#mystery shadow person is up to interpretation

[wamsbridge]

(fleeing from the scene of the crime)

[corkinavoid]

DPxDC Afterlife, But It's A Bar

[discontinued, feel free to add on]

It was weird. Not wrong, alarming or dangerous type of weird. Not good or comforting either.

Just plain weird.

It all started a few days ago, on Wednesday, to be exact. On a rare occasion, Jason was patrolling outside of his territory ("cover for me, I have a date" my ass, Replacement), and he spotted something out of place. A neon green, almost toxic colored sign that read "Afterlife".

Honestly, who names a place like that? But judging by the placement and design, it was a bar, and Jason could almost appreciate the irony. Maybe it had a slogan along the lines of "our drinks will send you beyond the lines of life and death" or something. But at the same time, it could be interpreted as "alcohol can and will be the death of you," which, technically, is not the best PR campaign for a bar.

Jason decided to visit the place anyway. He was curious about the implied death joke, sue him.

Of course, he didn't visit immediately. He was still on patrol, and he just heard the sound of gunshots to the west. Not to say that the place was quiet.

(Oddly quiet for a bar in Gotham, now that he thinks about it)

Anyway, the next day, he went there not as Red Hood but as Jason Todd, an ordinary civilian who decided to grab a beer in the evening. Only to not find the place.

He couldn't have just miss it - he remembered the street, he knew the building, he was absolutely fucking sure where the "Afterlife" should have been. He searched the whole block nonetheless, and then proceeded to check the whole area, but to no avail.

Damn, it seems like he can't get to the afterlife both literally and- the other literally. Yeah, he might be having too much fun with the oddly chosen name for the nonexistent bar.

It didn't exist on the maps and internet either. At this point, Jason was contemplating the idea of it being a hallucination or a dream. He even checked the recording on his helmet from Wednesday night, but the whole time he was in the area, the video was filled with interference and static.

Weird. Slightly suspicious, but Red Robin, who's been patrolling the same area for weeks before him, never reported any interferences, so it probably had something to do with his helmet and not the area in general.

On Thursday night, he purposefully went there right after patrol. And the nonexistent bar suddenly existed again! The same neon green sign, the same quiet street around it.

Seriously, what is this mysterious fuckery?

Now, if he was a Bat, he would have reported this to others and investigated, lurked around in shadows, and approached with caution. If he was a Robin, he would have still reported and then straight up marched in there and saw how it goes.

Alas, he was Red Hood, so he decided to watch for the bar guests and see just who the hell goes in and out of the place.

And there was the next weird thing.

No one was going in or out. Jason sat there for a whole hour, and not even one person entered or left the building. Despite the muffled sounds of music, voices and laughter coming from the place.

The final kicker was the fact that after some careful questioning and dropping hints, Jason found out that no one except him ever saw the "Afterlife"'s sign. No one's even heard of it, both the Batclan and the Gothamites.

The fuck?

So he did the next logical thing. He brought the smartest member of the Bats with him. Tim owed him anyway. Might as well use it now instead of later.

Friday night proved two things: one, Tim was still his favorite to work with out of all the bats and birds, not questioning anything as to why Jason is asking him to check out a bar, and two, Jason just might be going insane.

Tim couldn't see the "Afterlife" even when Jason pointed at the sign from not further than ten feet. The irony of the stipid name was not even amusing anymore.

Tim didn't ask any questions after this experiment, and Jason didn't want to admit that he is losing the grip of reality, so they ended up simply parting their ways after. Can the Pits cause brain damage? More damage than there was in the first place, that is.

Now that he thinks about it, the color of the sign is really similar to the Lazarus waters. He should have noticed it sooner, but in his defense, who would look at the bubbling pool of toxic waters and think, "Oh, that would make a dope neon sign"? Apparently, the owner of the "Afterlife".

The color might be just a coincidence.

...no, in the world he lives in, coincidences like this just don't happen. Besides, Jason doesn't believe in shit like fate or destiny.

So, here he is, on Saturday night, standing in front of the door to the Afterlife. It would have been funny if it wasn't so weird. What's even more weird is that the closer he gets to the door, the less nervous he feels, like the place is radiating some calming aura. Wait, no, scratch that, Jason is so not calling it a calming aura for God's sake. That sounds just like those homemade witches with their crystals, tarot readings, and whatnot.

He's going to call it... tranquilizer vibes. Yeah, that's better.

He takes a deep breath, getting ready to see whatever it is on the other side, pushes the door open, and walks into the bar.

...

Whatever he's been expecting to see, it's not this.

[raven-at-the-writing-desk]

What're your thought on Skully/Skelly so far? Personally, I like the kid, he seems fun and cute (might even adopt him too lol)

I’ll make an update post later once the full event is out; this post will be my first impressions of the guy! Thought it might be interesting to document my feelings now and see how those change over time.

First thing I’ll say is while I like his design, his personality didn’t match my expectations. I expected him to be polite yet also eccentric and a little sinister, not… going around kissing the hands of everyone he meets. Skully also comes off as much more harmless than he appears. It’s an odd mix of demure but also really excitable when his special interest (Halloween, lol) comes up in conversation. A fun-loving guy! He definitely looks a lot more imposing and mysterious than he actually is.

I think a lot of his intimidation factor comes from the shades. If you take them away, he looks more like a dejected fuzzy animal or a Halloween-flavored Idia/Saeran (Mystic Messenger boi). LIKE SORRY BUT WHY DOES HE LOOK LIKE A SAD PUPPY LEFT OUT IN THE RAIN… His spiral eyes are cool though ^^ It’s just slightly hard to see sometimes because of the shadow his hair casts and the shading around that area.

His overall expressiveness is great! He looks cute when he smiles and blushes (from his idol complimenting him, haha). It feels very pure and innocent, which contrasts with his more… deranged expressions.

The way he speaks surprised me too… He talks about coming from a rural place, but he speaks so formally! Sometimes even more formally than Jade. I wonder if that implies being of high class/social status or if he just taught himself to speak this way for personal reasons. My worst nightmare (hah) is that Skully devolves into a heavy Kansai accent later in the event (if only because I’m not sure how to transcribe the Kansai accent into English when I write his dialogue 💦).

I mentioned in an earlier post that Skully’s outfit is a Nightmare Suit provided by the book. We don’t know what he actually dresses like irl which is a shame. Knowing that would really help with getting a read on his character, even if he were just in a school uniform (because different people can wear their uniforms very differently, as we can see in the NRC School Uniform line of cards). Stuffing Skully into a Nightmare Suit by default doesn’t tell me much about how he presents himself outside of the book, in reality.

There’s definitely a lot of interesting (and vague) lore around him 🤔 like how he doesn’t know what magical pens are and how his hometown is the only place that knows who Jack Skellington is… Hopefully those questions get answered by the end of the event. I also have to wonder why he’s such an intense Halloween otaku??? There could be no deep reason behind it, but I’m a little suspicious since this is a Halloween event. It feels like Skully’s hiding something and/or he’s not confident in himself since his dialogue implies he’s a loner irl. Maybe he’s attracted to the idea of Halloween because even the dead and creatures of the night can fit in (so he, the outcast, can also have a place among them)?

That being said, I do find Skully’s personality charming, especially when he’s opening the event with his little dramatic monologue about Halloween. It’s a nice way to interpret Jack Skellington’s whimsy and child-like wonder into a Twst character. However, I don’t exactly find myself completely endeared to his character yet. He feels a little too… safe? Too… sweet. Unless this was all intentionally and he's actually a RSA student or something/j I’d like to see more of his villainous traits and weaknesses on display to get a full scope of his character. *rubs hands together* I want to see what he’s like when he snaps… We already saw some glimpses of his nastier side when he calls his classmates worthless for not understanding him. I want to see that unleashed on the NRC students! As is, I’m not sure if I enjoy him talking down to others (he calls his classmates worthless) for not being on the same wavelength as him when it comes to his interests. It feels like something elitist otaku do (Idia has definitely done this), and that’s a big yikes for me.

[blackleatherjacketz]

Shadow and Sin: Chapter 4

Elijah Mikaelson x Female Reader

Summary: Having just moved to New Orleans, you get intimately acquainted with both Mikaelson brothers, but don't find out who they are until it's too late.

This Chapter: A mysterious box shows up on your doorstep, Elijah buys you a drink.

Warnings: Witchcraft, Love Bombing, Stalking, Sugar Daddy Vibes, Feelings of Inadequacy

Word Count: 2.3k+

Read the rest of the story HERE

Klaus’ bloody kiss had stayed with you for days, haunting you throughout your shifts at the hospital as your hormones raged in the absence of his presence, nearly making it impossible for you to focus. It made you wish that you were established enough to focus solely on your art career, that you didn’t have to work well into the night to pay your bills, but here you were, still a slave to capitalism. After your third grueling shift in a row, your legs wearily carry your body up the stairs to your apartment only to find a package sitting square in the middle of your doorstep. You look down the hallway at the other apartments, thinking that maybe it was something from the landlord that everybody got, but all the other welcome mats lay empty.

The box just sits there ominously, devoid of any stickers or labels, letting you know that it’s been hand delivered instead of ordered online and sent to your address. For whatever reason, you’re not sure why, that makes it seem a little bit more unsettling than you care to admit. That shady tarot reading makes you even more suspicious, Klaus’ warning of the witches in this town lingering in the back of your mind, making you approach your door with more caution than usual.

As you get closer, you notice that it’s a small wooden box exquisitely carved of rich cherry, no bigger than a shoebox without any other words or markings anywhere that you can see. Your heart races as you bend down to pick it up, holding your breath as you fear the very worst. What if there’s a dead animal inside or a body part covered in blood with some kind of curse on it that ruins your life once you touch it? What if it’s a distraction? What if….? You’re too tired for this. You grit your teeth and take a deep breath, finally convincing yourself to move your fingers and lift the top half of the box to see what’s inside.

Oh thank God! It’s just a book, but not any old book. It’s a paperback copy of Le Fantome de l’Opera, the first edition ever to be sold in France in the early 1900’s…1910, to be exact.

You exhale instantly as a wave of relief washes over you, carefully inspecting the green and gray cover, turning it over in your hands a few times before opening it to view its yellowed but pristine pages. You’d seen listings of this copy online before, but never actually seen it in person, let alone physically held it in your own hands. You can’t help but smile as you flip through the pages, doing your best to interpret the foreign language until you reach the front cover, reading a small note recently inscribed in perfect cursive:

For your collection, Little Lotte. Let your mind wander. I’ve read this far too many times to keep it Locked away on my shelf.

Your obedient servant. E. M.

E. M.? Elijah, of course! Had you really made as much of an impression on him as he had on you that day in the library? Has he really been thinking about you fondly enough to make a purchase of this magnitude and leave it for you to find in the middle of the night?

You stare blankly at the message for a moment, allowing the aroma of aged ink on paper to fill your nostrils as you bring it up to your face, nearly forgetting where you are and how scared you were just a moment ago. You close your eyes and imagine the intoxicating scent of his cologne surrounding you as that dark voice of his reads to you in French before your body begins to warm all over, instinctively leaning against your front door.

Your eyelids flutter as the weight of them suddenly becomes too much, the comfort of your bed calling to you as you coach yourself to find your keys and push them into the handle, nearly stumbling inside your living room. You bring the book and its box inside with you, sleepily deciding that you can weigh out the pros and cons of both Elijah and Klaus in the morning once you’re showered and rested, but until then, it’s time to sleep.

————————

You don’t wake again until the next afternoon, a rather common occurrence after working so many twelve-hour shifts in a row. You eventually rise and talk yourself into making a strong pot of coffee, glancing over at the book Elijah had left you as your caffeine begins to brew. Allowing the aroma to slowly clear your head as you pour your first cup, you wonder which situation was weirder: Klaus shutting down your Tarot interpretation just to walk you home and kiss you, or Elijah tracking down your home address to send you your favorite book. Both had lines of romantic intentions drawn through them, Klaus’ being a bit more forward than Elijah’s, but the truth remains for each of them.

You can’t remember a time where anyone had vied for your affections more fervently than right now, when two wildly different men had so brazenly inserted themselves into your life, the likes of which you could only compare to the romantic stories you’ve read about in books. You’d always envied those women who had two lovers to choose from, the center of attention at all times as these men competed for her hand. But this is real life, and if your years of experience had taught you anything about men, it’s that one of them will most likely grow tired of you before too long, weeding themselves out of the competition before it even begins. It’s just a book, you tell yourself. That’s all.

Attempting to clear your head of work, magic and ancient copies of classic literature, you decide to watch your coworker Tammy play the trumpet at a small bar in the garden district later in the night. It’s far enough away from where you met both Elijah and Klaus that you don’t have to worry about weighing the options of being in their presence as you settle into your barstool.

You let the music from the instruments distract you for the moment; Tammy’s trumpet painting the humid Louisiana air a shockingly vivid yellow, the saxophone adding bright red to the canvas as the piano dots the page with its vibrant blue notes while the bass guitar’s earthy green tones hold it all together. They blend and build onto one another, creating a beautifully unique masterpiece of sound that’s distinct to this region of the world, but vastly different from anything else anyone’s ever created before. This is what you love about the city, how the music on every street corner seems to take on a life of its own, dousing every inch of it in an almost visible, tangible fresco for everyone around to experience. This city is alive in more ways than one, and you’re just happy to be here to bear witness.

“Your finest whiskey, please, and whatever she’s having.” That dark chocolate timbre brings you back to reality as he addresses the bartender before turning ever so slightly toward you.

Oh, great. It’s Elijah. Is he following you? He’s already managed to find out where you live, so this doesn’t completely surprise you, but the coincidence forces suspicion to take up shelter in the base of your spine as he unbuttons his suit jacket.

“Espresso martini, please,” you tell the bartender softly, looking over at Elijah in disbelief. You aren’t entirely sure if you should be flattered or scared, his determination to find you both admirable and alarming. “Are you following me?” You ask in a semi-joking tone.

“Hardly,” he replies with a satisfied grin, keeping his secrets safe. “But if I was, I wouldn’t have expected you to show up here.”

“Well, if I’d have known you were looking for me, I would have given you more of a run for your money.” You lie, attempting to play it cool as you look at both of your reflections in the mirror behind the bar.

So much for your vampire theory.

“Would you, now?” He chuckles, his nonchalance making you shiver.

“Thank you, by the way… for the drink and for the gift.” You pause as his grin slowly melts into a smile. “The book, it’s remarkable, I’ve never seen anything like it,” you pause, careful not to get too swept up by his romantic gesture that you lose your head. “But that’s a nine thousand dollar book, Elijah, I looked it up on eBay. The first edition ever? I mean, how did you even get that? There are only two copies in the entire world for sale right now. I couldn't possibly accept a gift like this.”

He shrugs as if the money is inconsequential to him, his lips pursing just enough to signal that he’s almost tickled by your refusal. “I didn’t buy it, if it’s the price that bothers you.” He takes a moment to lean in and look you in the eye, his voice dropping down to a sincere whisper. “I gave it to you because I wanted you to have it, because you told me how much that book meant to you.”

“But why would you do that? You don’t even know me,” you counter breathily, attempting to push away what seems too good to be true.

“Not yet, no.” He sizes you up like a snake about to devour its prey. “But I could.”

Goddamnit, who IS this guy?

“Well… first of all, you can’t just stalk me and find out where I live and leave mysterious unmarked boxes on my doorstep at three in the morning.” You hush the tone of your last few words as the bartender brings both of your drinks out.

“I thought you enjoyed elements of danger with your romance, that love was meaningless without any stakes?” He raises an eyebrow and traces the rim of his glass with his index finger.

“I meant in my books, not in real life. I didn’t anticipate you scaring me half to death after a long shift with that box! It could have been anything in there: a dead rat, bloody feathers, someone’s finger, I don’t know!” You helplessly attempt to plead your case of how frightening it is to live in this world as a woman, but a man like him isn’t likely to listen.

“I’ve offended you.” His tone is diplomatic now, his expression hardening. “I assure you, that was not my intention. If I’ve misread our previous interaction, I’ll kindly take my leave.”

“No, that’s not it!” You correct him, grabbing hold of his arm to keep him near. “I'm letting you know that I would be offended if I wasn’t so… if you weren’t so…” you trail off, getting flustered as your lip begins to quiver.

“If I weren’t so what?” He reaches up and pushes a strand of hair away from your face, making your heart leap inside your chest as he gently tucks it behind your ear. You suddenly feel as if all time has stopped, the boisterous barrage of the band fading off into the distance as you fall headfirst into the black abyss of his eyes, letting it pull you down into its darkest depths, abandoning all hope of walking away from this sultry encounter unscathed. “I know you feel it, too.”

Fuck. He’s not wrong, not even a little.

He inhales slowly, creating a long electric pause as he takes you in as if it’s his very first time seeing you, letting you drown in the slick feeling in the very pit of your stomach. “I’ll admit that my delivery was a little old fashioned, but I thought that was something you’d appreciate.” He strokes your cheek as if he knows exactly what to do to make you melt beneath him, that he’s well aware that despite his questionable actions, he knows you won’t get up and leave.

“Mmm hmm,” you stammer clumsily, his fingers lighting up your skin as every tiny hair stands at attention, waiting for him to touch more of you.

“I didn’t mean to alarm you.” He removes his hand from your face and takes the first sip of his cocktail, the stoic confidence radiating off of him like a man who's done no wrong.

“I do appreciate it, I really do, more than you know.” You admit, barely able to find your words as he holds you in his gaze. You struggle to express out loud what you’re thinking right now, how you’re feeling as a haunting sense of unworthiness creeps over you, inch by inch like an insidious gray cloud. You’d know it anywhere by now, for it’s the same one that’s followed you around for the majority of your adult life. “It’s just that one’s ever done anything like that for me before. I guess I’m just… not used to it.”

“Then every man before me has been a fool.” He lets his hand rest on top of yours, his fingers slowly slipping into the spaces between them before gently flipping it over, exposing your wrist. He takes another long draught of his whiskey before tracing little designs into your palm with his fingertips, exciting every neuron on your skin before moving up to your wrist, brushing against your pulse. “I’m sure that isn’t what you came to this city to find, now is it, little Lotte? A life that you’re ‘used to’?”

“No.” You confess almost immediately, feeling yourself sinking down deeper into his chasm of madness as you attempt to pick your jaw up off the floor.

“Then keep the book.”

[angelnumbing]

whether you like it or not, YES, obsessively reading love/your person/crush/FS/etc. tarot readings is bad for you.

even if you’re just reading them for fun (like i was), you have to really think about it. first, every reading you click on requires some kind of energetic connection with the reader. if you read/watch multiple of these things a day you’ve got a bunch of strangers all up in your energy all the time and that’s just not going to be a good thing. buying personal ones is included in this.

youtube randomly recommended me a video of a woman explaining that we as clients come to these readings because, most likely, our situations are so unfulfilling or confusing so we seek answers through tarot. this is natural imo and isn’t a sign of bad character or anything, but we have to accept that some things are meant to be a mystery to us. beyond that, a tarot reader (especially one doing PACs or collective readings) can only pick up on the energy of the querent. the other person’s energy cannot be picked up on without consent, which means that tarot readers read your energy and the way you interpret your person’s energy. this means that if you see your person as hot-and-cold and are holding onto hope for a connection that clearly isn’t working, the reader is going to tell you exactly what you’re thinking because the only way that 3rd party person’s energy can be accessed is through the footprint it leaves in your aura.

not only does this mean that — if you consume these readings often — you’re consistently getting told a false one-sided narrative, but it also inherently establishes its own reward system that keeps you coming back for me. for example, you tell yourself that your person likes you (and maybe they do!) but they’re scared of their feelings for you which is why they ghost you. when you receive a reading that says this, it affirms to you that you were right, and the reading was “accurate”. worse than that, these readings and your dependency on them can easily be used to justify clinging on to a relationship or connection that isn’t working. your person goes cold and you run to a tarot reading basically to be told that there is some hope, actually, and now instead of dealing with the difficult feelings that come with romantic disappointment and growing through that, you’re stuck in the stagnant state of waiting for reality to match up to the picture in your head. realistically, the healthiest thing for you to do is move on from this person and work on yourself.

this isn’t to say that all tarot readings are terrible, because i don’t think that at all. tarot can definitely be a great tool for self-discovery and just for getting some direction in life. i also don’t think there’s a problem with doing love readings for yourself as long as it’s not constant and obsessive.

if you find yourself looking for affirmation from these readings, you should instead shift your focus to readings about your shadow self, where you need to grow and heal, and other things like that. we cling on to these lackluster connections because of something in our past that makes disappointing people attractive to us. i know a lot of you on here are very defensive about your precious PAC readings, but the fact of the matter is that you read them because either your love life is nonexistent and you have to consume what is essentially self-insert fanfiction to cope (i’m not coming for you bc i’m in that camp) OR you do have some connection with someone but they are falling short or disappointing you in such a way that direct communication is not possible and you have to turn to an outside source for some kind of answer.

at the end of the day, if you actually care about yourself, you’re going to have to do the (very hard) work of finding security in yourself and who you are. these readings and any relationships you have or aspire to have are never going to replace that. and frankly a few of you seem to put too much weight on the meaning of these readings. i remember someone said they don’t bother to put any effort into their current relationships anymore because they “know” their current partner isn’t the one bc it doesn’t match up to what they’ve read in FS readings. at some point you need to use your common sense. the readings get hundreds of notes and thousands of views and there’s no way you can rationally justify making decisions like that based off of something meant to apply to everyone who watches and not just you specifically.

i’m making this post because i’ve stopped consuming readings like this and i actually feel so much better mentally and spiritually. they actually are fully capable of making you completely delusional as well, which in some contexts isn’t exactly a bad thing but it’s not a great state to be in when it comes to your interpersonal relationships. ultimately i hope that i’m able to at least of few other people break their pattern and kickstart a genuine healing journey.

i don’t use this app often, tbh so if you get mad in my replies you might as well take it up with god because i’m not looking and if i am looking i’m not caring at the same time. toodles!!

[spookberry]

Shadow High series 3 my new beloved

I didnt even like most of em until i saw them in person, but the knowledge that they'll probably never be in the show has my brain in a "well its free realestate" kinda mood

Random list of information cuz ive been plotting out friend dynamics and background lore

-i like to pretend Rainbow High/Shadow High are actually Rainbow University/Shadow University cuz im in art college Right Now and i think it makes more sense with the whole dorm room situation. And also major makes more sense than focus IMO

-I changed Pinkie's major from film to just undeclared. I think she eventually does land on Film. She just has a lot of interests! Her dream has always been to one day direct films, and I think she comes to love them even more while developing ideas her with the group as she winds up in a Director/Producer position for most of them. BUT also every time she takes a class in a different program she cant help but fall in love with that way of making art too. So she has a hard time picking for a while and changed her major a couple times before landing on Film.

-Pinkie and Berrie bond a lot over a shared interest in vocal synths (tho Berrie knows more about them than her).

-The two made Pinkie's vtuber model together!

-the fandom wiki says PJ is from germany?? Idk how canon that is tbh but ive decided to embrace it i guess

-Rooney's canon name is Scarlet Rose, but i thought it was kinda lame especially when Rosie Redwood is also in this line sooo I renamed her! Stuck to the color name puns tho. Mar Rooney. Maroon. Haha

-Speaking on her though i love that shes from texas and likes writing scifi mystery type stuff and that being said i just Know deep in my bones that she was a Voltron Legendary Defender fan and Keith was/is 100% her favorite. She has a continued fondness for mothman specifically cuz of this.

-PJ and Rooney actually talk about fandom and shows/movies ALL the time. They dont have a ton of overlapping interests, but where they do? The two literally never shut up.

-Rosie is such a random character, like outside of her design she feels very poorly considered. So I scrapped the cosmetology thing and made her an illustrator instead! I think it works better with her love of making art in nature. I can see her being really into illustrated guide books. I think shes a bit snooty when it comes to art too. It takes being friends with other artists to become more open minded.

-I like the idea that Rosie is mainly friends with Rooney and Berrie ontop of that. The three of them often tag team storylines and how theyd interpret them into different mediums. Rosie will draw up a bunch of concept stuff while Rooney writes up a pitch bible and Berrie will start making shit move and throwing in her own ideas on camera angles and character designs.

-as an animation major Berrie was required to take a sound design class early on, which is where she met Oliver! Hes very laid back, and likes to go with the flow, but functions a little like the "mom" of the group. Often reminding the girls to take breaks, drink water, stop looking at their screens lest they get eye strain etc. He's multi-talented tbh but Music is his one true passion and he likes how the girls are always giving him collaboration opportunities.

-Oliver and Rosie like to talk sports a lot, both having played a bunch when they were younger and throughout high school.

-Lavender Lynn is Oliver's number one "person who needs constant reminders to settle down" she is in a constant buzz of trying to get the best shots and is utterly obsessed with the process of artistic documentation. Everything must be documented.

-the whole school loves her for this actually, she has a whole side gig where other students hire her to help photograph their projects. She saves everything she earns from this for her future dream plans to visit paris. She has it set really, many of the artists who she helps photograph now will remain steadfast clients of hers forever onward.

-PJ and Lynn actually took a print media class together at one point. Which didnt at the time spark an everlasting friendship. But it did give PJ an easier in to ask for Lynn's help documenting a project the group was working on. One of Lynn's first times photographing them work happened to fall on a day where Rosie had planned to trick everyone into going on a nature walk sans devices... Lynn wound up really appreciating this outing and decided to continue hanging around the group even after that project had ended.

[foxconfessorandthewolf]

Okay, so I’m a bit wine drunk but I don’t think I’ve ever really articulated why I love Snarry together and I’m currently trying to finish a fic after taking a three-year-hiatus from writing these two, so this is probably a good exercise!

I’m a bit on the older side of fandom, having been a fanartist and fervent reader since 2003, so my connection was really sparked during that time between OOTP and HBP when Snape and Harry were at some of their most clashing and deeply vitriolic, forced together into hateful vulnerability by Occulmency lessons. Every scene between them was electric, laced with tension as we truly did not know how things would go, or even where Snape’s true loyalties lay. He was an unknown, tied up with Harry’s own family’s mysterious past, connected to Harry in a myriad of odd ways that few other characters were, and - as a rivals-to-lovers lover - I was fascinated by him. From that first moment when they lock eyes in the Great Hall and that frisson of pain shoots through Harry’s scar, I desperately wanted to know who the hell this man was and his story. I think a lot of Snarry shippers come to the ship with a special appreciation for Severus Snape’s character himself. He’s such an incredibly drawn character, rich with complexity, complicated and pretty fucked up, with clearly-held passions, hatreds, weaknesses, and motivations. He’s emotional in a way a lot of other characters aren’t, though I think he’d loathe to hear that. And his character voice! It’s unique and pitch-perfect. You always know exactly who is speaking with his lines. Honestly, the way he evolved from a spy/traitor stock character to become so multifaceted and enigmatic is a masterpiece of characterization, and it’s an aspect of why I’m drawn to him - there’s still so much about his origins and well, what his damage was, that we don’t know. Because of this, I especially love Snarry fics that delve into character studies of him, trying to explore all the shadows left behind. I also admit I have a preference for interpreting Snape as morally grey. I like him petty, sharp-tongued, ambitious, with an incredibly liquid definition of what is right and wrong. He’s self-interested, dripping with disdain, and really doesn’t see that as a problem. What happens to him when he deeply falls in love?

I love a ship that makes me work for it. There’s no obvious line of how Snape and Harry might wind up together, so each fic is a wealth of possibilities of bringing these two together despite their roadblocks. As I mentioned, I’m big fan of animosity in a ship. Give me rivals, give me enemies, give me the sparking passions, the sharp fury, the way they stoke each others’ emotions and seek to hurt, the racing hearts, the raised hackles, the intense emotional reaction to another person. Just throw it at me. I devour that shit. I love the messy and taboo nature of their relationship, the complications raising from their age difference, temperaments, and largely similar and shared traumas. There’s an interesting element of Snape being a foil to James Potter, and how that relates to Harry and their past. Basically, this shit is really good potting soil for incredible fucking fics, packed with nutrients.

The shared natures of their traumas, like Voldemort and each being forgotten and abused as children and how they might be able to understand each other and bond from it is also something that’s fascinating to explore. I love when a writer pushes on Snape’s bruises, looking to make them hurt, cracking his sardonic brain open and rooting around in there, and I love when they compare and contrast to Harry’s. There’s a seductiveness to how Snape is so obsessed with Harry, fixated on his Boy Who Lived heroic reputation, clearly dripping with envy. What, beyond jealousy, might draw Snape to Harry and what, other than hatred, might draw Harry to Snape?

It’s all this, the passionate, electric, dangerous nature of their relationship; the way their characters contrast each other yet have surprising connections; and the question of finding solace that keeps me here, 21 years later. I’ve had wines less complex than this ship. They’re fascinating. They’re messy. They’re everything.

[crossposted from a reddit comment I just left, and wanted to share with y’all]

[0-n-1-x]

not sure if anyone’s put this out yet but Damian and drama actress reader or theatre nerd reader. maybe reader trying to get him to try out for the local drama club with her I know he canonically took drama classes once. Thank u :)

im a BIG theatre nerd so i chose a more classical approach, but i could also see Damian with a musical theatre nerd reader

Damian doesn’t initially understand your passion for theater, but he respects how much effort you put into it. He’s always watching from the shadows during your rehearsals, analyzing your performance with a deep curiosity. If anyone gives you trouble—whether it’s harsh criticism or unnecessary pressure—you might notice that person mysteriously drops out of the production or just stops bothering you altogether. Damian doesn’t admit it, but he's involved.

He’s not the type to sit front-row during performances, but Damian attends every single one of your shows. He often hides in the far back of the auditorium or watches from the wings, ensuring you don’t feel pressured by his presence. Afterward, he’ll tell you his thoughts in detail, giving sharp critiques of the other actors and how they couldn’t match your emotional depth.

You love discussing plays, both modern and classic, and Damian often finds himself caught up in these late-night conversations. He doesn’t admit it, but he’s fascinated by your analysis. You dissect character motivations, plot twists, and symbolic meanings in plays like Hamlet or A Streetcar Named Desire. He even starts chiming in with his own sharp interpretations, surprising you with how deeply he can analyze complex characters. “Blanche Dubois? She’s merely hiding her vulnerabilities behind a facade, much like some of Gotham’s criminals. But in her case, society's rejection leads to her downfall.”

Damian’s knowledge of martial arts comes in handy when you’re practicing for stage combat. He insists on helping you rehearse fight scenes, offering tips on how to make your movements more believable while keeping you safe. After all, who better to teach you about fighting than someone who’s been trained by the League of Assassins?

“Your form is weak here. If this were a real fight, you’d be disarmed within seconds.”

“It’s theater combat, not life-or-death!”

[explodo-smash]

Katsuki as the Light & Izuku as the Dark- Love and Harmonious Totality in The New Era

This meta analysis’ purpose is to make the case for KT/DK existing as Light and Dark in each other’s stories respectively, and explain how this dichotomy challenges black & white thinking in the narrative. 

This meta analysis will also explore how this Light/Dark dichotomy lays the groundwork for why Katsuki/Izuku as a unit represent a “New Era" in the story.

[Can also be found on twitter]

Whether by Save to Win/Win to Save, or the fact they are osananajimi, the story frequently draws our attention back to Katsuki and Izuku’s complicated, influential and powerful bond. Despite all the changes they’ve gone through in MHA up until now, both individually and together, one thing has always remained constant: they are as symbolically connected as they are physically/mentally/emotionally.

We argue that one of the ways MHA’s narrative connects them symbolically as polar, balanced parts of a larger whole is through a sense of DUALITY. 

Furthermore, we argue that the use of contrasting Light/Dark motifs act as both visual and text metaphor to create this duality, with Katsuki representing Light and Izuku representing Dark.

It's important to note that by Light/Dark, we aren’t referring to their moral clarity, goodness or badness. Rather, we will explore Light/Dark as a metaphor that builds on themes in MHA while creating tension (contrast, conflict leading, fear and rejection) and harmony (balance, unity, love and acceptance).

Note: the Light and Dark comparisons/metaphors between Katsuki and Izuku used in MHA sometimes get lost in translation in the anime. Here are some examples….

For Izuku:

Izuku is often encased in shadows in Katsuki’s POV since the beginning.

The word used for quirk (kosei) meaning “personality”, with quirkless meaning “lack of personality”, evoking the absence of something

Character design leaning on “dark” shades (dark/filled in hair, eyes including dark pupils early in the series)

Izuku’s “Dark Hero” arc as it’s officially titled.

Izuku’s prototype/beta name “Yamikumo” meaning Dark Cloud and his personality type tending toward facades/anxiousness

Blackwhip being the OFA quirk that resonates with Izuku’s emotions (particularly his rage)

His recent “power up” moment in the current arc involving blackwhip is denoted by claws, fangs and black tendrils. This form is officially called “overlay” but Hori also calls it “carnage” in his head.

And for Katsuki:

Izuku’s description of Katsuki as someone bright and blinding, often bringing light into his eyes as an artistic consistency.

His quirk “explosion” emitting light, his move “stun grenade” literally a blinding flash of light.

Character design leaning on “light” shades (light hair, eyes aren’t filled in)

Prototype/beta ‘Gogo’ Katsuki’s light clothing and his personality type overall being bubbly and overprotective (toward Yamikumo).

Katsuki’s death chapter titled “Light Fades to Rain”, and his revival evoking that visual of a bright light.

His recent “power up” moment in the current arc is denoted by flashing lights and explosions all around his body - highlighted with laughter, and glee.

Katsuki and Izuku connect with all the various opposites attract concepts that draw on the Light/Dark duality (sun/moon, yang/yin) but the first mistake people make is approaching these concepts with black & white thinking in mind.

The meaning

The Light/Dark imagery/descriptions/metaphors with KT/DK exist as a set piece that subverts expectations by challenging binary/black & white interpretations.

Katsuki’s ‘light’ is confident and inspiring - but it can also be blinding, harsh, and overwhelming.

Izuku’s ‘darkness’ is almost like a blanket. It’s comforting and sympathetic - but it can also be scary, unnerving, and mysterious.

Initially, Katsuki wanted to get away from the ‘darkness’. Izuku was like his shadow, following him relentlessly. He misinterpreted Izuku’s behavior as secrecy or deceit. 

Izuku dragged in as much ‘light’ as he could, by both observing Katsuki closely as well as refusing to part with the nickname ‘Kacchan’. His pursuit was a combination of hope for the future and a fascination for something he didn’t have (envy). 

Both of them have a capacity for unending love and selflessness, but also uncontrolled rage and violence.

The point of this contrast is for us as readers to highlight and dismantle the surface level perceptions of these characters in the same way Katsuki and Izuku progressively do for each other. 

Building on the themes 

In the same way Izuku always saw, and admired, Katsuki’s “light”, Katsuki could see, and feared, Izuku’s “darkness”. This contributed in building tension between the two, both literally and narratively. Where another story may have framed them as opposing forces, however, MHA frames them as dual forces. Where the source of tension for opposing forces may be fundamental differences, the tension between Katsuki and Izuku comes from a REJECTION of their fundamental parts. By extension, this became a rejection of their potential for harmony.

There’s enough evidence to suggest the defining concepts for prototype/beta Katsuki and Izuku(Yamikumo) weren’t entirely discarded, but rather modified and layered upon. One of the major differences was how prototype KT/DK got along, with one of the earliest scenes drafted for MHA being a scene where they fight together.

It’s ultimately a mistake to presume Izuku is purely a positive ray of sunshine just like it was a mistake to assume Katsuki was hiding a bitter and villainous darkness within him. It’s the neglect of their core that causes them to dig their heels in and become their worst selves: 

Katsuki as egotistical, harsh and tightly guarded with a tendency to lash out, against Izuku as obsessive, obstinate and habitually repressing his emotions.

Society shaped their “quirks” (their power, outward appearance) but time and relationships informed their “individuality” (their ideals, hopes, inner drives). 

Izuku's unwavering belief in Katsuki’s light was a tether that enabled Katsuki to embrace and flourish into it. Katsuki grew to understand the darkness in Izuku by confronting that which scared him. This allowed him to empathize with Izuku’s complex thoughts/feelings during a time where Izuku was at his worst (“Dark Hero” arc–onward) and dedicate himself to making sure Izuku didn’t carry the weight of the world and its burdens on his own. 

In other words, the inevitable payoff for KT/DK facing and dismantling the tension within themselves and between each other is the harmonizing of the dual/complementary themes they’ve been written to represent, which ultimately mirrors the main messages and questions posed by MHA.

‘The New Era’

As two major pillars of the story, Katsuki and Izuku are in many ways microcosm(s) of MHA society at large.

Katsuki and Izuku as complementary forces and not opposing ones seems obvious until it is put into practice. Some characters in the story and many readers in the audience alike have struggled with understanding their multifaceted nature and reconciling what they know of KT/DK from the outside with the seemingly contradictory information KT/DK have given us about themselves over time. Rather than a fluke, this contrast is an intentional writing choice evidenced by elements like their Light/Dark symbolism.

The lines at the main center of conflict in MHA - Heroes vs. Villains - has been long since blurred. In much the same way Heroes vs. Villains has complicated good vs. evil and challenges black&white thinking, KT/DK’s relationship as counterparts is representative of a greater duality that paints a clearer picture of MHA’s philosophies on the nature of heroism, societal progress, and the difficult process of inner growth. This picture is coming to a head with the story situating them as the beginning of “A New Era.” 

MHA understands people as collections of thoughts, feelings, experiences, abilities, ideals, hopes, drives, etc., and that contradictions and tension between them are inevitable.Through KT/DK, MHA has developed a beautiful narrative where strengthening oneself involves strengthening each other and broadening our understanding of who we are.

“There is a false saying: “How can someone who can’t save himself save others?” Supposing I have the key to your chains, why should your lock and my lock be the same?”

[therainscene]

Since The First Shadow has folks talking about Henry’s queerness (or lack thereof), I wanted to share my take on it as someone who tends to interpret him as gay.

I’m not going to be talking about his relationship with Patty, though -- I can’t afford to see the play and don’t want to rely on secondary sources for this, so I simply can’t comment on it. (I’m sure they’re lovely together, though.)

To me, Henry’s queer-coding isn’t a question of whether he’s literally gay -- it’s a question of what role his villainy plays in the story.

The biggest non-Patty-related criticism against queer interpretations of Henry is that it would carry an uncomfortably homophobic implication: that queers are dangerous predators.

This was a common belief in the 80s, and the show references it by having Troy chuckle at the idea of Will getting "killed by some other queer" -- a prediction that comes symbolically and unpleasantly true when Joyce finds him with one of Vecna’s vines literally shoved down his throat.

It's tempting to try and solve this problem by interpreting Henry as straight -- the homophobic implications of his child-assaulting villainy will disappear if he's not queer, right?

Well... in my opinion, no.

A key aspect of Henry's character is that he's different. Whether you interpret that difference as queerness, neurodivergence, or simply that he has powers -- the fact remains that he is fundamentally the sort of person whom society looks down upon with fear and suspicion.

If he’s not a predatory queer, then he's a remorseless psychopath. If he's not a remorseless psychopath, then he's a vessel for an evil alien. There's no way to escape the implication that he’s dangerous because he’s different.

Eddie’s character resonates with this principle too. Indeed, our introduction to him is a monologue in which he complains about being treated with suspicion just because he’s different.

Given their similarities in this regard, I think it’s interesting that the show endears us to Eddie in the same breath it makes us fear Vecna. It almost feels like a test--

We know you’ll sympathize with a weirdo who sells drugs to troubled minors when you get to see things from his perspective, but can you sympathize with a weirdo who hurts troubled minors when you don’t get to see things from his perspective? Will you jump to unfair conclusions about Henry in the same way the town jumps to unfair conclusions about Eddie?

My point here isn’t that Henry did nothing wrong or that his villainy is justified -- I’m pretty sure he did commit the murders Eddie was scapegoated for and I’m pretty sure that’s a bad thing -- but he’s always held at arm’s length from the audience. The show plays the role of Jason, encouraging us to blindly hate him on gut instinct instead of giving him a fair trial.

It’s an easy test to fail, because it does seem like we get to see Henry’s perspective -- he has a whole villain speech, after all.

But the trouble is, this speech takes place within NINA. What we’re watching is footage that has been curated by his abuser and shown through the eyes of a traumatized girl who barely understands what happened -- secondary sources who are invested in viewing him as a threat.

Consider that Henry’s hairstyle mysteriously changes during the massacre. It’s one of those subtle costuming choices that isn’t meant to be consciously picked up on, but which registers at the back of our minds and leaves us feeling unsettled -- this Henry isn’t like the Henry we were looking at before.

The obvious way of interpreting this is that the mask has finally slipped -- the “nice” Henry was fake, and now we see him for who he “really” is. But I’m not inclined to interpret it that way, because of all the hairstyles they could have chosen... they just so happened to opt for one that resembles Brenner. (Pun intended.)

This isn’t Henry with his mask off -- this is Henry as Brenner wants him to be.

Fear-mongering over the existence of queer people has long been a useful tool for those in power -- in the 80s, fear of AIDS did the job nicely -- and so too has Brenner forged Henry into a tool to further his own goals, no regard given to the harm he causes in the process.

Like the “predatory queer”, Henry is defined on his oppressor’s terms, and like Eddie, it makes him a useful scapegoat. He only became what he did because of an unethical institution, and treating him as the problem is just as short-sighted as blaming gay men for the AIDS crisis.

That isn’t to say Vecna hasn’t become a genuine threat, though. Will makes a prediction as to how S5 is going to end--

--and while I’m not expecting things to end as violently as Will implies here -- that’s not Will’s thing -- I do believe that Vecna is going to be defeated by his hand. As tragic as Vecna’s origin was, he still made his own choices once he was free from Brenner, and he’s likely too far gone at this point to be capable of earning his happy ending.

But that’s what makes it so important that Will gets his happy ending.

Queer characters have been exclusively cast as villains or tragic sadbois for so long that I can completely sympathize with people’s hesitance to embrace Henry as a tragic queer villain.

But villains only exist within the context of the heroes who challenge them... and in a show about a queer-coded villain who personifies the anger and despair of being abused for what you are, a loving gay boy who breaks the cycle of abuse by learning that he has the right to be the hero of his own story is the perfect foil for him.

[lilydalexf]

A fic being creepy or scary is up to personal interpretation, but here are some very good creepy, scary, or horror X-Files fics that I would generally consider in a category like Finding Rokovoko by prufrock's love (which I recced here), though I don't know if anything is quite like that fic. These asks and another I already partly answered are so old (one at least 4 years old), but thank you, anons! It took me a too long while, but I liked putting together this list. Enjoy! The stories in the list below aren't Halloween stories. Some recs of creepy or scary fics are in my Halloween fic rec lists: part 1, part 2. Not listed below are casefiles by @syntax6, which all get a rec.

An Awful Noise by 221Browncoat (@whumpdoyoumean) Mulder's injured and there's something in the woods. The Barn by @discordantwords The light stung her eyes and Scully shut them tightly, feeling her skin prickle uncomfortably in the heat as she tried to remember what, how, why–why she was lying on her stomach on the dusty ground, fingers scrabbling in the dirt...

Bonemeal by Magdeleine Here there be Pigs. Brumal Harvest by DarlaBlack (@sigritandtheelves) Mulder and Scully are trapped deep in the wintry Ozarks while something stalks them from the shadows… The Crouching Thing by se_parsons Sometimes we see things we don't want to see.

Das Ding by @teethnbone Some grassy barrows, some big gold fields. Every Sparrow Falling by Alloway Deadly birds, mysterious soldiers and abandoned carnivals lead Mulder and Scully to small-town America, where they discover that dwelling on the past can be a very dangerous thing. The Fox and the Howned by K. D. Enriquez A psychotic serial killer from Mulder's past returns for vengeance. Gates of Hell by @alienqueequeg In the first case after her remission from cancer, Scully is forced to confront a disturbing time in her past. Ten bodies are found buried outside an abandoned hospital in Northern California, all desecrated in a way that is reminiscent of horrifying medical experiments that took place there almost fifty years ago. While navigating the complexities of a changing relationship, Scully and Mulder work to uncover a long-buried evil and hope to solve a cold case that has haunted Scully for years.

Heuvelmans' On the Track by The_Mythpoeic (@mashnotesofthemythpoeic) In which Scully becomes a Consortium doctor, and Mulder moves heaven and earth. Infinity by Steven G. Barnes Mulder and Scully investigate strange occurrences linked to a psychic, and find themselves drawn into a nightmare. La Llorona by @bohoartist Mulder and Scully investigate the tale of the ghostly La Llorona. Nevermore by FridaysAt9 The raven outside Scully’s window rattles her nerves, leading her to a late night visit to Mulder’s apartment for a little comfort. Nowhere to Hide by Thalia D'Muse Someone from Scully's past resurfaces...

Paper Saints by Jill Selby Set post-“Fight the Future” Shine by Ainon Mulder and Scully come to investigate multiple deaths in one family. Silver Cornet by Bonetree Set just after "Je Souhaite," Mulder and Scully take a ride on a mysterious train that's carrying more secrets than either can imagine. snow in april by skuls (@ghostbustermelanieking) Dealing with the fallout from Mulder's return, Mulder and Scully find themselves in the midst of a strange case in a small town.

The Summoning of Nikola Price by @alienqueequeg Mulder and Scully spend a weekend in a haunted house with psychics attempting to communicate with the ghost of powerful spiritualist. Set sometime after One Son and before Milagro. The Three Lost Children by @baronessblixen Mulder takes Scully to an abandoned house that's said to be haunted. Scully doesn't believe in that sort of thing but then things start to get spooky. The Vardoger by Corinne Hansen "I'm inclined to think we are all ghosts--every one of us." Henrik Ibsen Waldron Island by @sisterspooky1013 Visit beautiful Waldron Island: the vacation of your dreams. We Could Have Made Music by @discordantwords They are fifteen years old, hale and hearty and healthy, tall and pale and quiet as churchmice. They have grown up to the music of Six's madness, her sobs and sniffles and laughter, the scrape of teeth against metal, the rasp of teeth against skin, the sick sweet wet sounds of tearing flesh.

[stormcloudrising]

If JD won't hook up then who do you think is the younger and comely lover Dany was dreaming about? There's also the mystery man who was cold a ice. Two quotes hinting at a mysterious man for Dany seems like too much of a coincidence.

Hi Nonny,

Thanks for the ask.

To answer the first part of your question, let’s look at the passage you referenced.

What Dany wanted she could not begin to say, but Jorah's kiss had woken something in her, something that had been sleeping since Khal Drogo died. Lying abed in her narrow bunk, she found herself wondering how it would be to have a man squeezed in beside her in place of her handmaid, and the thought was more exciting than it should have been. Sometimes she would close her eyes and dream of him, but it was never Jorah Mormont she dreamed of; her lover was always younger and more comely, though his face remained a shifting shadow. —A Storm of Swords - Daenerys II

The passage is about wish fulfillment on Dany’s part. She’s lonely and wants someone to love and lay beside her at night. She’s looking for someone to take the place of Khal Drogo. But she’s a young girl and she doesn’t want someone like Jorah who’s old enough to be her father. Young girls dream of men closer to their age who are comely and daring and adventurous. She very liked Sansa in this instance.

Dany’s wish fulfillment is not about any specific person as is suggested by the shifting shadow, but more her thoughts on the ideal partner. The passage is also a set up for the introduction of Daario as a couple of chapters later, the shadow comes into focus with his arrival on the scene.

Daario is as unlike Jorah, and as similar to Khal Drogo as it’s possible to be without him actually being Drogo. Young and comely? ✅ a warrior and leader of men? ✅ Dark and dangerous? ✅ He even wields an arakh like Drogo.

Daario personifies the type of man that interests Dany. So, while Dany may not have literally dreamt of him, he’s the type she was dreaming of. Hope that makes sense.

As for the man with blue lips, many fans in the fandom are of the opinion that it’s Jon and I’m suspecting that you are of this opinion as well, but I disagree with that interpretation.

The basis for this theory is Bran’s first weirwood vision when he saw Jon’s dead body in the ice cells at Castle Black.

Finally he looked north. He saw the Wall shining like blue crystal, and his bastard brother Jon sleeping alone in a cold bed, his skin growing pale and hard as the memory of all warmth fled from him. And he looked past the Wall, past endless forests cloaked in snow, past the frozen shore and the great blue-white rivers of ice and the dead plains where nothing grew or lived. North and north and north he looked, to the curtain of light at the end of the world, and then beyond that curtain. He looked deep into the heart of winter, and then he cried out, afraid, and the heat of his tears burned on his cheeks.

—A Game of Thrones, Bran III

Except for Jon’s body being cold and frozen, the rest of the scene doesn’t match up. Of course, blue is mentioned in the wall, and a body will start to turn blue when exposed to extreme cold as cyanosis or livor mortis sets in because of lack of oxygen. However, the bruised blue lips doesn’t match up.

The man with bruise blue lips and a member as cold as ice Euron, which is interesting because while Daario and Drogo were similar types of men, the way Daario and Euron are described, they could almost be the same person. It’s why some in the fandom are in favor of this theory.

I don’t think they are the same person because the timing doesn’t match up, and it would mean that Euron was able to be in two places at once; and nothing in the story thus far has shown that to be possible. So, unless George comes out with a magical reason that would explain how Euron could fly across the seas faster than a speeding bullet, they are two separate individuals. Oh, and there’s also the fact that Daario’s lips are not blue.

My thinking is that Daario is in the story to prepare Dany for Euron. If she loses Daario, and that possibility is on the table, she will be more susceptible to Euron when he starts trying to worm his way into her feelings. He’s the type of guy she goes for, and he will heavily remind her of Daario. Also, her dream of the man with the blue lips suggests that Euron may already have begun his seduction of her.

George actually begins the set up to it being Euron a few chapters earlier when Xaro Xhoan Daxos pays Dany a visit, and then he reveals the truth in TWOW.

"Not all your enemies are in the Yellow City. Beware men with cold hearts and blue lips. You had not been gone from Qarth a fortnight when Pyat Pree set out with three of his fellow warlocks, to seek for you in Pentos."

Dany was more amused than afraid. "It is good I turned aside, then. Pentos is half a world from Meereen."

—A Dance with Dragons - Daenerys III

After Xaro leaves, Barristan as the Lord Commander of her Queens Guard shows his concern at the potential threat.

Ser Barristan cleared his throat and said, "This warlock that the merchant spoke of …"

"Pyat Pree." She tried to recall his face, but all she could see were his lips. The wine of the warlocks had turned them blue. Shade-of-the-evening, it was called. "If a warlock's spell could kill me, I would be dead by now. I left their palace all in ashes." Drogon saved me when they would have drained my life from me. Drogon burned them all.

"As you say, Your Grace. Still. I will be watchful."

—A Dance with Dragons - Daenerys III

Dany’s choice of words is interesting because Pyat Pree is not the warlock Barristan needs to worry about. In A Feast for Crows, we get this interesting conversation between Victorion and Euron, when the latter sends the former to Meereen to bring back Dany for him to wed. Keep in mind that AFFC and ADWD is one book split into two, and so events in them are taking place around the same time.

Euron turned to face him, his bruised blue lips curled in a half smile. "Perhaps we can fly. All of us. How will we ever know unless we leap from some tall tower?" The wind came gusting through the window and stirred his sable cloak. There was something obscene and disturbing about his nakedness. "No man ever truly knows what he can do unless he dares to leap."

______

The captain took the cup Euron had not offered, sniffed at its contents suspiciously. Seen up close, it looked more blue than black. It was thick and oily, with a smell like rotted flesh. He tried a small swallow, and spit it out at once. "Foul stuff. Do you mean to poison me?"

"I mean to open your eyes." Euron drank deep from his own cup, and smiled. "Shade-of-the-evening, the wine of the warlocks. I came upon a cask of it when I captured a certain galleas out of Qarth, along with some cloves and nutmeg, forty bolts of green silk, and four warlocks who told a curious tale. One presumed to threaten me, so I killed him and fed him to the other three. They refused to eat of their friend's flesh at first, but when they grew hungry enough they had a change of heart. Men are meat."

—A Feast for Crows - The Reaver

Xaro tells Dany that two weeks after she destroyed the House of the Undying, and left Qarth, Pyat Pree and his warlock brethren sail to Pentos in search of her to exact vengeance.

And Euron later tells Victorian about capturing a gallaes out of Qarth with 4 warlocks and a quantity of shade-of-the-evening. What are the odds that he and Xaro are talking about two different sets of warlocks? Absolutely nil, which is confirmed in the preview chapter for TWOW, which George read at a convention. It was taped by fans and later transcribed by Poor Quentyn.

“Drink with me. Your king commands it.”

Euron grabbed a handful of the priest’s tangled black hair, pulled his head back, and lifted the wine cup to his lips. But what flowed into his mouth was not wine. It was thick and viscous, with a taste that seemed to change with every swallow.

Now bitter, now sour, now sweet. When Aeron tried to spit it out, his brother tightened his grip and forced more down his throat. “That’s it, priest. Gulp it down. The wine of the warlocks, sweeter than your seawater, with more truth in it than all the gods of earth.”

“I curse you,” Aeron said, when the cup was empty. Liquor dripped from down his chin into his long, black beard.

“If I had the tongue of every man who cursed me, I could make a cloak of them.”

Aeron hawked and spat. The spittle struck his brother’s cheek and hung there, blue--black, glistening. Euron flicked it off his face with a forefinger, then licked the finger clean. “Your god will come for you tonight. Some god, at least.”

—The Forsaken - The Winds of Winter Preview Chapter

There is a suggestion in another Dany chapter that while in exile, Qarth might have been Euron’s base of operation when he was not out reaving.

Dany had laughed when he told her. "Was it not you who told me warlocks were no more than old soldiers, vainly boasting of forgotten deeds and lost prowess?"

Xaro looked troubled. "And so it was, then. But now? I am less certain. It is said that the glass candles are burning in the house of Urrathon Night-Walker, that have not burned in a hundred years.

—A Clash of Kings - Daenerys V

Many in the fandom, myself included think that Urrathon Night-Walker is Euron. It fits with all the symbolism and him conveniently being in the area at the same time, but there’s also the curious detail revealed in an Asha chapter concerning an ancient Greyjoy ancestor from the Age of Heroes. With his legend and similar sounding name, he seems to have been a Euron prototype.

"Torgon Greyiron was the king's eldest son. But the king was old and Torgon restless, so it happened that when his father died he was raiding along the Mander from his stronghold on Greyshield. His brothers sent no word to him but instead quickly called a kingsmoot, thinking that one of them would be chosen to wear the driftwood crown. But the captains and the kings chose Urragon Goodbrother to rule instead. The first thing the new king did was command that all the sons of the old king be put to death, and so they were. After that men called him Badbrother, though in truth they'd been no kin of his. He ruled for almost two years."

—A Dance with Dragons - The Wayward Bride

So we have Euron, which clues suggests might have been in Qarth around the same time as Dany, and who might just have a glass candle, using shade-of-evening. A drug it is suggested came into his possession when he captured Pyat Pree’s ship that sailed just a couple of weeks after Dany left Qarth.

The same Forsaken preview chapter confirms that it was indeed Pyat Pree’s ship that Euron captured when Aeron sees the captured warlocks on the Silence, Euron’s ship.

Last were two warlocks of the east, with flesh as white as mushrooms, and lips the purplish¬-blue of a bad bruise, all so gaunt and starved that only skin and bones remained. One had lost his legs. The mutes hung him from a rafter. “Pree,” he cried as he swung back and forth. “Pree, Pree.”

—The Forsaken - The Winds of Winter Preview Chapter

While Dany discounted the warning Xaro gave to her about Pyat Pree, it is taking form in her dreams with the man with bruised blue lips, and all evidence point to the warlock in question being Euron.

That night her cooks roasted her a kid with dates and carrots, but Dany could only eat a bite of it. The prospect of wrestling with Meereen once more left her feeling weary. Sleep came hard, even when Daario came back, so drunk that he could hardly stand. Beneath her coverlets she tossed and turned, dreaming that Hizdahr was kissing her … but his lips were blue and bruised, and when he thrust himself inside her, his manhood was cold as ice. She sat up with her hair disheveled and the bedclothes atangle. Her captain slept beside her, yet she was alone. She wanted to shake him, wake him, make him hold her, fuck her, help her forget, but she knew that if she did, he would only smile and yawn and say, "It was just a dream, my queen. Go back to sleep."

—A Dance with Dragons - Daenerys VII

As it is strongly suggested that Euron also has access to a glass candle, it is quite possible that he’s entering Dany’s dreams and seducing her in that manner. It’s strongly implied that he’s doing just that to his brother, only, he is giving him nightmares. However, while Euron might be manipulating Aeron in his dreams, the Damphir is also seeing the truth of some things.

The dreams were even worse the second time. He saw the longships of the Ironborn adrift and burning on a boiling blood¬-red sea. He saw his brother on the Iron Throne again, but Euron was no longer human. He seemed more squid than man, a monster fathered by a kraken of the deep, his face a mass of writhing tentacles. Beside him stood a shadow in woman’s form, long and tall and terrible, her hands alive with pale white fire. Dwarves capered for their amusement, male and female, naked and misshapen, locked in carnal embrace, biting and tearing at each other as Euron and his mate laughed and laughed and laughed...

—The Forsaken - The Winds of Winter Preview Chapter

So, yes, all evidence so far points to it being Euron and not Jon who Dany dreams of. And in a way, with Daario’s similarity to Euron, one can argue that both Dany’s dreams were about the same person…Euron.

[thedinanshiral]

Evanuris Who's who

This is just my personal and very intuitive interpretation of the Evanuris signature symbols. I base my take on recent art, general Evanuris lore and previous depictions of them, primarily mosaics from the Temple of Mythal in DAI. I know others have done this with nicer graphics but everything here is homemade and made with love -on my phone- so please bear with me..

First, from the trailer we got the first depiction of all these Evanuris symbols

Andruil and Ghilan'nain are explained here.

Elgar'nan: it's front and center, as he's the top authority among them. Also, shows up in the trailer mural, implied to be one of the future enemies in the story and he's elvhen God of Vengeance so i'd say if anyone's gonna show up to get even with Solas that'd be him.

June and Sylaise: Possibly the Evanuris we know the least about, and if Solas didn't comment on them at the Temple of Mythal in DAI i'd say they were ok-ish? Either siblings or married (or both, because mythology). Most people think the sun-like one is Elgar'nan as he's the sun in the elvhen pantheon but Sylaise is the Hearthkeeper and nothing else remotely references fire or heat. Her mosaic at the Temple of Mythal shows her wearing a crown of leafs, of which this "sun" could easily be a stylized version. As for June, God of the Craft, all i have is ..it looks like a helmet.

Falon'din and Dirthamen: as Guide of the dead Falon'din is represented in the mosaics as holding a shepard's staff so i assigned him the symbol closest to a staff. As for Dirthamen, as Keeper of Secrets he's depicted in mosaics covering his mouth with both hands. On this first picture, simple 2D, neither headpiece can be fully appreciated, but one could say the "staff" one fits in the empty space of the other one, and these two were said to be inseparable, twin souls, with a bond that trascended any labels, shadow and reflection of one another.

Now, onto the vinyl covers. The first one here is Arlathan pre-disaster. We see the city with all its spires watched over by a huge dragon that for completion's sake i assigned as Mythal; while she lived, the world was in order, more or less. There's also a mysterious tiny figure below, hooded and holding a staff that kinda looks like Elgar'nan's symbol; at first i thought it could be Fen'harel but it actually fits as Elgar'nan or one of his people, because it's still possible he's responsible for her death.

And now the best part, the alternative cover presents a much darker scenario, Arlathan falling. With the city crumbling down, a different, visibly aggressive/hostile dragon watching over it with horns that, yet again, resemble Elgar'nan's symbol, and hanging from the edge of its wings we see heads, each wearing an Evanuris headpiece. The mysterious hooded figure is gone here, the floating ground it stood on already gone.

Once i put the names i noticed this placement, where the lovers are across each other, and the twins are directly facing each other (as you would a mirror); i found it a bit curious because this only works if we go with my assigned correspondences.

Speaking of the twins, let's check this concept art for a bit. It depicts the party of heroes fighting off drakspawn while two dragons say hi in the background. But is it really two dragons? I see two heads ..but also only two wings. Could it be a double headed dragon?? Concidentally two Archdemons remain, and people have speculated what better way to fuck up Thedas than with two Blights at once? On top of Solas taking down the Veil and reshaping the fabric of reality, again. No such thing as a boring day in Thedas.

Important to note is the remaining Archdemons correspond to the Old Gods Razikale the dragon of Mystery, and Lusacan, dragon of Night. If you adhere to the theory that says the tevinter Old Gods are actually the Evanuris -i've wrote on this extensively-, one possibility is Razikale corresponds with Dirthamen (dragon of mystery? keeper of secrets? potato potahto, same thing) while Lusacan corresponds with Falon'din (dragon of night? guide of the dead? darkness all around). If we've been right about these equivalences then this piece of art would be showing indeed a two-headed dragon, the Twins. Their bond so strong, so transcendental, so inseparable they return to the world as one, for a recharged Blight.

The only tiny detail against this is that Razikale is referred to as a she, whereas the twins are presumed to be male, however i don't let this take from my fun because ancient elves were very particular and their perception of sex and gender must have been like nothing we can think of today.

[colorfulmetaphors]

(An Attempt at) A Maul Masterlist

hello folks! after seeing multiple requests in the tag for recs for Maul content or help finding Maul stories, I decided to make a list trying to do both for everything I've found because it took me a lot of searching to figure out what's actually out there for this man. and the answer is a lot, actually. So, hoping this saves others the time and the struggle, here's all the Maul stuff i've found along with what I would rec and why:

Stuff specifically about Maul

Books:

Episode 1 Adventures 3: The Fury of Darth Maul by Ryder Windham | junior novella

As far as I'm aware, this is the first published work for Maul. It's a junior novel about Maul carrying out a mission for Sidious, and it can be accompanied by a game book for a choose-your-own adventure. The novel itself though, is one of my favorite Maul stories because it defines his characterization for me.

The Wrath of Darth Maul also by Ryder Windham | junior novel

Maul's og origin in Legends. I think it's a must-read. This book was published alongside Maul's revival in TCW and seeks to reconcile his Legends background with that character by gathering his previous lore into one cohesive story. It notably includes and expands upon the events of the following three items:

Star Wars Episode 1 Journal: Darth Maul by either Judy Blundell or Jude Watson | novella A story that offers some of Maul's narration on his upbringing and his training with Sidious. "Darth Maul: Restraint" by James Luceno | short story Published in the second edition of Shadow Hunter (listed below), this story details Maul's time at Orsis Academy, the relationships he's forming, and his run-in with Mother Talzin. Great for showing his inner-conflict and devotion to Sidious. "Darth Maul: Endgame" also by James Luceno | short story This one is published in the paperback 2012 edition of TPM novel by Terry Brooks. It's an introspective piece that takes place after Qui-Gon, Anakin, and Obi-Wan escape Maul's attack on Tatooine.

Darth Maul: Saboteur also ALSO by James Luceno | short story

Originally published as an ebook, this story was also published in Shadow Hunter. It follows Maul on one of his first missions as a true apprentice of Sidious and shows his characterization when he's just outside that restrictive control. I really like this one for the Drama and the Subtle Characterization tm

Darth Maul: Shadow Hunter by Michael Reaves | novel

One of the two blessed full novels for Maul. In it Maul is on a mission to hunt down a target and has a very early encounter with the Jedi. This one is great for characterization and narration; I have it fully marked up with highlights, sticky notes, and bookmarks.

Maul: Lockdown by Joe Schreiber | novel

The second blessed full novel. So. Much. Fun. Maul goes to jail! Takes part in cage fights! Chases birds! Reveals the depths of his anxiety and need for attachment! Mystery and gore! 10/10.

"An Unwilling Apprentice" by George Mann | short story, found in the Star Wars: Galaxy's Edge edition of Myths and Fables

Maul's canon origin. Personally, I Do Not See It.

Stories of Jedi and Sith - "The Ghosts of Maul" by Michael Moreci | short story in the listed anthology

I highly recommend listening to the audio book for this one if you can. Sam Witwer narrates it and it's fantastic. Love hearing Maul wail in despair. (and also love a man being haunted by his past.)

The next two are unique because they're re-tellings of TCW episodes. I like seeing how different writers interpret those events so I like them, but I don't know if that counts as something folks would want to read for Maul.

The Clone Wars: Stories of Light and Dark - "Dark Vengeance" by Rebecca Roanhorse | short story in the listed anthology This one recounts TCW "Brothers" and "Revenge." I don't remember much specifically from it, but I do remember it being told as if to a small child, and I thought that was neat. The Clone Wars: Darth Maul: Shadow Conspiracy by Jason Fry | junior novel Covers "Revival," "Eminence," "Shades of Reason," and "The Lawless." The author writes like they're obsessed with Maul's voice, and frankly, I don't blame them.

Comics:

Darth Maul (2000) by Ron Marz | comic series, 4 issues

Maul goes on yet another mission for Sidious (unsurprisingly, this is the basic plot of most of his Legends materials). Violence ensues. Maul is certified Cool.

The following two comics can both be found in the Star Wars Legends Epic Collection: Rise of the Sith Volume 1 and Star Wars Legends: Rise of the Sith Omnibus

Star Wars Tales 10 - "Nameless" by Christian Read | single comic, found in the listed issue, Star Wars Tales Volume 3, or the above 2 collections Maul is sent to kill a Jedi master. To do so and improve his prowess in combat, Maul constructs his infamous double-bladed lightsaber. Star Wars Tales 24 - "Marked" by Rob Williams | single comic, found in the listed issue, Star Wars Tales Volume 6, or the above 2 collections A comic about obedience and fear; Maul grapples with the thought that Sidious might take another apprentice.

The Clone Wars: The Sith Hunters by Henry Gilroy and Stephen Melching | graphic novella

It's very funny to me that this is considered Legends even though it features TCW Maul and Savage. This one takes place after TCW episode "Revenge" and I'm gonna be honest-- I don't remember a lot from this, but I do remember that it shows Maul's earliest days on Lotho Minor so that's sick luv u spidermaul 4 5ever.

Darth Maul -- Death Sentence by Tom Taylor | comic series, 4 issues; also found in Star Wars Legends Epic Collection: The Clone Wars Volume 2

Maul leads a revolution while trying to rescue his brother. The story takes place between The Sith Hunters and TCW season 5 "Revival," filling in some of what Maul and Savage were doing in that time.

Darth Maul (2017) by Cullen Bunn | comic series, 5 issues

Luke Ross and Nolan Woodard just get it okay. I love the way Maul looks in this series. In my head, this comic is the canon alternative to Shadow Hunter, where Maul confronts a Jedi early on, but the differences between his characterization in these two stores is the basis of my understanding of the difference between Legends Maul and canon Maul.

Age of Republic - Darth Maul by Jody Houser | single issue comic, found independently or in the collection Star Wars: Age of Republic - Villains

Maul goes on an (Sith ashes) acid trip while on a visit to Malachor with Sidious.

Darth Maul -- Son of Dathomir by Jeremy Barlow | comic series, 4 issues

This series is especially interesting to me because it's adapted from TCW season 6 scripts that weren't produced. It follows Maul as he's rescued by Death Watch after the conclusion of his arc in season 5, and shows his alliance with Talzin as they confront Sidious. I think it's great for fleshing out that relationship and that side of canon Maul's character.

Star Wars Adventures (2020) 3 - "Tales of Villainy: The Hostage" by Shane McCarthy and Michael Moreci | single comic, found in the listed issue or in Star Wars Adventures: The Light and the Dark

Maul allows himself to be captured in an attempt to bring another crime syndicate into the Shadow Collective. Is this one monumental? No. Am I unreasonably fond of it? Hell yeah. If you've seen that panel of Maul and Savage drinking at a diner, it's from this comic. Also has Maul in chains for those of yall that are into that.

Star Wars Adventures: Return to Vader's Castle 1 - "The Horned Devil" by Cavan Scott | single comic found in the listed issue or in the collections Star Wars Adventures: Return to Vader's Castle and Star Wars Adventures: Beware Vader's Castle

A "sPoOKy" story about Maul on Lotho Minor. Once again, luv u spidermaul 4 5ever. The cover art is fuckin sick.

Star Wars Visionaries - "Old Wounds" by Aaron McBride | single comic found in the listed graphic novel, in Star Wars Omnibus: Wild Space Volume 2, Star Wars Legends Epic Collection: The Empire Volume 4, and Star Wars Legends: The Empire Omnibus Volume 2

In this comic, Maul tracks Obi-Wan to Tatooine for revenge. Sounds familiar, but this was published in 2005, before Maul's revival in TCW. His design in that show, though, was based off of this comic, and his episodes in Rebels show a similar influence. I like this one because I think it's fun to see how his narrative was evolving as different writers took on the story, and to see the path from where he began in Legends up to his end.

Stuff Maul is in: (not specifically about him, but he makes an appearance)

Books:

Darth Plagueis by James Luceno | novel

Our man JL is back with more Maul... just not as the focus. If you're going to read one thing from this "Stuff Maul is in" list, let it be this one. Granted, it's a loooooooooong book, but it's really great for fleshing out the Plagueis and Sidious and Maul dynamic. Maul does have some sections of his own narration, but the best bit of this novel is seeing how Plagueis and Sidious see him. It also has some of his original Legends origin!

Queen's Peril by E.K. Johnston | novel

This book is about Padme! Who I love dearly, so I enjoyed reading it. Maul has a few sections of narration in it that show his canon headspace.

Comics:

The first set of these is a mental collection I like to call "Legends writers just Try Shit" and it's a bunch of different ways Maul was brought back before TCW.

Star Wars Tales 9 - "Resurrection" by Ron Marz | single comic found in the listed issue, in Star Wars Tales Volume 3, or in Star Wars Legends Epic Collection: The Empire Volume 8 The Maul in this one has been resurrected by a dark side cult to be the true apprentice to Sidious. The story is mostly about Vader, but his duel with Maul is cool. Star Wars Tales 17 - "Phantom Menaces" by Joe Casey | single comic found in the listed issue, in Star Wars Tales Volume 5, or in Star Wars Legends Epic Collection: The New Republic Volume 5 While on a diplomatic mission, Luke Skywalker is attacked by a hologram of Maul and goes off to investigate. This is the one I use to bless my friends with the cursed knowledge of Maul's brain in a tank. Star Wars: Jedi Quest 1 by Ryder Windham | first comic in a series, also found in Star Wars Omnibus: Menace Revealed and Star Wars Legends Epic Collection: The Menace Revealed Volume 3 Truth be told, I have not read this one because I can't find it for free. In it, Maul is a training hologram? I think? For Anakin? idk. There's also a novel series by the same name and I got annoyed looking for what isn't really Maul anyway.

Star Wars: Republic (1998) 40 - "The Devaronian Version, Part 1" by John Ostrander | comic in a long ass series, but the one you want is found in the listed issue, Star Wars Omnibus: Quinlan Vos: Jedi in Darkness, or Star Wars Legends Epic Collection: The Menace Revealed Volume 3

I don't know what this is about even though I have read it; Maul is in it for like 3 panels; he gets called "nasty boy" and makes someone wet themselves in fright. Obviously core reading for the Maul experience.

Jedi Council: Acts of War by Randy Stradley | comic series, four issues by the listed name, or in Star Wars Omnibus: Rise of the Sith and Star Wars Legends Epic Collection: Rise of the Sith, Volume 1

Once again, I do not know what this is about because I have a very difficult time reading comics when Maul is not there. And in this series he's there for < 15 panels. But he looks pretty when he is there.

Obi-Wan -- A Jedi's Purpose 2 - "A Shadow Falls on the Padawan" by Christopher Cantwell | issue of a comic series

This comic includes a brief scene showing Obi-Wan remembering his and Maul's final battle on Tatooine and commenting on Maul's mental state. Makes me super emo.

And finally, encyclopedia-type stuff!: (not necessarily stories, but has neat info-- especially because they show what was considered canon at the time of their publication)

Darth Maul: Sith Apprentice by Jo Casey and Catherine Saunders | children's reader

Yes, you read that right. But this kid's book has fun information about Maul based on TPM. I especially like the image call-out for his "heavy action boots." It brings me joy.

Star Wars: The Phantom Menace: The Expanded Visual Dictionary by David West Reynolds and Jason Fry | what it says on the tin

The adult version of the above book. Shows the inside of Maul's lightsaber, which I love. Also still points out the heavy action boots. Clearly, they are a key component of the character.

And that's everything! There are some re-tellings of like, TPM, in novel or comic form but I was never super interested in those so I haven't read them.

If you know of something else please let me know! (Both so I can add it and so I can read it). Similarly, if you see any mistakes on the list, please tell me. It took me like 7 hours to type it up and check and cross-reference everything and some mistakes probably crept in there. If you're like me and you've gotten through (most of) this list, but still want More Maul, please check out my fic rec! There's a bunch of banger Maul fics there. Tagging @maul-my-heart. Hope you have fun in your reading!

[wianes]

Unveiling Griffith's Motivations

A considerable time had passed before I decided to embark on this series, though I must admit that I was undeniably eager for this moment. With this post, I begin the series in which I will delve into my understanding of my favorite character. I will primarily follow a chronological progression with the manga, though minor deviations may occur. I hope that my interpretation will resonate with someone and that others might appreciate this kind of perspective.

Let's go!

A Short Introduction

Griffith and Guts, the central figures in Berserk, are both defined by their intense obsessions—Griffith with realizing his dreams and Guts with mastering his sword. Even so, Griffith’s motivations remain enigmatic, inviting varied interpretations. Visual narratives showcase the castle image as a vivid embodiment of aspirations. This metaphor, beyond its architectural significance, can represent various goals—from personal elevation to creating a world of harmony and collective well-being. Nonetheless, precisely defining Griffith’s vision is challenging. Is he aiming to establish a sovereign nation, rule a kingdom, or create a metaphorical fortress in the clouds? Furthermore, it is unclear where Griffith might choose to say "stop." Be that as it may, reducing his vision to just a stone edifice on a hill seems to oversimplify it. This interpretation fails to capture the full depth of his character. The elusive nature of Griffith’s dream, its origins, and, more importantly, its ultimate scope, add layers of complexity. His vision likely retains its enigmatic quality from the past and remains unclear even today. Its full nature might only become apparent when it ultimately reaches its culmination. This encourages a deeper exploration of the symbolism and meaning of castles within the narrative, highlighting the intricate relationship between Griffith's dreams and their greater ramifications.

Speculations about Griffith’s background add depth to his journey, highlighting its narrative significance.

Griffith vol. 10

The statement lucidly juxtaposes the shadow and the light. The darkness symbolizes a decrepit alley filled with brothels, inns, and taverns—a place where safety is questionable, particularly at night, when the joy of carefree indulgence wanes. In sharp contrast, a castle resplendent with light stands atop a mountain amidst the clouds, where the sun shines perpetually. This vivid distinction between shadow and light symbolizes the clash between harsh reality and an idealized, euphoric realm. "It was the brightest thing I had ever seen"—the pinnacle of his aspirations, the highest summit he could hope to ascend.

Next to the castle lies a realm where sunlight scarcely reaches, offering only fleeting respite. The character remains caught between hope and despair. Castles, with their impressive and resplendent presence, epitomize achievement—distant, majestic, and shrouded in mystery. For someone of a lower social class, they may seem unattainable—as if an aspiration is forever out of reach. In metaphysical terms, such castles embody the ultimate achievement of spiritual perfection or greatness. Yet, for those born into humble circumstances, viewing such aspirations as unattainable might be an erroneous notion. Perceived distance should not overshadow true greatness, should it?

In a 2000 interview, Miura confessed that, as a child, he grew up in an environment of domestic violence inflicted by his parent. In this context, Miura's reflection on Griffith’s character suggests that he may have similarly endured a tumultuous and abusive environment. According to another interview, Miura noted that Griffith’s inspiration came from friends who had suffered through a loveless infancy.

With this in mind, it is worth emphasizing that young Griffith bears a resemblance to another character in Berserk, Rosine. Both were peculiar children who amassed treasures or junk and spent their days roaming the streets. Despite their youthful appearance, they skillfully concealed their troubled minds behind smiles, dreaming of a better world through fantasies. Similar to many unfortunate children in Berserk, both Griffith and Rosine left their family homes early in life. Remarkably, both characters acquired a Behelit; Griffith possessed the rare and unique red one. It seems clear that Miura deliberately employs a psychological model here.

The author also examined the characters as trauma survivors, exploring their efforts to either gain control over or eliminate abusive factors. This suggests that these individuals might seek stability, authority, or mastery to overcome the powerlessness and instability they experienced. They may also attempt to dismantle or destroy the sources of their past suffering. This analysis reveals various responses to trauma, including efforts to control their environment or to eradicate the symbolic sources of their mental devastation.

In my personal interpretation, the castle draws a parallel with Guts' relentless obsession with swinging the sword.

This comparison convinces me that the boy grappled with profound internal struggles, and his dream signifies an indescribable desire to shield himself from both external threats and internal fears. Symbolically, the castle stands as a bastion; "it was the brightest thing I had ever seen"—this reflects how the psyche defends against anxiety and suppressed emotions, showcasing a method of adaptation. Though not tainted or spoiled, it represents one of the unconscious tools employed to cope.

The central issue lies not in Griffith's perceived deprivation, but rather in his background as a slum-dweller in a strict feudal society. In this context, he lacks the resources and opportunities to rise to a leadership or top warrior status. Despite his ambitions, Griffith faces significant barriers due to his socioeconomic status, which limits his access to essential resources, education, and influential connections.

"Only those who work deserve the bread." It is somewhat ironic that this proverb does not entirely fit the world from which it originates. In the external realm, imperfection predominates, and it is often the case that even those who do not labor for their bread—or those who slumber—possess more than those who toil. In the material world, everything belongs to the possessor; they labor under the indifferent gaze of the law, whether they possess a magic ring like Nureddin or Aladdin, or wield the world’s treasures, irrespective of how they were acquired.

The situation, however, differs considerably in the spiritual realm. Here, a divine order prevails, which does not treat the deserving and the undeserving equally. The sun does not shine impartially on the good and the bad. The principle asserts that only those who work receive sustenance, only those who face fear attain peace, and only those who enter this realm gain true understanding. Throughout the series, the narrative unfolds against a backdrop of degeneration, abominations, and atrocities, fostering a sense of foreboding. For a child, growing up in such a harsh reality is excruciating. There are only "small victories" and "small battles we fought," "sparkling spoils that turn into mere junk when playtime is over," and "the back alleys of brothels and taverns where the sun never shines." His metaphorical visions are undoubtedly esoteric, intricate, and perplexing. They resemble a labyrinth without an exit, where every path is a dead end, making it easy to lose one's way.

The boy runs with his arms extended, almost as if preparing to take flight.

Miura portrays Griffith uniquely compared to other characters, imbuing him with a sense of mystery, symbolism, and elusive qualities. He envelops himself in an aura of extrasensory mystique, surrounding himself with symbols, images, and cryptic elements. Griffith's story resonates like a legendary saga, similar to figures like Christ. Their origins, early lives, and remarkable gifts shrouded in mystery heighten their historical importance—almost as if these gifts were granted by God.

In Casca's memories, we see glimpses of Griffith's early years, during which he leads adults and exhibits outstanding warrior skills. Yet, these glimpses raise more questions than they answer. The portrayal remains intriguing and enigmatic, complicating our understanding, respect, and sympathy due to the absence of concrete details. Griffith’s enigmatic nature persists, with his objectives revolving around a castle. Observing his engagement in "playing war," one infers a deeper motive. This conduct does not mean he perceives life as a mere game, nor does it imply that Griffith is only a puppeteer controlling others. Instead, I believe this form of wordplay serves to illustrate that his actions are a facade—an artificial portrayal of his true self that lacks authenticity. His involvement is not trivial; rather, it appears somewhat superficial, marked by elaborate attire, political maneuvering, manipulations, grandiose rhetoric, and social roles, all contributing to a veneer.

Symbolic contrasts convey subtle hints of Griffith’s darker side, though it is never explicitly depicted. His character remains shrouded in mystery and ambiguity, leaving us to ponder the true essence of his dreams and ambitions.

The Selfish and Selfless Essence of Griffith’s Vision

Griffith consistently maintained a clarity about his idealistic goals and pursued them methodically and rationally. His visionary dream has been revolutionary over time. His profound disdain for the social hierarchies and his curiosity about his own potential drive his intense desire to reshape the world. From a young age, he fostered inclusivity among his followers, transcending barriers of race, gender, age, previous lifestyle, social class, and origin. Griffith welcomed individuals based on their unique skills, nurturing and rewarding their contributions. He aimed to create a realm where the weak would not be exploited by the higher, wealthier classes. Despite his humble beginnings in the alleys, he actively challenges entrenched feudal hierarchies. His leadership style instills appreciation, safety, and solidarity among his supporters, setting a progressive precedent. Wherever he goes, he leaves a sense of connection and meaning through his dream.

While Griffith’s fantasy includes elements of egoism, it also embodies selflessness through its commitment to serving others. The manga unmistakably portrays Griffith’s sense of responsibility and genuine suffering—attributes that I will explore further. What defines him as a leader is a consistent pattern evident from the outset: people join his cause voluntarily, he refrains from initiating aggression, and he resorts to harm or killing only when absolutely necessary.

Griffith does not make decisions solely based on his own ambitions; he also considers the collective unconscious desires of his followers. This symbiotic relationship between a leader and his followers shapes his vision, aligning it with broader societal aspirations of leadership, ambition, and the attainment of greatness. Griffith stands out not only as an exceptional leader but also as a figure who, in an almost supernatural manner, influences those around him.

Conversely, Griffith’s willingness to risk his life for this dream stems not only from selflessness but also from seeing his followers as integral to his vision—he views them as essential to his kingdom, akin to loyal subjects. Thus, Griffith personifies the collective will of his followers, embodying their shared hopes and dreams. His ascent to power and the pursuit of his vision mirror broader societal struggles and ideals, resonating with themes of ambition and leadership.

Griffith’s dream of establishing a kingdom was not solely his own; his soldiers also believed in its promise. Thus, his kingdom encompasses not only his vision but also the aspirations of those who support and benefit from it. The parallel between Griffith’s personal dream and the collective desire of his followers reflects his role in representing humanity’s aspirations and fulfilling them as if they were his own.

The Symbolic-Psychological Layer of Griffith’s Vision

Castles and fortifications universally symbolize an inner refuge—the heart's sanctum, where the soul connects with God or the Absolute. Psalm 59:16 depicts God as a fortress, providing protection and sanctuary in times of distress. Psalm 60:9 questions, "Who will bring me into the strong city?" Theoleptus of Philadelphia urges individuals to strive toward entering the innermost castle of the soul, the dwelling of Christ. Meister Eckhart’s sermons describe this inner castle as so pure and singular that even the Triune God cannot penetrate it.

The Bhagavad Gita (5:13) employs the metaphor of "castle with nine gates" to describe the yogi's body. This imagery illustrates how the body is closed off from worldly distractions to safeguard inner spiritual focus. Similarly, the Taoist treatise The Secret of the Golden Flower advises fortifying and defending the Primeval Castle, where the spirit (hsing) resides.

These castles often appear in tales and dreams, either towering on hills or hidden within forest clearings, renowned for their formidable and elusive nature. They symbolize a sense of security and protection far superior to ordinary dwellings. Such castles represent isolation and seclusion, making their contents both coveted and elusive. Artistic representations depict Heavenly Jerusalem as a castle atop a mountain peak, symbolizing spiritual elevation. The Pharaohs’ funerary temples, known as "castles of millions of years," were constructed next to their tombs to endure forever. These temples symbolize the connection between human splendor and divine destiny.

Historically, these fortifications are believed to house mystical and intangible forces. They often appear in enchanted forests and sacred mountains, only to vanish like mirages before valiant knights. These castles may shelter sleeping maidens awaiting a lover's arrival or heroic figures welcoming noble adventurers. The dark castle symbolizes failure and unfulfilled desires, akin to Hell—a structure devoid of life except for the solitary soul wandering its shadowy corridors. Conversely, the white castle symbolizes accomplishment and the fulfillment of destiny. Mystics describe other spiritual castles as resting places along the path of sanctification, culminating in the castle of illumination atop a mountaintop merging with the sky, where the soul unites eternally with God, basking in His unblemished presence.

Griffith’s tendency to emotionally withdraw to manage his guilt and seek transcendence is par for the course, aligning well with his complex and ambitious nature depicted throughout the manga. Ironically, these very deficiencies contribute to his prowess in realizing his otherworldly ambitions. On a deeper level, the castle also symbolizes heroic quests and inner challenges where Griffith confronts and integrates his inner conflicts, facilitating psychological growth and integration. Castles, blending strength with vulnerability and security with isolation, embody the Jungian concept of integrating opposing elements within the psyche.

They also represent the inner architecture of spiritual growth, symbolizing the pursuit of higher consciousness and self-realization. Ultimately, the series suggests the existence of another realm where the coexistence of good and evil, light and darkness, resonates deeply throughout Griffith’s journey.

The Existential-Philosophical Foundation of His Dream

Griffith's motivations are undeniably multifaceted. Driven both by fear and internal conflict on the one hand, and a quest for personal fulfillment on the other, his ambitions extend to benefiting those around him. This dual nature showcases a character of significant complexity, reflecting the profound intricacies of his desires. In essence, more layers need exploration and unveiling.

“Martyrdom for a merciless God. What a waste. On the battlefield, the life of a common soldier isn’t even worth a single piece of silver. In today’s world, most people’s lives are subject to the whims of a handful of nobility and royalty. Of course, even a king himself can’t live exactly as he pleases. We are all at the mercy of a great tide, fate, or whatever you wish to call it… And we all disappear in the end. Our lives are spent… Never knowing who we were. In life, unrelated to one's social standing or class as determined by man, there are some people who, by nature, are keys that set the world in motion. They are the true elite, as dictated by the golden rule of the universe.”

The boy articulated the pointlessness of life and the world, yet displayed remarkable determination. He aims to create a universal meaning amidst the encroaching reality. Griffith embodies a strong existential mindset, grappling with deep questions: Where is the world headed? Why does everything appear meaningless? What forces dictate the current state of existence rather than an alternative? Similarly, he delves deeply into introspective inquiries about his own identity, nature, and purpose.

His character reveals another dimension of his motivations: his quest centers on profound questions he seeks to resolve. This aspect is essential to Griffith’s character. He articulates that, once he has secured his own kingdom, he aims to unravel the arcane mysteries of existence, understand the nature of gods, discern the laws governing the universe, grasp the essence of reality, and explore their relevance to his identity. Griffith is determined to comprehend his place, his role, and the scope of his potential within this vast and intricate framework.

Understanding the nature of the world is vital for discovering the truth. It is senseless to seek your inner self without first understanding the nature of the world around you and the broader context in which those truths exist.

This scene illustrates Griffith's perpetual state of uncertainty and spiritual exploration. His doubt is profound and genuine, free from superficiality or intellectual pretense. The opening statement clearly expresses his values and motivations: a disdain for established social structures and a fundamental belief in his ability to overcome them. There is a deep disillusionment with God and skepticism regarding human agency, including that of kings. This sense of human effort and struggle reflects a profound empathy for the downtrodden. This theme recurs for Griffith, particularly when he shares his thoughts with Guts, suggesting that he is articulating these reflections for the first time. It is apparent that Griffith regularly ponders these issues and has previously entertained comparable thoughts.

To conquer the castle, Griffith employs arguments of an existential, philosophical, social, and theoretical nature, alongside those driven by egoistic motives. This becomes particularly clear in future revelations, where it will be evident that feelings of shame, responsibility, and guilt (the ethical layer) drive Griffith forward, intertwining aspects of self-interest and selflessness even more.

In essence: “Castle in the sky” + ruling his own kingdom/establishing a new era/new way of organizing the world (his and collective human desire) + answers to fundamental questions before his own death, such as: What is my place in the world? Who am I? What am I capable of? What am I destined for? = His motivations, his dream.

Contemplating the enduring mystery and ambiguity surrounding Griffith provides profound understanding.

Even someone born into modest beginnings shouldn't uphold their self-worth and view greatness as distant and unattainable. They should avoid misconceptions that undermine the true essence of greatness. Ultimately, I see him as resembling a grand historical figure or an ancient hero—one who gazed at the stellar spheres, sensing an unseen force (the destiny) guiding him toward realms beyond understanding. Yet, simultaneously, a peculiar blend of coincidences, unusual circumstances, and unforeseen collisions shapes his path. Alternatively, he finds himself ensnared in a situation he did not anticipate, leading to an unexpected outcome.

As meticulous planning defines Griffith's path to achieving his goals. Solid arguments from various fields support and justify each step, thereby creating a cohesive and logical entirety. This approach not only solidifies his sense of destiny but also guides his character toward a specific point, laying the groundwork for future progress. The narrative demonstrates that these events unfold as though predetermined, veritably, even before his birth. His path unfolds from particular circumstances that have persistently molded his life, creating an unavoidable trajectory, as if the circumstances were inherently meant to guide him along this destined course, offering no alternatives.

I contend that this interpretation appropriately validates my comprehension of Griffith's character motivations. By integrating various arguments and clues provided by the author, we gain a more nuanced perspective on Griffith's complex nature. The "castle" represents more than just a destination; it signifies a transformative journey toward self-discovery and understanding the world and its laws. This journey represents a higher purpose, elevating him beyond mundane desires to connect with something greater—the collective and its inhabitants. Undoubtedly, it bears a dark undercurrent, rooted in his ambition to reach the pinnacle, a calling to rule and command as though it were celestial law, and a quest for querencia, a form of "all-healing" security.

Within the grand tapestry of his orphic odyssey, the pursuit of enlightenment goes beyond merely attaining an ultimate destination. It demands navigating the intricate labyrinth of moral and spiritual trials that define the journey toward fulfillment. In the narrative of Berserk, Griffith's pursuit of his dream is not only central but also indispensable. It serves as the cornerstone of the plot, propelling the storyline forward with relentless force. Moreover, it raises profound and perennial questions that resonate throughout the series—challenging our assumptions about the interplay between determinism and free will while exploring themes of polarity, consciousness, morality, and the broader view of the world and its utilitarian solutions.

[kurithedweeb]

This is an elaboration of my answer about clothing culture in DoS (this one) on veiling within priesthood for @tsunami1022! There’s some context and the original commented question in the post, but my answer is too long to put in the comments so here it is. I myself am not religious or studying religion so don’t expect this to match up with any actual religion, this is just what I imagine for Ru’aun. We’re gonna talk specifically about veiling in the Church of the Matron Irene.

The act of covering their face is a way to elevate the veiled closer to the goddess. You don’t look upon a holy power without consequences, so being veiled is a disciple’s way of giving themselves a layer of protection and being able to look and be closer to the goddess. There’s different levels to it. I mentioned that devotees cover their eyes, members of the church cover the lower half of the face and the High Priest’s entire face is covered.

The covering of the eyes allows you to look up to the goddess. To see her and study her. It allows her to look back at you and take notice that you don’t have to shy away, so when you pray she may hear you above the din of the masses. Still, you may look at her, but you won’t see her clearly. She’s a vision to interpret, shapes to read like shadow puppets. The mask over the eyes is the only veil that may be removed outside of worship. It’s something you wear to church and for your prayers at dawn and dusk, and most people remove it when going about their daily lives but scholars and prayermen (staff of the church and those housed on church grounds) only remove it when washing or sleeping.

Covering the mouth allows your words to mingle with the words of the goddess. Outside the church, your word is taken as her message, you are the middleman between the divine and the mortal. Only the most dedicated to her teachings can interpret the Matron for the masses, those who have followed their entire lives and intend to follow until their deaths, the priests and nuns. These veils are never taken off, not even to eat and drink, and can be stripped from the veiled by the High Priest or local Lord if they act against Irene’s teachings. You cannot be seen without it, and the dorms on church grounds are all single rooms so you can wash and sleep without breaking this rule.

The High Priest is considered a vassal of Irene, a vessel if she wished it. He may speak to her and she may speak to him. He is the closest to divinity a person can get. To look upon his true face is seen as equal to looking upon the true face of Irene. She speaks through him. He doesn’t interpret anything, she and he are there together, his words are hers as far as anyone is concerned. He has several veils that suit different ceremonies and these can be exchanged for or worn together with different masks to show tone because you can’t read his expression. He may only remove the veil in the most intimate moments of his life: the embrace of a lover, the moment he is married, the death of a family member, the birth of his child, and as part of the ceremony to pass on the mantle of High Priest.

Aside from the different roles the different forms of veiling take, there’s also universal meanings. Veiling in real-world religions has a number of meanings: it’s seen as a symbol of holiness, purity, modesty, protection and mystery, and it can also be a connection between the veiled and their God. In Christianity, which I believe is what the canon church of Irene is based on, objects and people are sometimes veiled because they have a certain dignity and close relation to holy power—this includes the hands of the priest since they’re consecrated, the veil of a bride, and the habits of nuns who are supposed to consider themselves married to God. For the Church of the Matron, another important symbol is unity. 

When you devote yourself to the Matron, your veil becomes your new face, so much so that some disciples who have been best friends for a decade can’t recognize each other without their veils. You are the closest mortals have come to Irene’s divinity, your name and face are sacred things now that belong to her, and you are no longer an individual. You are an extension of her power. You are now a shard of the whole of the Church of the Matron; you too are just a touch holy.

Anyway, the veils are shields from divinity on both sides! It’s a huge scandal within the church (keep it hush-hush from the public for the public image) for a veil to be relinquished or stripped from a wearer.