pending)

Ever since admitting your mother into hospice, things have been calmer inside your mind. After passing the initial wave of agony that came with no longer hearing her voice down the hall or seeing her silhouette in her bedroom as you walked past it, you realized that…a weight has been lifted off your shoulders. No longer setting alarms at the height of every other hour to remind your mother to take her medication, no longer viewing every interaction you had with her as some form of study you needed to jot down in a binder for her neurologist’s records, and no longer driving her to all of her chemotherapy appointments, only to leave them feeling like you purposefully just took your mother to a place where they sucked all the life out of her in exchange for the slim promise of giving it all back to her someday.

Maybe it was evident in the way your shoulders felt less tense as you rolled them back, tilting your neck to the side and no longer feeling the painful strain that tugs a wince onto your face. The other day, you caught yourself humming a song as you drove to work. Your skin, usually feeling cracked and dry from stress and exhaustion, now has a slight plumpness to it like before. A more youthful glow, like the version of yourself you were before your mother became sick. The version of you that so quickly deteriorated, and one you didn’t even know still existed somewhere within you. 

There has also been time for hobbies. Rarest of occasions, you find yourself sauteing some yellow and white peaches in a saucepan over medium heat in Gojo’s kitchen, humming that song once again that’s been stuck in your head. The sundress you’re wearing matches the pink of the syrup that pools at the bottom of the pan, and you feel like you’re living your cottage core dreams in this brief moment of reprieve you’ve allowed yourself to fall into.

The sound of slippers tapping down onto the hardwood floor startles you out of your gleeful trance, and you turn your neck to the right to see a pajama-clad messy-haired Gojo shuffling his feet across the open area into the kitchen with a dark black mug in his hand.

“Why aren’t you dressed??” you ask him in a panic.

“I’ll get dressed later,” he tells you dismissively as he grabs the glass pitcher of coffee from where the coffee machine was nestled up against one of the counter corners.

“You’re stressing me out. Your mom told us to be there in two hours,” you say, putting your hands on your hips in disapproval as you hear the sizzle of the peaches in the saucepan. 

He entirely ignores you, choosing to instead drag his gaze down the form of your body. “Woooow, twice this month I get to see you in a cute dress,” he comments, pouring coffee into his mug but his eyes are still on you, “lucky me.”

“Oh Shut. Up,” you sneer at him with a harsh roll of your eyes, “your fake flattery might work on the lonely middle-aged women you seduce to make a living, but it won’t work on me.”

His shoulders push back before he slumps them slightly, his brow lifting with confusion. “It’s not fake though? I mean it. You look really nice right now.”

You point an accusatory sugar-syrup coated wooden spatula at him. “You’ve just been conditioned by the patriarchy to get a boner at the sight of a woman in a kitchen.”

“What–...no–...why do you always have to say stuff like that whenever I compliment you? Can’t you just accept it?”

You cross your arms over your chest. “I refuse to be flattered by an insolent man like you.”

He sighs, setting his coffee mug down on the counter, and you watch the way the fringe of his hair hangs over his forehead as he gazes into the contents, swirling it around with a loose grip on the handle. “Is this how it’s going to be everyday? I try to be nice, and you–...well, you know, are you.”

“Well who else should I be?”

His eyes lift up to meet yours, the slightest of a cheeky grin on his face as his eyes wander down the form of you again. “I don’t know. Someone a little…softer? Like, you’ve got this really pretty dress on, and then you’re telling me off about patriarchy-induced boners. It’s a little, uh, contradictory?”

You gasp. “You’re trying to control me. I knew it. You are poisoned by the patriarchy.”

“What?”

Your eyes narrow at him. “You have this image of a perfect and cute little wife, who’s gonna wear pretty dresses all the time, and bake stuff in the kitchen, and get all blushy when you tell her she looks beautiful, and you expect her to have this soft little personality that never argues with you or disagrees with you…ALL BECAUSE OF THE PATRIARCHY!!!”

“...I–...Okay, you’ve lost me.”

You let out a hmph! noise. “Can’t even discern his own brainwashing. Sad.”

“All of this just because I tried to tell you that you look nice?”

“I know what your ulterior motives are, you creep.”

His eyes spark a little at that, the corner of his mouth tugging up into a cheeky grin as he sets the coffee mug down onto the marble counter and he straightens his spine. You blink, watching with confusion as he crosses the distance between the two of you, to where you’re taking a small few steps backwards until your lower back presses against the edge of the island countertop. He cages you into the surface with his frame, followed by the palms of his hands sliding over the marble on both sides of you, and you feel his forearms press against the curve of your waist as he traps you in with no way out.

“S-Satoru,” you stutter, looking up at him with wide eyes, “what are you doing?”

“What do you think I’m doing?” he says, his voice deeper with a nonchalance that has you shiver, his gaze dropping to your lips when you part them slightly.

“T-The patriar–” you squeak out, but he suddenly dips his head down to kiss you.

Your breath hitches in your throat, eyes immediately closing when he moves his lips against yours, one of his strong arms wrapping around your waist to pull you closer to him and your hesitation is something that only lasts a brief second before you find yourself kissing him back. Some noise leaves his throat, deep and raw and sounding pleasantly surprised as he captures your lips more fervidly now, his hands smoothing down to hold your hips and his teeth slightly nip at your bottom lip. 

You grab a fistful of his shirt, unsure of whether you want to pull him closer to you or push him away, but the moan that you mumble against his lips only makes his grip on your hips even stronger, fingers digging into the softness through the thin fabric of your dress. 

The oven suddenly starts beeping, startling you and you pull away from the kiss with a gasp, eyes rounded as you look up at him, but his are lidded and dilated as his gaze remains glued to your lips. 

With a heaving chest, you try to push him away by a weak fist to his sternum but he’s unrelenting.

“You taste sweet,” he says, like some comment he noted in his head but accidentally voiced out loud.

“I–...” you inhale sharply, “I just ate three macerated peaches.”

“Uh-huh,” he barely acknowledges before leaning in to get another taste, but you push him away harsher this time.

His hands let go of your hips entirely, finally breaking out of that kiss-induced trance he was in, but he still remains close to you in proximity, so much so to where you can feel the heat from his body. It’s comforting almost, radiating through the soft cotton of his long sleeve shirt, and you find yourself subconsciously leaning towards him before you snap out of it too, and rock your weight back against the island countertop.

You cross your arms over your chest, hoping the flush to your cheeks isn’t showing. “Oh okay so we just casually kiss now?”

He shoves his hands into his plaid pajama pant pockets, leaning away from you slightly. “For as long as I can get away with it, yeah.”

“You are breaking the rules.”

“You never said no kissing.”

“I said no touching.”

“Ehhh kissing isn’t really touching, though, is it?”

“You sound stupid.”

“I always sound stupid to you.”

The oven starts beeping again, and you realize it’s long been preheated to the setting you had placed earlier. You slip away from him with haste, feeling his gaze on you as you press a button on the oven to turn the alarm off, and you stare at the handle for a moment or two to calm the beating of your heart down. 

Your eyes catch sight of something on the side of the fridge. A little magnet made of rubber that has the word London on it as well as the design of the Westminster Cathedral with golden accents. You recall that Gojo went on a trip to London recently, and that he didn’t bring you back any souvenirs from there like he did for your other neighbors. And you want to pretend, you want to shove it down, that incessantly childish feeling that wonders why he didn’t bring you anything back. You want to continue to pretend like it doesn’t hurt your feelings. Something so miniscule and small. But you–...well, you can’t.

You spin around to face him. “Do you hate me?” you bluntly ask.

He blinks at you. “Huh?”

“Do you, what, I don’t know, think I’m annoying or something?”

He shrugs with his hands still in his pockets. “I mean, yeah, I do think you’re annoying sometimes. But in a silly way. Like we’re just pals horsin’ around, y’know?”

You snarl at him, putting your hands on your hips and narrowing your gaze until he’s hardly even visible anymore. “No. I actually find you annoying. Like, wanna-run-you-over-with-a-bus annoying. You just have horrendous social awareness and think that everyone loves you.”

“You actually don’t like me?” he asks, like he can’t even believe that someone wouldn’t.

“Yes,” you say, “now get out of my way.” You make an attempt to push past him, purposefully knocking your shoulder into him to assert dominance but he is unfortunately much bigger than you and so all it does is make you stumble ungracefully from the recoil.

He quickly grabs your arm to steady you, and you glare up at him before yanking yourself away and then step backwards until your back hits the fridge.

He studies your demeanor for a second before taking a deep inhale, and then lets it all go in a heaving sigh. “What do I have to do to get you to lighten up a bit?” he asks.

“You really want to know?” you sneer at him.

“Yes,” he says with a slight hint of frustration in his tone.

You cross your arms. “Pay for the fucking fence.”

He blinks at you, confusion replacing whatever frustration was previously decorating his tone. “What?”

“The fence,” you reiterate with a step forwards towards him, “the one I built six months ago. The one where you laughed in my face when I told you to help pay for it.”

He leans forward. “Yeah. Because I never wanted that fence built. Like I said, it fucked up the roots on my avocado tree. You should’ve asked me before building it. In fact, it’s illegal to build a fence without joint consent of both neighboring property owne–”

“Oh my god, okay, see? This is why I can’t stand you,” you snarl at him and make another move to get past him but he easily steps in front of you to keep you from going anywhere.

With a sigh, he relents. “Fine, I’ll pay for the fence.”

You try to keep the twitching muscles of your face still as you resolutely stare up at him, pressing your lips into a thin line. Through a strained tone, you say, “No. I don’t want you to pay for it anymore.”

He lifts a brow, utterly bewildered at this point. “Huh?”

“Now it just feels like pity. And I don’t want your pity money.”

“Two seconds ago, you did.”

“Yeah, well, whatever. That was two seconds ago.”

“So…let me get this straight, you don’t want me to pitch in?”

“No. I want you to have wanted to pitch in SIX MONTHS AGO.”

“Okay but what the fuck am I supposed to do about that now?”

“NOTHING!!!” you finally snap at him, the shrill to your voice startling him slightly to where you see his shoulders jump, and his eyes are now rounded blue as he looks at you. “There’s nothing you can do about it, there’s nothing you can do to get me to ‘lighten up’ or ‘act softer’ or whatever the fuck kind of damage control you aim to achieve with me due to your pestering incessant need to be liked by every fucking person you come across. So just deal with the fact that I hate you and let me do it in peace.”

He’s silent for what feels like a long time as he blinks at you, his bottom lip pushing up slightly in a way that suggests he’s almost impressed by your little outburst, then he takes a step forward, and in that one large stride, he’s closed any distance between the two of you. Your back is up against the frigid steel of the fridge, your heels tucked under the warm rubber at the foot of it, and you’re looking up at Gojo as he towers over you, his hands still annoyingly and relaxedly shoved into his pockets.

“Do you think it’s gonna be a problem that I think you’re kinda hot when you’re mad?” he asks you.

A small puff of air leaves your lips, like you just can’t believe the audacity, but also having him this close to you suddenly made it a little harder to breathe. “C–...Can you just be fucking serious for one second?”

His head dips down, the fringe of his hair tickling your forehead, tip of his nose slightly brushing against yours, but his gaze never falls to your lips. “You think I’m not being stupid fuckin’ serious when I say that you’re hot?”

“S–” your breath hitches in your throat, and his gaze finally falls to the lick you pass over your lips, “Satoru–”

Like God himself answered to your (cognitively dissonant) prayers, the bell rings, and Gojo leans himself away from you, straightening his spine so he can glance over his shoulder towards the door, a slight look of irritation on his face through the furrow of his brow.

You blink up at him. “A–...Are you expecting someone?”

He rubs the back of his neck. “No. Don’t think so.” He sighs before shuffling around the kitchen island and across the dining hall towards the entryway of the house, and you peer at the sight from across the hall.

When he opens the door, you see Sana standing outside, dressed in mom jeans and a t-shirt with her black Coach purse slung around her shoulder, arms crossed, and you barely register the fact that she looks pissed.

“Sana?” Gojo says, “what’s up.”

She entirely ignores him when she catches sight of you, pushing right past him and into the family room that you were currently finding solace in.

“You,” she points at you, storming right up to your personal space, “what the hell did you say to Juno when you were babysitting her?!”

“H-Huh??” you squeak out, taking a step backwards. “What are you talking about?”

“You told her to fight kids at school?!” she snarls at you, and your eyes widen.

“What?” you say, your face twisting with confusion, “I–...I never said that. I just said that she should stand up for herself if she needs to.”

Sana inhales deeply with rage, leaning back and jutting her hip out as she crosses her arms again. “Yeah, well, I had to pick her up early from school today because the principal called and told me she shoved a little girl on the playground during recess, and now she’s facing suspension.”

Gojo approaches suddenly from your periphery, standing in front of you as he faces Sana. You stand on your tiptoes to peer at her over his shoulder. “What? Why would Juno do something like that?

You hear Sana start to tap her foot impatiently against the hardwood floor, and then she turns her head away from Gojo as a slight hmph! noise leaves her throat. “The why is irrelevant.”

You poke your head out from behind Gojo and glare at her, but then Gojo turns around suddenly to look at you.

“y/n,” he says, “what’s going on?”

“I–” you start, glancing at Sana again who now has a solemn look on her face with pursed lips. You glance back at Gojo, who’s looking at you with confusion and anticipation. A heat spreads down your neck from the attention of the both of them on you, and you’re not sure what the smart thing to say is, so you figure you’ll just tell the truth as it is. “...I just didn’t want her getting bullied and thinking she can’t stick up for herself.”

At that, you see Gojo’s shoulders stiffen. “Bullied?” he repeats after you, then quickly turns towards Sana, “what does she mean, bullied? Juno’s getting bullied at school?”

Sana faces him full-on, raising a stern pointed finger between the two of them “No. Satoru. Stop. You always do this. This has nothing to do with you, so don’t even start. It’s not a big deal, let’s not make it one.”

“The fuck do you mean it’s not a big deal? She’s getting bullied at school, and you want her to just suck it up?” he asks, venom dripping from his tone. 

“It’s for her benefit!” Sana exclaims. “Jun and I have spent months trying to get her into this school! We don’t want her getting kicked out.”

“Y’know, I’m–” you stutter, “I’m gonna–...I’m just gonna go upstairs,” you say, “this seems like a family matter. I think you guys should probably just settle this on your ow–”

“No,” Gojo says, pointing to the couch that you were standing in front of, “sit down.”

You sit.

Gojo turns to face Sana again, and although you can’t see his face, you imagine he’s pissed off from the way Sana’s shoulders drop slightly and her sharp expression is cut into a more sheepish one.

“Who cares if Juno is suspended for sticking up for herself? It’s the teachers’ fault for not making sure she’s safe,” he says.

“Shoving other kids is not the solution.”

“Well if you fuck around, then you find out. Kids are too soft these days.”

“This is not the 90s, Satoru.”

You watch the back and forth between the two of them for the better part of an entire minute, feeling uneasy in the hostile environment of the room, but there’s a sense of underlying familiarity between the two, one that is recognizable amongst family. And you feel rather foreign, but then remember that, technically speaking, now that you’re married to Gojo, this is your family too.

Amongst the arguing of the adults, none of you noticed that Juno had gotten out of the car in the driveway and was now standing in the doorframe of the front entrance. She looks scared and guilty, fidgeting with her fingers in front of her, and you notice her scrapes and bruises that you tended to last week were now mostly healed. 

Gojo catches sight of her, and you see his shoulders relax. “Juno, c’mere.”

With the permission, she instantly runs towards him and into his arms from where he was crouched down to the floor in order to welcome her, and then she starts sobbing.

“I’m–hic,” she cries, “I’m so–hic–I’m so sowwyyy Uncle Toru…I’m–hic–I’m sorry mommyyyy.” 

You see Sana sigh and she makes a move to brush Juno’s tear-dampened hair out of her face when Gojo pulls her away from his shoulder by a delicate hold of her bony little shoulders.

“Juno. Listen. If people are being mean to you, then you do exactly as your auntie y/n said. You stand up for yourself. And if that doesn’t work, then you cuss at them and threaten to shove their faces into the dirt until they run away with their tails between their legs. Do you understand me?” Gojo tells her.

Sana gives you a pointed look.

“Oh, I–” you put your hands up in front of you, “I didn’t say any of that last part.”

“Do you understand me?” Gojo repeats again, and Juno nods her head slowly before she falls back into him and soaks his shirt with tears. “I’m soowwwwwyyyyyy.”

Gojo pats her back a few times to comfort her, and your heart breaks for the little girl. It’s bad enough to be bullied at school, but then to be reprimanded by your mother the one time you stand up for yourself…you can imagine how emotionally exhausting that would be for a five-year-old. 

Juno sniffles, rubbing her snot all over the cotton of Gojo’s shirt, and then pulls her face away to rub at her eye with a weakly closed fist. “I–hic–I just…I just wanted him to feel–hic–the same hurt.”

“Huh? Who?” Gojo asks.

“The boy,” Juno says, “the one that shoved me today.”

“It was a boy?!?!?!” Gojo yells. “Alright. That’s it. I’m grabbing my bat.”

“Satoru.” Sana deadpans.

Sana and Gojo continue to bicker about the ethics of threatening five-year-old boys with baseball bats, going back and forth about how Gojo wasn’t actually going to do anything but just wanted to instill fear (he’s lying), while Sana isn’t exactly sold on a single pacifist thing that he says, and you sigh, because you realize you’ve become invested in one of, what you feel like will become many, of their family quarrels.

Juno sneaks around Gojo’s legs and comes up to you while the arguing is taking place in the background, and she gently taps your knee as you’re seated on the couch. “Auntie y/n,” she whispers.

You rub an eye crustie from her face and then hold her hand in yours. “Yes?”

“Thank you.”

“Mm? For what?”

She smiles at you, her cheeks pink and flush from crying but rounded now in glee. “My mommy and daddy spoke a lot today at home for first time in long time because of me. Because I listen’ded to you. Thank you.”

Your eyes narrow. “What do you mean by that, sweetheart?”

Why wouldn’t Sana and Jun be on normal talking terms? What does Juno mean that it’s been a long time? What exactly was going on at home?

“Juno,” Sana’s voice interrupts your thoughts, her arms crossed across her chest, “c’mon. Let’s go.” She points a stern finger at Gojo. “Seriously. I mean it. No baseball bats or rodent traps involved. I’ll talk to the teachers and sort something out.” She glances at you, that strict look on her face now dissolving into one of pure exhaustion. One you can imagine only a mother can face. “See you later at dinner, you two.”

Juno runs up to her mom and grabs onto her outreached hand, and you see Gojo ruffle her hair as she walks past him, her giggles ringing in the air, and then he sees them out the door. 

The air is awkward, at least to you, the second he closes the door, and when he turns around to face you, your body stiffens up.

He leans back onto the front door, crossing his arms over his chest. “Thanks,” he says, “for telling Juno to stick up for herself.”

You blink at him. “Well. I don’t feel too great about it at the moment, to be honest.”

He sighs. “I just think that Jun and Sana are raising her to be…kinda meek. I wish they’d teach her to be more confident and take up space.”

“Mhm,” you nod. Because you agree. Little girls need to learn how to be that way at a young age, because the world is seldom very kind to them.

“Well, what you said to her is what I would’ve said to her anyways,” he says.

You roll your eyes, standing up from the couch and heading back into the kitchen to presume your work on your peach cobbler. “I never told her to shove kids’ faces into the dirt. But, uh, sure, I guess so.”

You see Gojo enter the kitchen too in your periphery, but you don’t give him any glance or look or attention. From what you can see as you stir around your macerated peaches in a Pyrex bowl, he’s leaning against the island counter about three feet away from you, his hands shoved in his pockets, and he’s watching you. A slight warmth radiates in your cheeks, but you attempt to ignore the nerves by being hypnotized by the pink syrup that pools at the bottom of the bowl.

My mommy and daddy spoke a lot today at home for first time in long time because of me. Because I listen’ded to you. Thank you.

An unsettling feeling takes over your senses. It could be the past few years you’ve spent walking on eggshells around your mother, or the way you’ve become so keen to her energy as a way of staying on top of any shift in her symptoms, any single sign of disease progression, any clue that she wasn’t getting better. Any clue that she wasn’t doing okay. And you feel a sense of dread, because that skill, you realize, has now made you aware of similar circumstances in the people around you.

Not to mention, you are a child of divorce. You know what that fear feels like.

You just want to know if Juno feels safe at home.

“Hey, um…” you start, turning slightly to finally face Gojo, your eyes hesitantly flickering up to meet his gaze, “when was the last time you saw your brother-in-law? And with Sana?”

He raises a brow at you. “I just saw them last weekend for one of Juno’s dance recitals.”

“Ah…I see,” you say. You purse your lips together. 

Right. Kids say things all the time. They believe in Santa Claus and think that blueberry pancakes are called blubbery pancakes. And they sometimes read too into things, and they sometimes read too little. Surely, things must be okay. Maybe Sana and Jun had had a little argument with some stubbornly thawing cold shoulders, a demeanor that was noticed by their child, and now things have resumed to normal. That was normal. Part of every family. “That’s good to know…” 

You turn away from Gojo to stare back down into the bowl of macerated peaches again. With a furrowed brow, you close your eyes tightly to try to shake the chilly feeling in your bones, and you feel better when you open them again. The slightly numb sensation in your hand dissipates and you have enough dexterity to mix the peaches around in the bowl.

“I wonder what news they want to share with us over dinner,” you say, to quell the awkward silence.

“Hm?” Gojo hums, and you see him turn around face the counter now, hovering over the bowl of raw crumble topping you had mixed together, prodding at it with the wooden spoon. “Oh, they’re moving.”

Your head snaps to look at him. “W-What?”

“Yeah,” he nonchalantly affirms, scooping up a spoonful of the crumble. “They wanted to up-size, and move a little closer to the school that Juno’s at. I found them a nice place about an hour from here on the outskirts of the city. They just signed the papers a couple weeks ago.” And then he shoves the spoon into his mouth.

“Oh…wow,” you say. “Okay…”

“Damn,” Gojo says with surprise laced in his tone, "this is really good.” He’s staring into the bowl in awe and then scoops up some more crumble with a spoon.

You blink at him, irritated that he’s eating all your ingredients without even asking, and before you’ve even finished your dessert. It’s like he was born to piss you off.

You walk up to him and yank the bowl away, “Gimme that.” Then you pull it into the divot of your waist possessively and glare at him. 

He sighs, and then says something out loud that you’re sure he meant to keep in his head:

“I’ll get used to it.”

.

.

.

[end of chapter 5]

a/n. it feels so strange to post such a short chapter bahaha hopefully the ending isn't too abrupt. but hope you enjoyed! i'm so sorry ab the slow burn in this series aaa but i can try to assure you that it'll all be worth it hopefully lol i'm really excited for what i have planned for this series!! alsooo sorry if there are errors or anything, i'm trying to spend less time editing since it really stalls me n leads to writer's block lol. hope to see you in the next one :) much love! - ellie

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The King Come Over and his bride Ygritte Firekissed

art by : @shripscapi

Look at my King dawg we’re definitely getting through the Wall!!!

For the last month and a half, I have been working closely with Liesl to design concepts for Jon as King Beyond the Wall and Ygritte as his Queen. Personally, I’m not invested at all in Jon becoming King of the Seven Kingdoms despite him being my favorite character. He’s not very connected with the South and I don’t feel that it’s his birth right or anything, even being the son of Rhaegar. I am significantly more interested in him becoming King in the North, but my interest in Freefolk culture has led me to be far more invested in the idea of him rejecting Southron society as a whole and becoming King Beyond the Wall (this isn’t necessarily mutually exclusive to being King in the North later on).

The motivation for Jon becoming King as opposed to Mance stems from a theory that has been around since AGOT has come out: that the Others will only treat with/negotiate with a Stark. In the prologue of AGOT, when the Others are speaking among themselves before killing the Watchmen, what if they were confirming with each other that Waymar Royce was not a Stark and that they could go ahead and kill him? All in all, it doesn’t really matter if this is true, but rather that this is a plausible rumor that could easily have been passed down among the Freefolk which could lead Mance to conclude that Jon as a leader would give the Freefolk the best chance of survival. It’s not very hard, at least in my opinion, to imagine an AU like this, since survival is the most important thing to the Freefolk during the events of ASOIAF. But is it plausible that under these circumstances that Jon would abandon his Night’s Watch vows? I think so if he can be led to believe that only Stark blood could defeat the Others, but that is not the only factor. Jon Snow is insecure about his bastard status, plain and simple. He’s always lived in the shadow of his Robb, though he loved him. He’s wanted Winterfell, though he didn’t want to nor had any intention to take it from Robb. But he’s known since he was a small boy that he could never Winterfell and that would never inherit anything because he was a bastard. Jon also has thoughts, at least in passing, that Ned loved Robb more than him. He perceives Ned as having been more proud of Robb, of looking at him differently than himself. He’s seemingly always believed this, but there is a sort of confirmation of Jon’s feelings when Ned allows him to join the Night’s Watch without much preparation on what the Watch is actually like. Fully me making assumptions here, not something Jon has explicitly thought, but it’s unlikely that Ned would have sent Bran off at 14 to the Watch without much warning of what it was like, had Bran not become paralyzed. While we never get this exact thought process from Jon, in my opinion it fits into his psychology and insecurity. All this to say, if Jon is offered to be a figurehead, King, a title equal to his brother, but without taking anything away from the Starks or from Robb, that would almost certainly scratch that itch in him. It would be of his own merit, and there would be people behind him that don’t care that he’s a bastard, don’t see him as less than, and are willing to accept him for who he is. Not to mention that it also lets him feel like a hero and as if he is saving something far more precious than himself. And it probably doesn’t hurt that he would be able to remain with Ygritte as well.

We know from the descriptions of Mance and Dalla, as well as from being told directly by the former, that the King and his wife dress like all the other Freefolk, in thick furs. While the Jon and Ygritte arts from above are not particularly ostentatious by Southron standards, they are in obvious contrast to how Mance and Dalla are dressed. My idea was that Jon, having lived South of the Wall in a Lord’s keep all of his life, brought his own ideas to the Freefolk and added a distinction between a King and all other men. Nothing like in King’s Landing, all changes are inspired by his experience at Winterfell. I tried to think of what was achievable by the Freefolk, that would be difficult enough that it can’t be easily replicated for everyone else, but also keeping in mind of what could be done relatively quickly seeing as the Freefolk are focused on migrating South and saving themselves from the Others. The cultures I took inspiration for the clothing from are the Byzantines, Russians, Incans, Aztecs, and Mongolians. I wanted more “open” and flowy clothing, as opposed to more closed off and excessively modest clothing of 1300-1500s Europe that most of Westeros is based off of. Ygritte is still wearing furs, but they are dyed and there is weirwood embroidery in symbolism of the Old Gods and flame embroidery to symbolize her being kissed by fire. Her jewelry are simply clay beads that have been powdered blue. I didn’t want to give her any jewels as I felt it would be too difficult for the Freefolk to cut them directly and just overall would be against the spirit of the Freefolk. However, getting the blue on the clay like that still would be expensive and take a lot of time. I tried to keep the main color scheme surrounding gray as obviously that’s House Stark’s color. Jon’s clothes are similarly nice, with my main concern being him looking intimidating. I want the furs around his shoulders to be black because I wanted to call back to his time in the Night’s Watch without him keeping his psychical cloak, because I’m sure the Freefolk would not want him to do that. The furs are massive and make his shoulders look far larger, in an effort to make him look more intimidating, especially on a battlefield or in negotiations. He also has weirwood embroidery and his sigil is on the front of his outfit (my original idea was for him to have a flag with his heraldry on it, in which case the sigil would have looked far different, with a full length direwolf). There’s a white wolf on one side and either a crow or eagle on the other side (up for interpretation, both are relevant to Jon and one is one of the animals that can be used a symbol of the Freefolk) and the flame in the middle to represent Ygritte. The sigil is more than about Jon, after all, as it’s for the entirety of House Whitewolf, the House he founds. I thought the name fit far more in to Freefolk culture than something like Whitestark or something along those lines. Ygritte was supposed to have sewn on the sigil herself, and was very adamant about it, and that is meant to be why the thread is uneven and more visible than it ought to be. She’s not very good at the craft!

As I indicated before, crowns are not something common to Freefolk. That would be something else Jon would implement. Ygritte’s crown is very much like a hat, very casual. The beads are nice but obtaining them wouldn’t be unheard of, and holly most likely would not be particularly hard to come by. The reason I gave her a crown with holly is that during Christmas in the Tudor period and even before during pagan celebrations, people would go out into the woods and find holly and ivy to decorate their houses with. Holly was a symbol of masculine energy and ivy feminine energy. If you found more holly, it was meant to indicate that the man would rule the household for the year, and if you found more ivy then the woman would rule the household in the coming year (this was a way to “tell the future” not a rule lol). I liked the holly better for Ygritte so I’m just saying the Freefolk had the opposite belief. Jon’s crown is made of weirwood, which was important to me as I feel like his connection the Old Gods is also important as it is something that him and Freefolk both use to guide them. It ties them together. That being said, a weirwood crown is often used for Bran so I did not want to use a design that was too similar to the one used for him. Bran’s weirwood crown usually is made of weirwood branches, however, and not weirwood bark or logs, so I feel like it’s different enough. The frozen weirwood sap, as far as I know, is also unique to this design. There’s also some ivy to parallel with Ygritte’s holly.

The remaining bits and bobs I wanted to explain are the blue rose and then the face paint. The blue rose is obviously something associated with Lyanna Stark, who is widely accepted to be the mother of Jon Snow. I originally wanted to give him a rose somewhere, whether he was holding it or it was in his embroidery, but I forgot to ask during sketching, and then it was too late. But Ygritte holding the blue rose isn’t just about Lyanna. It’s also about Bael the Bard, a most likely fictitious person (or at least, the tale is fictitious, though I personally choose to believe it’s real) that went South of the Wall posing as a bard. He impressed the Lord of Winterfell so much that he granted Bael anything he wished; all Bael asked for was the most beautiful flower in Winterfell. This was granted for him, but the next morning he had stolen the Lord of Winterfell’s only child, a girl, and had left the flower in her bed in her place. He hid in the crypt with her for a year and they had a son together. Bael eventually went back North of the Wall and eventually Winterfell, having no other heir, passed to Bael’s child. Under this story, Jon is descended from Ygritte’s idol (maybe idol is stretching it, but she really likes him), Bael the Bard. Not only him, but all the Freefolk including Ygritte, according to her story. Following the story’s premise, Jon also poses as Bael and Ygritte as Winterfell’s daughter, with Jon joining her home under false pretenses and “stealing her”, as she calls it. So the blue rose has significance regarding both the Starks and the Freefolk. The face paint is inspired by tattooing done by cultures indigenous to North America. Indigenous Americans are not the only groups to use facial tattooing, the Vikings were famous for it as well, but Viking facial tattooing had more patterns based on shapes rather than lines and dots. I didn’t like the shapes so much, but the chin tattoo was one was that observed in all sorts of different cultures. Usually the chin tattoos with the line were on women in indigenous America, but I found some on men in other outside cultures. The dots I didn’t see outside of Native American culture and the claw marks on Jon’s cheeks I found mainly among Vikings. Because these all are an amalgamation of different cultures, we did them as face paint instead of tattoos because it seemed disrespectful otherwise. Not enough research went into it to be a proper representation of any one culture so paint was a better bet than a permanent body modification that is sacred to a number of cultures. The only thing that was meant to be a tattoo was the chin tattoo, which like I said, actually is from an amalgamation of cultures. Among the Freefolk (in this AU), dots on the cheeks are widespread, one of cultural mainstays of their people, and are generally a sign of peace, whereas the claws are meant to look intimidating and is applied to look like blood (Ygritte applies it for Jon) and is specifically used for military leaders. I really wanted to drive home the point that the goal with Jon’s whole look is to look fearsome.

I have so much more to say about Jon as King Beyond the Wall, how he negotiates with the Wall, the different rules he sets in place, how he sets up being King as a hereditary title once his daughter Bael is born, etc etc, but then I’d be here all day and approximately one person total read through all this. Oops! Ask in my inbox if you have any questions because I would love love love to answer them. All in all, shripscapi (Liesl) is so talented and she worked incredibly hard for me. She was extremely accommodating and changed as much stuff as I wanted. She never complained about the million times I decided something was not quite right and she sent me so many updates. I would recommend working with her to just about anybody. It was very cool what she was able to achieve and I got it in time for the holidays so I can enjoy my winter themed pfp on twt. So thank you from the bottom of my heart Liesl, and I hope everyone showers her with compliments because she deserves it. I also hope that people that don’t enjoy Ygritte very much can still appreciate the art and the concept of Jon as King Beyond the Wall. Hopefully I’ve gotten across how much I love and care for these characters to a chronically online degree and nobody accuses me of mischaracterizing them because that would make me!!!! very sad!!!

Bonus Jon with weirwood leaves:

[realitythroughthelensoffiction]

Good Omens: on fate and reality

In season 1 of Good Omens, The Nice and Accurate Prophecies of Agnes Nutter, Witch play a vital role in helping to avert the Apocalypse. Anathema dedicated her life to understanding Agnes's prophecies and thereby helping to fulfill them. But in the final episode of season 1, when the package with the follow-up collection of prophecies arrives, she decides to burn them, because she does no longer want to live her life according to the writings of her ancestor.

This is interpreted by many as Anathema taking her fate in her own hands instead of subjugating herself to something that was foretold. But the fact that she burns the prophecies instead of studying them does not necessarily mean that she changed her fate. It is entirely possible that her life will still take the road that Agnes foresaw for her. Agnes probably even predicted the burning of the new prophecies.

The only difference is that now, Anathema knows that all the decisions she makes are of her own free will, while otherwise she would have always wondered what she did because she wanted it and what she did only because Agnes had prophesied it.

A further indication that people acting according to their free will does not contradict the idea of fate is God's Ineffable Plan itself. At the end of season 1, when the Apocalypse has just been averted, Crowley asks Aziraphale: "What if the Allmighty planned it like this all along? From the very beginning?" Aziraphale agrees that this might very well be possible.

So even though all the people involved made their own free choices, they could still have been acting according to a plan God laid out very long ago.

Conclusion No. 1: Free will and fate are not mutually exclusive.

However, it seems that some things can be altered. Adam as the Antichrist has the power to bend reality. He uses it to change the fact that Satan is his father and to bring back people from the dead, for example Lesley. When Aziraphale expresses doubt about Mr. Young really being Adam's father, Crowley says: "It is. It is now. And it always was. He did it."

So Adam did not only change reality for the present and the future, but also for the past. He was able to make things that had already happened undone.

Conclusion No. 2: In the Good Omens universe, reality can be altered, even retroactively.

And the ability to change reality does not seem to be limited to Adam. Another example, as Goldfarb Styrt (cf. p. 127; cited below) points out, is Crowley being able to get himself and his Bentley through the burning M25, while Hastur gets discorporated. Crowley simply imagines that everything is fine, and by imagining it, it becomes real. Goldfarb Styrt (cf. p. 123, pp. 126-127; cited below) also suggests that it might be the individual's interpretation of reality that matters.

That sounds really fitting to me. Because the Bentley is burning, no matter how Crowley imagines otherwise, and it explodes as soon as Crowley isn't concentrating on keeping it together anymore. And, as @indigovigilance mentions in this post, the people who witnessed the incidents during the attempted Armageddon, like Atlantis rising from the sea, still remember them, even after Adam undid everything again.

But Crowley and the humans interpret the aforementioned events in a different way than you would expect, and their interpretations have an impact.

In any case, reality and the ways in which it can be altered are important themes in season 1 of Good Omens. And season 2 contains hints that they might play a big role in the finale as well. The most prominent example of these hints is the recurring mention of the Book of Life.

I will go into more detail about the Book of Life in my next post, but the important bit for now is that by erasing someone's name from it, you create a version of reality in which "they will never have existed". So the Book of Life is another tool to effectively alter reality.

Conclusion No. 3: Reality and the possibilities to alter it are important themes in Good Omens and will be relevant to plot of the finale.

That's it for now. What are your thoughts on fate and reality in Good Omens?

Work cited: Goldfarb Styrt, Philip: Sola Fide. Ineffability, Good Omens, and the Reformation. In: Giannini, Erin and Taylor, Amanda (Eds.): Deciphering Good Omens. Nice and Accurate Essays on the Novel and Television Series, pp. 120-132.

@kimberleyjean

[torchiiko]

i love giving my opinion on things nobody cares abt!!!! for example:

a few(?) vtuber artists got in trouble for holding raffles & not fulfilling the prize even after a year onward. some ppl are saying "who cares, its not like youre losing anything by not getting free art" & others say "artists should know how to prioritize their workload & be able to deliver as promised"

both are true! lots of ppl enter art raffles specifically bc they cant buy commissions, they usually cant afford to or might even be too young to use payment processors & things like raffles & requests are their only chance. life can get in the way sometimes & some artists rely on comms to pay the bills so free work has to be put off, understandably. but 2 whole years to deliver a raffle prize while actively doing other work is a little absurd

an artist can get a lot of engagement holding raffles, half the point is building up their audience to get more eyes on their art, so it feels a little scummy to profit from that engagement & then just not make the art that was promised. makes you seem a bit untrustworthy

but again, the winners arent actually Losing anything. they didnt get what they were promised & missed the chance to get smth they maybe couldnt have gotten otherwise, & it of course sucks to have to leave the situation empty-handed, but they have just as much as they did before the raffle

ultimately, it is unprofessional as an artist to offer free art if you arent in a state to fulfill it within a timely manner, & the raffle winners have a right to be disappointed. however, as the winners didnt have to give anything for the opportunity to get said art, theyre only so entitled to it & should just cut their losses & leave it be when it becomes clear the artist likely wont deliver

[nibeul]

uncle aaron in spiderverse fucks me up so badly because here is a man who has done terrible, unforgivable things, and he loves his nephew very much

[trappedinafantasy37]

Since Minthara presents an exterior shell made of steel, and she's sometimes mean, and is an absolute badass in battle, she is often treated and perceived as someone who feels no emotions. And this often occurs to individuals who do put on such a tough exterior. It also does not help that many people perceive evil characters as incapable of doing or feeling anything other than evil. That love and evil are innately incompatible.

But Minthara is not emotionless, she does feel things. Sadness, grief, fear, loneliness, anger, anxiety, paranoia, vengeance, love. She can laugh, she can tell jokes, she can cry, she can smile, and she does get upset at things. If anything, she is emotionally repressed and emotionally guarded and the times where she does really express her more negative and vulnerable emotions is when it becomes too much to hold back and it comes out a little over the top. We have to remember she comes from a society in which such outward emotional expression would be rewarded with social punishment, religious scorn, or even death. So she really doesn't have the healthiest mechanisms to express her emotions.

She hides what she feels all the time as a means of keeping herself safe from punishment. She keeps it to herself cause she does not want you to see her as weak, as she would have been in the past. And she certainly does not want you or anyone else to punish her for it either. She hides behind little pet names and even using words from languages she knows you don't understand as that is the only way she feels safe being vulnerable with you. In her past, her love was rewarded with new wounds and new scars. She is terrified to open up to you, fearing that you will hurt her because she loves you. That her love for you won't actually be enough to stop you from hurting her. And she will only ever admit she loves you in contexts that have a high risk of death because there's really not much for her to lose at that point so she may as well tell you.

She also has a habit of intellectualizing what she feels and experiences so that they appear as "rational" and "logical" rather than emotional and to distance herself from her emotions. She says it takes a sharp mind to have sympathy for someone who suffers unnecessarily. She is trying to make it appear that emotions like sympathy is a matter of the mind, not the heart. That it is a mark of intelligence, because otherwise it would be the mark of weakness.

She blames herself for her own torments, like she deserved the awful things that happened to her. She frames the situation like she is more at fault and more deserving of blame, than the people who hurt her. It is the only way she can find any reason in what happened to her and any reason in her tormentors actions. That she did something wrong and induced someone's wrath upon her, rather than acknowledging that the person who hurt her is just a bad person.

She deserved what Ketheric and Orin did to her because she was "weak, passive, proud". That her emotional state had blinded her from the trap that was set, giving Ketheric and Orin ample opportunity to attack her. That if she hadn't felt those exact emotions, then it wouldn't have happened. She could have seen the trap coming, or she could have fought back.

Or if you attempt to tell her that her childhood was rough and her mother abused her, she immediately deflects by saying, "it could have been worse" and therefore, what she did actually experience wasn't really that bad. And yeah, sure, maybe she needed certain lessons given that she lived in a cruel and dangerous society like Menzoberranzan where she had to be prepared for violence at all times. But trauma is not born of love, it is born of fear, of pain, of agony, and her mother still tried to kill her. Regardless of her mother's intent, it was the first broken bond of trust and it left a mark on Minthara. Where she began to believe that her mother would torment her for torments sake, and she had doubts on whether or not her mother actually loved her.

When you encounter the first Orin imposter, it's pretty damn obvious she is terrified. And you kinda gotta squeeze it out of her to admit that she's afraid. Where it's "I'm afraid of Orin because she is capable of this, this, and this, and you should be too" rather than "I am afraid of Orin because she hurt me." And she begs you, BEGS, to keep her safe because she knows her fear makes her vulnerable to Orin.

She doesn't even truly acknowledge that she wasn't at fault for what Orin did to her until Orin is dead. She doesn't start putting the blame on Orin until Orin is dead. She doesn't go through the emotional process of sympathizing with herself until Orin is dead. And she doesn't admit that she undoubtedly has trauma, until Orin is dead. She gets so wrapped up, and so lost in her own fear and paranoia that she never has the room to properly process the things that happen to her. That her primary concern right now is keeping you, the others, and herself safe and her emotions can wait because wallowing in them will only make her weak. Only does the distance of death give her the room to start healing. Only problem is that there have always been threats and they never end, they never stop. So it is rare for Minthara to ever have a moment of peace and safety to work through what she feels and they just get backed up. Ignoring your problems does not make them go away.

So you wanna know what will happen when an embrace Durge betrays her? She will fall to her death, a knife in her belly, blaming herself for your betrayal. All her worst fears have come to pass and you were indeed a lover who hurt her because she loved you, and that she was a fool to ever trust you at all. That if she didn't love you, maybe you wouldn't have hurt her. She doesn't understand your reasoning, she can't make sense of it, she doesn't know why you'd betray her, so it must have been her fault for thinking you'd be different. That if she hadn't been so loyal, so devoted, that she could have been spared. That her belief that you would rule together is what damned her. She will die blaming herself for her own murder before she ever gets a chance to start blaming you.

[blueskittlesart]

deeply refreshing to see someone critical of Swift who also like, genuinely likes her. Like i'm neutral to positive on her, but the online discourse has been absolutely rancid. flipping between "Taylor Swift has never done anything wrong ever and she's a fucking genius" and "Taylor Swift is the worst lyricist of all time and also a bad person" is exhausting, so thank you for like. nuance or something lmao

not to make it serious for a sec but i genuinely think that being able to like things that are bad is really important. like I think that it's an important skill to be able to look at something and see what you personally enjoy about it and then take a step back and acknowledge that objectively it's flawed. and to also be able to acknowledge that liking something isn't necessarily an identity or a moral stance. and i think that fandom space in general could really benefit from more people taking the time to learn how to do that. it's okay to like things that are bad

[ohsweetflips]

my jgy thoughts have been expanding and adapting and roiling and toiling etc etc etc and all of it is coming down to me affectionately marveling at this character. he’s cut-throat. he’s cunning. his kindness leaves lasting impressions. his mercy is what predates his demise. he’s one of the few cultivators who helps those in need. he will sacrifice them if it benefits him. he loved. it didn’t last. it killed him. it orchestrated his downfall. he’s a genius. he’s paranoid. he compartmentalizes. he splits the world into who he would sacrifice and who he would not. people he loves and people he would sacrifice are not mutually exclusive. he’s filial to a fault. it was all for his mother. he is a study in assimilating to survive. the results vary. he manipulates the herd mentality to his benefit. it is turned against him. he is killed for the one thing he didn’t do by the one person he wouldn’t sacrifice. it is still somehow better than what the hive-mind cultivation world would have done. i love this tragic kaleidoscope of a character.

[jasontoddenthusiastt]

Batman Annual #25

Before Talia took him in, before he was dunked in the pit to have his memories restored, even when operating purely on survival instinct, he always split a meal with the other homeless people. It may not have been essential to his survival, but caring about and helping other people when he couldn’t even help himself was just always such an intrinsic part of Jason’s core.

[fromtheseventhhell]

I also find it funny that fandom will only accept Lyanna being her non-conforming, wild self in the context of saying that Arya isn't meant to be pretty; Any other day we get back-to-back posts about how Lyanna is actually super traditionally feminine cause she sniffled at a song once, so she's actually more like Sansa. Instead of constantly speaking on Arya and Lyanna, how about you guys reflect on why your standards of beauty for women are attached to how well they perform feminity within the patriarchy?

[sepiamestus]

It always rubs me the wrong way when people characterize atsushi as too much of a sweetheart. Like he IS a sweetheart but he's also snarky and sarcastic and most importantly he's very very angry. Do not forget this.

[francy-sketches]

Objectively cersei is a terrible mom to all her kids not just tommen like just bc she’s not outright abusive to joffrey doesn’t mean she did a good job raising him lol. But also part of me is like nooo how could she be a bad mom to him that’s her baby boy she’s just encouraging his interests which just happen to be murder and abuse (god forbid women do anything) 🙄 And it just so happens that he’s a perfect little clone of her I’m sure she’d still care about him if he wasn’t 🥰 Maybe tommen and myrcella just have bad vibes have you considered that. Maybe they’re just stupid little flop babies it’s not her fault -_- they don’t even have a passing interest in atrocities. Cringe

[chatdae]

Grace FUMBLED Ryan! BAD parenting to preach respect and then act contrarily (ie saying she wants him to feel safe, then not allowing him any autonomy). She should've let him leave and come back... or at least explained why she didn't want him to leave before deciding (ex: 'Homelander will kidnap you', etc). She needed to let him make the decision for himself... agh. AAAAA.

And now Butcher's no use because he's committed to being evil and can't offer ANYTHING good to Ryan!!! He was so right, they NEEDED to give Ryan more space... I know the external pressures seemed impossible, but dammit, Grace, this was no way to beat the odds!

(this is about The Boys season four)

[silkpages]

the dichotomy of crushing on both cole and jindrax

[wonder-worker]

I heard that Edward IV and Elizabeth Widvile were known to be very beautiful. Were there any reports on their appearance at the time?

anon 😂

But yes, contemporaries and post contemporaries in the 16th century were pretty much unanimous in praising their appearance. I'll list some of the ones I could find:

Elizabeth:

'The most beautiful woman in England' ('la plus belle fille d'Engleterre') - Jean de Waurin

'Her very great beauty' ('sa tres grande beaute') - Jean de Waurin

"Her beauty of person and charm of manner" - Dominic Mancini

"None of such constant womanhood, wisdom and beauty" - Hearne's Fragment; its author was one of Edward IV's servants

"A daughter of prodigious beauty' - 1469 Continuator of Monstrelet's Chronicle

"Both faire, of a good favor, moderate of stature, well made and very wise" - Thomas More

Edward IV:

"The beauty of your personage it hath pleased Almighty God to send you" - James Strangways, Speaker of the Commons in Parliament

"The king is a handsome upstanding man" - Gabriel Tretzel, travels of Leo of Rozmital

"A handsome prince and had style" - Oliver De La Marche

"In the flower of his age, tall of stature, elegant of person" - Croyland Chronicle

"One of the handsomest knights of his kingdom" - 1469 Continuator of Monstrelet's Chronicle

"A handsome and worthy prince" - Pietro Alipranto

‘...Tall and strapping as the king’ - John Paston, Paston Letters

"He was young and more handsome than any man then alive" - Philippe de Commynes

"A man so vigorous and handsome that he might have been made for the pleasures of the flesh" - Philippe de Commynes

"The handsomest prince my eyes ever beheld" and "I don't remember ever having seen a man more handsome than he was" - Philippe de Commynes

"A very handsome prince" - Louis XI, from the Memoirs of Commynes

"He being a person of most elegant appearance, and remarkable beyond all others for the attractions of his person" - the Croyland Chronicle, referencing Edward a few months before he died

"He seized any opportunity that the occasion offered of revealing his fine stature more protractedly and more evidently to onlookers" - Dominic Mancini, writing shortly after his death

"He was a goodly personage and very princely to behold...of visage lovely, of body mighty, strong and cleanly made; howbeit in his latter days, with an over liberal diet, somewhat corpulent, but nevertheless noy uncomely" - Thomas More

Etc.

I'm tagging @edwardslovelyelizabeth because I think you got a similar ask?

I hope this answers your question, anon! I don't generally pay a lot of attention to the physical appearance of historical figures (I find it pretty irrelevant), but in this case, it ultimately does play a role in both Edward IV and Elizabeth's historiographies for better and for worse, and seems to have actually been a personal prop of Edward's kingship, so I don't mind discussing it :)

[shootinwebs]

alastor being canonically aspec made me finally realize and accept that i am aspec, but due to so much aphobia, i'm still not any less afraid to be open about it to people i know in real life. even allo people who claim to be "ace allies" simply don't seem to get it, and i've seen that manifest in this fandom so vividly.

i know fandom can make things different, since characters typically don't just explicitly state or explain certain parts of their identity. but for the love of god please don't pull apart the way aspec people choose to characterize alastor. it's none of your business how we experience our own aspec identity in all its nuances, nor is it your problem how we write made-up things about made-up characters lol