#most of my writing is intentional

[creationsabyss]

Monstrous Devotion (It Will Devour You Whole)

Another piece for @m1d-45. It was meant to be short but as you can tell, got out of hand.

Desperation 

You remember it well

How it sparked your blood

And got it to run

How it tasted of bitter and tang

Much like the sting of blood

You remember how it kept you alive

Made your nerves so sensitive 

It prickled with every breeze

Every slight disturbance

How it kept your sleep light

And your dreams even lighter

Even now as you watch

The archons who adorn your body

With the most precious of gems

And the rarest of treasures 

They who once tried to shed your blood

To water their blade

You see the warriors of each nation

Who tried to rend your soul from your body

Attend your every need 

Degrading themselves as objects

As lesser than human

To try and exalt you higher

You feel more than you hear

As you watch once beloved characters

Stain themselves with sin

Desperation of their own

Rising to the surface

Their desperation is monstrous 

Predator to prey

Your own desperation has not waned

It has only grown

Writhing under your skin

Fueled by fine jewelry 

Silken clothes

And bloodstained manic smiles

Your forgiveness is not sincere

It is learned

Through a lifetime of pain

Of a death so vivid

You're desperate to stay alive

You are willing to do anything

But what once kept you safe

Will now be the one to deal a fatal blow

You already know this

Alarm bells ringing

With every minute move

But it's far too late

You're stuck in puppet motions

That are to never cease

Until the life drains from your eyes

Desperation made you learn to survive

And now that very same lesson shall be the one to end you

[fatedroses]

More than just the Demon.

[fure-dcmk]

personal relationship chart for my gosho boys au

[withthewindinherfootsteps]

Wei Wuxian and Narrative Agency – Part One

For Xiantober Day One: Genius… albeit stretching the prompt so it refers to MXTX and MDZS itself, but at the end of the day it’s still about WWX – so no harm done!

(Part Two | Part Three | Full version on AO3)

The narrative is a very active player in MDZS’ story. How it presents information, what it chooses to show and omit, often reflects important facets of its themes and characters – Nie Huaisang, for instance, is so good at hiding behind his mask that not even the narrative can hold him accountable; the present day’s storyline as a murder mystery and the slow reveal of information about the past both prompt the reader to think critically about the truth of events, when the importance of thinking critically is an important theme; and the dangers not thinking critically (and instead basing conclusions on rumours without much evidence) are shown by tricking unquestioning readers into the very same trap the cultivation world falls into, as the information given by the title, summary and in-universe rumours – which contradicts how we see actually Wei Wuxian act – turns out to be false.

But nowhere do I love this trait more than in its treatment of Wei Wuxian – and, more specifically, in its way of emphasising his agency. We’re not just told how much his active choices define his character, and we’re not just shown this in-universe through his personality, worldview and the events he causes. I’d argue that this aspect goes a step further, and shapes the structure of the out-of-universe narrative as well.

There are two main ways this happens: one, in how the aspects of Wei Wuxian’s life that are shown and hidden directly tell us what’s important about his character (which is good writing but isn’t necessarily tied to this shaping of the narrative), which is what we’ll explore today; and two, how what’s shown and hidden reflects what Wei Wuxian himself prefers to dwell on, resulting in the narrative respecting his own thoughts and feelings on matters (which very much is tied to it). We’ll explore this at a later date.

But as for now – let’s explore my favourite aspect of MDZS.

(Here, narrative agency will be considered the ability of a character to meaningfully influence their events and the story they’re in.)

Tragedy, Circumstance, Choice

If we simply look at Wei Wuxian’s backstory in a vacuum, it seems almost typically tragic. His  parents died in circumstances beyond his control, he was left alone as a child with nobody to care for him, he was forced to grow up fending for himself on the streets, he was faced with abuse when he finally was taken in… as with all typical woobies, everything simply happened to him, and none of it was good. It’s just another example of the lack of agency being used for sympathy points, right?

…Except there’s one problem with that idea. We don’t actually see any of this.

It would’ve been easy to start the flashbacks during these times. We’re telling the story of Wei Wuxian in (largely) chronological order, and these are likely important experiences for him! But instead of starting in his street days, or evenat the moment Jiang Fengmian took him in*, we start at the lectures in the Cloud Recesses. That’s not even something mentioned in, and therefore something that’s able to disprove, the rumours at the start of the novel. So why is this the case? 

Well, there are multiple reasons – the main one being that MDZS is also Lan Wangji’s (and Wangxian’s) story, and having the flashbacks open with their first meeting is very satisfying. But I want to focus on something else.

This period doesn’t have to be shown, because what happens to Wei Wuxian, especially out of his control, isn’t what’s important about his character.

We’re not even at Lotus Pier here, where Wei Wuxian certainly has more agency than he would’ve had as a young child, but where the harm caused by Madame Yu is still completely out of his control. Here, he has agency! Though there are consequences, he is free to act, and what happens to him is a result of those actions and not of circumstance. Yes, he gets punished more than others who also take those same actions (due to classism); yes, it’s not his choice to be picked on by Lan Qiren in class (yet look how he responds, twisting the situation to his advantage and ending up tricking Lan Qiren into letting him leave, which is what he wanted to do. He is not at all helpless here!); yes, these choices have been influenced by his learned mindset from Madame Yu that punishment is arbitrary and will happen anyway, so you may as well do what you want regardless. But there is cause-and-effect here. It’s not circumstantial tragedy.

Therefore, instead of our first impression of past!Wei Wuxian being that of an unfortunate woobie, it’s of someone who has the freedom, ability and will to choose and act (and that’s after these initial tragic events have taken place). This is compounded by the fact that before we see any of his backstory, we get a similar impression of him in the present day.

If the purpose of his tragic past was to earn him sympathy points, to make us pity him due to how much he was influenced by events out of his control, this would’ve been a terrible way of going about it… and it’s this that betrays the true reason for its existence. Because now, the flashbacks instead show us how little these tragedies define who he is! From the very start, Wei Wuxian isn’t someone defined by circumstances out of his control, but rather by who he is as a person and by what choices he makes in the present day (which is both a mindset in-universe, and a nice little out-of-universe detail that lines up! Because out-of-universe, this means he’s not defined by sympathy points from a backstory, but rather by his great character writing… aka, by who he is as a person and what choices he makes). And this refusal to be defined by tragedy is a conscious choice on his part, too – but we’ll explore that more later. 

The important thing is that this idea of Wei Wuxian isn’t because of what exists in his past, it’s because of what parts of his past are shown to us (as well as what he chooses to do, with agency, in the present). 

Now, if this relationship between what’s displayed and what’s omitted was just a one-time thing, I might’ve considered it a cool detail or a nice way to establish a character, but not something the narrative is actively focusing on. But it’s a pattern that continues throughout the flashbacks. What, arguably, are the two other most important times in Wei Wuxian’s life where he doesn’t have enough agency to meaningfully influence his circumstances? His three months in the Burial Mounds (before escaping – he managed to assume some control of the circumstances but not enough to substantially reduce his suffering in his time there), and his loss and death during the First Siege. And we’re not shown either of them! We skip to when Wei Wuxian has emerged from the Burial Mounds and is torturing the Wens, or we skip to the present day – both times he has agency once more, because, again, what he’s like without it doesn’t matter enough to be shown. 

Furthermore, I’d argue this does actually contrast the other tragic events we see in Wei Wuxian’s later life. Things do go horribly wrong, but it’s either due to choices he knows the consequences of (see: rescuing the Wen Remnants in the first place), or instances where he still has some ability to act in the situation and influence it within the limitations. If he’d had no ability to influence circumstances at Qiongqi path, he would have died in the ambush; if he’d been unable to do that at Nightless City, he would’ve died then, too (of course Lan Wangji helped him escape as well). The attention drawn to him losing control of his actions in both instances is very interesting, but intentional or not, it’s still his actions influencing the plot. And that influence happens to be detrimental. The very ability to act and influence, at a base level,  is not taken away (though, of course, that doesn’t make these events any less tragic).

So, so far, the narrative seems to be telling us that the ability to act and choose is key to Wei Wuxian’s character. And it’s doing it through omitting his moments without agency in favour of instead showing us his moments with it. 

Let’s see if this is echoed in the text itself before we go further – because even with this pattern, nothing would end up mattering if Wei Wuxian’s agency wasn’t actually that important to the story itself. But thankfully it is, and that first impression we get of Wei Wuxian in the Cloud Recesses turns out to very much be accurate! Though there are defining circumstances out of his control that occur, such as the massacre of Lotus Pier, the majority of the important events of his life are due to his own choices. He didn’t happen to be forced to cease traditional cultivation and solely use guidao, didn’t happen to lose his Golden Core in a fight with Wen Zhuliu or due to some force in the Burial Mounds, it was his own choice to give it and his spiritual powers away. He didn’t tragically happen to get targeted by the cultivation world, it was a result of him acting on his morals and protecting the Wen remnants (a choice which he was fully aware of the implications of). He isn’t a protagonist to whom things simply occur, and that activeness and agency is my favourite thing about him. 

That’s not to say that the times Wei Wuxian doesn’t have agency, or feels like he doesn’t have any, don’t exist at all, either – but they are rare enough to have attention directly drawn to them in his internal narration:

Or else what could he do? He could do nothing. He was powerless. Lotus Pier had been destroyed, both Jiang FengMian and Madam Yu were gone, and Jiang Cheng had disappeared as well. He was the only one left, alone, with not even a sword in his hands. He didn’t know anything, he couldn’t do anything! For the first time, he discovered how little his power was. In front of something as large as the QishanWen Sect, it was the same as a mantis trying to stop a chariot. - Chapter 59, EXR translation

(And even in this circumstance, note that he still does force himself to act – to carry on searching for Jiang Cheng, to place his faith in Wen Ning – and does accomplish his goal (albeit with the help of others)! So even in dire situations, he isn’t simply passive. This is actually also the case with his time in the Burial Mounds, almost certainly the First Siege, and even his days on the streets as well (Chapter 20: he did actively fight with dogs to get food despite their danger and his growing fear of them, rather than just waiting and hoping to somehow receive some more). He can’t influence or immediately influence his circumstances, but that doesn’t stop him from trying.)

Overall, although they do influence him, Wei Wuxian is very much who he is in spite of his circumstances, not because of them. We’re shown the importance of his agency both in-universe by the major impacts his choices have on himself and the plot, as well as by narrative presentation – important periods where he lacks the ability to meaningfully influence anything are often mentioned but not directly shown, which suggests that such moments and circumstances aren’t as important to understanding Wei Wuxian’s character as moments where he does have this agency are. And I’d argue this works very well. Depending on the version of the story you consume, you may end up having different interpretations as to how much circumstances were at play nearer the end of his life – but nobody comes out of MDZS thinking about Wei Wuxian, the poor bearer of yet another generically tragic backstory.

(Part Two | Part Three | Full version on AO3)

—

*We are shown this moment in more detail in Chapter 23… but even then, it’s through the framing of Wei Wuxian remembering Jiang Yanli’s narration, not through a flashback proper or even him remembering the experience itself!

[anjasitdown]

I knew something was UP when the only film that helped Yuuji control his flow of cursed energy was the Lord of the Rings. Our boy Yuuji is TRULY a hobbit at heart. Chapter 265 spoilers ahead, but I'll put it under the cut.

It was back in season 1 when Gojo had Yuuji watch a variety of movies to teach him control of cursed energy regardless of the emotions evoked by the films. Gojo refuted Yuuji's idea that anger and other strong negative emotions are the only source of a strong cursed energy.

With that in mind, I don't think it's random that LotR is the one shown to us that helped Yuuji gain mastery over his cursed energy flow. Sure, Yuuji might've controlled it before watching other movies, but it feels as if it's on purpose that it's LotR, especially that scene at the river where Frodo tried to take the burden of destroying the ring on his own, fully aware of the dangerous journey ahead. But Sam didn't let him and willingly followed him, even if it would cost him his life.

Maybe, just maybe, Yuuji learned to control his cursed energy because he saw himself in Frodo. Yuuji looked so engrossed in the film as if he was feeling it—as if he was Frodo who, just like him, bears great evil within him. Not only that, but Yuuji saw in Frodo's eyes the same crushing weight of responsibility and isolation such an evilness entails. It was as if he's looking in the mirror. But Frodo wasn't alone. He had Sam and the others in the Fellowship who are also willing to lighten the burden he carries. And I think that's what got to Yuuji.

And I don't know if it's just me reading too much into things but Yuuji is at his best when he feels anchored by his friends' support or when they're relying on him, like that time when Yuuji held down the cursed spirit at the detention center to buy Megumi time to save Nobara and escape; when Yuuji and Todo almost defeated Hanami, and my favorite, when Nobara nailed down Mahito's double during Shibuya arc:

As corny as this sounds, Yuuji managed to pull himself from Nanamin's death and attack Mahito because he felt Nobara's presence, which encouraged him to continue fighting. Even if the sorcerers were scattered that time and most were left to fend for themselves, Yuuji didn't feel alone. This was the one thing Geto needed the most when he was spiraling down.

Yuuji reminds me so much of Frodo: Yuuji the vessel of the evilest sorcerer in history and Frodo the Ring bearer. But before that, they were nobodies living a simple life, which they treasure and work hard to keep. They're not ambitious and are satisfied being surrounded by their loved ones. They're the ones we least expect to defeat the evilest entities since they're surrounded by the strongest warriors/sorcerers, who could not defeat the said evilest entities. Yuuji, like Frodo, does not belong to the kind of world he got thrown into, and this is made pretty obvious in the recent chapter.

Throughout the many months Yuji had been with various sorcerers and curse users, his principles and worldview got blurry. He started to assimilate their ideas, which didn't feel like him to be honest. From ideas of having a specific role in life and fulfilling it, wanting to give people a good death, and having a cog mentality to being the same as Mahito and becoming a monster to defeat another monster. That's not him. That's never him. And Yuuji realized that too, and I love seeing him change his perspective into that which feels more like him.

Yuuji never liked fighting others. He may have been blessed with physical prowess that might've been on par with Nanamin, but he never wanted to use it. Heck, Yuuji joined an occult club instead of becoming an athlete. What's important to him are the memories you make with yourself and with your loved ones—choosing to do things, even mundane ones, that bring you and others joy because that's what life is all about.

To Yuuji, there's nothing wrong if you lead a simple life doing things as mundane as walking your dog, sleeping, taking a shit, writing this meta, and existing. Living day to day is already hard as it is. Yuuji wants Sukuna (and us) to know that your worth to live and be loved and respected doesn't depend on the grand dreams you have, how far you've come in life, how powerful and strong you've become, how useful you are. Your worth to live is inherent to you, and no one's going to change that, not Sukuna or anybody else. And Yuuji's not gonna stand idly by and watch the likes of him trample on people's lives. They don't get to choose who's worthy to live and kill those who don't.

I read somewhere that Gege thinks Yuuji having no ambition, unlike Naruto wanting to be a Hokage or Luffy aiming to become a Pirate King, is the story's weak point. But I disagree. That's what makes Yuuji so unique and refreshing to watch as he develops. He may not be as ambitious as other shonen heroes, but he does have a strong moral compass, even as young as 15. It may not be obvious, but Yuuji is introspective, observant, and most of all he has this childlike love for life that the other characters have lost due to the nature of their jobs.

Back to the LotR reference—as much as similar Yuuji is to Frodo—when Sukuna switched to Megumi, Yuuji started to feel more like Sam and Megumi Frodo. No matter what happens, even if it would cost him his life, Yuuji's never gonna leave Megumi alone in despair. Megumi has become weak in mind and spirit that he's possibly on the verge of giving everything up. Still, Yuuji's not going to give up on him. He will destroy Sukuna and carry Megumi back home.

In the end, if Yuuji survives, all I could ever think of is his eyes full of insurmountable despair and mourning over the lives of the people he loved and lost. There's no going back after this. I can only hope that after the end of this story, Yuuji could still find a way to rest—be with a person or in a place—if there is anyone or anything left at all.

[seiwas]

HI MY BELOVED ANGEL!!! i am sending u mattsun + campfire as well as kisses n hugs <33

SAINTTT hello 🥺 thank you for sending a prompty!! 🥹 idt i've ever written mattsun fully before so this is something new!

help me get back into the writing groove! send me a character + any word and i'll write a short blurb about it!

contains: exes, stranded-y situation, feelings are complicated, some expletives

mattsun + campfire

"i told you we should've brought the spare—"

"yeah, let me go back in time for a sec and do just that."

"asshole."

lesson #1: nothing good ever happens when you're stuck in a car with your ex on the way to somewhere remote.

you blame iwaizumi for this one. who the fuck chooses to spend their birthday weekend in the fucking wilderness?

(okay, you don't actually think it's so bad. to be fair, he did plan this a year ago. and it did sound like a good idea. then. at the time. anywhere with the boys was always guaranteed fun―at least, until you and matsukawa broke up.)

"can you pass me the flashlight?" he points at the backpack behind you. when you hand it over, your fingers brush over his as he takes it away from you.

and you hate it, because―

lesson #2: you should never be alone with your ex when you still have feelings for them.

you'd agreed to take two cars to the camping spot: iwaizumi's with oikawa and hanamaki and matsukawa's with you. there was no way you'd fit in one, and hanamaki ultimately decided to ride with iwaizumi because, "you and mattsun have shit to sort out," he'd said.

with night setting and the two-hour headstart they managed to get ahead of you, the best thing you and matsukawa can do is to set up camp temporarily and wait for them to come back for you come sunrise.

you sigh.

leaves crack underneath your feet as you maneuver around your camping space. the light from matsukawa's flashlight tells you where he is, just a bit deeper in the forestry as he looks for wood to help set up the fire.

you unload the car in the meantime, bringing out some snacks and sleeping bags while waiting.

matsukawa eventually comes back with arms full of wood, and you help in whatever way you can, clearing the space and fetching more twigs when needed.

the entire car ride here had been quiet, so it's not surprising that this entire process has been equally as silent. until―

"did you already pull out your tent?" he asks, half of his body disappearing into the trunk of the car.

"huh?" you go closer, "i only brought out the sleeping bags."

then he sighs, ducking out from the trunk with a hand on his hip, "we only have one tent."

"what?"

"makki must have gotten yours with his when he decided to move cars."

his hand runs through his hair, a habit you know well. it lights up all sorts of weird feelings in your tummy

you don't know how to feel―

"i can sleep in the car."

―but you know that you definitely don't want him to do that. all things considered, you were friends first. and you've both been trying to be friends again since the breakup. you wouldn't want to cause him discomfort like that.

so, with a deep breath, you say, "it's okay, we can just share."

"are you sure?" he stares at you.

you nod.

after setting up the tent, you eat a few energy bars and clean up from the day's events. the campfire provides ample enough heat, but with how fast the flames are burning, you're doubtful it'll last the two of you the entire night.

it’s much later on, past midnight, that your doubts are proven right when you and matsukawa are cramped together in a tent made for one. it started to get cold a few minutes ago, and you've found yourself inching closer and closer to the warmth you’ve gotten used to laying against for the past two years.

he's only pretending to be asleep, you know that much, too. the rise and fall of his chest is hardly there; you can see it, how he's holding his breath being this close to you.

"issei," you whisper.

he opens his eyes, eyelids lifting lazily as he meets your stare. the vibration of his hum reverberates to you.

"it's cold."

for a moment, your stomach drops at the thought that he could ignore you; how it would make perfect sense for him to. you broke up with him after all, and he doesn't owe you anything, much less favors as intimate as this one.

but he closes the already dwindling gap between you, wrapping an arm around your waist as he pulls you closer. it's near, far too near for exes to be―noses touching and all.

"warmer?" his voice comes out hoarser through the whisper.

you nod, your head shifting up and down—which, truly, is where you ultimately fuck up. you feel it, a little chapped but still pliant against your lips.

in your carelessness, you accidentally brush your lips against his, the sensation alone surprising you enough to inch your head back as you mutter your apologies.

"sorry? really?" he asks, eyes half-lidded still as he chuckles.

his question settles into the small space you're in.

your vision trails from his eyes, down to the slope of his nose, until it lands on his lips again. a little split like you've always known, but still your favorite. still the only lips you want against yours.

when you lean in again, you know you're fucked, because―

lesson #3: the number one rule is that exes shouldn't kiss each other anymore.

[crookedfivefingers]

3.13 | ᴛʜᴇ ʟᴀꜱᴛ ᴏꜰ ᴛʜᴇ ᴛɪᴍᴇ ʟᴏʀᴅꜱ

link to the post I accidentally wound up prattling endlessly about in the tags 💀

[shalpilot]

a notepad that slowly got turned into a journal

[middle-earth-mythopoeia]

Yes, there are gay characters in Tolkien’s books

There seems to be an entrenched view among Tolkien fans that Tolkien did not write any gay characters, and that by interpreting any of his characters as gay you are going against what he would have wanted. Homophobes obviously believe this very strongly, and have always been hostile towards queer fans and queer interpretations of Tolkien’s works. Many members of the LGBTQ community also believe that they’re contradicting canon when they interpret Tolkien’s characters as gay—the only difference is they don’t mind doing so.

But is it so against canon to interpret any of Tolkien’s characters as gay? The assumption that Tolkien did not write gay characters hinges on his Catholicism, but I’m going to explain why this is flimsy reasoning.

First, it should be noted that Tolkien didn’t leave any writings expressing his views on homosexuality, so there is no evidence one way or another. But it seems relevant that Tolkien was good friends with W.H. Auden and corresponded with him over multiple decades. They first met when Auden listened to one of Tolkien’s lectures at Oxford and was inspired to learn Anglo-Saxon. Auden loved Tolkien’s poetry and prose and defended LOTR from critics at a time when it was seen as an unserious work in an unserious genre. Did Tolkien know Auden was gay? We don’t know for sure. But there’s at least a chance that he did: the secret of Auden’s homosexuality is one he “loosely kept”, according to an article in the Guardian.

So, Tolkien was friends with a gay man whom he may or may not have known was gay. But are there gay characters in Tolkien’s books? Unfortunately for the homophobes, even if you believe that Tolkien opposed homosexuality on principle, that still doesn’t mean no one in Middle-earth is gay. Actually, no one in Middle-earth is Catholic. I mean that literally, in the sense that Catholicism does not exist in the time period Tolkien wrote about, but I also mean it in the sense that Tolkien’s characters need not adhere to the tenets of his religion, even if it’s not named. Why would they?

It shouldn’t be controversial or surprising to point out that writers can, and often do, write characters that live very different lives from their own. Needless to say, Tolkien didn’t condone the actions of the antagonists of his work, but what about the protagonists? Are we to believe that all of them act in an unfailingly Catholic way at all times? In Laws and Customs of the Eldar, it is strongly implied that (especially in their younger years) Elves do have sex for pleasure and not just to beget children, something that is discouraged by Catholicism. That’s just one example.

(Please note that I’m not arguing that Tolkien’s Catholicism had no influence on his writings, because he explicitly said that it did. I’m saying that Tolkien’s characters themselves are not Catholic and do not necessarily behave like Catholics. So even if you think that all Catholics believe homosexuality is wrong, it has no bearing on Tolkien’s stories.)

Another line of reasoning goes that homosexuality is too taboo for Tolkien—but I have to wonder if people who believe this have read his books at all. The Silmarillion is full of taboo subjects. Túrin and Niënor marry, not knowing they are brother and sister; they find out the truth, and that she is pregnant, and they both commit suicide. Eöl’s relationship with Aredhel is one that, even if it didn’t start out as controlling and abusive—although I suspect it did—it clearly ended up that way, and depending on your interpretation of the text, he may have raped her. Celegorm attempts to force Lúthien to marry him, which would also involve rape, and there is a passage that implies that Morgoth also intends to rape Lúthien. Neither incest, rape or abuse are too taboo for Tolkien—neither are suicide, torture or mass murder, as the rest of the Silmarillion shows.

I don’t want anyone to take this in bad faith: I’m not saying that being gay is comparable to incest, rape or abuse, and I’m part of the LGBTQ community myself. What I am saying is that Tolkien clearly did not shy away from certain subjects, including sexual taboos, simply because they’re taboo. If you’re going to argue that none of Tolkien’s characters are queer because it wasn’t accepted at the time, that’s very unconvincing given the other subject matter in his books.

There is another reason why I think there are gay characters in Middle-earth, and it has to do with Tolkien’s inspirations. It’s well understood by Tolkien fans that you can see echoes of other mythologies in Tolkien’s works. But which ones? When Lúthien brings Beren back from the Halls of Mandos, there are obvious parallels with the myth of Orpheus and Eurydice—though the genders are reversed, and Lúthien succeeds where Orpheus did not. There are parallels between Túrin and Kullervo. There are numerous examples of this kind of thing throughout the Silmarillion and LOTR. Even the name Middle-earth clearly has its roots in the Norse name Midgard. There are some influences that Tolkien explicitly acknowledged, like the Kalevala and the Völuspá, and some that Tolkien scholars have only theorized about. While there are some scholarly articles on Tolkien and the Aeneid, one thing I have never seen anyone discuss is the parallel between Beleg’s death and the story of Nisus and Euryalus.

In the Aeneid, Nisus and Euryalus are a pair of friends and lovers who are fighting for Aeneas in Latium. Nisus, the older of the two men, is said to be a skilled javelin-thrower and archer. Nisus proposes a night raid on an enemy camp, and Euryalus insists on going with him. During the raid they kill many men in their sleep, collecting some of their armor as loot, as was customary. But when they leave the camp, the glint of light on a helmet taken by Euryalus is seen by a group of enemy horsemen, who capture and kill him before Nisus can stop them. Nisus is distraught and kills many of them in retaliation, ultimately dying beside his lover’s body. (In some versions, it’s a stolen belt, not a helm—but the constant motif is the glint of light that reveals Euryalus to the enemy.)

There are so many similarities with Beleg and Túrin that it cannot be a coincidence. Beleg and Túrin also fight side by side, first on the marches of Doriath and later when Túrin is an outlaw. They are very loyal to each other, and clearly love each other. Like Nisus, Beleg is known to be a great archer. Meanwhile, although it does not feature in Beleg’s death scene, Túrin is associated with a particularly significant helm. There are differences too: Túrin’s captivity is the reason for Beleg’s raid on the Orc-camp, whereas Euryalus is captured after the raid; both Nisus and Euryalus are slain one after the other, whereas only Beleg dies in the raid on the Orc-camp. But there is still the overarching parallel of the night raid, in which the enemy guards are killed silently in their sleep; the raid’s connection with an attempted rescue; the chance moment that leads to the tragic death; the imagery of the flash of light; and the distraught reaction of Nisus and Túrin when they see that Euryalus and Beleg are dead. Tolkien read the Aeneid as a student and so would have been familiar with its contents.

There is also the fact that in some versions of the story Túrin kisses Beleg on the mouth in this scene. Although kissing someone on the mouth has not always been a romantic gesture in all cultures and time periods, the clear parallels to the scene in the Aeneid lead me to think that it is in this case. Whether you see the relationship between Túrin and Beleg as romantic is up to you—all that I’m trying to do is show that it’s a legitimate interpretation.

Ultimately, like I wrote here, I don’t think you need permission from anyone in order to interpret Tolkien’s stories the way you want to. If you want to interpret one of his characters as gay, you don’t need to cite obscure plotlines from the Aeneid to justify it. But I do take issue with the idea—which is so pervasive in the fandom—that Tolkien’s stories must not have gay, or bisexual, or trans people in them, and that any interpretations to that effect are against canon. At the end of the day, Middle-earth is supposed to be our world, and guess what? Queer people exist.

[bayetea]

I'm gonna froth at the mouth over this in the tags so bear with me but reason #1278038 why the way rick went about breaking up jiper was bad: rereading her povs in hoo where she gushes over jason feels like even more of an unreliable narrator queer girl comphet psychological horror story

[toxintouch]

I heard it was angst time. CW: MC Death. About the level of graphic (gore/violence) description that is in the source material imo. Be cautious and prioritize taking care of yourself if you are unsure, please. ♡

Mhin can’t find you.

When you don't appear at the scheduled time to discuss the headway you’ve each made individually regarding your mutual goal, they walk away from your agreed-upon rendezvous point with an annoyed huff.

When the next night passes and you still don’t show, they become even more incensed.

It’s not until they head to the Wet Wick and Leander asks them if they’ve seen you that they become concerned.

They look everywhere.

Leander places posters on the corner streets alongside his usual advertisements and soon your likeness is plastered across Lowtown.  Large letters reading: “REWARD” peer down at Mhin reproachfully at every turn as they fruitlessly go about their own search when they can spare the time during their day to day fight for survival.  

Something nags at the back of their mind.  

Guilt, they think.  Self-loathing.  They should have tried to find you that night.

As the days turn into weeks, they give up on Leander’s methods and start asking their own questions. 

They do it under the guise of collecting another bounty, but the genuine, thankful relief they get from Leander, the sorrowful look they receive from Kuras–they're know they're wearing a shallow facade at best.

It leaves a raw taste in their mouth to do so, but they even ask Vere, knowing the fleabag has keen senses which they do not.

Their stomach drops when Vere laughs.  A harsh, cruel thing that has them brandishing their dagger, keen to gut him like a fish where he stands.  He reads their rage easily, assuring them that he’s innocent, that he had nothing to do with your disappearance.

Which is what a Monster would say–but then–

Vere would be at his most honest while gloating, wouldn’t he?  If the truth is a twist of the knife.

He tells them to check their own closet for skeletons.  Tells them to check for Monsters underneath their own bed.

The adrenaline hits them immediately.  They start to sweat and shake and feel nauseous.  For their body, the realization is instantaneous.  In their mind, it comes more slowly.  Like walking through a dream.

They try to reach back in their memory. Try to tug at that nagging thing.

Unspool it until they can determine where the emptiness begins, ends, anything in between.

And then they find it.  They don’t remember it, but they find it.  

In one of their many hidden shelters. The one closest to your rendezvous point–a small lacuna in the side of a crumbling building, a nest built into the flesh.

Spooling trails of entrails and ruined bandages.  Viscera and bones and gore.  Scavengers have gotten to you and contaminated the scene but–

The wounds are unmistakable.  Familiar to them, by now.

The soft parts of you that have been picked at and eaten.

The sinking feeling in their gut expands.  This type of scene doesn’t make Mhin sick anymore but they wish it would.  Wish they could retch and rid themself of this emptiness.  Wish they could expel the vision of you–

The remains of you, laid out before them. 

There’s something almost graceful about your corpse.  As if you’ve been drawn out of a fairy tale, your gruesome demise told as a parable for children.

They try to remember transforming.  Killing you.  

Your last words, if you could make any around the blood gurgling from between your lips like a fountain.

Maybe in the future your fairy tale will have a moral to it.  A reason.  Your death will be more than senseless, another body added to the pile.  

For now Mhin will have to live without that closure.

The grief drips off of them like blood off of black feathers. It can't permeate their defenses, advantages granted to them by an evolution that was not of their own volition. They can already feel their mind warping around their memories of you, dulling them lest they tear themself apart, fall down while climbing up the tower to meet you and dash themselves upon the rocks, sink into the water below and drown beneath the torrent. A younger version of them would chase after the memories, cling to the waning thought of you.

The person they are now lets it happen.

They turn their back, leaving the empty echos behind.

Bad Ending : "Reward"

[niofo]

dai is about religion, yes, and being swallowed up by the role you assume. and yes, you can say that it's the role imposed on the player the same way that being a warden is imposed on the pc in dao or rags to riches plotline on hawke, and we just need to play along for story integrity. and yes, it is a thing, how we're generally expected to engage with the world in an rpg or win the race in a racing game. we sometimes need to go where the game expect us to go. but my issue is, with dao and da2 it was quite clearly communicated from the beginning and we could set our expectations from the first time playing the game.

dai gives us the most blank slate protagonist we got in series so far. there's no clearly set expectations that we have to be a wet noodle centrist when we're given the opportunity to play as a rebel mage or a dalish elf. you can retroactively see that the game doesn't want you to be a revolutionary sjw, but how a new player is to know it when they're given the chance to play as basically whoever they want. i understand that sometimes we have to play along, but you need to clearly communicate where it is going first. and if you're giving an rpg player plenty of options you can be sure at least some of us are taking those options and they better be properly developed.

[00fairylights00]

Hypersomnolence

Haha funny story, I was diagnosed with a sleep disorder in November after struggling with it unknowingly for give or take 18 months. Turns out I’m not crazy and falling asleep against your will multiple times a day is actually not a good or normal thing.

So permit me to write the puppet like a sap as I need this right now lol. Yes these are in fact all things I experienced but I am medicated for them now hooray!

One task, that was all you’d managed to get through today. You felt sick and heavy, opting to sit on the cold ground before your body made you, it was a battle to stay awake as sleep attacked you again.

It was only early afternoon and you’d struggled through your one task of sweeping, you were certain everyone at the hotel thought you to be lazy, even if they’d all told you otherwise.

You’d been sick like this for a long time, long before the petrification disease or the puppet frenzy, both events having a negative effect on the way you’d usually manage your symptoms. 

And while you appreciated the sanctity you’d been spared at Hotel Krat, the nagging feeling of needing to repay Lady Antonia for her kindness was not helping your case.

You sat with your head in your hands, slipping in and out of consciousness, losing the battle again. Usually, Polendina would find you, send you to your room to rest and that would be it for the day, once you were in bed you found it hard to do much of anything else. Which you supposed was good for your body but it made your emotional well-being an absolute wreck.

Lady Antonia had asked you time and time again to be kinder to yourself, to feel accomplished of the things you could do and that you were welcome here no matter how sick you were, and she would know a thing or two about being sick.

But, you had a bad habit of being nasty to yourself, and with your sleep-related illness only seeming to get worse you couldn’t remember the last time you’d spoken kindly to yourself.

You felt like shit.

A hand at your shoulder, delicate and tender shook you but it didn’t do much to rouse you. Your vision swam uncomfortably through the gaps in your fingers, your head being too heavy to lift up. Hands grasped your wrists, pulling gently to reveal your face that was then taken into those same hands, one soft and warm, the other firm and cold.

With the weight of your head now being supported by P’s hands you could somewhat force yourself to look at him. His expression was unreadable, as always, but his presence was a balm to your spiralling thoughts.

The friendship of Geppetto’s Puppet had been good for you, P didn’t care how tired you were he was just happy to see you, he didn’t expect anything but your presence and that was something you could give freely, tired or not.

He tilted his head in question to what you assumed to be your position on the floor, slumped over rather uncomfortably.

“It just came on, I had to sit down,” you mumbled, he seemed to frown, getting down on one knee and shifting you against him to pick you up.

With you cradled to his chest, he ascended the stairs. You burrowed down against his chest, relishing in how nice it was to be looked after. 

It was almost like the trip up to your room didn’t happen, one moment you were snug to P’s chest, the next you were under your sheets and propped up against the headboard. P took it upon himself to remove his shoes and coat and sit on the opposite side of the bed to keep you company.

“Sleepy?” P asked innocently, you nodded trying desperately to suppress another yawn. 

“I-“ he started, a thoughtful look crossing his face, “-want to help. How do I help?”

He gently took your hand in his own, his thumb rubbing over your knuckles. The astounding amount of care he treated you with was sure to tear you apart in the best ways, making your exhausted mind spin.

“Just stay here with me for a bit,” You laid your head on his shoulder, “I think that’ll help.”

“Okay.”

He mimicked you, resting his head on top of yours, pulling the sheets further up your lap. Doing what he could to keep you comfortable, a concept he was still trying to grasp.

“Thank you P,” you mumbled, snuggling closer, “love you.”

He pressed a gentle kiss to your head, nose buried in your hair, “I love you too.”

[astralhope]

@zexalmonth day 8:

F for Friendship

Yuma and Astral's relationship means everything to me.

I was immediately captured by them from the very start, from their rocky beginning, and watching their reluctantly partnership evolve into a bond that strong and deep is what makes Zexal so special to me.

They complement each other, both in terms of personality and duels, and they grew thanks to their bond, which got stronger after every obstacle and trouble that they overcame together.

Even if they were destined to be connected, being two parts of the same soul, they built their friendship from the ground, they learned to love the strengths and flaws of the other, and, from want to have nothing to do with the other, they become everything to each other.

Their bond has changed their lives, just as it has changed mine.

[mausinly]

BIG BURLY FLUSTERED MEN with a/o who takes one of their hands and kisses their knuckles - knuckles that have been covered in blood - and big burly man (I’m imagining König) just self destructs. Blue screens. Combusts.

Unwinding after operations is always a hassle. There's this limbo between finishing the mission and arriving back at base where adrenaline is still high, but you can't stay in one place long enough to come down from it.

Everyone is still milling about the building your unit is using as a temporary base. Counting your dead, if any, and treating the wounded before heading to the drop ships to fly back to KorTac's base.

You and König are holed off in a corner of the courtyard, you being seated on a bench with your back pressed against the wall while he sits on the ground between your legs. He rests his head back on your thigh, and you can feel the way he fidgets. Itching for something when there is nothing left to do but wait. His mask is still on, along with the rest of his gear. One of his hands idly tap your ankle, trying to find some way to release this anxious energy he has until you both can get back to base, where he knows it's safe.

You look down at him and remove your gloves, placing them aside before sneaking one of your hands under his hood and the balaclava beneath. Your fingers drag against the column of his neck, and your nails gently scratch his nape, making him groan and tilt his head back further to look up at you.

König let's out a grunt and fixes you a curious look. You hold out your free hand toward him. "Give me your hand." You murmur, and he does so compliantly.

He melts a little at the pleased little smile you give him, eyes darting down to where your hand holds his. His are so much bigger than yours, thicker too with the bulky material of his gloves. The fabric is stained red, speckles of blood still wet and crimson. He frowns a little at the idea of your hands becoming stained as well.

König thinks to rip his hand from yours, but falters when you begin to tug the leather off his fingers and down his wrist until his skin is released from the suffocating material. His hands are rough, pale and scarred and calloused. Your hands aren't perfect, but they are much more delicate and pretty than his in comparison.

You seem to disagree, though, with the way your hands trace the shape of his. You spread his fingers a little, dragging your nails along each callous and faded scar. It's almost devout in the way you study each line of his palm, the pads of your fingers so gentle against his skin.

You lift his hand up to your lips, tenderly pressing a kiss to each knuckle. You start at the base before moving down each finger, almost as if you don't want any of them to be left out. He would have laughed at the thought if his body wasn't frozen like a deer in headlights.

Your eyes fall down to his and your smile widens at the absolutely mystified look in his eyes, stormy blues flickering between yours and your lips against his hand as his pupils dilate.

His mouth opens and closes underneath his mask, but any attempts to speak die in his throat. How could you put so many thoughts in his head that he is unable to fabricate them into words? Do you have any clue what you do to him?

You let out a small chuckle and go back to kissing his hand, trailing your lips down across his palm and the back of his hand. You pull down the edge of his sleeve just to press your lips to his wrist. König groans as your affection doesn't let up, long and pained as his head lulls against your thigh and he drapes an arm over his eyes.

"Du wirst mein Tod sein, Engel..." He murmurs, thankful that his mask hides the stupid grin on his face.

[roxannepolice]

Yk, hands down my biggest problem interacting with any fandom, but especially DW, is that I literally can't even begin to understand approaching a character independently of the writing. Like, the statement "This is a great character, just poorly written" is straight up an oxymoron to me. I sometimes get the impression there's this weird belief in a platonic ideal-like "true history" version of a character that got denigrated by hostile chroniclers and [insert hegemony-adjacent adjective] Hollywood directors or something. Belief based mainly on the fact the actor did what they do for a living. Which is just. Again, something I can't even begin to process.