#noble darks-verse

[hotcheetohatredwastaken]

BDOR Prologue: Shadows— Mercy (2/2)

Summary: Wild's shadow is not what it seems. Neither is Twilight's. Tw: attempted murder of a child lol

“You heroes.” Twilight wasn’t expecting a response, not really—it was a monster, after all—so, he couldn't hold back a gasp when his shadow spat back, voice warped and deep in fury, “Attacking the defenseless. You should be ashamed of yourself, Hero of Twilight.”

Twilight blinked. He lowered his sword. “You can talk?” he asked.

Read the rest here! BDOR Prologue: Shadows

Or check out the whole series here! Blood Drops On Roses: A Linked Universe Fanfic

[universestreasures]

@blasterdiablo​​​ Sent: A SIMPLE ACTION PROMPT (Accepting!)

[NECKLACE] - sender fastens a necklace around receiver's neck- for AsakaaAAAAAAAA, this works for any verse tbh tbh go ham

Asaka sits comfortably in front of her makeup mirror, carefully applying her heart face paint under her left eye in preparation for tonight’s performance. This show the circus was to conduct was going to be like the rest, a dazzling spectacle that wowed all the senses and brought joy to those who were lucky enough to witness it. Well, for everyone but the Ringmistress and the Pale Moon Circus’ Director, that is. 

Yes tonight was to be a special night for the two of them whose eyes shone with miraculous power, a night that had become a special occasion every time it came around each year. For this night many years ago marked Asaka’s glorious return to the circus after her long journey of self discovery, the day that the Pale Moon Circus really started to become the marvel that it is today thanks to her beast-taming abilities. The days of having to struggle to get creatures to perform for them were over. With Asaka’s eyes, one a brilliant sapphire and the other a shining ruby, she had the power to tame any beast and use their power and might to make a dazzling spectacle for all.

She had truly made herself a vital part of the lifeblood of the circus, which meant she was also vital to Ren and his dreams and desires. Ren, the man who had saved her when she had nothing, gave her a place to call home, and who stole her heart, was someone who she desperately wanted to stay beside for as long as she could. That’s why she left in the first place back then, realizing her abilities at the time were not enough to remain with him and help the circus become what it needed to. But thanks to her transformation, combined with the awakening of Ren’s own power they had learned from the little diva of a brat Rekka was known as Psyqualia, the circus had become a renowned name throughout the land.

Everything was almost perfect in Asaka’s mind. The only thing that stained the perfect life she had managed to build for herself, the one she had made sacrifices for, was a certain person of the past that Ren just won’t seem to give up on...Someone who haunted her thoughts for years now...

That damm flame dragon...

Toshiki Kai...

The beast that still held some of Ren’s attention even after so many years apart.

Asaka didn't understand why the director still desired to capture that beast. The circus had plenty of dragons to entertain the crowds, with more being brought in with every new region they visited for one thing. Though, deep down the woman knows the reason why. None of the dragons they had, according to Ren, were even close to Kai, and thus were not fitting enough to fit the ‘image’ that Ren had seen during the circus’ debut. 

Until he has that dragon was captured and brought to his knees before Ren, Asaka fears that the wine red hues of her love will never fully be focused on her. That’s why she has assisted in the search and retrieval efforts of the damm beast, sending out some of her best dragons to sniff him out. Kai was a strong dragon, stronger than most, but even he couldn't’ take down an army by himself. He’d have to stop running sooner or later, because he should realize that his resistance is futile.

Ren will always gets what he wants, even if it goes against what Asaka herself would want. That much was a fact that even Toshiki Kai should know well by now...

Asaka shakes her head lightly as if to rid herself of the thoughts of that dragon. Tonight wasn’t about him. It was about her and Ren, a celebration of their beloved reunion and the rise of their circus. The young woman finishes applying the makeup and turns to grab her comb to finish her hair when she is suddenly stopped in her tracks by the sight of the director standing before her. Guess she had been too preoccupied with getting ready to notice him come into their shared room. 

“O-Oh! G-Good evening, Ren! My apologies, I didn’t notice you coming in.” She says, quickly bowing her head in regret. Despite her and Ren having gotten so close (some might say a little too close), she can’t help but be formal around him on default. It was second nature to her, a sign of just how much she deeply respected Ren and wanted to show him that respect. 

Eyes of icy blue and ruby red then blink as Asaka takes notice of an object in Ren’s hands, a silver necklace adorned with the most beautiful rubies and sapphires. One could tell just by looking at how expensive it was. While the circus certainly had been very profitable and she and Ren lived in the most luxurious of all the tents, they were still no wear near the level of the nobility that the director used to be apart of. So to see him with an object such as this in his hands, one that seemed like it was made for her...

She was left speechless once again by the man she loved.

“Ren...Is...Is that really for-” Before she can even say anything, he moves so he is now positioned behind her with the piece of jewelry in hand. Asaka’s eyes shift towards the mirror, gazing upon it as Ren’s actions are reflected in the glass. He gently fastened the neckless around her neck, it falling perfectly along Asaka’s collarbone. The gemstones shined brilliantly even in the dimly lit room of their shared tent. If they looked great here, one could only imagine how they will look under the lights of the circus’ mainstage as Asaka performed. 

She moves her hand to feel the stones beneath fingers, being careful as to not damage the object. A gift from Ren on a day such as this...It was one that she would treasure forever and wear proudly always. It was a sign that Ren remembered the day, that he cared about her, that he loved her, and she couldn’t be more happy.

Now only if he would express those feelings out loud and more often...

“Thank you for this gift, my darling dearest. I will always treasure it. Just like I will always treasure you.” Asaka then moves to pepper a few kisses on his cheek, only a taste of the affection she would be sure to provide him following tonight’s performance. “I have something for you as well, but you’ll have to wait till after the show to receive it. I promise it will be worth the wait.”

~

[criticalconqueror]

.//tagssssssss

[musezieren]

The Bhaalspawn’s teal-flamed eyes narrow as Gortash cuts him off. What first seems like annoyance softens as his lips curl into the faintest hint of amusement. To be scrutinized like the blueprints and weapons in Gortash’s arsenal is too delightful to stay serious.

Sirius is no fool—feral, perhaps, on occasion, but never foolish. He knows Enver isn’t either. The man is aware that pieces of this puzzle are missing. And if questioned, Sirius would have hundreds of explanations at the ready.

“Thank you. You won’t regret it,” he finally hums, a statue springing to life at the promise of the next command. His attention shifts to the letters, each sealed with wax in different colors, marking the intentions of their senders.

“These ones you can ignore,” he says, pushing two envelopes aside. “One of them is cursed with bad luck, having gambled away his family’s fortune on poor investments. The other’s house is on the brink of ruin.”

He knows this well—one had ceased payments to the temple, and it was only a matter of days before the cult would begin picking off the Lord’s heirs, followed swiftly by the Lord himself if he didn’t produce the required coin.

“These, on the other hand,” Sirius continues, placing a blue seal with a bird and an orange one with a lion in front of Enver, “are worth contemplating. Though there’s some drama between them, silly really. The Ladies were once good friends until Lady Ellian bought a jewel at auction that Lady Armand wanted. In retaliation, Lady Armand slept with her friend’s husband. Lord Armand is just a bystander, though it’s an open secret he prefers the company of men over his wife. No issue there, but he does tend to spoil his paramours, which causes infighting in his house. He’s easy to manipulate, but that makes him difficult to control.”

No one suspects the butler to be a spy, let alone a murderer, even when blood suddenly stained the master bedroom.

“We servants do tend to gossip,” he chuckles softly. “Not that you give me much to talk about, sir,” he adds, a teasing scold slipping into his tone as he picks up the last envelope—black and gold wax, sealed with a rose.

“This one you must attend. Lady Thorne’s party... she’s known as the Black Rose of high society. Beautiful, trendsetting, elegant—and deeply cruel. If she marks someone as unwelcome, they’ll be shunned. She tests newcomers. Declining her invitation is not an option, but I’m certain you can charm her, sir. She supports artists and inventors, and if she favors you, many more doors will open.”

Sirius straightens as he finishes his explanations. “Plus, you’re fortunate... It’s common, if not passively demanded, to bring one’s best servant to such an event. It’s a test of who can control their underlings best—a strange, usually bloodless game for bored nobles." His voice carries a hint of disappointment at the lack of real violence, one he can’t entirely hide. "Which tells you that those attending won’t mind buying well-trained slaves from you later on.”

TICK, TOCK, TICK, TICK, TICK. The sharp point of Enver's glass quill, inkless, raps against the parchment laid on hardwood table between a clutter only he knows the start and end of. He doesn't answer Sirius, not immediately, not when he's currently preoccupied by matters currently invisible to everyone else but him. And though he's acutely aware of the intrusion of a silver tea set, coupled with the sweet scent of sugar entering his perception, Enver doesn't choose to spare a glance.

"I told you to rid of the milk," he says, finally, after a stretch of silence and only once he's dipped his quill back into the inkpot. Gortash twirls it idly, allowing excess ink to run off before he begins writing in a neat, precise hand. "Unless you're still insisting to provide the option in case my mind changes."

Whatever Sirius has in response to that, Gortash cuts off with a flicker of his eyes locking into his. The dark gaze, brimming with contemplation and wits hidden just behind a pointed look. Both of his brows rise.

Sirius is a terrific butler—that is precisely the issue. Gortash is more than ecstatic to have countless capable people employed under his name, working on his payroll, becoming his limbs and eyes where his don't reach. But the problem rises when they are too competent.

And this tiefling might just be. A spotless record, referrals from names that the arms dealer would've only known through Baldur's Mouth once upon a time. Of all people, for a man of such caliber and career to agree to this post? Under a slaver, no less?

Gortash clicks his tongue.

There are things that remain to be seen, however. And so, Gortash waits. He bides his time in the privacy of his caution. "Go ahead, since you're so keen to voice your opinion. Tell me what you know of the invitations. You seem awfully familiar with the houses, perhaps more than me, given the past stations in your resume."

[dlartistanon]

Shining and Nightingale: Connection, Plot Beats, and How Their Story Makes (Even) More Sense If You Read It As Romantic

Introduction

Belonging to the Followers faction, Shining and Nightingale were among the first 6* operators introduced at launch. With damage mitigation as their niche, Shining is a single-target medic who specializes in reducing incoming physical damage, while Nightingale is an AoE medic whose specialty lies in reducing incoming Arts damage. This post will delve into everything we know about them and how it's so gay, oh my god

Design Analysis

Upon first glance, you notice how they compare and contrast each other visually: Shining is dressed mostly in black, Nightingale in white. Shining has long, thin white horns that gently jut outwards, while Nightingale has thick, black horns that fold inwards. Shining keeps her hood on by default, giving her a mysterious and secretive appearance. She has dark brown eyes, Liz has light blue ones. Shining’s outfit is tattered and ragged, really giving off the vibe of a wanderer (a “roaming doctor”, as she puts it), in stark contrast to Nightingale’s clean and put-together attire. If you squint, Shining almost looks like a harbinger of death, whereas Nightingale is angelic. Both of them wear the insignia of the Followers, a Terran version of the Caduceus. Shining wears it on a necklace (and is the actual leader), while Nightingale has it etched onto her clothes. One of the black straps on Nightingale’s outfit also reads “The path to light is dark”.

The predominant colors in both their respective skins are the complementary blue and orange. Just as black and white are opposed, so is the contrast between blue and orange. Within Shining's Silent Night, there are flickers of red-orange accents in the form of crystals, while in Nightingale's Elegy, there is the vibrant blue of her bluebird and its wings/feather. Despite Shining’s skin being a summer/beach outfit, the overall atmosphere is foreboding, given the moonlit background, presence of crows/ravens, and color choices. The backdrop in Nightingale’s is very characteristic of Gothic settings.

The strongest theme tying both their designs (and stories) together is The Gothic, an atmosphere and aesthetic best exemplified and symbolized by moody, somber colors (often black) and the gnarled, twisted branches of dead trees found in both their designs, as well as pertinent cast. (We will discuss more on their narrative ties to The Gothic)

Nightingale is featured (alongside Myrrh) in the song “Spring’s Pulse”, while Shining’s song is called “Winter Absolution”. Spring and Winter are opposing seasons, different times in which life either flourishes or hibernates. Green and red (as well as blue and red) are contrasting colors, highlighting life and death. As well as white and black, often symbolic of purity and sin.

Additionally, one of the Latin verses in Shining's song translates to:

"Sing, my tongue, redemption. Of my flesh, the mystery sing. Of the blood, all price exceeding. Shed by my immortal being. Destined for the world's redemption. From a noble womb to spring."

Profiles/Voice Lines

For the longest time, the most we could gather from their past was that Nightingale was a victim, a prisoner, forced to heal others while captive and that Shining had rescued her before they came to Rhodes Island. She has a host of ailments that mere Oripathy can't be the sole cause for, including amnesia. Through other clues, we eventually learn that Shining had a connection to someone called "Confessarius" ("Confessarii" when referring to a group), something she is noticeably evasive and uncomfortable about.

Later, the mystery slowly began to unravel as many theorized that Shining herself was involved with Nightingale's imprisonment, evidenced by Liz drawing the similarities between Shining and her captors. A shared past dripping with intrigue.

It was these seeds that provided a tantalizing story of atonement, of redemption, from someone who had committed a terrible transgression against another, complacent in her pain and suffering, whom she eventually grew to care about--so much so that Shining decided to sever all ties to her former compatriots, slaughtering many and freeing Nightingale, running away together. Shining, disgusted with her actions, spending the rest of her life atoning for her sins, of which she feels she can never be forgiven for.

The juxtaposition of Shining, unyielding with her sword, covered in the blood of her once-fellow Confessarii, and her being exceedingly gentle with Nightingale as she leads her to someplace safe, away from that room, her captors, that tower, where they (she) can’t hurt Liz ever again. The fanon that Shining was complicit in what made Nightingale the way she is, and that she is currently atoning for those sins, was largely embraced by fans.

Nightingale’s Operator Record #1 - A Song and a Blue Feather

The Op Rec is a good showcase of the Followers dynamic (with Liz as the Lady and her two knights), but it also serves to show more of Liz's personality. We only get a very baseline interpretation of who she is as a person via her official file, but seeing her interact with Nearl and Shining gives us a clearer picture of just how strong-willed she is. She goes against Shining's warnings in order to soothe the pain of an Infected child, particularly because his father was inadvertently exacerbating his condition through what Liz calls "a cage of love" (foreshadowing?).

Throughout, we learn more about Liz's Arts, specifically that they give her empathic qualities and come with the drawback of shortening her lifespan every time she heals. The game-breaking ability to reverse Oripathy symptoms comes with equivalent exchange. Liz takes on the pain of others in order to make them feel better.

Near the end of the record, Liz asks if Shining is mad and to not blame Nearl for helping her. Shining's original call to avoid the town was born out of being concerned with Liz's health, but she admits that she should've respected Liz's decision. This is a stance that we then see get repeated in their future appearances in both side stories and the main plot--Shining prioritizing giving Liz agency, when she previously had none. Even when it results in Liz's condition worsening, something that Shining struggles with accepting at the same time, communicated through her asking Liz if her feeling more pain was necessary.

Nightingale’s Module #1 - Closed Hope

The module basically states outright that Nightingale views herself as a burden for having to rely on Shining and Nearl to help her navigate through life. This is another example of Liz's strong-willed personality peeking through.

"But for me, results speak loudest. Because I endured a little more pain, others can be born anew. This is very good. But… if I could be like ordinary people, without this physical pain, that spark of hope in my heart would surely shine a little bit brighter. Unfortunately, as I am now, I can only rely on others to survive. Like a light crystal in a lantern. Even if the lantern door is open, even if the light can bring warmth to others, the crystal itself is still fixed inside. It is fixed there, because it has no ability to move on its own. 'Nightingale, Nightingale––' I hope that one day, I will also be able to spread my wings and fly… just like the bird next to me. 'Nightingale, wake up already––' Until then, I must impose upon them yet more to take care of me.

...

'What's the matter, Shining?'"

In her Op Rec, she had even told Shining that if her legs had cooperated with her, she would not have asked Nearl for help, and that she would've gone out to heal that boy on her own. It's letting us know that she longs to be independent, and that she can't idly sit by as a passive observer when she has the ability to help others. Liz won't even let her own disabilities stop her from doing what she wants.

It's not a coincidence how Shining's presence in her module is represented by the analogy Liz uses to describe her predicament. Shining rescued her = the cage door is open. However, the crystal itself can't move = Liz's debilitating condition. Shining played her part in putting Liz in the cage to begin with. Shining is not only her savior, caretaker, and companion, there's a darker undercurrent as well.

Near Light

In Maria Nearl, Nightingale and Shining get a brief mention and cameo around the time Nearl crashes into the Major stadium. A connection can be made with Liz's Op Rec in which we evidently see that she and Nearl have a more physical (and arguably openly affectionate) dynamic compared to Liz and Shining. Before Nearl leaves to help her sister, we a get a brief look into her and Liz's parting conversation, in which Nearl assures Liz that she'll be okay and that Liz still has Shining with her.

In Near Light, where they get more screentime, we have the iconic Nearl and Nightingale slow dance underneath the streetlights. In the CG itself, Shining can be seen hanging back, sporting a smile. She calls Liz beautiful unprompted, which results in Liz getting a little bit flustered, already so from dancing with Nearl.

Beyond these instances fleshing out the NearLiz leg of the triangle, it's also a purposeful depiction of Shining intentionally distancing herself from Liz, presumably due to her guilt for her past actions. And how that can be extrapolated into Shining feeling as though she is unworthy to partake in that same kind of intimacy. This self-loathing mentality is once more reflected in Nearl the Radiant Knight's second Module--here's a rough translation:

"I suddenly felt a little regretful - after all, I have always hated my bloodline. I have never tasted the beauty of home and the meaning of family. She deserved to have it all, deserved to be noticed and blessed and I deserved not to be a part of it."

However, at the end of Near Light, we get the scene where Shining makes a decision to go back to Londinium with Nightingale, preparing us for their subplot with Confessarius. This exchange hangs over them like a cloud, as well as further cementing Shining's firm resolve to always remain by Liz's side, no matter her own misgivings about everything else. Even if the rest of the world is muddled in her eyes, the only thing that stays clear and in view, is Nightingale. Nothing else matters more.

Chapter 10-18

The depth of Shining’s feelings for Nightingale is truly something to take note of. "My place is always at your side" is practically a textbook subtextual/indirect confession. "I will always be at your side... for as long as you’ll have me." Because we must know that Liz has a choice. She will not impose her own wants onto Liz. Should the day arrive where Liz no longer wants her, Shining will honor it, as much as it hurts.

The way Shining navigates and conducts her feelings towards Liz in this manner is very reminiscent of the medieval concept of courtly love, which is essentially a kind of romantic love without ever imagining it to go any further. The lack of consummation is not only expected, but ideal. That the love existing in and of itself is satisfying.

The scenes where we see Shining holding back help supplement this reading. It also plays well into how the Followers are basically the "knight in shining armor" idea codified into three individuals with corresponding dynamics. For bonus points, courtly love has ties to spirituality, which coincides with another aspect of Shiningale's story with identity, fate, and their conflict with Confessarius.

The fact that Shining 's most immediate plans for the future all have to do with Nightingale is only the tip of her unending devotion. "I’ll stay with you, and go wherever you want to go, as long as you want me". And for Liz to quickly ask if Shining will come with her wherever she wants to go suggests that the love is reciprocated.

Chapter 11-10

Through a series of revelations, we discover that the current head of the Confessarii is Shining's father, who is possessing the body of her younger brother. And that Nightingale was an experimental subject whose physical body is a construct, making her the equivalent of an artificial human/homunculus.

The whole scene we see just how both Confessarius and Salus view Shining, Nightingale, and their relationship. As randmsapphic puts it, the method in which they talk about Liz as an object with a purpose and that Shining's attachment to her is nothing short of a phase speaks volumes as to how dismissive and strangely self-assured that Shining will come to her senses and do the right/rational thing and bring Liz back to help her. They entertain the notion of saving Liz by way of pushing Shining to return to them, because they are the only ones who can save her. Instead of immediately resorting to threats, they rely on manipulation, pulling the "family" card, preying on and weaponizing Shining's guilt and desire to help Liz. It's not subtle--this dynamic could very easily be seen as the reactions homophobic relatives would have.

In particular, Confessarius's fixation on bloodline purity is insanely creepy and not only comes off as very homophobic, but ableist as well. Him suggesting they can build Liz a new body is coercion to get Shining to obey him (which also implies that he thinks Shining's attraction to Liz is purely physical). Salus emotionally abusing Shining by saying that all of Liz's pain is Shining's fault. Attempting to shame Shining by claiming she abandoned her family for a stranger. Does it not have the vibes of homophobia saying that Shiningale's love/relationship isn't real and will never work?

Chapter 12-10

The way Shining utterly ties her sense of self-worth to Nightingale, literally describing herself as Liz’s sin… she will not refer to Liz with possessive pronouns, but will do it to herself for her. The longing, the guilt, the resolve, the codependency… is incredibly yuri. Back in Chapter 10, Shining has an exchange with the Nachzehrer King where she says the moment she was born, she had carried sin. After the dinner in Chapter 11, she tells a Confessarius soldier (before cutting him down) that she hates herself most of all.

Of all the ways to describe her relationship with Liz, Shining decides on "I am her sin". There is poetry in how she refrains from using any kind of possessive language about Liz. Shining belongs to Liz, but Liz belongs to no one. "I am hers, and she is everything to me". It goes back to how she somewhat keeps her distance despite the overwhelming devotion. "I cannot touch her with these sinful hands".

Shining truly exemplifies devotion. Whoever was responsible for writing Shining’s dialogue is pulling out all sorts of stops to have her express her love for Liz in every way without outright making her say the words "I love Liz".

Chapter 13-9 (unfortunately tumblr has an image limit so i can't cap the entire subchapter; you really should read it yourselves for that delicious Shiningale goodness)

Kal'tsit: The way you look at Nightingale isn't just with compassion. You're not just her doctor—she's healing your fears too. Her body has its issues, but she's a member of the 'Followers', as well as your companion, and not a delicate flower that needs your protection.

Nightingale: I'm fine, Shining. You don't have to look after me so meticulously.

More examples of Liz's strong character! A dynamic becomes even more interesting when the one you thought was less-dependent turns out to desperately need the other. By this point, you should know that Shining places Nightingale incredibly high up her list of priorities. The narrative makes it no secret. They continue to hammer home that, despite being her caretaker, just how much Shining is dependent on Liz. Liz has already internally talked about how she hates having to rely on Shining and Nearl because of her ailments. In her other appearances, she makes it even more apparent with her dialogue. While Shining mends Liz’s aching body, Liz is the one who soothes Shining’s hurting heart.

Confessarius: Poor 'Liz'. She think it's all her fault, because of the momentary kindness you showed her.

When you remember that Liz's Arts make her empathic to pain, it takes on another layer of meaning when she wants to take away Shining's suffering. It's reasonable to assume that Liz also had an attachment to Shining, even if you see it as such because Shining "brought her to life". But the vibe you get from her dialogue shows a strong affection and compassion for Shining. Arguably instinctive, considering the "nature" of who Liz originally was. A wandering spirit, a memory, a soul that was drawn to Shining because she felt her crushing pain and wanted to help her. An intangible presence given life by an achingly lonely and hurt individual.

Another post by randmsapphic suggests that Liz's "childhood memories" of her and Shining were in fact fabrications that Shining had imposed onto Liz, in some desperate attempt to have a connection with another person, which this scene confirms. Shining was so happy with Liz's creation that she quickly became attached to her. Is this a sort of twisted love/affection that was born out of Shining's self-loathing? Or her being born into a very dark and messed up lineage in which her fate is a doomed one, and so she latched onto Liz as a means of escape and a way to feel close to someone? It may have started off as such, but by the time we reach this point, the love grew to be genuine.

Remember in Liz's Op Rec, where she described the father hurting his son by keeping him in a cage of love?

The bluebird losing its strength the farther it travels away from home is a metaphor and reflection for how the Confessarii treat Liz, their experiment. This is the basis for her captivity. Combined with Shining's sudden shift into a cold demeanor when she had previously been warm to Liz, this only served to psychologically and emotionally damage Liz, as well as compound Shining's guilt for having continued to follow the wishes of her family.

At some point, prior to deserting, Shining had wiped Liz's memories, perhaps out of said guilty conscious, or a means to a fresh start, or even her own way to stop Liz from feeling any pain associated with those memories, but she was still afraid of what would happen should Liz recover them, which had been happening little by little. Shining had resigned herself to believing that Liz would hate her, would want nothing to do with her, if she ever found out the truth. She had to wrestle with the very real possibility that attempting to save Liz could mean losing her, or being separated from her. Shining never once saw Nightingale as a burden; she was only ever happy that Liz exists.

Credit to randmsapphic again: Every time Shining draws her sword, it's a viscerally unpleasant reminder of her eventual destiny. It's both the only way to truly free Liz, and is the bind that keeps her shackled to a doomed fate. When Confessarius offers her the sadistic choice between killing him (thus giving up her soul) or return Liz to captivity... what should she do? There is no choice here.

The way Confessarius keeps (creepily) phrasing it as Shining “giving birth” really does paint him to be a disgustingly vile patriarchal figure set on destroying not only Shining’s autonomy, but her life and relationship with Liz. How a woman is treated as an object, her worth limited to only serving as a breeding ground for the next generation. This read continues to make even more sense because remember the Confessarii dinner scene? The way they talked like they expect Shining to come home after having had her fun with Nightingale reeks of how society views lesbian relationships as not real/practice for men/just a phase. The proverbial Class S? Shiningale really is just Arknights-flavored Class S Yuri. If a Shining Alter has her pick up her sword again, it could very well symbolize her reclaiming her bodily autonomy and fighting for her love, and for the chance to have a life outside of what the patriarch(y) wants for her.

The more I read about the Shiningale in Chapter 13, the more I’m thinking that this can’t be anything else but yuri. Even the role Confessarius is playing as a villain/obstacle they have to overcome. A man getting between them by manipulating their feelings for nefarious purposes?

Liz telling Shining that she prefers her current name, how it encapsulates so much of who Shining is as a person; she's not just a means to an end for the Confessarii, she's more than what they've instilled in her since her birth. The Followers are all light-themed, and Shining is no exception. She broke Liz out of her cage and showed her the world. And Liz is the light of Shining's life, as was mentioned all the way back to her voiceline.

Liz telling Shining that she's always loved the name that she gave her... that she holds dear any and every part of Shining that's a part of her. Her gently chastising Shining for making the decision to sacrifice herself to save Liz... Don't give yourself up for me, especially without asking me. That's not what I want. For all the times that Shining made sure Liz knew she had a choice, this was the one time she didn't. Couldn't. And Liz won't have that. Whatever trials that await them, she wants to face them together with Shining.

The way Confessarius described Shining’s feelings towards Nightingale as “your rebellious love for her”. He knew that she would love Liz and factored that into his plan/manipulation of Shining. I don't know about you but… I don’t think there’s any other way to interpret that. No heterosexual explanation.

Realistically speaking, we know actual gay characters can’t make it past the censors unless it’s tragic (see Scavenger) or unrequited (see Tomimi). But Shiningale have like… playable immunity. It’s “implicit” enough to not trigger the censors but at the same time how can you not see it as romantic?

Their relationship is basically up there with Talulah/Alina. And I'd even go so far as to say that it's more explicit than Talulah/Alina. To my knowledge, they never used the word “love” to describe how Talulah felt about Alina. Just "friend". I know there's a point where subtext gets ridiculous enough to become maintext, but then that leads you to question why some get the "friends" label while others are allowed to use "love".

Could it be platonic love? Sure, of course you can love your friends. But would you pledge your entire life to a friend? What's so "rebellious" about loving a friend? (Interestingly, I think the JP translation calls it "immoral love", which is even more eyebrow-raising) Regardless, love exists between Shiningale. Confessarius knew it, and factored it into his schemes. He counted on Shining to love and cherish her. Shining loves Liz, that much is undeniable. And Liz loves her back, enough to stop Shining from sacrificing herself to save her. He's literally weaponizing the love they have for each other.

Shiningale and The Gothic

I had mentioned before that both characters' designs as well as the narrative beats of their story have Gothic literature elements. I want to make a list of the ones I could find that relate to them as characters and as a narrative:

A focus on medical conditions, doppelgangers (the "pure" Confessarii looking like each other), forbidden power/knowledge, the dichotomy between light and darkness, imprisonment, rebellion, isolation/seclusion, gloominess or a gloomy setting, the grotesque/macabre, terror/horror, justice vs revenge, good vs evil, fear and suspense, the supernatural/paranormal, female victims, prophecies/curses/omens, mystery and secrets, involvement of the clergy/religious figures (confessor/absolver of sin), the dead don’t stay dead/hauntings, romanticism

The Gothic hero is “weakened by love”, they either rescue their love interest or pine away in despair

Significance of blood (relations) and inheritance, the duality of giving and denying life

An examination of family structure, patriarchy, hereditary suffering

Dreams/nightmares, memories

Secrets, past sins, sins of the father, darkest deeds

Driven by love, duality of man (appearance)

Dwelling on the melancholy, of wistfulness and regret, but not overcoming kindness

Concept of “othering” from society (Shining split herself away from her blood family to be herself and with Liz, her chosen family

The protagonist’s passionate love is torn between his desire to achieve the beloved and the family’s disapproval, control, and choice. Gothic novels also tell the tales of love in vain. The lovers are parted due to the conspiracies of the people opposing them being together

Gothic sexuality is usually somewhat repressed—women are expected to be pure and somewhat helpless while men are expected to be quietly predatory. It's also patriarchal, with men making moves and women reacting to them

Homosexuality = the love that dares not speak its name. Repressed sexuality, forbidden desire

Female Gothic protagonists are often committed to justice, unwilling to compromise their values, loyal, respectful of others, curious, intelligent and devoted to their faith. Some are gentle, kind, likeable, clever, witty, quiet, supportive, thoughtful, hard-working, independent and strong. Others are courageous, witty, brave, determined, knowledgeable and socially competent. On the flip side, some are also strong-willed and outspoken to a fault. They’re often socially awkward, depressive, melancholy, brooding, solitary and selfish. Some are jealous, fiercely territorial, deceitful, powerless and deceptive. Others, like their male counterparts, are prone to violence

Male Gothic protagonists are often conflicted, solitary, tortured, brooding, and secretive, self-loathing, wracked with guilt, have a self-hate of their own existence

Female-centric Gothic stories often trend towards obscured/anticipated fears, focuses on persecuted women and the domestic space she risks entrapment within/disturbed spaces

Food for Thought

Ryuzakiichi has a knight original character. Tell me... this doesn’t just look like Shining without horns? THE RESEMBLENCE IS UNCANNY.

Knowing this, I'm convinced that he split the concept of a "knight in shining armor" into two characters: Nearl and Shining. Nearl embodies chivalry. Shining embodies devotion.

The followers dynamic can best be summarized as two knights swearing fealty to one lady, but what's interesting is that while Nearl is the most obvious depiction of a knight, it's actually Shining who serves the role even harder, because she is quite literally Liz's knight. Which tracks with how Shining looks nearly like a carbon copy of his OC. She's the one who rescued the princess from her tower, while simultaneously being the "wicked witch" who put her there in the first place. And just like a Gothic hero, is tormented and sees herself as a monster.

Comparison to the main plot of Shadow of the Colossus. The driving force is that Wander commits acts (largely agreed to be treasonous) in order to revive Mono. The relationship between Wander and Mono is left up to interpretation as to whether it's platonic, familial, or romantic, but most fans of the game seem to theorize that Mono is indeed Wander's love interest.

Normally I despise turning the Followers into a nuclear family unit in any direction (especially people saying Liz is a minor and infantilize her to be the designated "child"), but for a moment, seeing Shiningale looking at Nearl’s portrait, my brain interpreted them behaving like Nearl’s (substitute) parents being proud of her accomplishments.

This was not helped by stuff like Shining’s teasing ("Look at you, our knight acting snarky"), Liz asking if she and Shining were also Nearl’s family, and some apparent discussion about Mlynar being a "bad end" Margaret who lost his own light (his brother and sister-in-law, Margaret’s parents).

If Shining and Nightingale are to Nearl as Schnitz and Yolanta were to Mlynar, then that might also explain why he dropped his jerk behavior for one second just to compliment how the two Sarkaz were good for his niece. If Nearl had never met Shining and Nightingale, her own light might’ve gone out too...?

IN CONCLUSION

Shiningale are complementary in so many ways. It really feels like several aspects of their characters are tailor made to match; you can’t have one without the other, their development is tied together… soulmates. Hopefully this post helps encourage you to consider their story in a certain lens if you hadn't before.

To quote a CN post I saw on the matter after Chapter 13 was released (rough translation): "Shining's sword pieced Nightingale's heart, and Liz came alive. Liz's existence helped give Shining emotions. Liz became Shining's redemption. Shining renounced her old name and Liz cherishes hers, a transformation of two people choosing to fight and change their destiny. Although Liz is physically fragile, her spirit and will are very strong. Although Shining has excellent swordsmanship, her self-hate and inner turmoil weigh her down. They are truly complementary in every sense."

They each want to take away the other's pain. Shining doesn't want Liz to die. Liz doesn't want Shining to die for her. They are each other's mutual salvation.

[theribbajack]

An evil death has brought low the noble warrior, No joy shall shine in the Golden City. That noble brother, who always held me dear, Now is held in darkness, enclosed.

Sleep and His Half-Brother Death by John Waterhouse (1874) but it's Miquella and Godwyn because I live to cause myself pain. The verse is from my sister's fic Of No Renown. Bonus points to anyone who gets all the references!

[littlesparklight]

Got the (foolish lol) idea to go through some of the works I know give physical descriptions of at least some Trojan war characters and collate them. They aren't in alphabetic order, sorry, but the works/authors are colour coded, at least!

I'll do this in two parts; this one for Achaean characters, the next one for Trojans. Watch Philostratus fanboy over Palamedes and Protesilaos (why????) and marvel, when compared to basically everyone else's description, across all works!

Helen The Iliad: 'terribly does she seem like the immortal goddesses to look on' (spoken of her, not narration), divine/shining/noble among women In Hesiod and other works she is given the xanthos = blond/auburn/etc epithet Dares: Helen resembled Castor and Pollux. She was beautiful, ingenuous, and charming. Her legs were the best; her mouth the cutest. There was a beauty-mark between her eyebrows. (Castor and Pollux: they were twins, blond haired, large eyed, fair complexioned, and wellbuilt with trim bodies.) Malalas, Chronographia: full-grown, well-dressed, with fine breasts, white as snow, with beautiful eyebrows, a beautiful nose, shapely, curly-haired, blonde-ish, with big eyes, charming, with a beautiful voice, a formidable sight among women. She was 26 years old. Tzetzes, Antehomerica: white, with soft skin and beautiful eyebrows and nose. Her skin was so white and bright as if it was made of snow. She had lovely breasts and a pretty face; she had languishing and large eyes and a melodious charming voice; she had long, curly, blond hair; she was well-behaved and perfect in everything she did; she was a lot more beautiful than all the other women, just like the moon is brighter than all the stars in the sky. At that time she was twenty six years old.

Agamemnon The Iliad: '[…] tell me the name of this gigantic man. […] To be sure there are other men even greater in height, […] handsome, nor so majestic, for he seems a kingly man.' Dares: blond, large, and powerful. He was eloquent, wise, and noble, a man richly endowed. Philostratus, Heroicus: Agamemnon and Menelaos were alike neither in appearance nor strength. […] He looked majestic and magnificent and like the sort of person who offered sacrifice to the Graces. Tzetzes, Posthomerica: white, big, of a wide chin and dark hair. He was well-bearded, well-educated, resembling the blessed ones.

Menelaos The Iliad: xanthos = blond/auburn/bright, 'standing towered with his broad shoulders. Dares: moderate stature, auburn-haired, and handsome. He had a pleasing personality. Philostratus, Heroicus: Agamemnon and Menelaos were alike neither in appearance nor strength. […] [he] wore his hair boyishly long, as was the Spartan custom, and the Achaeans made allowance for him when he was visiting, since they did not mock those who came from Euboea even though their hair was ridiculously long. He says he conversed most easily and very concisely, mixing pleasant speech with his discourse. Tzetzes, Posthomerica: the bodily frame smaller [than Agamemnon]; he had a breadth, though. He had a red skin, dense beard and blond hair.

Odysseus The Iliad: 'lesser in height than Agamemnon […], but he seems broader in the shoulders and chest.' (Also shorter than Menelaos.) Dares: tough, crafty, cheerful, of medium height, eloquent, and wise. Philostratus, Heroicus: extremely skilled in public speaking and clever, but he was a dissembler, a lover of envy, and praised malice. His eyes were always downcast, and he was the sort of person who engages in self-examination. He appeared more noble than he was in military matters; surely he was not well versed in preparing for war, in commanding naval battles and sieges, or in drawing of spear and bows. Tzetzes, Posthomerica: middle-aged, pot-bellied, white, with plain hair, nose looking down and fiercely glaring.

Achilles Dares: a large chest, a fine mouth, and powerfully formed arms and legs. His head was covered with long wavy chestnut-colored hair. Though mild in manner, he was very fierce in battle. His face showed the joy of a man richly endowed. Philostratus, Heroicus: For Achilles' physique appeared startling and divine […] When he became an ephebe, a brightness radiated from his face, and his body was beyond natural size, since he grew more easily than do trees near springs. […] hair is thick, lovelier than gold, and becoming no matter where and how either the wind or he himself may move it. His nose is not quite aquiline, but almost so; his brow is crescent-shaped. The spirit in his eyes, which are bluish-gray, casts off a certain eagerness even when he is still; when he is rushing on, they spring out along with his purpose, and then he seems more lovely than ever to those who cherish him. (long hair until Patroklos dies) Tzetzes, Posthomerica: tall, of a beautiful chest, graceful in everything, white, of blond curly and thick hair. He had a big nose, melodious voice and the eyes of a woman. His glance was terrible, in a race was swift-footed; he had long legs and scanty beard.

Patroklos Dares: handsome and powerfully built. His yes were gray. He was modest, dependable, wise, a man richly endowed. Philostratus, Heroicus: Patroklos, although he was not much older than Achilles, was a divine and sensible man, […] In size and bravery he was between the two Ajaxes. He fell short of the son of Telamon in all things, but he surpassed both the size and bravery of the son of Locris. Patroklos had an olive complexion, black eyes, and sufficiently fine eyebrows, and he commended moderately long hair. His head stood upon his neck as the wrestling schools cultivate. His nose was straight, and he flared his nostrils as eager horses do. Tzetzes, Posthomerica: middle-aged, potbellied and well-bearded. He had blond hair, red skin and lovely face.

Ajax, the son of Telamon The Iliad: 'outstanding among the Argives in height and broad shoulders' ; repeatedly called only second to Achilles in everything but looks. Dares: powerful. His voice was clear, his hair black and curly. He was perfectly single-minded and unrelenting in the onslaught of battle. Tzetzes, Posthomerica: brave, great, quick, with a nice nose and curly hair; He had a dark skin; he was well-bearded and grim-looking. He was more beautiful than everybody, except for Achilles.

Ajax, the son of Oileus The Iliad: lesser [than Ajax the great] by far, for he was a small man […] Dares: stocky, powerfully built, swarthy, a pleasant person, and brave. Philostratus, Heroicus: appeared less intelligent [than Diomedes and Sthenelus] […] looking fierce, and throwing his long hair back Malalas, Chronographia: tall, strong, tawny, squinting, good nose, curly hair, black hair, thick beard, long face, daring warrior, magnanimous, a womanizer. Tzetzes, Posthomerica: tall and had bright eyes. He was nice, had long face and dark curly hair.

Diomedes Dares: stocky, brave, dignified, and austere. No one was fiercer in battle. He was loud at the war-cry, hot-tempered, impatient, and daring. Philostratus, Heroicus: steadfast and having eyes that are blue-gray and not black at all and a straight nose; his hair was woolly and dirty. […] modest upon rebuke, checked the eruption of his anger, and refused to insult the troops or to be disheartened. He himself considered it appropriate for an army to appear unwashed, and he commended sleeping in any opportune place; his provisions consisted of what was available, and he did not take pleasure in wine unless troubles came upon him. Diomedes and Sthenelos were the same age. Tzetzes, Posthomerica: [he had a] body that was worth of four young men. He was in good shape with a flat nose, narrow neck and blond hair.

Sthenelos Philostratus, Heroicus: a good size and towering, gray-eyed, with an aquiline nose, fairly long-haired, ruddy, and hot-blooded. […] lacked Diomedes' insight, his power of speech, and his patient endurance which belong to both soul and body. He gave way to anger, was contemptuous of the throng of battle, was savage upon being rebuked, and was prepared for a more delicate lifestyle than was needed for a military camp.

Nestor Dares: large, broad and fair. His nose was long and hooked. He was a wise adviser. Philostratus, Heroicus: (statue, but also the real man?) with a beard that is majestic and well-proportioned; his ears display what he went through at wrestling school, and his neck is restored to its strength. In truth, Nestor stands upright, not defeated by old age, with black eyes and without a drooping nose. Tzetzes, Posthomerica: big, had a nose looking downwards and a fiercely glaring. He had a long face, flame-coloured skin, blond hair and he was wise.

Antilochos The Iliad: Younger than the rest. Philostratus, Heroicus: Because Antilokhos was still young and not mature enough for war when they assembled at Aulis, his father did not agree to his wish to serve as a soldier. (he arrives in the fifth year.) For Achilles' physique appeared startling and divine, but that of Antilokhos seemed to all to be pleasant and gentle. […] Antilokhos resembled Nestor, but that he was swifter, trim in physique, and paid no attention to his hair. He gave me the following details about Antilokhos: He was most fond of horses and hunting with dogs. Tzetzes, Posthomerica: younger than the other Achaeans. Almost a boy, he was white, with a beautiful neck and a big nose. He was storm-footed, provoked fear with his eyes and a beard just sprouting. He was blond with beautiful hair and grey eyes.

Neoptolemus Dares: large, robust, and easily irritated. He lisped slightly, and was good-looking, with hooked nose, round eyes, and shaggy eyebrows. Philostratus, Heroicus: he was good-looking and resembled his father, but was inferior to him in the same way that beautiful people are inferior to their statues. Malalas, Chronographia: of good stature, good chest, thin, white, good nose, ruddy hair, wooly hair, light-eyed, big-eyed, blond eyebrows, blond beginnings of a beard, round-faced, precipitate, daring, agile, a fierce fighter. Tzetzes, Posthomerica: red hair, that's why many had called him Pyrrhus. He was of young age, white or somewhat grey, the colour of the milk; He had beautiful nose and chest, hair curly and was daring; He hadn't ever been hurt, embittered, reckless and of a too wild temper; Thin tiny hair was growing from his beard.

Palamedes Dares: tall and slender, wise, magnanimous, and charming. Philostratus, Herocius: So then in height he was the same as the greater Ajax; in beauty, Protesilaos says, he vied with Achilles, Antilokhos, Protesilaos himself, and with the Trojan Euphorbus. His soft beard was springing up and with the promise of curls; his hair was cut close to his skin; his eyebrows were noble, straight, and came together above the nose, which was perfect as a square and stately. The resolve of his eyes appeared unshaken and fierce in battles, but when he was at rest their gaze was full of comradely affection and affable; he also is said to have possessed the most marvelous eyes among mortals. And in truth, Protesilaos also says that when he was naked, Palamedes weighed halfway between an athlete and a lithe person, and that he had a toughness about his face that was much more pleasant than the golden locks of Euphorbus. Tzetzes, Antehomerica: He was tall, white, with his hair blond and filthy; he was slim and had a long face; he was a servant of wisdom and of Ares. His hair was blond and visibly dirty, because he didn't trouble himself with stupidities like his hair.

Podalirius Dares: sturdy, strong, haughty, and moody.

Nireus The Iliad: the most beautiful man to come beneath Ilion of all the Danaans, after blameless Achilles. Iphigenia in Aulis: repeats the 'most beautiful after Achilles' description.

Machaon Dares: large and brave, dependable, prudent, patient, and merciful.

Idomeneus The Iliad: Older than most of the rest, gray-haired. Malalas, Chronographia: above average height, dark-skinned, good eyes, well set, strong, good nose, thick beard, good head, curly hair, a berserker when fighting. Tzetzes, Posthomerica: quick, had a dark skin, of middle age. He had a short curly hair, wide chin and beautiful nose.

Meriones Dares: auburn-haired, of moderate height, with a well-proportioned body. He was robust, swift, unmerciful, and easily angered. Malalas, Chronographia: shortish, wide, white, good beard, big eyes, black hair, curly hair, flat face, bent nose, quick-moving, magnanimous, a warrior. Tzetzes, Posthomerica: short; he had wide shoulders and beautiful curly hair. He was white; he had crooked nose, nice chin, wide face.

Philoctetes Philostratus, Heroicus: his hair was gray because of age (he was about sixty years old), he was more vigorous than many of the young men, his gaze was most fearsome among mortals, his words most brief Malalas, Chronographia: a good height, well set, dark skinned, eyebrows meeting, brave, good eyes, good nose, black hair, hairy, sensible, accurate archer, magnanimous. Tzetzes, Posthomerica: tall, beautiful, of dark skin and with meeting eyebrows

Protesilaos Dares: fair-skinned, and dignified. He was swift, self-confident, even rash. Philostratus, Heroicus: He is about twenty years old at most. Because he sailed to Troy at such a young age, he has a full, splendid beard and smells sweeter than autumn myrtles. Cheerful eyebrows frame his eyes, which gives him a pleasant, friendly manner. When he exerts himself, he looks intense and determined. But if we meet him at ease, ah, how lovely and friendly his eyes appear! He has blond hair of moderate length. It hangs a little over his forehead rather than covering it. The shape of his nose is perfect, like the statue's. His voice is more sonorous than trumpets and comes from a small mouth. It is most enjoyable to meet him naked, since he is well built and nimble, just like the herms set up in race courses. His height is easily ten cubits, and it seems to me that he would have exceeded this had he not died in his early twenties. Tzetzes, Antehomerica: a lovely face and courage in his eyes; his hair was blond and long; his skin was smooth and dark; he was bold, graceful, with beautiful body and beard; he was vigorous, although much younger than Antilochus.

Calchas Malalas, Chronographia: short, white, all grey, including the beard, hairy, a very fine seer and omen-reader. Tzetzes, Posthomerica: small, white, thin and shaggy-haired. He had his hair grey in the front and white the rest of it.

[immortalmuses]

ㅤㅤㅤ“But it is…" Nicolò speaks with quiet intensity, and when he looks up to meet Yusuf's concerned gaze, his eyes burn blue like a strange flame. The Genoan's hands clench at his sides, an unconscious action, as if seeking something to choke hold. "...it is entirely necessary, Yusuf. You must... you must know..."

ㅤㅤㅤHow to explain this feeling to the other man? All his years spent in ardent prayer -- presumably at God's own feet, executing His Will like a weapon in His hand -- and Nicolò has never known such brightness like what he sees within Yusuf. The Genoan comprehends himself to be an ill-fit for society, a fact made no less true in this foreign land amongst people with which he shares little common language or customs. But Yusuf is... a beacon. A lodestone, one that draws Nico in and guides him. Keeps his... baser talents at bay, except when they are needed...

ㅤㅤㅤ“I can do this for you, Yusuf. I-- ” He seems to cast about for the words, clumsy even now in the Arabic it took him so long to learn. “…I am made for such things, for.. ah.. the craft of violence. You know it of me already." The Genoan extends his hands, palms presented upward as if they have evidence of his bloodshed on them, even now. "... so let me do that which I am made for... for You."

@immortalmuses asked “If you’re heaven, then tell me. I will kneel to every god. If you’re hell, then tell me. I will fill the earth with sin.” -

They've been travelling together for a while now, not quite friends until quite recently, but definitely as companions --- Yusuf's gotten used to defending Nico from sideways glances and offhand comments, first about his pale complexion and then about his strange manner.

Whatever the truth was, one thing was certain --- Nicolò wasn't good at being in society.

"That's not necessary," he waves a hand in dismissal, seemingly casual but there's something in the way he looks at Nicolò that suggests concern at this sudden declaration. Has he missed the signs of something brewing in the Genoan? Should he be worried?

[toastandjamie]

Things about the band of the red hand that I think about on the daily:

-all the nobles in the Band competing to be Mat’s Favorite Noble(the answer is Talmanes but no one tell them that)

-after the battle of Cairihan, Talmanes and Nalesian putting aside their differences to defend Mat’s honor from the perceived slight of him not getting a parade

-Talmanes clearly knowing Mat is trying to ditch them and proceeding to insist on going with Mat literally everywhere until Mat gave up

-every noble in the band preening over being on Mat’s short list of “tolerable nobles” they are very proud of this fact and will brag about the fact that Mat willingly interacts with them

-Mat, half delirious from pain, teaching the band Jak’o’shadows and immediately regretting it as the band begins to sing it at every given opportunity and adds an entirely new verse dedicated to him

-while Mat was stuck in Ebou Dar every member of the band that was not with him simultaneously feeling the Ta’veren pull like a Spiderman esque sixth sense for knowing their general is in trouble

-upon feeling the Ta’veren pull, Talmanes immediately guilting Egwene into telling him where Mat is

-the band collectively deciding that their Olver’s cool uncles and teaching him to gamble, flirt with women, use weapons, and steal horses. You know, like responsible adults.

-when Mat is at the tower of genji, Talmanes being left in charge of Olver like the worlds most reluctant babysitter

-after seeing Mat refuse Aes Sedai healing every single member of the band deciding that they to would heal the old fashioned way

-a large portion of the band going out and getting tattoos together after they officially became the Band of The Red Hand

-Mat making one off hand mention of the original Band of the Red Hand from Manethran and the Band deciding that that was now the name of their mercenary band despite Mat’s protests

-the band deciding that No, they will not serve the Dragon Reborn, instead they’ll enlist into the service of the guy who Does Not Want Them

-the band deciding that Mat was a lord on principle because he’s just that good at fighting battles

-not a single member of the band was ever revealed to be a dark friend, they all just genuinely wanted to follow Mat with no ulterior motives

-every member of the band being willing to die for Mat at any given moment

-when Mat initially showed up to warn the army that they were walking into a Shaido ambush, Talmanes calling Mat’s bluff and getting him to begrudgingly agree to leading a portion of the army

-Mat effectively death glaring the bands nobles into a meritocracy

[the-bi-library]

Bisexual BIPOC books

Here is the part one of my bisexual BIPOC books posts where I post books with MCs that are both bi and BIPOC

If You Still Recognise Me by Cynthia So A Map of Home by Randa Jarrar Son of Sin by Omar Sakr The Disasters by M.K. England Lulu Sinagtala and the City of Noble Warriors by Gail D. Villanueva Last Chance Dance by Lakita Wilson Iron Widow by Xiran Jay Zhao Notna by J.D. Cunegan To Shape a Dragon's Breath by Moniquill Blackgoose She is A Haunting by Trang Thanh Tran When the Stars Alight (The Essence of the Equinox, #1) by Camilla Andrew The Gallery of Unfinished Girls by Lauren Karcz Fall Into You by Georgina Kiersten A Lot Like Adiós by Alexis Daria Hani and Ishu's Guide to Fake Dating by Adiba Jaigirdar When It All Syncs Up by Maya Ameyaw Bidding for the Bachelor by Jackie Lau Bearly A Lady by Cassandra Khaw Between Bookshelves by Olívia Pilar Better Catch Up, Krishna Kumar by Anahita Karthik I'll Be the One by Lyla Lee Otherbound by Corinne Duyvis Cupid Calling by Viano Oniomoh The Nightmare-Verse series: A Blade So Black by L.L. McKinney A Dream So Dark by L.L. McKinney A Crown So Cursed by L.L. McKinney

[astrangetorpedo]

Julien Baker Track by Track - An Interview with Apple Music

“Everybody is scared of death or ultimate oblivion, whether you want to admit it or not,” Julien Baker tells Apple Music. “That’s motivated by a fear of uncertainty, of what’s beyond our realm of understanding—whatever it feels like to be dead or before we're born, that liminal space. It's the root of so much escapism.”

On her third full-length, Baker embraces fuller arrangements and a full-band approach, without sacrificing any of the intimacy that galvanised her earlier work. The result is at once a cathartic and unabashedly bleak look at how we distract ourselves from the darkness of voids both large and small, universal and personal.

“It was easier to just write for the means of sifting through personal difficulties,” she says. “There were a lot of paradigm shifts in my understanding of the world in 2019 that were really painful. I think one of the easiest ways to overcome your pain is to assign significance to it. But sometimes, things are awful with no explanation, and to intellectualise them kind of invalidates the realness of the suffering. I just let things be sad.”

Here, the Tennessee singer-songwriter walks us through the album track by track.

Hardline

“It’s more of a confession booth song, which a lot of these are. I feel like whenever I imagine myself in a pulpit, I don't have a lot to say that's honest or useful. And when I imagine myself in a position of disclosing, in order to bring me closer to a person, that's when I have a lot to say.”

Heatwave

“I wrote it about being stuck in traffic and having a full-on panic attack. But what was causing the delay was just this car that had a factory defect and bomb-style exploded. I was like, ‘Man, someone got incinerated. A family maybe.’ The song feels like a fall, but it's born from the second verse where I feel like I'm just walking around with my knees in gravel or whatever the verse in Isaiah happens to be: the willing submission to suffering and then looking around at all these people's suffering, thinking that is a huge obstacle to my faith and my understanding, this insanity and unexplainable hurt that we're trying to heal with ideology instead of action.”

Faith Healer

“I have an addictive personality and I understand it's easy for me to be an escapist with substances because I literally missed being high. That was a real feeling that I felt and a feeling that felt taboo to say outside of conversations with other people in recovery. The more that I looked at the space that was left by substance or compulsion that I've then just filled with something else, the more I realised that this is a recurring problem in my personality. And so many of the things that I thought about myself that were noble or ultimately just my pursuit of knowing God and the nature of God—that craving and obsession is trying to assuage the same pain that alcohol or any prescription medication is.”

Relative Fiction

“The identity that I have worked so hard to cultivate as a good person or a kind person is all basically just my own homespun mythology about myself that I'm trying to use to inspire other people to be kinder to each other. Maybe what's true about me is true about other people, but this song specifically is a ruthless evaluation of myself and what I thought made me principled. It's kind of a fool's errand.”

Crying Wolf

“It's documenting what it feels like to be in a cyclical relationship, particularly with substances. There was a time in my life, for almost a whole year, where it felt like that. I think that is a very real place that a lot of people who struggle with substance use find themselves in, where the resolution of every day is the same and you just can’t seem to make it stick.”

Bloodshot

“The very first line of the song is talking about two intoxicated people—myself being one of them—looking at each other and me having this out-of-body experience, knowing that we are both bringing to our perception of the other what we need the other person to be. That's a really lonely and sad place to be in, the realisation that we're each just kind of sculpting our own mythologies about the world, crafting our narratives.”

Ringside

“I have a few tics that manifest themselves with my anxiety and OCD, and for a long time, I would just straight-up punch myself in the head—and I would do it onstage. It's this extension of physicality from something that's fundamentally compulsive that you can't control. I can't stop myself from doing that, and I feel really embarrassed about it. And for some reason I also can't stop myself from doing other kinds of more complicated self-punishment, like getting into co-dependent relationships and treating each one of those like a lottery ticket. Like, 'Maybe this one will work out.'”

Favor

“I have a friend whose parents live in Jackson, where my parents live. They’re one of my closest friends and they were around for the super dark part of 2019. I'll try to talk to the person who I hurt or I'll try to admit the wrongdoing that I've done. I'll feel so much guilt about it that I'll cry. And then I'll hate that I've cried because now it seems manipulative. I'm self-conscious about looking like I hate myself too much for the wrong things I've done because then I kind of steal the person's right to be angry. I don't want to cry my way out of shit.”

Song in E

“I would rather you shout at me like an equal and allow me to inhabit this imagined persona I have where I'm evil. Because then, if I can confirm that you hate me and that I'm evil and I've failed, then I don't any longer have to deal with the responsibility of trying to be good. I don't any longer have to be saddled with accountability for hurting you as a friend. It’s something not balancing in the arithmetic of my brain, for sin and retribution, for crime and punishment. And it indebts you to a person and ties you to them to be forgiven.”

Repeat

“I tried so hard for so long not to write a tour song, because that's an experience that musicians always write about that's kind of inaccessible to people who don't tour. We were in Germany and I was thinking: Why did I choose this? Why did I choose to rehash the most emotionally loaded parts of my life on a stage in front of people? But that's what rumination is. These are the pains I will continue to experience, on some level, because they're familiar.”

Highlight Reel

“I was in the back of a cab in New York City and I started having a panic attack and I had to get out and walk. The highlight reel that I'm talking about is all of my biggest mistakes, and that part—‘when I die, you can tell me how much is a lie’—is when I retrace things that I have screwed up in my life. I can watch it on an endless loop and I can torture myself that way. Or I can try to extract the lessons, however painful, and just assimilate those into my trying to be better. That sounds kind of corny, but it's really just, what other options do you have except to sit there and stare down all your mistakes every night and every day?”

Ziptie

“I was watching people be restrained with zip ties on the news. It's just such a visceral image of violence to see people put restraints on another human being—on a demonstrator, on a person who is mentally ill, on a person who is just minding their own business, on a person who is being racially profiled. I had a dark, funny thought that's like, what if God could go back and be like, ‘Y'all aren't going to listen.’ Jesus sacrificed himself and everybody in the United States seems to take that as a true fact, and then shoot people in cold blood in the street. I was just like, ‘Why?’ When will you call off the quest to change people that are so horrid to each other?”

(x)

[geode-crystal]

@whumperofworlds this one is for you!

Characters involved:

Whumpee: Darius, "the Shining Knight"

Caretaker: Mianu, "the Lost Prince."

Some random Whumper idk

Contents: kidnapping, restraints (chains), a little bit of torture, a little bit of blood, a whole lot of angst

--------------

The prince’s quest was noble. No one could deny that. Noble, but very, very dangerous. And Darius had sworn—both to his prince and to himself—that he would protect Mianu with his life.

Prince Mianu’s self-assigned mission was meant to be kept secret. His identity was meant to be secret. No one, aside from those who needed to, was supposed to know he had even left his kingdom. It didn’t matter that he was still trying to set right what had once gone wrong. They were all aware of the risks. Of what might happen if someone found out he was royalty.

Darius was never going to forgive himself when he got out of this.

If he got out of this.

The first thing Darius had done when he was alert enough to be fully aware of his situation was fight against his chains.

This was a living nightmare.

Everything that had led to his capture came back to him in a rush. It had all been too simple. Too easy. He was supposed to be better than this. But a simple ambush had been all that it took. He’d allowed himself to get distracted. He’d been naive enough to let Mianu wander a few feet out of his sight. And he’d been jumped. Just like that.

Darius had put up a fight. But it wasn’t enough. All too soon, the world had gone dark.  

And now… here he was. Chained in enemy territory. No armor. No weapon.

Darius had been through a lot in his life. But had never felt so exposed and vulnerable.

He had to get out of there before anything else happened.  

His training ran through his mind. Don’t make any noise, don’t alert the enemy to your presence… but the enemy already knew he was here. Hells, they put him here. Find something to use to your advantage… but the tiny, dark room he had been thrown into was completely empty. And his hands were chained high above his head. Of course, there were cuffs around his ankles, too, despite being dumped awkwardly on the floor, left on bruised knees. He could barely move, let alone investigate.

Really, guard training had much more to say about avoiding getting into these situations than what you should do to get out of them.

He would have to complain about that later.

“Oh, good. You’re awake. I was starting to think my crew had been too rough on you.”

Darius went rigid. He’d never heard that voice before, but he knew that tone too well. His eyes quickly scanned the little room. Nothing. It looked empty. Felt empty.

Darius hissed out a rather un-knightly word. Magic. The one thing he couldn’t defend against.

“Who are you?” he shouted. “Show yourself!”

He could have sworn his captor was smirking. “Well, if you insist.”

There was a soft sound, like a curtain being drawn. And then someone stood before him. Nearly towering over him. A bandit or a mercenary, by the looks of her clothing and the dagger at her belt. A successful one at that. She was practically littered with rings, her belt embedded with gemstones. A pendant with a golden chain dangled from her hand.

Darius’ breath caught in his throat.

That was his pendant. The one that Mianu had given him. One of a matching pair, enchanted so they could keep in contact even if they were apart. So they could find each other when they needed to.

Seeing it in that woman’s hands made his blood boil.

“Who are you?” Darius snapped.

The mercenary raised an eyebrow. “You’ve used that one already. I’d hoped a royal knight would be more versed in the art of conversation than that.”

No. No. This wasn’t just some random kidnapping. She knew exactly who he was.

“Whatever it is you want, you’re not going to get it,” Darius said as firmly as he could.

But how? They’d been so careful not to be recognized...

The woman made a soft sound, almost a laugh. “Alright. I’ll play along. What, exactly, makes you think I want something from you?”

Dread seeped into Darius’ heart. He refused to let it show. He glared daggers at his captor, surging against his bonds as though he could break free by sheer force of will. His wrists were definitely mangled at that point. He didn’t care.

“If you wanted me dead, I would be by now,” he hissed. “You’ve had plenty of chances.”

“True.” The woman still spoke as though they were chatting about dinner. “But I have something else in mind.”

She took a single step forward. Darius stayed frozen, torn between trying to back up and trying to lunge forward again. He knew both options were stupid and pointless, anyway. But he wanted to do something. Anything, to try to get out of this, to try to get back to Mianu before his captor did something much worse than just knocking him out and chaining him up…

But the woman only dangled the pendant in front of him. The deep emerald in the center shone, even in the dark room.

“What a fancy little toy you have,” the woman sneered. “Not something an ordinary knight carries around, hmm?”

All of his instincts told him to turn away. To hide. But Darius refused to back down. He couldn’t show any weakness. Not now.

“I have no idea what you’re talking about,” he lied.

The gemstone flashed again.

The woman rolled her eyes. “Please. I daresay I know more about magic than the likes of you. Which is exactly why I need your darling little prince.”

Darius couldn’t keep his expression steady this time.

This was exactly what he’d been afraid of.

“What did you do with him?” Darius’ voice was far too soft for his own comfort.

And the woman had the gall to laugh. “Nothing. Not yet, anyway.” 

“If you’re expecting me to help hurt him—”

“No need to worry yourself over that,” the woman cut him off. “No harm will come to him. Or you, for that matter, as long as you both behave.”

“I will never do what you ask,” Darius snapped.

The woman’s smile was heartless. Sickening. “No need to be so modest. You’re already playing your part wonderfully.”

And abruptly, Darius understood.

Whoever this woman was, she didn’t have Mianu. But she needed him. Everything had been a trap... but for Mianu. Darius was only the bait.

He’d rather die than get Mianu mixed up in this madness.

“It won’t work,” he said firmly. “Whatever you want, he’ll never give into your demands.”

“Won’t he?”

The woman’s tone was still cool. Confident. She was utterly convinced she had already won.

“We’ve all seen how… fond the poor little lost prince is of his dashing knight,” she went on. “Hard to blame him. What a handsome face.”

She gripped his chin, twisting his head this way and that. Darius jerked free.

“Whatever sick game you’re playing—”

“Oh, enough,” the woman snapped. “Don’t you have anything better to say? Besides, we don’t need him, really. Just his magic. I’ve heard the princeling has a certain affinity for working in the shadows.”

Darius’ heart could have stopped beating and he wouldn’t have noticed.

“No… no,” he choked out. “He won’t—you can’t.”

He struggled against his chains again, knowing full well it was useless. He didn’t care. He couldn’t let Mianu use that dark magic again. Mianu had sworn he would never call on the shadows again. The magic was powerful, but dangerous. Incredibly dangerous. Mianu had almost lost an arm to those dark powers. He’d nearly lost himself. If he fell into that darkness again…

Darius couldn’t lose him. Not like that.

“You can’t make him use that magic,” he said almost desperately. “I won’t let it happen.”

“That is not for you to decide,” his captor snapped.

She straightened up, holding the pendant closer. It kept flashing. Mianu was desperately trying to contact his knight. And the mercenary knew it.

“Let’s send him a little message, shall we?” she smirked.

She ran her thumb over the face of the gem. And instantly, the flashing changed to a solid glow. Mianu’s voice filled the air.

“Darius? Darius, are you there? Where are you? What happened?”

“Good evening, little prince,” she said with a smirk.

The panic and desperation in his voice made Darius’ heart fracture. But he stayed silent. It was the only weapon he had.

Of course, his captor had other plans.

Mianu’s reply was instant. “Who are you? How did you get his pendant? What did you do to him?”

“Oh, don’t worry,” said the mercenary. “He’s right here with me. I promise he’s all in one piece. And if you want him to stay that way, then you’ll come and meet us. Alone.”

“Prove it,” Mianu demanded. “Prove that he’s there. Alive.”

The silence from the pendant was deadly.

Then...

The woman shrugged. “A reasonable request. Darius, dear, won’t you say ‘hello’ to your prince charming?”

If glares could kill, the woman would have fallen on the spot. But Darius said nothing.

The woman sighed. “Have it your way, then.”

There was a brief flash of light. A single whispered word. Darius had no idea what spell hit him. But it felt like a knife slicing right into his side. It must have made a seeious cut. He could feel the sting of it. Could feel the blood slowly soaking his tunic.

But aside from a quick gasp, far too soft for the pendant to pick up, he made no sound.

The woman clucked her tongue, as though chiding a small child. “You’re only making this more difficult for yourself, you know.”

Darius still said nothing. Not aloud. But in his heart, he screamed out, as though Mianu could hear his silent prayers.

Don’t listen to her, Mianu. Just run. Don’t let her get to you. It doesn’t matter what she does to me, as long as you’re safe…

His captor scowled. She closed the distance between them in a few strides. And she kicked him, hard. Right in the gash she had just made under his ribcage.

Darius screamed. He couldn’t help it. The cry was forced from him as easily as the air was forced from his lungs.

Mianu swore. “Darius! Just hold on. I’ll find you. I’ll get you out of there, I promise.”

“No!” Darius’ shout was more like a cough. “Mianu, don’t! Stay away! She’s going to—”

He was cut off with another cry as his captor delivered another sharp kick. Darius was nearly doubled over at this point. If it weren’t for the chains holding him up, he would have crashed to the floor.

“You’d better hurry, princeling,” the mercenary sneered. “Or your knight in shining armor will face far, far worse than that.”

“If you touch him again, I swear you will pay,” Mianu growled.

“And if you try any tricks, he’ll be the one to suffer for it,” the mercenary replied colly. “See you soon, your highness.”

She ran her thumb along the gem again, cutting off the connection. Then she tossed it over her shoulder. It clattered to the floor in some hidden corner of the room... where it distinctly cracked. Darius winced. He hadn’t just failed to protect his prince. He’d managed to lose an important gift from him, too.

He was a failure. As a knight. As a partner.

The mercenary’s eyes flashed. She looked almost like a kid on her favorite holiday.

“Well done,” she hissed.  “You played your part perfectly. Just like I told you.”

And something inside of Darius snapped. He forced himself as upright as he could get. It took much more effort than he would ever admit. And he couldn’t get his breathing steady. He hated himself for being so weak, for nearly crumbling after so few blows.

Mianu deserved better than that.

But he would not show this monster how weak he was. He would not allow himself to truly fall.

“You’ve made a big mistake,” he choked out. “Mainu’s stronger than you know. And he will show you no mercy.”

If he had hoped to intimidate his captor, he was severely disappointed.

“I don’t doubt his power,” she said smoothly. “I need it. Or have you already forgotten? I didn’t hit you in the head, you know. Though that can be arranged.”

Darius didn’t rise to the jibe. He kept fixing the mercenary with the coldest glare he could manage.

And she laughed again. “What a pathetic showing. I’m sure you think your prince is strong, but I promise you, I am more than powerful enough to handle anything he will attempt to use against me. And failing that… I hold all the cards.”

She sneered at Darius. Darius kept his expression cold and harsh. At least, he tried. He wasn’t sure if he succeeded.

Hope and fear warred inside of him. He knew that Mianu was on his way. That the prince would do everything in his power to save him. It would have been reassuring… if that hadn’t been where the danger truly lay.

If Mianu was hurt—or worse, if he actually gave in and broke his promise, if he used his magic again—it would be entirely Darius’ fault.

A part of him truly hoped that Mianu wouldn’t risk something like that. But his hopes were dashed all too soon. It wasn’t long at all before Mianu arrived.

The first sign of it was the cold. One moment, the small room was just as annoyingly warm as always. The next, the air was like ice.

The door burst open. There was a hissing sound, one that was all too familiar to Darius. And a figure stood in the doorway, a single point of brightness against a wall of shadows. Magic curled around his arm like whisps of smoke. 

A powerful voice rang across the room. A voice full of the type of fury that only royalty could truly summon.

Royalty… and a very pissed off boyfriend.

“Let. Him. Go.”

Shadows howled along with him. Darius’ heart pounded. Mianu had found them. And his power was already unleashed.

[almdragonrend]

I have somthing I really need to say, I don't get how FL could be popular, I mean if you think for a moment about it even OG Katarina is morally superior to the Heroine in Maria and all The Capture Targets in the story, I mean nothing against an Evil protagonist or a good antagonist, but than don't portray Katarina as a Villain and Maria as a hero ! That's wrong! Katarina leaves Maria completely alone in both the Nicole and Alan route, meaning she only opposed Maria when she's trying to seduce HER fiancée or mess with her family or do both in the Harem route!

Than the fact that she's accused of bullying those bellow her station is bulls* she only bullied Maria who I just said why she did it and Keith whose arrival at HER HOME turned HER PARENTS against eachother when she was a Child! That doesn't make it right but she couldn't know that this wasn't his fault, and his own original family wanted to kill him! Luigi saved his life and that's how he thanked him ?

than Geordo she gave almost half her life up to that point in complete support and devotion to that mother fu* and he swore an Oath to marry her! I don't think many people get how bad a possible future king breaking an Oath is especially considering Geordo's Grandpa's actions,

further more Katarina actually don't mistreated dose below her status, first her Maid Anne who despite being related to Nobility is herself a Commoner just like Maria and Katarina even in FL verse treats her like a Sister more than a servant!

Next there's Sianna, she's the bottom of the barrel of Nobility and still Katarina cherished her more than anyone else! This makes the claim of her bullying people for their status down right nonsensicaly!

Especially when she's the only one who never partake in bullying everyone's favorite Target Sophia Ascart, since we see in VOD is never once mentioned that she did so when Sophia joined her book club, that would have had to be brought up than ! Meaning is the only Noble Girl who didn't bully Sophia! (Except Marry) and it's even implied she discouraged others from bullying Sophia!

When Bakarina in verge of doom just assumed OG Katarina bullied more people and wanted to apologize during VoD judgment event no one spoke up! And that Is most likely because she never bullied anyone other than the Girl who tried to steal her fiancée and/or shame her family!

Also, it's said that Katarina's bullying was only on the very edge of Criminal, meaning she never really committed a crime, the one attacking Maria with fire was Noelia, who acted on her own accord!

Keith and/or Geordo basically rigged the Trial to get Katarina stripped of her status and exiled which is a way to hard punishment anyway! When she comes back with dark magic she didn't even kill someone for it! She just had it !

And that idiots in the development team must have believe that this made her appear more evil since she's just born with the "bad magic" but instead it just means she didn't kill anybody for it ! Right OG Katarina is not a murderer and the idiots of the FL development believed Katarina being NOT a murderer makes her more evil than people who literally commit murder to get the same magic! what does that say about their Character ?

I heard a lot about people saying something for a Original Katarina redemption arc and I really hope she gets an happy ending, she deserves it but what people need to understand is Original Katarina dosen't need an redemption arc because she has not done anything so bad that she deserved getting to that point anyway, instead she deserved a pretty enormous apology from Geordo, Keith and Maria

To give her a redemption arc basically means recognizing Maria, Geordo and Keith, Cheating, betraying,Oath breaking and manipulate a Chords to commit prejudice as a good thing, Original Katarina shouldn't have to apologize to them! They should have to apologize to her! Even when something like that calls for ways more than an apology! And first of all her entire sentence should be revoked !!!! + there has to be compensation for everything she had to go trough!!!

[restlesspazzi04]

Here’s a poem for u💅

In gratitude's sweet embrace, I pen this verse,

To thee, restlesspazzi, for thy noble deed.

Chapter seven, now unveiled, doth disperse

The darkness of our wait, a light indeed.

Thy efforts, tireless, bring joy to our hearts,

Each word, each line, a treasure we hold dear.

In realms of story, where imagination starts,

Thy gift, a beacon, ever shining clear.

So here, in humble rhyme, I thank thee true,

For sharing with us all, thy wondrous view.

poem so good made me get started on chapter 8

wasn't gonna start until the weekend but that was amazing made me wanna write LOLLL

[killakalx]

I wanna have a steamy make out sesh with one of the boys like notgthing else just a teasing make out sesh and that’s it

I need that cause i made out with some guy behind the barns and noble and ever since then I’ve just been thinking of making out with Roy, Jason, or Dick

Idk I’m losing my mind. I don’t even rember the guys name lmao

Also when u think of college au or frat boy Dick and Roy are they still vigilantes or is it a no capes au? Sorry if everything is jumbled just watched the dark harbor 1998 movie and also I’m tired love u Pookie and ur beautiful gross brain

Muah ✂️✂️✂️✂️

-🫶

“steamy make out sesh” god i just moaned. im so WEAK for make outs, with any of my faves. drool everywhere, needy groping, pulling them closer like their tongue isn’t halfway down your throat already (or vice versa???). make outs where you need to be inside the other’s skin. aka me and jason. friendship full of sexual tension and you think it’s finally solved when you’re tipsy and already in his lap, all types of grinding, just for both of you to leave high and dry. this is more of a rant bc i’m very well versed in this trope iykwim but still 🫶🏽 nonnie, ik you see the vision. and not remembering the guy’s name is hilarious 😭😭 did y’all just never see each other again or what

and yes, most of my writing is done in a no capes au unless bringing up their patrol or suit (or anything related to them being vigilantes) is needed for the sake of being horny. bsf!dick is also specifically no capes, and i think the only time i have written for capes is for ak!jason.

i hope you got some rest!! i love you and your whorish ideas too babe 👩‍❤️‍💋‍👩

[thatshakespeareanfool]

I hate that The Noble House of Black is essentially House Targaryen in the HP verse and yet the fandom is afraid to keep their dark glory.

Being so arrogant that you think you are higher than everyone even other noble bloods so you intermarry because there is power in blood, having mansions full of life and unique architecture, in whose halls they open the year with annual Black Gala. By being an important family sobyou control the political stage, having a vault so deep in Gringotts so a dragon keeps their watch on them since it's full of treasures pilled up by a millennium of Blacks.

Blacks are named after stars and constellations declaring that they are larger than life , they are part of something greater than anyone else.

Yes ,they are disfunctional and toxic who have unhealthy relationships and haughty in a way they are running straight into their hubris, but that's what makes them interesting.

Making them into an ugly, always abusive family from where you need to save your previous babygirls is the ruin of House Black. Also

For some godforsaken reason the found family trope worths more in this fandom than writing fascinating character and family arc for people with views you don't agree with so I am standing lonely with a few people on my side waiting for the true glory of House Black rise again.