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theglassofmiddleearth · 2 months ago

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Real or not real?

Teaser

James Potter X reader. Slow burn. Warning for domestic abuse and neglect (Black family)(no Lily slander) Around 3.3k words? Fifth year start.

A Spotify playlist of some ambient music!

Autumn in the Scottish Highlands was, in itself a reason to attend Hogwarts. Blue September skies, speckled with wispy clouds. The falling bronze leaves and the red hued sunsets.

This was no less than a second home to most students. A safe haven if you will. It was good to be going home.

She had grown up with Sirius and Regulus so her regular residence wasn't much of a home. Her parents Ignatius and Lucretia (Black) Prewett had left her to Orion and Walburga often so they could travel around France. Noone actually knew where they would be or for how long they would travel. Only that they were always gone for indefinite amounts of time. They never sent letters, maybe an odd postcard or two. Y/N kept them hidden in a drawer in her room. (Call her sentimental if you will.) The terrible house of Black had adored her until she was sorted into Gryffindor along with Sirius. After that, they were both called blood traitors and treated as such. However, being someone else’s child, they treated her with less disdain than Sirius. That being said, they weren't the kindest of people, if at all.

Y/N would bring Sirius half her food when he would get sent to his room early without dinner. (which was quite often.) Sneaking things in her long sleeves and pockets whenever she could. Strangely, Kreacher had caught her once, but he said absolutely nothing and pretended that he saw nothing. (She would not forget this kindness.)

Things only escalated when they reached their, now, fifth year. Y/N always took her yellings, occasional threats, and hexes in silence whereas Sirius would fight back. In a way, she admired him for his bravery, knowing that he possessed the strength that she lacked. Whereas, his admiration for her resided in her refusal to back down, cry or beg. They had a mutual respect for one another. On another hand, she was somewhat envious of Regulus, he was apparently the perfect child who was, (seemingly) loved.

That was until she started to notice the bags under his eyes at the beginning of this year. She hadn’t really had the chance to talk to him, between Walburga’s looming presence and by the younger boy’s being sorted into Slytherin. However, she had the feeling he wasn’t exactly taking up his family ideals to heart.

Ever since fifth year began, Y/N and Sirius had never again called 12 Grimmauld Place home.

Y/N kicked her feet rhythmically, leaning her head on Lily Evans' shoulder. Their Hogwarts express compartment was filled with chatter, a welcome distraction from her thoughts. Somehow, over the past four years, she had been adopted into the gryffindor group of girls in her dormitory. Lily, Alice, Marlene, and Dorcas, had patiently and painstakingly, coaxed the girl out of her shell. Y/N was truly grateful for their friendship. In the beginning she couldn't help feeling that their kindness was based on pity. That had made it hard for her to trust them. This meant that before fifth year, she had never really interacted with them outside of the Gryffindor house dorms.

Marlene and Dorcras were pelting question after question at Alice, wanting to know the details of her crush on Frank Longbottom. Ever the curious couple, Y/N felt slightly glad that she wasn’t on the receiving end of their questions.

‘You’ll be “Alice Longbottom” one day.’ Y/N grinned teasingly at the girl with the pixie cut.

Alice laughed before shrugging good naturedly, 'We’ll see. Frank is awfully shy. I might have to be the one initiating everything.’

Marlene cut in with her arm around Dorcas, ever a picturesque couple. ‘And Lily’s last name will be “Potter!”’

Y/N stifled a giggle at the comment.

Lily gagged before letting out a sigh, ‘It’s not that Potter isn’t just a complete tool. I’m also just not into men.’

Y/N shrugged. ‘Yeah, you keep making eyes at Emmeline Vance during charms. It’s actually kind of sickening how adorable your pining face is.’

Lily flicked Y/N’s nose. ‘When are you going to start hanging out with us outside the dorms? All you do is go to the library or hide in the kitchens and bake while chatting with the elves.’

Dorcas pouted, adding, ‘You don't even sit with us during class!’

Y/N winced while casting her eyes down. Another thing, she really didn’t like drawing attention to herself or loud noises. Those things usually lead to shouting and maybe a raised hand back at Grimmauld Place. They caused an unpleasant reaction out of the girl.

‘I can’t do crowds, I really am sorry. It’s not that I don't want to, you’re all lovely but-’

‘That's alright, you take your time love. You'll come talk to the rest of us when you're ready.’ Alice gently reassured her, patting the girl beside her on the arm.

Y/N smiled gratefully. The girls weren’t at all pushy about getting Y/N to hang out with them. However, they did always ask. They wanted her to feel and be included. None of them ever took a rejection personally. It was what made Y/N lower her walls all the more.

Lily ruffled Y/N’s hair affectionately. The rest of the girls continued their chat whilst the introverted girl stared out the window, still leaning on Lily’s shoulder, taking in the view and enjoying the company. The dark pine trees that littered the lands surrounding all the lochs, glittered in the rare sunlight. She let out a soft sigh, allowing herself to relax, just for that moment.

The hustle and bustle of the students, all ecstatic to see each other again made Y/N giddy. She had, however, skipped the feast, opting to go say hello to all the elves who had finished preparing the feast. She particularly enjoyed Wigby’s desserts. (He was admittedly her favourite house elf.) He made the best sweets which led to Y/N learning all her baking skills from the friendly house elf.

The halls were electric with energy, almost tangible. This year Y/N and her friends were to be taking their O.W.L exams. To be honest, she was completely ready, having already studied up to the N.E.W.T level of all her subjects. Studying and reading at Hogwarts was her escape, truly. She padded into the first class, Potions. She slipped into the seat next to Lily, quickly giving the red haired girl a gentle squeeze on her hand and flashing a smile at the rest of the girls who greeted her enthusiastically. They had convinced her to sit with them during classes this year instead of her usual spot at the back away from prying eyes.

As they continued their conversation, Y/N unpacked her quill, and parchment while waiting for the lesson to start. As she doodled a small picture of a cauldron, a cocky voice crooned out. ‘Ah, my sweet girl, how I’ve missed- Who are you and why are you in my seat?’, James Potter. Lily’s self proclaimed “sweetheart” word vomited at the poor girl.

Y/N gripped the desk tightly, her knuckles turning white. Confrontation, how lovely. As much of an amusing topic of complaint he was that she had heard from conversation with the girls. He was completely unfamiliar to her. She found a spot on the table and stared at it with the utmost concentration, unable to bring her eyes to meet the owner of the voice. Lily also ignored the voice. Instead opting to cover Y/N’s hand with her own, continuing her conversation with Marlene, and Dorcas about the importance of studying for their O.W.L’s

‘Ah, you’ll survive the lesson James, come on,’ a voice drawled, waving James away. A voice which Y/N immediately recognised as belonging to Sirius.

Y/N looked up and turned around, wanting to meet Sirius’s eyes to mouth a, “Thank you” but her eyes met hazel ones instead.

‘Oh.’ James mumbled with wide eyes. He was standing right behind her, not having moved back to his actual “spot”.

Y/N’s eyes darted away immediately before finding Sirius’s. His eyebrows were raised with mirth and he smiled, shrugging his shoulders. She flashed him a small smile before turning around, basically ignoring James Potter. This was new. People didn't usually ignore him. They would at least retort with something witty, but to be completely silent?

‘Mr Potter, I trust you will be able to find your seat?’ Professor Slughorn called out, striding into the classroom, his large belly preceding him through the door. He was Y/N's favourite professor. He was kind to Lily and Y/N. (Probably due to their prowess in potions but nonetheless!)

‘Yes sir.’ James sat down without protest, his gaze lingering on her before his thoughts were interrupted by Professor Slughorn. He hadn’t noticed her before. How had he not noticed someone for four years?

‘Today, we will be assigning our first assignment of the year. An essay on polyjuice potion. Four weeks sounds like ample time does it not?’

As the professor announced their first assignment. James couldn't help but notice how Y/N avoided looking in any direction that wasn't the front or her notes. He leaned in close to Sirius, whispering just loud enough for him to hear amongst the groans of the class,

‘What's her deal?’ He asked, glancing at Y/N again.

Y/N dutifully jotted down the specifics of the assignment, (unbeknownst to her) under James’s gaze, allowing Lily to periodically glance at her notes. She whispered something into Lily’s ear to which the redhead smiled at her and nodded.

‘What are they whispering about?’ James nudged Sirius again.

‘Y/N probably asked if Lily wanted to pair up.’ Remus interrupted. ‘She is rather shy.’

‘You know her?’ James gaped at the sandy haired boy.

‘James, Y/N has been in our classes since first year. She just doesn’t really talk.’

‘Besides, you’re too busy pining over your “Lilypad” to really notice any other women.’ Sirius mused with his arms crossed, feeling slightly protective of his little cousin.

‘And how do you know her?’ James retorted. Ignoring Sirius's quip, however true it could have been.

‘She’s my cousin.’

‘Huh.’ Remus blinked.

‘You didn't know that?’ James glanced at Remus ‘I thought you knew her?’

‘No, I just know she’s practically topping almost every class, she doesn’t really speak to-’

‘Now boys, would you like to share your conversation with the rest of Gryffindor and Slytherin?’ Slughorn called out to the boys, his large walrus moustache twitched above his lip, the man seemingly amused by their chattering.

‘No sir.’ Remus replied evenly.

‘Well then! I shall announce the pairings for the assignment!’ He smiled merrily, ignoring the cries of protest from the rest of the class.

Y/N’s face paled and she whipped her head to look at Lily. Usually they were paired off in their seats, not randomly. Y/N had truly enjoyed his classes up till now but this? Suddenly Slughorn was rapidly losing his status as favourite professor.

Lily looked at her worriedly, “Lets just hear who you have to pair with. If it's someone obnoxious, we’ll go speak to the professor or I’ll swap with you.”

Y/N’s heart swelled with emotion at her friend's empathy.

‘I couldn’t ask that of you Lily.’ Y/N whispered, misty-eyed. Kindness was a luxury that Y/N had so often been not able to afford for so long. Seeing it up close and displayed just for her, she couldn't help but be slightly overwhelmed.

‘It’s okay, I’m the one who offered.’ Lily patted her arm, reassuring the fidgety girl.

‘If I could marry you Lily Evans, I would do it in a heartbeat.’ Y/N tugged at Lily’s sleeve, looking down bashfully.

‘Now if only you were into women.’ Lily grinned, squishing Y/N’s cheeks with her hands gently. ‘What a treat you would be.’

‘Lily!’ The shy girl pouted, batting away the other girl's hands playfully.

‘Ms Mckinnon, and Ms Meadowes,’ To which the couple let out a happy cheer.

‘James Potter, and Lily Evans,’ Lily slumped over immediately, letting her head rest onto the desk with a quite audible Thwump! To which Y/N giggled, at her sudden change in demeanour.

James was completely caught off guard when Professor Slughorn announced his partner for the assignment. He had been so preoccupied with the revelation of Y/N being related to Sirius and trying to figure her out that he hadn’t even been paying attention to the teacher. He couldn’t help but let out a small chuckle at Lily’s exaggerated head bang onto the desk after hearing her own partner. Before he could think of a witty comeback, he heard the next pairing.

‘Sirius Black, and Y/N Prewett.’ Y/N perked up, looking at Lily with bright eyes, shaking her head with a smile. This was one of the people she would be able to work with!

‘Remus Lupin, and Peter Pettigrew.’ The two boys subtly high fived. Strangely enough, James wasn’t making a huge fuss over being paired with Lily. Strange enough for even Y/N to take notice, though she refrained from commenting.

Remus took a side glance at James, he wasn't sure if he would regret asking his friend his question.

‘You're not ecstatic over being paired with Lily?’ Remus questioned.

‘I am, I just...’ James shook his head. At this point, he knew Lily wasn't into him. In fact, he wasn't even sure she liked men. He wasn't the only boy in Hogwarts to have ever asked her out. At this point, it was just a long bit and a way to keep other girls from approaching him.

Sirius smirked knowingly. He may have been a lazy student but he sure as hell wasn't stupid. He could tell that after third years incessant rejections, James had no desire to date LIly ever since.

‘Since you all feel the need to cheer at each pairing. I shall leave the list on the board and you can all cheer at the same time. Take this time to move into your pair and discuss your assignment. That'll be all for this lesson. Welcome back students.’ Slughorn's eyes glimmered with amusement, revealing the quip towards the class to be good natured. The professor sat back down at his seat as the class began to disperse once again into chatter and movement. He generously answered stray questions from the students who wandered to his desk in need of assistance.

Y/N stood up and walked over to Sirius’s desk and nudged his foot with her own. Grabbing his attention soundlessly.

Sirius gave her a genuine smile and shoved James with his shoulder.

‘Go over to your “Lily flower”. I’ve got to discuss the assignment with my partner.’

James blinked owlishly at Y/N, still taking in her very existence.

‘Sorry?’ Y/N whispered, looking at him hesitantly.

‘Quite alright,’ James nodded, standing up to walk towards Lily without his signature smirk.

Y/N sat down with Sirius and smiled shyly before asking, ‘Is Potter alright? I thought he would be thrilled to be up partnered with Lily?’

Sirius blinked, ‘You keep up with this stuff?’

Y/N tilted her head from side to side, ‘Not particularly, more like I listen to Lily complain in the dorms. It’s hard to miss. She says he's quite…’

‘Stubborn?’

‘We’ll go with that.’ She quickly agreed, not wanting to rat out her friend.

‘Hey so this means you finally have to talk to me outside of our house.’ Sirius teased.

Y/N grinned at him and retorted, ‘I’m not sharing my food with you here at home Sirius, we get plenty to eat here.’

They shared a smile. Knowing they had each other's backs even without constant catch ups was a good feeling. The unspoken bond they shared wasn’t obvious to outsiders, but Sirius and Y/N knew, and that was enough.

‘So, the assignment. We’re describing how to brew the potion, all the ingredients and for extra credit, we can list out the dangers of the potion such as the errors.’

Sirius sighed, ‘I’m not really good with the-’

‘You’re good at finding information, I’ll handle the writing, you just tell me the information and I’ll make it sound good!’ Y/N nodded excitedly.

‘What do you mean?’ Sirius stared blankly at the girl, completely unconvinced.

‘You always know where, how and who to prank! It's the same thing!’

‘It’s completely different.’ Sirius deadpanned.

‘Where did you learn the hair changing spell?’ Y/N crossed her arms.

‘In a transfiguration textbook. I was putting the books back in the library after Remus and oh-’ Sirius nodded slowly as he came to realise what the girl meant by being “good”.

‘See?’ Y/N smiled at him brilliantly, seeming proud of his (apparent) talent.

‘Y’know, this is nice, why don’t we do this more often.’

‘I don’t do-’

‘Crowds, yeah I know, and at the house, we’re too emotionally exhausted to talk.’

They both let out a heavy sigh before chuckling at their shared experience. Comfortable silences were rare, but with each other, the cousins were able to revel in each other's company. A truly unique connection formed by trauma. 'At least something good came out of it?' They had mused.

As the rest of the class chattered away, discussing the project or just gossiping, Y/N and Sirius decided to meet up after dinner that night and every wednesday. The pair knew they had Defence Against the Dark Arts next. Sirius offered to walk with her to class, to which she accepted gratefully, mentioning Lily and Alice would probably also be with her.

As the class began to filter out, Lily and Alice had walked over to Y/N to wait for her.

‘You’ve got DADA next, with us right?’ Alice beamed.

Y/N nodded, somewhat feeling excited to have people to walk to class with. Being with three people wouldn't be a crowd!

‘There's a new teacher this year!’ Lily supplied this new information.

‘Again?’ Y/N wrinkled her nose. It was rather strange actually, ever since professor Merrythought had retired, it seemed as if every Defence teacher had resigned after a year.

A rather strange situation, but, none of her concern.

‘Who is it?’ She asked as a passing question, not overly invested in the answer.

‘Some guy named Knittingley.’ Remus piped up from behind them, startling Y/N into almost dropping her books.

‘Sorry love,’ he grinned sheepishly, ‘you alright?’

‘Ah, you down right scared the poor thing, Remus. Now she won't ever talk to us again.’ Sirius whined before breaking into a cheeky smirk, waggling his eyebrows up and down.

Y/N considered throwing something at her relative but then decided it would be too much work and that her books weren’t made for throwing.

‘What’s the hold up?’ James questioned from the doorway, calling out to the group, ‘lets go, Peter’s already gone ahead.’

Suddenly it wasn’t only three people anymore.

Somehow, Y/N had been looped into walking to class with five other people. Technically five was a group, not really a crowd, right? Sirius had swung his arm over Y/N, as if preventing her from running away.

Lily and Alice were in the front, enthusiastically discussing the topics of the next class. They were fervently hoping that their first class wasn’t going to be a revision on Boggarts, as they knew it would be in the curriculum.

Meanwhile, in the back, James was asking Remus about something about mandrake leaves and cycles of the moon.

In the midst of her conversation with Sirius, their formation, Y/N noticed. It seemed like almost a barrier against other students? Y/N internally shook her head. Most likely a coincidence, right? Why would it be intentional?

Sirius was babbling on, about the effects of conditioner on hair and how he found it amusing that James would use one that had a charm to make his hair extra bouncy. Y/N had stiffened a chuckle at this while James whined as he heard this and protested that he needed the extra shine and bounce.

‘It makes me look nice!’

To which Y/N nodded along, looking at Sirius, not noticing that James had beamed when she seemingly agreed. Remus looked on with a rather pleased smile, his nose scrunching. He had always wanted to befriend the shy girl. Now that she had somehow mustered up the courage (been practically physically restrained) to keep up with their group. He, along with the rest of the group, was excited to witness this side of the girl they had never seen before.

Unbeknownst to Y/N, her fifth year would be the true beginning of her life at Hogwarts.

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AND THATS CHAPTER 1 DONE! Lucky for you guys (all like 7 of you) I have the ENTIRE story planned out! All there is, is for me to flesh it out! Please like or comment if you'd like another part! (if not I'll still probably post it, I'm too excited about this!) This isn't inline with my Pethryn story line and I have taken some liberties! I'm sorry again if you don't particularly like this! We will be delving into Remus being a werewolf, the Marauders map and fleshing out Regulus and Snape's characters! (possibly Peter as well. I kinda hate that guy 🤬) ALSO YES THE TITLE IS LOOSELY INSPIRED BY THE HUNGER GAMES!

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Okay, I changed my mind, I want this to be a long form fic- THIS IS NOW JUST THE TEASER

#james potter fanfiction #james potter x reader #sirius black #sirius black x reader #sirius x reader #remus x reader #remus lupin x reader #marauders x reader #marauders era #james potter imagines #sirius black imagines #remus lupin imagines #marauders fluff #the maraunders map #wizarding world of harry potter #harry potter imagines #harry potter fanfiction

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sage-is-in-fact-very-tired · 4 months ago

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might've cooked too hard on this. it sure is. so many worbs. [18,320 words, to be exact.]

but, i commit to my bit, and I will continue to do so because i'm a *loser* - so, welcome to the “sage looked at the c!sherb playlist and went far more bonkers than probably necessary” post. because uh. nothing i say ever stays a bit very long-

—

[Section One - Man. Icarus Morningstar is such a character. The most character of all time.]

-> [Icarus]

-> In my mind, this is 2 to 3 people talking to/about Icarus. The first section, up until the instrumental in the middle, being Centross. Just the whole idea of drinking, it feels very much Centross about them. (“Living beyond your years” is very reset coded - not Centross talking about them, but the rest of that section definitely feels like Centross.) The second section, up until “you put up your defenses when you leave”, is very much Fable talking about them. Just the whole idea of them falling - he would've been the one to see that - and the whole idea of him being scared of that happening again and again and *again.* The last section, following that, could be argued it's either Centross or Rae. How they both know that Icarus puts up this front, this armor, when they talk to people, when they walk around, and only really *really* drop that when they're alone or when Centross or Rae is around. (Well. There's an argument that they *don't* drop their walls completely around Centross or Rae, but this is playlist analysis, not character analysis-)

(Also the whole reset idea of Icarus dying over and over again, forgetting over and over again - falling over and over again.)

-> [Redesign Your Logo]

-> This is very much about the whole change from *just* yellow's and golds, to the yellow and purple color scheme they end up with due to the eye. It's very Midas to Icarus coded, basically. Because as a kid, they were mostly dressed up in yellows, but as time went on, and as the eye happened, and as the resets started, that *changed.* they shifted into wearing purples more often, mixing them with yellow - for all intents and purposes, redesigning the logo they had previously had. Also the whole idea of the trident changing from the trident to the Quixis symbol - cause. Yeah that's kinda Icarus’ logo. (The argument could also be made about how they become nicer with the eye and the following resets - their logo, their typical-ness of being a snarky asshole shifts into being something kind and caring and compassionate. It's Redesigned, and it's at least *partially* Midas’ doing.)

-> [Any Day Now]

-> Icarus about the wack. How they want it to stop, *think* it will stop, soon. It'll stop ‘any day now’ - it can't keep going forever, can it? (Also the pain Icarus is constantly going through - the bad, the horrible and the terrible and the suffering - it'll stop eventually, right? It can't keep going on forever - it'll stop any day now as long as they can *make it* there, make it to the point they're good and happy and it can stop. They just have to keep going and it’ll *stop.*)

-> [&]

-> Icarus’ hypocrisy. How they do things, harm, yell at, everything like that, to others - while doing the same things they're berating others for themself. How they'll do one thing, and call it fine, while criticizing that *exact* same thing. Also could be seen in a light of Fable talking about Icarus’ actions and friendships and things of that sort.

-> [Comb Attack]

-> Okay this one is. Mmm. Okay. Most of the words in here are very glitchy, very cut off from each other - something about the resets cutting off Icarus? Cutting their words off, cutting their actions off, cutting their memories off, *glitching* them.

-> [Hungover in the City of Dust]

-> Icarus’ Isolation. How their friends are constantly leaving them alone and isolated, and how they're constantly pushing people away, and how they're left running around in circles trying to catch up, trying to save themself, figure out what's wrong, figure out how to *fix it.*

-> [Mr. Backwards]

-> Icarus’ more backwards way of thinking. How they'll tell you what they *want* How they're hurting, but they're not going to tell you. How they're trying so desperately to not let people see that, seem so backward to others.

-> [Never Meant to Know]

-> Just the whole idea that there is so much about this world that Icarus cannot and should not be privy to until the correct time - how they live their life rather peacefully up to that point, not knowing, never knowing. The whole idea of the resets - and how really, truly, Icarus wasn’t supposed to know about *any* of this, how they were supposed to be *dead* and they’re not, they were genuinely *never* meant to know.

-> [Out of the Box]

-> Resets. The whole idea that Icarus has died again and again - and that whole like. Abrupt manner of the resets. How they can be doing something one moment and the next they're outside, surrounded by grass and surprised.

-> [Digital Silence]

-> Icarus siding with Fable, and really, Icarus’ actions in general - How they have to do this, regardless of what others say, and regardless of how it makes them *feel* - they *need* to do what they're doing right now; it's all a means to an end and they *need to* do it - because if they don't, things could go very wrong and very different. (Different in a bad way, of course.)

-> [Alien Blues]

-> Just kind of describing Icarus’ whole life - the pain, the bad, the terrible. The whole idea Icarus plays everything off as a joke - they *don't* let people see what really happens, and the snark and asshole attitude people give them because of that. Also maybe the whole idea of the way the things snark them sometimes after bad things, when they're repeating history in a bad way. (Also also also “I'd do anything for you, Mrs. Highness” something about how they’d do anything for Fable, *anything* - even if it meant killing their family, if it meant that he might love them; if it meant they’d be good and they’d have succeeded in something - succeeded instead of *failing.*)

-> [Under My Skin]

-> Just. Everything with being not entirely yourself. Everything about being yourself on the outside, but having someone else simmering right under your skin, telling you things, making you do things. The entire idea that Icarus isn't entirely all *themself.*

-> [Able]

-> That whole idea of Icarus not wanting to be alone in their own mind sometimes, on top of wanting to just be *fine* - on time of trying to so desperately *convince* themself that they're all entirely and completely fine. Saying it out loud so it properly sets into their mind, so it properly comes to fruition.

-> [Mirror Man]

-> That need to be *seen* by someone - anyone. That need to be heard and seen and known by someone - and the knowledge that if they don't, Icarus will make it worse for not only themself, but *everyone* else - make them live Icarus’ nightmare.

-> [Brass Goggles]

-> A) Copper duo; B) That whole idea, almost, that Icarus likes to shove down their feelings. They like to pretend the Icarus that has bad, upset emotions doesn't exist - at least, when in front of people. That whole idea that they try to present themself as someone who doesn't break down in front of others, they try not to cry and they try so desperately to keep this facade up and teach themself more as time goes on how to do so.

-> [Bleed Magic]

-> In my mind, this is very Midas talking to Icarus. Just that whole idea of Midas knowing what Icarus is like; that whole idea that Icarus is *lonely*, that no one believes them just because of how much they *lied*, and is, somehow, bleeding magic out. Literally, in the direct form of Sherbert's eye (Which was, in a way, *killing* Sherbert - not necessarily the bleeding eye, just simply the fact they didn’t become Quixis when they needed to), as well as the whole concept that due to the fact they didn't become Quixis when they should've, Midas has spent far far too much time and energy and *magic* on them. Icarus literally draining them, bleeding them, leaving them with such little control.

-> [Gold]

-> This being about how everything they touch changes no matter what they do, how they try so hard to keep if from changing - but the wack is random, Midas’ can't control it, and so it *changes,* it changes gold and bright. Everything they touch changes to gold, huh?

-> [Gold]

-> Just, I guess, that whole idea that no matter how many people leave them, or get killed around them, or anything like that, they'll come back. The idea that those people can't break like that, because Icarus has always seen them like a rock that *can't* break.

-> [creature]

-> That whole idea of how Icarus *is* Creation's child. They are creation, in a way. They push His ideals, however subconsciously, into people. He is leading their way, and will be, and this is a good thing. And Icarus pushes and pushes this idea - showing both the good parts of themself, not quite the good parts of Creation, as well as the bad more twisted parts, parts almost completely Fable's fault due to them almost being *His* ideals. (“I am creation, both haunted and holy.”) Also almost that whole idea of the resets, their body re-created and re-created over and over and *over* again. They *are* the embodiment of Creation's powers - a person remade through Him, made in His image, made to be the person *He* wants them to be. Haunted, in the idea they might as well be a ghost, and Holy simply because Fable deems them as such - deems them His favorite.

-> [Path to Isolation]

-> A) Oh my gods this song is so fucking coded what the fuck; B) The whole idea of how loss, be it of someone, or *something* - leads them down this path. Leads Icarus so often down this path of immense anger, leads them down the path of the side of the enemy. That whole idea of everything breaking, be it through their own means or someone else's. That whole idea that going down this path so often means that they're so incredibly alone, and means they can't *recognize* themself - they don't know who they've become in all this pain and hell and *bad*, they can't find it. They just keep falling apart and they don't even know when or where to begin to pick up the pieces.

-> [Bet On It]

-> Just that whole idea that Icarus wants to do the right thing, so desperately. Despite all their doubts, their disbelief, their questions about this world, they want to do the right thing - they *will* do the right thing. They need to. They've put all their effort into doing the right thing - it'd all fall apart if they didn't continue to do that.

[Section Two - Broters. also family <3]

-> [Problems]

-> Am I aware this is on the playlist because of Charles? Yes. Am I going to say this is brothers coded anyway? *absolutely.* Because it is brothers coded - something about Icarus seeing themself as bad and someone who can't be saved, while they view their brother in a significantly better light, and see him as the good one and the one who's gonna save them.

-> [Two Birds]

-> *Separation* - This is very much Icarus and Rae drifting away from each other. Icarus drifting away and leaving and hiding, while Rae continues time and time and *time* again to help them and save them and drag them back *home.*

-> [Family Line]

-> Something just about repeating history, and something about following after your parents, and something about how they'll try to change and change themself so much so they don't mirror their parents, and something about how they have to live with everything their parents have done.

-> [Call Them Brothers]

-> Separation!! Again!! The brothers are apart from each other, separated rather permanently through the resets, and, from Icarus’ point of view, they probably *can't* fix it. They can't mend themselves back together like they used to, they're broken.

-> [Brother]

-> Something about how despite being broken, despite all the separation and time lost that hangs between them, they still rely on each other. They'll still help each other no matter the cost, because, in the end, they're still brothers - they still love each other and they still *care.*

-> [Rule #4 - Fish in a Birdcage]

-> Icarus being trapped and isolated, be it through their own doings or their father's or *anyone's*, and how Rae will always be there to sooth them, help them, care for them, *love them.* He cares so desperately, and he'll do his best to take care of them, and Icarus *believes it* - that he loves them.

-> [Icarus]

-> This one feels *mostly* Rae talking to Icarus - Seeing just how far they've flown, and just how far they're willing to fall. That realization of what Icarus has become after all of this, and trying so very hard to drag Icarus back down in any way he can. The last part is Icarus to Rae, however. That try to get him to stop - that “you can't save me, Rae.” That acknowledgment, no matter when in the timeline, that Rae can't save Icarus. (Icarus has to be the one to save themself.)

-> [The Family Jewels]

-> Just that whole idea of cycles - that whole idea of just fucked their whole family is. That whole idea that this cycle of pain and suffering will continue until *they* (Icarus) stops it. Their almost snark to Rae, that idea that they only share *one* last name - Morningstar - and not both. Also that whole idea of Icarus being the favorite - that Fable conditioned them to be the “better” one, conditioned them to be like *this.* (Also just the whole idea of “jewels” - royalty. That idea, almost, of Icarus welcoming Rae to this life. This life of trying too hard, so very hard to be perfect - to be the best, to be royalty, because they have to be. And, arguably, that realization that Rae never had to live that life. That realization Rae never *had* to be the perfect one - Rae got to. Live normally, pretty much. Whereas Icarus grew up young having to be a prince and be as perfect as they could.))

-> [Sparkbird]

-> The whole idea of Icarus noticing little things, pointing them out, needing Rae to notice them. The whole idea that Icarus grew up far *far* too quickly, and Rae is almost their outlet of that - they want so desperately to make up for a) all the time they lost with the resets, and b) all the times Icarus was just an asshole to him.

-> [When the Day Met the Night]

-> Did Sherb say this was Fable, Enderian, and Isla? Yes. Am I going to say it’s brothers coded anyway? Also yes. Just the whole idea of how Rae is always there for Icarus, and how they make each other better when they’re together, and how yes, they often have their bad moments between each other, but in the end, there’s always good - in the end they always manage to find a way to have the sun shine brightly upon them, how in the end they still love and care to deeply about each other.

-> [Icarus]

-> Rae to Icarus. That whole idea that Rae can so easily see through Icarus’ front - so easily see what they're trying to hide. The idea that Rae can so easily see the danger Icarus so often leads themself to, and so often tries to deter them away from that. The whole thing of Rae so often giving Icarus an *out* - asking them questions, leading them in the right direction. (Or, at the very least, trying his hardest to do so.)

-> [I've Got You]

-> Considering this is a Zenni song, and one made for Fable specifically, it doesn't *really* need an explanation - However, just like. The whole idea that despite everything, despite all the brothers have been through and all their arguing and all their bad and terrible, Icarus and Rae still care about each other. Icarus will still keep Rae safe no matter what happens, because that's what older brothers *do*, that's what *family* does.

[Section Three - Season one, am I right or am I right-]

-> [Fine]

-> Just that whole idea at the beginning of season 1 that everything was actually *okay.* It was fine, it was okay, they were all *okay.* Nothing bad had happened yet (at least, not that they could remember), and it was all going well - and the idea that it was going to *continue* to go well. To them, nothing bad was going to happen, because why would it? It's all gone well up to this point - why would it start now?

-> [My Eyes]

-> This is very early corruption - the first part being Icarus, that slow realization of what they're falling into - bad and anger and hopelessness (almost?), and that whole idea that they're getting *worse.* The second part is Momboo - almost trying to comfort herself and Icarus, convince herself and Icarus of what they (Icarus) *really* wants - that they don't want to be bad, truly. (Regardless of their actions, and what Momboo and Co see so clearly in front of them.)

-> [If I Killed Someone for You]

-> Icarus to Momboo in early corruption. The idea of their true sense of self - or at least, the sense of self they had before - is slowly rotting away as corruption takes hold. Slowly killing the good person they were, slowly killing them, and leaving only the bad, ugly, and bloodied pieces of them. Would she still care about them, still hold their hands, if they weren't the same person she had fallen in love with?

-> Could also be viewed as Icarus to Momboo in late corruption, more towards the end, after killing Haley. How there's physically blood and gore on their hands, and would she still hold their hands knowing that that covered their hands like that.

-> [Laplace's Angel (Hurt People? Hurt People!)]

-> Corruption. Basically Icarus to *everyone* - That snark of “am I *really* that bad?” because they know, if necessary, they can be so *so* much worse. That acknowledgment that if anyone else was in their shoes, they'd probably drop to the same lows they had - the same bad, terrible and horrible actions. (Well - they *think.* They come to know later that probably wouldn't be the case, but it's almost what they end up believing up until, really, Breaking Bonds.) Just that whole idea of their mentality during corruption - how bad they can be, and how much worse they could be, and how much someone else in their same shoes would be just as bad.

-> [Ways to Be Wicked]

-> Very Ominous Bane. Just that whole idea of there being so many ways they can just be *evil.* The whole idea of trying to convince people to join their side, to join their cause, to change the story, to be *bad.*

-> [Heathens]

-> Sherb said this is very Easton talking to Athena about Ominous Bane/Icarus, Centross, and kinda sorta Seven, and I very much agree with that. Just the whole idea of a *warning* - of how messy and chaotic and bad Ominous Bane can be. The whole idea of everything they've been through before this, be it if they remember it or not, and how it affects them still to this day. The whole concept of someone trying to warn Athena of what they're getting into, *tell them* what everyone here is like.

-> [I WANNA BE YOUR SLAVE]

-> Just that whole idea of wanting to be seen as good by Enderian - almost? That whole idea of *wanting* to be her puppet, and wanting her to tell them what to do. (And that whole idea of after it, wanting to be redeemed.)

-> [Twisted]

-> Hot take - Icarus taunting people. Icarus trying to get Ominous Bane with them to help taunt people - *specifically* Athena. Just that whole idea of trying to get them to believe that, a, they're not a hero, they're not going to be - and b, this world as it is, isn't worth saving. They need to mess with it, blow stuff up, kill people, *something* to make it worth it.

-> [Ramalama (Bang Bang)]

-> Just the whole idea of Icarus and Co going around and blowing shit up. Just the snark and annoyance and bullshit they say during it, and the stuff they tell people while they're blowing stuff up - the whole *loudness* and bangs of the explosions - all of it.

-> [Secret]

-> Icarus asking Athena to keep all of this - Ominous Bane, *everything* about corruption - a secret. That loosely veiled threat of what would happen if Athena told *anyone* - what would happen to *them* if they dare spill that to others. The fact that Icarus so desperately wanted to keep corruption, keep their actions, keep Ominous Bane and Athena's involvement in it, a *secret.* (And how, in the end, they can't. Because in the end, Athena *tells* - and Athena gets hurt because of that, but they also get *saved* because of it.)

-> [Hawk in the Night]

-> Icarus to Athena - That whole idea of Athena doing good and being what Icarus wants her to be for them and Ominous Bane. That whole idea that Athena should fight against their friends, stop trying to call out to them for help, stop trying anything - and being proud when Athena would finally end up doing that, cutting ties.

-> Hot take, not in the correct spot in the playlist for this, but also Fable talking to Icarus - be it before or after the cathedral. That whole idea of Fable *wanting* Icarus to isolate themself from their friends and brother, and being pleased when they did that; as well as the whole idea of fighting your friends and family and siding with the “bad guys” and not, well, your family. (Or well, Your family family. The people who really love you. The people who’d care if you’d die. The people who want you to be there and you to be around them.)

-> [Sharks]

-> Just that whole idea of Icarus and Ominous Bane almost taunting Athena while he’s with them. The whole idea that everyone knows, that Athena thinks they can be better than everyone else (when in reality they’re just the same), and the whole idea that one day Athena will see that all she’s doing is swimming with sharks that want her gone and dead and hurt the same as everyone else.

-> Another hot take, Rae to Icarus around A Brother’s Final Stand. That whole idea that one day Icarus will realize their mistakes and missteps and wrong doings and how *Fable* is wrong, and they’ll truly realize how in too deep they are, and just how deep they’ve gone to swim with the sharks.

-> [Lies]

-> Just that whole idea of *all* the lies Icarus tells during season 1. To others, to get people on their side; to Ominous Bane to make themself look better; to *themself* to hide away they're *cracking.*

-> [We Both Reached for the Gun]

-> That whole idea of being a puppet to someone else. That whole idea of someone standing behind you, trying to control your actions and words and *everything* about you. That whole idea of corruption, being a puppet to yourself - in a weird sort of way. And that whole idea that during corruption and Ominous Bane, Centross tried so desperately to make Icarus do what *he* wanted.

-> [Wolf in Sheep's Clothing]

-> Just the whole idea of corruption. All that anger and upset and *mad* - targeted at *everyone.* Arguably, Icarus to Centross. Just that anger at how he gets to Enderian, that anger he gets to do whatever *he* wants, and they're delegated to. whatever this is. All of the arguing that happens between them - it's very season 1 prison duo.

-> [Play With Fire]

-> This is Centross and Enderian, yes; *Arguably* them almost taunting Icarus. The whole idea of them getting to do all of this, and do it *together* - while Icarus hasn't even gotten to *talk* to Enderian.

-> [Can't Stand the Rain]

-> Just that whole idea of literally not being able to stand the rain - how it's constant, how it means this just keeps going and going and *going* and they're not really getting any further than before. (Also like that whole idea of love - how there's truly no such thing as it, as long as this keeps going; as long as they’re corrupted.)

-> [Bust Your Kneecaps (Johnny Don't Leave Me)]

-> Three Strikes Three Strikes Three Strikes. This is so *incredibly* three strikes coded. Just that whole idea of Icarus taunting Athena, chasing after them and everyone else, threatening them. The way that Icarus was fully willing to hunt and kill all of them - fully willing to *go there* and hurt them like that.

-> [6up 5oh Copout (Pro / Con)]

-> This is so very prison coded. Just that whole anger at the fact they were even *put there* - the idea that people would dare misuse their trust like that to trap them. The anger of being alone and trapped and the fact no one was even *considering* letting them out. That need and what to be *out* because they were perfectly fucking *fine* - they didn't need to be trapped like this, why did they even *think* Icarus needed to be trapped like this?

-> [Murders]

-> Getting put in the prison. The idea that they go looking for something, they’re promised something and they work incredibly hard to get to that point - but in the end the prison ruins that for them. In the end, all their efforts were really worth nothing. All their efforts to see the end of this weren’t worth anything because look at where they are now. Look at where this has gotten them - trapped in a prison, panicked and alone and *hurt.*

-> [Nothing Left To Lose]

-> Loose Ends Loose Ends Loose Ends. This is so very incredibly Loose Ends coded. Just that whole idea of Icarus’ to put Centross into the prison - and their attempt at that. Then Centross almost immediately trying to put *them* back into the cell. The following argument and then Centross flying off, Icarus and Rae following. And then the whole idea of Icarus trying so *desperately* to keep him from blowing up their house - and failing because Centross just doesn't give a shit. Centross doesn't have any attachments to them anymore, they've served their purpose (his words), and he doe\snt need to keep them or their house or their anything around any longer - and so he goes through with blowing it up. He leaves Icarus alone there to pick up whatever they can.

-> [As the World Caves In]

-> The season 1 finale - just that whole idea of Centross blowing up the tree, the world literally caving in as Fable rips away yet another page. The way everyone gets ready, gathers around for the funeral of a woman none of them *really* knew, ready to mourn, but not knowing the events that would follow; they get ready for a funeral - only it’s not *only* Haley’s, but also their own. Sure they’ll come back, but the world will still cave in, and the person that sat in those seats will be long gone by the time they do.

-> Arguably also could be the season 2 reset - that whole idea of getting ready and dressing up and *armoring* up to fight Perix/The Warden and getting to that point, putting her soul into the portal frame; only to find Midas had switched Fable and Haley and it was all for nothing, and. Oh. Now the world is caving in - it’s falling apart.

-> [What if Tomorrow Comes]

-> I guess really that whole idea of hoping that Centross blowing up the tree isn't really, truly, the end of this all. That hope that tomorrow will come regardless because this can’t be the end. But also almost that doubt and unknown of if it really would come - that idea that, to them, it really seemed like they were *going* to die with no way of coming back. (And that whole idea of being proven very wrong as they wake up a few weeks later in a reset world, and slowly work to get their memories back as time goes on. That realization that tomorrow *will* come because it came once, it came tens of times before, so it’ll come again and again until they figure all of this out and stop it.)

[Section Four - Season two, why are at least a half of these about putting centross in the prison. *sherb*]

-> [New Life]

-> Just that whole idea of how since no one remembers at the beginning of the Sculk reset, they all - Icarus especially - have an opportunity to, at least until they remember properly, start anew. Icarus doesn’t remember, and for a while no one really remembers them, so they have an opportunity to have a new life; to rebuild things long since broken and make them better. Icarus doesn't have to worry about everything they did in the past if no one can remember it, meaning they get a free past to - at least, for a while, and for all intents and purposes - start a new life on a clean slate.

-> [People I Don't Like]

-> Very much Centross at the beginning of season 2 - to everyone really; though considering this *is* the Icarus playlist, it's arguably to Icarus. Just that whole idea that Centross *knows* them and everything they did and all the feelings he holds about them - and the whole idea that Icarus just. Doesn't. That whole thing of Centross trying to make himself seem good in everyone's eyes, save face and all of that - especially to Icarus. (Especially considering Icarus has/had *very* strong feelings about everything Centross did and told them and. All of that. Not that they remembered all of that at the beginning of the reset, but. Concept.)

-> [Turn The Lights Off]

-> The whole vibe at the beginning of season 2 that people shouldn't go to the end - or at least go to the end *alone* - because look at where that got people last time. Don’t go to the end because you could end up corrupted just like *they* did, and they don’t want that to happen again.

-> Part of me would also say, maybe not within this season, but also season 3 - with the end, that this could also be used in reference to the Worldport and how it’s decaying and how that’s where Quixis is and everything that happens every time Icarus goes in there.

-> You could also maybe make the argument that it’s about Purgatory and Fable - Don’t go with him, don’t go in there and subject yourself to that because you could become more of a monster than a man - more of a loyal soldier than yourself, more of a guard dog than a person. Don’t go down that hole, turn those lights off, because who knows what will happen. (Don’t side with him because you’ll become the monster you’ve always feared becoming - you’ll become the person you’ve never wanted to become.)

-> [The Devil You Know]

-> That whole idea of Icarus not remembering - but also *wanting* not to remember. Icarus has seen the way people react to them, they don't want to remember that person. Sure, right now they're not the *most* amazing person, but they can tell that they were so so much worse before - and they don't want to remember that. It's better to *just* remember the devil they are now, the person they've become, than the person - devil - they were before.

-> [What Did I Do?]

-> Very much season 2 Icarus runaway arc. Just that whole lead up if it - that idea of them wondering what they've done for months and months, and their proposal of an *arena*, and the fallout, the way they ran. That whole idea of them not knowing what they did, what they were, who they were; that whole idea of them wondering what they *did* to be looked at like *that* - what they did to be talked to like that and threatened, what they did to make their family (the only semblance of stability they had even during season 2) so *afraid* of them. (And almost the idea that they were afraid of that - afraid and scared of being viewed in such a way; that idea that this is an active fear that they have.)

-> [It's Not the Same Anymore]

-> Very much Icarus remembering - but less that immediate “*oh fuck yeah I remember!*” and more that “oh. fuck. I *remember.*” Just that whole idea of now that they remember, nothing back home, nothing within town, is going to be the same. None of it will have the same connotations to it, and none of their relationships with people will be the same - because now Icarus *knows* and now they're going to be far, *far* more cautious with their words and actions. It's not the same - and oh how they remember just how fucking *miserable* they were. Additionally, that kind of whole idea of how they should be happy, they should be happy now that they've remembered everything - they *know* now; but really, in the long term, remembering everything just makes it so so much harder to navigate *everything.* (The vibe the end of the song really gives is after all of the Prison Arc Part 2, Icarus trying to make up and make their relationships and friendships and *everything* better - fix them up and pick up broken pieces.)

-> [Could've Been Me]

-> Remembering but we're happy this time! Don't think about all of the consequences and bad feelings and *everything* that comes with remembering you're a horrible person - only focus on the fact you remembered and can now go home and definitely totally be incredibly happy with your family again! All jokes aside, that's very much the vibe this song has. Just that whole idea of Icarus being incredibly happy that they've remembered everything - that they can go *home* finally, they don't have to stay out in the middle of nowhere alone because they're terrified of hurting people. Also that whole idea of everything they want to do now that they remember and know where the line is - know what they can say that won't tow too far over a line and/or trigger someone.

-> [Brutus]

-> Oh to be Icarus Morningstar upon opening their door, post remembering, and seeing David Centross Mistvale. Just that whole anger and upset Icarus holds for Centross after they remember. That anger at what he did, at what he didn't do, at what he said and told them, the anger at what he *left them with* - and the anger that *he* got to talk to Enderian. He got to hear her and listen to her and know her, and Icarus didn't. He was her favorite, and *gods* how that made Icarus so very angry. And the whole idea of how that anger carries over - how Icarus so desperately wanted what Centross had, and didn't get it, and now that they remember they want to *make* it known just how angry they are. (And that whole idea and action of putting him in the prison.)

-> [Absinthe]

-> Very similar to Brutus - that just *anger* at Centross for all of this. That anger at everything he did and everything he said and everything about the endstone reset. And also that way they *don't* believe that front he's put him since the beginning of the reset - don't believe the “good guy” front he's tried to keep up since appearing this reset.

-> [The Main Character]

-> The whole idea that they can do this - do what they're doing to Centross, and *keep doing it* because there are worse people than them out there - there are so so much worse people than them out there, so they can do this, because, well, they’re better; they’re not bad bad like a lot of people. The idea that this is okay because of everything else.

-> [You're Not Welcome]

-> Just all of that angry Icarus holds for Centross bubbling over - this *is* the act of putting him in the prison. That need to make it known he's *not* welcome - the idea they try to convince both themself and him of that no one would care if he just disappeared. And, well. Welcome to the first of like four more detailed line by line analysis cause i'm a loser.

“Don't you know you're not welcome ‘round here?” Just that whole idea of Icarus being willing to lock him away because they fully believe, what to believe, want *him* to believe that he's not welcome - he's not welcome and therefore that makes their following actions “okay.”

“I think you should go ‘fore you cause some drama.” Almost that idea that he needs to leave - he shouldn't be here. That whole idea that he should leave before *they* do something. That whole idea that if he stays, regardless of if he does something, they’re going to *hurt him.*

“Don't you know I'm the one you should fear?” They *want* him to be afraid of them - want him fear them so they *finally* have that upper hand on him. (Want him to be afraid of them like they were afraid of him after they got out of the prison - want him to know that fear, want them to be able to get their revenge.)

“Talk to me if you've got a problem.” That whole idea that Icarus wants to be the one to deal with him - that whole thing of no one else dealing with Centross the way *Icarus* thinks he should be dealt with.

“I can't believe you used to truly scare me.” Because he *did* genuinely scare them - after they were uncorrupted they were genuinely and truly scared of him. However, like this, with the offer that Icarus can stab him, with the way he just lets himself get put into the prison, he's really not that scary. They can't believe he used to genuinely scare them when he's just. almost pitiful like this - in the prison.

“You were like a ghost story told to keep me weary. But I never listened, no, I slept good ‘til morning.” Arguably *he* was the one telling them the ‘ghost stories’ - the warnings he'd tell them, the arguments they'd get into. The way Icarus never heeded them, only pushing further and further until they tipped him (or themself) over the edge. The way Icarus would just sleep it off - because that's what they always did.

“And when our paths finally crossed, I didn't heed the warning.” Similar to that last line - Icarus didn't heed any warning. Icarus just kept pushing and pushing and pushing, arguing with Centross over and over and *over* again.

“Then push, push, push, push. Yeah, you pushed me to the edge.” Haley. Arguably, Centross was part of the reason Icarus killed her in the first place. That need to prove themself not only to Enderian, but also to Centross. That need to prove they weren't useless (weren't a *failure*), that they could be of use to Ominous Bane and weren't just *there* - that they could *do something.*

“I used to dread the thought of falling quickly” Something something resets something something. While they don't remember them or know about them at this point in time, just that whole idea of falling like that. Also, arguably, that whole idea of falling into an ideal and thought process - that idea they don't like to do that quickly, they don't like falling down a thought rabbit hole without thinking and considering it properly first. (Even though they do that so incredibly often.)

“But now I just wish that you'd send me off that ledge - So I can finally fucking take you with me” But also that whole idea that if it meant Centross was going down with them? if them falling down a thought rabbit hole, if them falling and doing something terrible, meant Centross would go down with them? If him pushing them to that point meant they'd go down *together* - two birds, one stone and all - and no one could be hurt by him again? Oh Icarus would gladly fall down. They'd gladly let themself if it meant they could kill or hurt or do *something* to him that meant they were going down together.

-> [Blood // Water]

-> Just that whole idea of Icarus being so very angry at Centross for all of this. That whole idea of there literally being blood in the water - he tried to kill all of them, and he *did* kill hundreds more. That whole idea that Icarus doesn't plan on letting him go *any* time soon - they want him so desperately to know just how what he did made them feel. (Also “you poisoned me just for another dollar in your pocket” that whole idea that he let Icarus dig themself into this hole, he argued and argued and *argued* and pushed and poisoned their mind with thoughts and words that *stuck.*)

-> [Lonely]

-> They hate each other, yes. However, What if they held hands about it? Maybe even kissed about it. Just like. That whole idea of of how during the season 2 prison arc they were really each other's *only* company. They were alone, but alone together. Yeah they hated each other - but they still *had* each other. That whole idea Icarus was *alone* - but they still had someone, regardless of how much they hated each other. (Also “Hey love, Have mercy on me, and keep me company” is very Centross to Icarus. Just that idea of wanting mercy, wanting Icarus to *stop* hurting him - but also still wanting that company because they were *alone.*)

-> [GONER]

-> They definitely still hate each other - like absolutely still hate each other. Like they are arguing and fighting and snapping at each other every fucking opportunity they get the longer Centross is in the prison - especially more towards the end, Centross is being just as snippy and antagonistic towards Icarus as they're being to him. That whole idea of Centross snipping at them - that idea of “at least he fights back when he's imprisoned.” However, arguably, they also probably kissed about it. They hate each other - but like, sometimes you have to acknowledge the other person is definitely a little kiss-able. (“You look so damn appetizing” like. *like.* so many of these lines imply they at the very *very* least kissed about it.)

-> [Forgive Me Chester]

-> Very end of season 2/the season 2 reset. Really that whole idea of seeing the 3 people you've spent your life chasing after all at once, all in the same room, all together. That idea of fighting the Warden, that whole idea of trying to get Fable out, that whole idea of trying to finally chase the bad away - chase the resets and the Warden and the anger and the bad and *all of it.*

-> Verse one is very much talking about Haley; Verse two is about Centross (prison duo the beloved); Verse three is about Rae, something about broters and their relationship being good for that bit at the end there.

-> [Rock in a God's Shoe]

-> Just that general demeanor of late season 2 - trying to figure out if Fable getting out would *actually* help (even if Icarus really really wants him back), and that whole idea of trying to figure out if he will actually be on their side or not. That worry after everything that happened with Perix that maybe he isn't. Also that idea of Fable not giving that much information, and them all trying their absolute *hardest* to figure out how to get him out. (Also that bit at the end is Icarus to Midas coded, especially with the glitchy voice, and in this essay I will-)

-> [Moonsickness]

-> Very much the season 2 reset. The annoyance at Fable, that annoyance and *anger* at Quixis. That very demeanor they have toward Quixis at the end - being done with them and being annoyed at them; them seeing themself as a failure because of *course* they fucked up the thing that was supposed to help them. They can't do anything right ever - they fuck up *everything* they touch. Also, hot take, Midas talking to Icarus and Fable (and almost the grove in general? but I feel like *mostly* Fable). and, well, I have thoughts about some of these lines, so take this silly more specific analysis. (Not *every* line, just some I picked. Because if i picked all the lines we’d be here forever.)

“Everybody knows this place is dying, as am I.” Something about Midas dying as the Worldport does - decaying and falling with their realm. Something about the season 2 reset showing the world *literally* dying, falling apart, crumbling and everyone *knowing* it.

“I might not get another chance.” Midas switching Haley and Fable - they *knew* they probably weren't going to get another chance to try and stop Fable like that. As well as the whole idea of the grove only having one chance to open the portal - they, Icarus especially as the one who *put* Perix's soul in the frame, fully thought this was their *only* opportunity to get Fable out. Obviously this is proven wrong in season 3 - but they didn't *know that.*

“I am such a fuckup, if you only knew that I am such a fuck up.” Something about Icarus seeing themself as a failure - a fuckup. They couldn't even get their father out correctly, why can't everyone just see how much of a failure they are? Why can't everyone see how much they ruin everything they touch? (And, arguably, Midas as well. That whole idea of them failing in their duties to bring Icarus when they were supposed to, leading to so so *so* many worlds decaying.)

“And I am the worst mistake that God has ever made.” Sort of that same idea as the last one - that idea of Icarus seeing themself as a failure. Only this time it's more related to their Dad than themself. He made them, they're *his* child - therefore, if they see themself *that* badly, they're the worst mistake he's ever made. They're a terrible fucking person and they're a *failure.*

“But I make lemons out of lemonade.” Wack wack wack wack. This line is so very about the wack. Something about changing things from one thing to another in a way that *shouldn't be possible.*

“In your guts you know it's all destroyed.” Okay, Midas to Fable. Something about Fable knowing that this world is dying - something about how Fable would *know* the outcome of doing all of this. He would know that Rae would figure it out one day, the cause of the resets, and it wouldn't go *well* - that his relationship with one or both of his sons would be destroyed. (Also, mayhaps, Midas to Icarus - that whole idea that the world is destroyed and their chance at getting Fable out (at least this time) is *also* destroyed.)

“None of us belong, Everything I do is wrong.” Something about everyone being pulled into the resets from different time periods, being shifted and tugged and placed into the present but not quite *belonging* there. Something about how Icarus tries their very hardest to be *good* - but so much of what they do ends up being wrong on so many levels. (But it's all they know.) Something about how Midas tries their very best to fix and fix and *fix* and they can't really - it almost always ends up *wrong.*

“And in your blood you know what's right.” Midas to Icarus - that whole idea that Icarus has Fable's blood running through their veins, that they believe that he is *right.* Even if in the moment they don't know him well, don't remember him well, they still subconsciously think what they're doing that mirrors Fable's own actions is *right.*

Could also be Midas to Fable? That might be a slippery slope to climb and explain though.

“And in your bones you know what's wrong.” Midas to Icarus - something about Icarus so often knowing, but not *acknowledging*, that what they're doing is wrong. Icarus *knows* it's wrong, deep in their bones, they really really do. (But rarely do they acknowledge that.)

Could *also* be Midas to Fable for similar reasons.

“And in your throat you know you're lying to kids” Midas to Fable - While they're not *literally* kids and children still, they are *his* kids - and he's lying to them. Fable is lying to his kids and he *knows* it, not that he'll acknowledge that ever.

“And you know nobody belongs in this hell.” Midas to Fable - Something about Fable *knowing* none of them belong in this hell of resets and everything; that he should probably just let life run its course, let it go as it *should* - but he doesn't. And he's dooming them to this hell none of them belong in. (And he knows they don't.)

“I am God's worst Mistake” Just. Icarus. Once again just that whole idea that they just think of themself as a *failure* - especially after the portal glitches. They can't keep doing this - at some point they're just. A mistake. (Arguably, could also be seen directed more at Quixis as well - the way Quixis made them like this with the eye and all.)

“And you seem happy on the knife's edge, but I just lick the blade.” Midas to Fable - That idea that Fable kind of hovers on the knife's edge, but never tips over it. He tows a line, about to tetter over. The way Midas will *gladly* tip over that line - lick the blade, on this case - they'll go down, tetter over that edge, but they sure as fuck won't do it quietly or unnoticeable.

“And I'm the worst mistake your God has ever made.” Arguably, Midas to Icarus. Fable is the reason they couldn't get to Icarus - Fable is the reason they're *like this.* And, *arguably,* Fable is kind of sort of Icarus’ God. Also just that whole idea that Fable is the reason for *so much* between Midas and Fable. And now Midas is *angry.* Mistake in this case isn't a bad thing - mistake in this case is more “Midas is about to make their anger *very* much Fable's problem - and it's his fault.”

“Invisible hand savior, fucking up your definitions even though it's life or death.” Midas to Fable - Fable is, in this case, the invisible hand. He saves Icarus every *single* reset - he *is* the savior, and he's fucking up definitions *every* time he does it. Even though it's life or death, even though Icarus absolutely *should* die, they should be dead, they're not. He's literally fucking up definitions everytime he rips a page out or edits or does *anything* to As It Is.

“Don't you think it matters when we wish our friends the best.” Midas to Fable - again. Something about Fable wishing Rae and Co good luck on figuring out what the resets were being caused by - when *he* was the one causing them. It *should* matter that he wished them luck, but it really doesn't considering he *knew.*

“Because of all this bullshit I'm not anything at all.” Midas in general really - something about how they're just trying to fix everything now, but they're not really a person anymore. They're alone and they're almost a god and they're *angry.*

“There's nothing to believe in and there won't be ‘till we fall” Okay this line goes *far* deeper into the finale and things than it should. This is Midas talking to Fable but for once they're not being an *asshole* - they're lumping themself in with him. Something about Fable dying at the end of Fable, and Midas passing their torch (metaphorically falling/dying), and the way it leaves room for new gods - new gods people will actually *like* and believe in and won't cause harm and and and. Something about Midas knowing that until both of them are gone, no one is going to properly believe for a *while.*

“I can't get the numbers right - I can't fucking count because not one goddamn thing is in it's place.” Midas to Icarus *or* Vice versa (Icarus to Midas). Something about the wack changing and altering so so *so* much neither of them are really them anymore. Nothing is like it should be, and it hasn't been for a while. The Worldport is decaying, soon Midas will be too. Icarus isn't themself - they haven't been in a *while.* The eye isn't theirs (not that they *know* that), all of the purple isn't theirs, some of their members *aren't theirs.* Nothing is in it's place and that's *really* fucking shit up.

“You fuckers know it's all built on lies” Midas to *both* Icarus and Fable. Just that whole idea of how Fable manipulates and abuses in the way he does; twisting words and fabricating truths, lies laid with the grounds of a truth, but built on things objectively very false. And in Icarus’ case - their entire life and personality is a lie. They act so very differently alone than they do around others, it's all a front. Everything they've built to this point, and *so much* of what they'll build as season 3 starts is built on lies and half truths. (And that whole idea that Midas is *angry* at them.)

“But the beast refuses to die, and so I guess well neither can I.” This line *arguably* also leans very heavily into finale territory - mostly with things we know after the fact though. Just that whole idea that Fable can't die, he refuses to - as long as he's immortal he *can't.* And if Fable is alive, and actively keeping Midas from Icarus - then Midas can't pass the torch, Midas can't *die.* Something about how Midas fully thought they were going to die upon passing the torch to Icarus. If Fable refuses to die, meaning they can't reach Icarus, then Midas *can't* die. (Because what happens then? The Worldport is left without an overseer and wack gets hundreds of times worse? *No* that can't happen. So they power through it to let Icarus see the end.)

[Section Five - You died. Deal with the consequences, Icarus. (Season 3)]

-> [Is There Anybody Here?]

-> The season 3 break my beloved honestly. That's this song in a very very loose nutshell. The season 3 break - both their time in the Worldport as well as their time here. Just that whole idea of trying to find Quixis - and then trying to find *something* that they know and can hold onto. That idea of looking for something, anything, anyone that can help them because they *don't know where they are.* That idea that they're trying to find their way back home, and are struggling because they don't know how.

-> [Maybe Man]

-> Very much that whole mentality Icarus has early season 3. That idea that they *don't* know how they are, not anymore. They're just kind of. Floating. Also that whole idea of trying to figure out who the fuck they even want to be in the first place. They don't really have a direction - they just want to be *something.* (Something that will please people, make them smile whenever Icarus passes by because they're doing *good.*)

-> [Chasing You]

-> That whole idea of how Icarus has spent the past *year* trying to bring Haley back, trying to figure out how to see her and fix their mistake - and that whole idea that now that she's back, now that Midas brought her back, Icarus doesn't know what to do. Icarus doesn't know how to act around her, what they can and cannot and should and should not say/voice, what is too far over a line and what isn't. They're really just left floating not knowing what in the *world* they should do about it.

-> [The Garden]

-> The whole idea of Icarus getting so done with and so incredibly over Quixis and the wack and the changes and *us.* The whole idea of wanting to dig them up and out and remove them completely, no matter the consequence, no matter where it would get them in the end. The whole idea of how Midas knows their name - and we have to figure it out - and the way they don’t, and the way, more often than not, we as chat snark at them and are very passive aggressive sometimes, rather than being helpful - and how they don’t like that.

-> [New Eyes]

-> Two samples Two samples Two samples. Just, Icarus about the eyes in general. The finding put that the purple eye's blood *isn't theirs*, and the following realization that if the blood isn't theirs, then the eye itself isn't theirs either. That want and that need for people - Midas - to stop changing them, to give them *their* eye back - so they can see with new ones; so they can see with the eyes that were always *supposed* to be theirs. (Also just the general idea of needing to see things through a new lens, see things better, because they're suffering and hurting and *no one* seems to see it, and how one day that fact might kill them. (And well, it does, doesn't it?))

-> Sage and their ability to be so normal got this one on the playlist. We win these.

-> [The Tornado]

-> So very Unlocked - this *is* the Unlocked song. That whole idea of them being used to the wack, being almost surprised as it just *kept getting worse*, *the wings,* the running to the bunker and the *yelling* at Midas, Fable finding them, and - arguably - the aftermath of the wings and those few streams following Unlocked where they were just trying to heal and fix and *clean* up the path they had made. (Okay yes Quixis ascension, yes, but we’re not at that part in the playlist yet - so.) And, well. Some more detailed line analysis because I’m a loser.

“It was just startin' to drizzle as I walked out the door, But I've delivered papers in the rain like that before.” Just that whole idea that the wack being weird - being worse, changing their house more than normal, changing *them* and their clothes more than normal - was okay, in their mind. What’s the worst that can happen? It’s done this before, and everything was fine for both them and others - why worry about it this time?

“3:30 in the morning, I was happy as a lark.” That idea that Icarus was so very happy to get Fable out. They were so happy and excited, because this was what they had been working to for months and years and *resets* and they had finally been able to do it. They might’ve been a little worried, but they were mostly *happy.*

“The wind was pickin' up and howlin' louder all the time.” The redstone beginning as they were all standing in front of the now open portal - the way they weren’t expecting it, the way it just kept picking up and getting *worse* no matter what they did to stop it.

“The sky churned like a cauldron and the distant thunder roared, And I knew that I was in for quite a storm.” The redstone picking up, but also the fact Fable hadn’t come out yet - and they had been waiting and waiting for the others to get him for *minutes* now and it was beginning to worry everyone outside of the portal; that idea that they *knew* something might be up - with Fable or the wack.

“A little rain never hurt no one, so I kept pressin' on.” Up to this point, the wack hadn’t hurt *anyone* - well, with the exception of Icarus themself. Sure it had hurt and changed and wacked animals and blocks and all that - but never Icarus’ friends and family. It hurt them time and time again - but they were fine after all of it (for the most part - with the exception of the many breakdowns and *the eye*), why should they worry about others getting hurt? It had never *severely* hurt them like that; so they kept going and standing there and letting it get worse upon that assumption that it *wouldn’t do that.*

“And I tried to tell myself it's always darkest before the dawn.” Just that way they were so desperately trying to convince themself that it was all okay - that the group in Purgatory *will* bring Fable out and it’ll be okay. The wack will be fine and it’ll stop and it’s just a small little bad thing before they get Fable back - that desperate way they try to convince themself it’ll be okay.

“Lightning struck an oak tree as I leapt off my bike.” The way the redstone, the *bad* just keeps getting worse and worse as time goes on. Regardless of what they do it gets worse and they can’t seem to *stop it.*

“The sirens started wailing, but there was no good place to hide.” That whole idea that Icarus really, really, *really* wanted to run - they wanted their dad and they wanted the wack to *stop* because it just kept getting worse and they really, really wanted to just run. But they knew they column’t because running would make things so so much worse - so they don’t run, they just stand there and let it keep getting *worse.*

“I knew without a doubt there was a twister touchin' down.” That idea that they *knew* it was only going to get worse and worse the longer they stood there, without a doubt, but there wasn’t anything they could *do about it* - they just had to power through whatever happens, like they always do.

“The little bit of courage I had left was almost gone.” Something about how at the beginning of Unlocked they were mostly okay - that had *some* bits of courage - but the longer no one came out of the portal and the longer all the redstone did was get bigger, and the longer they just *stood there* the more that courage just. faded.

“And then the nightmare started, it got deafeningly loud.” Momboo. The redstone getting bigger and the wack *hurting her* (hurting someone other than Icarus, for once) and the way they almost *immediately* panicked and ran (or, at least tried to) off. And then like the following moments of running and running and trying to fly and then their wings *shattering.*

“Every fiber in me screamed out, but I couldn't make a sound.” Something about how they screamed as their wings broke, but about how their panic after the fact was so very quiet. They weren't screaming - they were just hurt and in pain and weren't going well but were trying so desperately to keep it under wraps. They refused to let themself break at *any* point during the run to the bunker, refused to let themself fall apart like that. They wouldn't - they *couldn't.*

“It sounded like a freight train was draggin' me to hell.” Something about the particular way the the wings sounded when they shattered - so *loud* and overwhelming as they crystalized and as Icarus *fell.* Even louder as they shattered against their own weight and Icarus’ back. They dragged Icarus *down.* (Metaphorically dragging Icarus to hell, I suppose.)

“And this was my prayer, "Save me from this terrible nightmare"” *Icarus yelling at Midas.* This line is os Icarus yelling at Midas, both on their way and inside of the bunker. They just wanted Quixis to *stop*, to know why they just kept *doing all of this* to Icarus and their friends. -They just wanted Quixis to stop, and they just wanted someone to be there for them and save them because *gods* they hurt so very badly.

“That was when I saw my family with my eyes shut real tight.” Fable showing up at the bottom of the bunker - they literally see their family. Also something about how they just wanted this to stop - their eyes shut and the denial of the past delays creeping back up on them.

“Would they know how much I loved them if this was how I died?” *Would they?* How many times does Icarus tell their family they love them? (How many times do people tell *them* that?) Would their family know just how much Icarus loved and cared about them if Icarus died - if they died like *this* with no one around?

“No, I vowed I'd not be murdered by a monster in the sky that night.” If you think about it - this injury could’ve killed them. It didn’t - and they definitely didn't want them to - but it *could’ve.* But they wanted to so desperately survive and live and *not* let Midas’ actions get the better of them - they vowed it wouldn’t happen.

“But if I went home to heaven, at least that's where I'd belong.” Midas’ would’ve pulled them before they died (just like they did in the finale) if the injury *did* kill them - they would’ve been where they belong because they were meant to become Quixis *decades* ago; that, the worldport, Quixis, was supposed to be their home for years yet it *wasn’t* - it's where they belong but, at this moment, they’re not there.

“There was nothin' but destruction and wreckage in that town.” The mess the path and wack made; the redstone in front of the portal; *the tree.* (Their wings.) It was all a mess and destroyed and, for at least some of that - there was no fixing it. It was just destroyed and they just had to deal with that.

“And that was how I learned to live when you can run, but you can't hide.” They could run from hurting Momboo, and they could run from the wack, and they could run from their wings breaking - but they can’t *hide from it.* They have to deal with the consequences of their actions, they can’t hide from it. They have to see the tree - see their mistakes, see their bad - nearly everyday. They can run from it, sure, but they can’t *hide.*

“How to feel trapped in a tunnel but come out the other side.” They’re trapped and grounded and alone (somewhat - Fable is doing his whole “isolate his kid so they lose attachments” thing) but they come out of it, eventually. They get their wings back, they can fly again - they may have felt trapped for a time but they *made it out.*

“'Cause with all the stormy weather in the world, you learn to take life one storm at a time.” Pulling out the character analysis card - Icarus gets very focused on *one* (big) thing very easily. Their wings, they wanted to fix those - spent weeks trying to get better; Enderian talking to Rae - they were so incredibly stuck on that until they made up; And, the more obvious one from season 3 - Centross. It was a 5 month long storm - but it’s all they focused on. They take their life, especially during season 3, one big problem and thing at a time - focus on *it* and nothing else. (Because focusing on other things means acknowledging just how much you’re hurting, and they can’t do that.) And I mean, it gets Icarus through. They make it to the end going like that. It’s not healthy - but they *make it.*

“I keep hangin' on.” No matter what happens, no matter how close to death they get and no matter how much death would probably be kinder at a point, Icarus is still there. They keep hanging on - keep living and keep just, going through the motions.

-> [Birds]

-> Just that whole idea of how after Unlocked (and arguably also *during* Unlocked) Icarus just wanted to *relax.* They were done and hurting and upset and they just really, really wanted to sit, alone, with the flock. They just want to be calm and relax and not have to think about any of what just happened.

-> [Look Who's Inside Again]

-> Unlocked. Probably Midas to Icarus? Or just someone outside looking in at Icarus in the moment after their wings break. This song specifically being more about Icarus’ desperation to get to their bunker - and their feelings while inside of it. How this is just like the prison - putting themself into a box, a prison, a *room*, to keep people safe. To keep them from hurting people. They're back here again - trapped in a box with no way of getting out until someone comes to get them, yelling at the person who (for all intents and purposes) put them there. They're back here again, *inside* again.

-> The whole idea of Fable, after he gets out, beginning to isolate and cage Icarus - with the guise of keeping them safe. He’s removing them from their friends and family and leaving *him* as the only person Icarus can safely - at least in their mind - rely on.

-> I have further words about Fable and Icarus in regards to this song, and that’s really tying into the “again” aspect of this. Viewing this through the lens that this is Fable isolating Icarus, and the visions of a child shown throughout this song, then it’s not terribly hard to come to the idea that this probably isn’t the first time Fable did this - isolate and cage and manipulate - Icarus. That whole idea that his manipulation and abuse has been going on for much longer than we see on screen - this isn’t a new thing. He did this before and he’s doing it again and Icarus just has to deal with that. (Even if they don’t *know* he did this when they were a child. They don’t remember any of that aspect of themself.)

-> [Let Me Make You Proud]

-> That whole idea that yes, Icarus has failed and made mistakes and disappointed Fable - probably time and time and *time* again - but that they really, really, *really* want to make it up to him. They want to make him proud because they feel so much like a failure after everything that keeps happening - they want to make all their mistakes and missteps up to him. They want to make it up to him and they keep trying and trying and *trying* to do that. (And, arguably, failing at it rather often.)

-> [the fruits]

-> The whole idea of how Icarus wants so desperately to help Fable and all he’s doing, but the idea of how Fable can’t see that they’re not entirely them - can’t see just how much they can keep falling and repeating history and just how badly they’re doing. The whole idea that they can’t help him - they can be the person he wants them to be and the person he’s trying to make them into because they’re not entirely themself in the whole sense of them; they can’t be that if they’re not entirely themself - they can’t help him like he wants them to, and how they spiral because of that.

-> [Loser Baby]

-> Centross and Icarus. Kind of to each other. This song is. So *incredibly* drinking stream coded. Just. That realization of just how similar the two of them are, just how much they have in common, just how much they're both going through the same shitty situation. That realization that they can *rely* on eachother. The realization of how they're so so *incredibly* similar - especially in regards to Enderian and Fable - and how they're both losers, they're both having a bad bad time, but they can do it together. (Which, arguably, they’ve known for a while - but it becomes a lot clearer in the drinking stream; especially with Icarus calling Centross their best friend.)

-> [Down the River]

-> *Breaking Bonds* - This song is very Athena to Icarus. The whole idea that Icarus likes to run and hide and leave the past and everything they’ve done behind and not acknowledge it whatsoever - How they can’t do that; How even if Icarus wants to forget and leave and run, others aren’t going to do that for them - Others are still going to remember all of this and all they’ve done, and what happens to them, the grove, once Icarus leaves and decides to ignore it. What happens then? What happens to all those people you’ve hurt?

-> [Hero]

-> Centross’ death. That way Icarus just spends that immediate moment after him fading just trying to convince themself it's *okay.* They're okay and he's okay and he'll be *back* and it's okay. Them just trying to convince themself it's alright and trying so so desperately to comfort themself in this hell. Arguably, also almost their anger at Fable for killing their best friend - that immediate sharp anger and bared teeth (“I'm the hero of the story, don't need to be saved.” Just that whole idea that Centross saved them - but he shouldn't have had to. They were the *hero* of this story, no one should have to save them - and no one should have to *die* doing that if they even tried. Icarus’ whole thing is trying to save themself, figure out ways they can fix it *themself.* No one should have to die because Icarus couldn’t do that. They’re a prince, they’re supposed to be alone. People shouldn’t have to die because they weren’t.)

-> [Can't Catch Me Now]

-> Centross almost like. Taunting Fable and trying to comfort Icarus. How he's always going to be there for Icarus, he's always watching over them, even if he can't tell them and show them that physically, he is *there.* But also almost taunting Fable in regards to the fact that Fable can't catch him now; Fable will not find him no matter what he tries and attempts, he will see Centross everywhere, be reminded of him just like Icarus is, and he *will not* find him - and won't be able to bring him back.

-> [Do What You Gotta Do]

-> This that short bit after Fable kills Centross where Icarus just *yells* at Fable. That snark, that anger that Fable *did that* - and Fable's argument that he “did what he had to”, and that was *necessary*; Fable did this (killed Centross) because he had too, Icarus should hear him out. Just that whole conversation between Icarus and Fable after he kills Centross, and that whole falling out between the two of them, and that whole slow manipulation from Fable's end as the conversation continued. (Also Fable's whole “being a god” thing-)

-> [The Cave]

-> Centross to Icarus after the cathedral. How he *will* be there for them, no matter what, but also how he has other duties to attend to - but also also how he can't stick around due to the fact that Fable is currently killing every God in his sight, taking every power for himself. How Centross *wants* Icarus to know he's there for them, but also how he can't physically be there. He'll try his *hardest* to keep them alive - try his hardest to keep them going until the end.

-> [Paid in Exposure]

-> Very much Coworkers - just that whole idea of doing only what they're told and becoming, a, a coworker, and b, one of the bad guys - or the people on the stereotypically “bad” side.

-> [Natural]

-> *Also* Coworkers. That whole idea that for them to be on this side of this war they have to be assholes - they have to be cold and sharp and not care, and the whole idea that they're *good at it.* The idea that all three of them are good at that - they're almost naturals at it. They don't have to practice because they can settle into that role far, far too easily. (Also “Rather be the hunter than the prey” is incredibly Coworkers - because they all know that Fable is hunting gods and hunting people down, and they'd rather be beside him as he does that than cowering beneath his sword.)

-> [Burning Pile]

-> Just like the whole idea of wanting to put all your problems in a big pile and just light them up and on fire - kill them, get rid of them, ignore them. That whole idea of wanting to get rid of all your current problems, all the shitty stuff you’ve gone through, get rid of it all and never properly look back - you’ve burnt it, it’s gone, you don’t have to think about it anymore. (Or, that’s the dream at least. Not really what ends up happening in the end.)

-> [Can't Go Back]

-> Just that whole idea that Icarus should forgive themself - how most of this isn't really *their* fault, and how they should be learning to forgive themself for that - not blame themself for stuff that isn't their fault. (Also the whole idea that none of this is *fair* - it's not fair to them and nor fair for Fable and not fair to *anyone* in the grove.)

-> This definitely feels like Violet trying his absolute hardest to comfort Icarus the best he can even though he can’t physically be there with them in the moment (and he won’t be able to be for a while. (And even when he was able to be there for him, at the end, it wasn’t for very long.)

-> [Try To Change]

-> How Icarus just keeps trying to change, change and change and change, they're trying so incredibly hard, and it just keeps failing. The whole idea that they can’t find it in themself to change - there's safety in it, they’ve always been like this, why wouldn’t they just keep going and being like this. Why would they try - there is *no* point to it. They’re safe like this, Dad likes them like this, why would they change into something he wouldn’t?

-> [Let Us All Down]

-> Just that whole idea of how the Grove feels about Icarus working with Fable. Arguably, they all thought Icarus could be good - they gave Icarus so so *so* many chances, they didn't think that they'd go this route. They didn't think they'd be involved in Centross’ death like this and this didn't think and and and. (Also, arguably, Icarus spiraling. Just *thinking* about what people would say, what people would think, what they would *feel*, how they would react.)

-> Arguably kinda sorta maybe Two Shall Break/Two Shall Mourn for the priorly explained reasons.

-> [Lima Bean Man]

-> Icarus about Momboo. Icarus so *desperately* wants Momboo to not be dead, so desperately wants to be able to bring her back. Not necessarily telling themself she *isn't* dead, but that she *can't* be - because that means they killed another person, that means they did it *again.*

-> [Shots]

-> Icarus to. Everyone basically. They're so so *sorry* - they're breaking down crying near everyday by this point, and they just keep *killing people.* (“why do I kill everything that I love?”) and they're so so *sorry.* But also that they need everyone to know they're *in too deep* - People aren't going to be able to save them now, not through normal means. It's not going to happen - they need to let Icarus drift away because if they *don't*? More people will only get hurt.

-> While I won’t elaborate on this statement, as it speaks for itself, your friendly reminder that Icarus did not truly hate their father when they killed him - Icarus still held some sort of semblance of love for him, even at the end, even after everything, even as they stabbed that trident into his chest as he revealed he was never going to bring Centross back.

-> [Prodigal]

-> That whole idea that where Icarus is right now is all their own fault. They caused it, it's their fault, and there's nothing they can really do about it. They're alone, they've dug themself a hole and fallen down it (because that's all they do, really) and they can't get out - and it's their fault. It's all their fault - it always *is* their fault.

-> [Solitary Confinement]

-> They're alone! After Momboo, and after their conversation with Athena, they're *alone* - Confined. And they're. Okay with it, almost. They wanted to push people away, wanted to be alone, because it makes all of this so so much easier. But they *really* wish they didn't have to do it. Didn't have to push people away like that, didn't *have* to do this to everyone and themself. They do it, yes, because in the end it will benefit them to do so, but they really really don't like doing it - they're spiraling. (And really, they have been for months.)

-> a “devious read” by yours truly according to the sherbertquake56

-> [No Longer You]

-> Okay. Now. What I'm about to say *might* sound like. horribly wrong because everyone kind of looks at this and goes “oh the prophet is Haley” and to that I say. Nope. No, the prophet is Midas. This song is *Midas* talking to Icarus about their future - regardless of how this goes. Because Midas would know what would happen after they “Draw their final breath” so to speak - Midas would know. Haley wouldn't. Also, because I'm a little loser, and the fact this song *really* lends itself to this, line by line analysis.

“I see a song of past romance” Perhaps talking about Momboo? This line could be very ambiguous. Cause you could also argue Wet Birds, but I'm not sure that really *fits.* (If you wanted to go the Prison Duo route, you probably could as well.)

“I see the sacrifice of man.” This line being about Centross - Sacrificing himself to save both Icarus, as well as the rest of his family.

“I see portrayals of betrayal,” This line being about Jamie - Betraying the family they *had* for the family they *want.*

“And a brother's final stand.” This is. Just the ‘A Brother's Final Stand’ stream. Rae trying so so *so* hard to save his brother, and failing because they *just* don't *want* (don't think they need, don't think they deserve) help.

“I see you on the brink of death.” Icarus after they kill Fable. Or, really, Icarus throughout the last week-ish; throughout that they're on the brink of death, they're *dying.* (They have been for almost 5 months - but after he dies Icarus is left so much worse off because Fable isn’t around and alive to keep Quixis’ powers at bay.)

“I see you draw your final breath.” Them *jumping* - Them thinking they were going to die. Them being fully fully accepting of it.

“I see a man who gets to make it home alive.” Midas pulling Icarus into the Worldport, *alive* - telling them that they'll be able to go back home eventually.

“But it's no longer you…” But the person Icarus would become after all that time in the Worldport, after leaving it, would be starkly different to the person that entered it - that it wouldn't really be Icarus anymore. It'd be Icarus, of course, but they'd know and have been changed that they wouldn't be the Icarus they *were.*

Just. It really encompasses those last few months of Icarus’ life before becoming Quixis - those last few months of pain and desperation and *bad.*

-> [Monster]

-> The whole idea of how Icarus *will* be the monster if they have to. They'll kill and slaughter and murder and *be* the monster if it means they'll all make to end - if it means they'll get to bring everyone back, *fix* everything.

-> [No Children]

-> This is very much Icarus’ mentality at the end - about Fable and about Rae and about *everyone.* That idea that they don't want to be saved anymore, not like this. That idea that if they have to go down - they're going to take Fable with them. That idea that they just want Rae and *everyone* to give up on them - and, arguably, that idea that if *they* die, they want Fable to come down with them. Uh. Well here's another set of far more detailed line analysis <3 Not the last one either <3

“I hope that our few remaining friends give up on trying to save us.” That whole idea that Icarus doesn’t want to be saved - not like this. They don’t want to and they don't think they’re deserving of it - they fully hope that Rae gives up on trying to save them.

“I hope we come up with a fail-safe plot to piss off the dumb few that forgave us.” While they didn’t *know* it’d be fail-safe, Jamie. Because by this point there were *very* few people still trying to save and help them - and really, to their knowledge, it was *just* Rae - and to them? To those people *that* was the tipping point. For that last week they were left completely alone because they had *finally* pissed off the people trying to save them.

“I hope the fences we mended fall down beneath their own weight.” Very similarly to that previous line, during Family Reunion - arguably - Rae and Icarus had *kind of* mended their relationship. Icarus didn’t like that - Icarus really hoped that he’d just let it go. They really hoped that the weight of everything would mean their relationship, whatever Rae thought was left of it - at least, would just crumble. That Icarus wouldn’t have to hold on to him and their family anymore because holding onto it means there is *complications* and attachments and they really can't have that - not now.

“And I hope we hang on past the last exit. I hope it's already too late.” That whole idea that Icarus was in too deep - Icarus was going to hold on and stay attached to Fable until the very, very, *very* end. That whole idea that Icarus very much thought, very much hoped, that they were too far gone and it was far, *far* too late to turn back now. (Also that whole idea that

“In my life, I hope I lie. And tell everyone you were a good wife.” Okay, a, that whole idea that Icarus lies about *nearly* everything - they lie about so, so, *so* much that it’s really all they do and hope to do. B, that idea that they so desperately want to see their father as a good person - so desperately want *everyone else* to think he’s a good person; to the point that they *will* lie about it, they hope to, they hope they get the opportunity to lie about it.

“And I hope you die. I hope we both die.” *If he dies they don’t have to do this anymore.* Just that whole idea that if he dies they do not, really and truly, have to continue to do any of this. They can fully and completely leave it behind and *gods* how they really, really want to do that. Also, arguably, that whole idea that they don’t think they’re worth saving, and that whole idea that they think they fuck everything up and ruin it regardless of how much they’re trying. If they both die between now and the end, then when this is all over no one will have to get hurt anymore - their family will be *safe* and sound and they won’t have to stress about themself *or* their family *or* what their father is doing.

“I hope I cut myself shaving tomorrow. I hope it bleeds all day long.” That idea that icarus thinks they’re deserving of all the hurt and pain and sorrow sent their way. All this pain and suffering and the way it’s constant - they fully, *fully* think they’re deserving of it; they fully hope it keeps happening solely to prove that point. (This is not the time or place to go on a rant - but I would like to bring up how, after Centross dies, whenever Icarus gets really injured - unless it's dire dire - they refuse to use potions on themself. And even when it *is* dire they’re almost hesitant about it.)

“Our friends say it's darkest before the sun rises; we're pretty sure they're all wrong.” Rae thinking he can save Icarus, save them despite everything they’ve done and despite all they’ve been through - and Icarus thinking, *knowing*, he can’t. Regardless of what he says, Icarus knows they’re in too deep and knows that means Rae can’t save them or get through to them very easily.

“I hope the worst isn't over.” Ties back to the line before last - that idea that Icarus thinks they deserve all the pain and suffering they’re going through. It’s their fault, they deserve it, maybe they don’t really like it very much by they do understand where its coming from and they can agree with it because deep down they *know* what they’re doing is so very very wrong.

“I am drowning. There is no sign of land.” They’re falling and falling deeper into this little pit they’ve dug themself and they can’t find a hand hold to even start trying to climb themself out. They are lost and *alone* with no one there to help and they *know it.*

“You are coming down with me, hand in unlovable hand.” That idea that if Icarus goes down - they’ll take, to try to take, Fable with them. That idea that both themself and Fable are seemingly unlovable - at least in Icarus’ eyes - and the two of them would go down hand in hand; it’ll be one of their faults and they’d drag the other down with them (Also, arguably, Icarus and Midas as well - if Icarus goes down they want to drag Midas down with them; if Midas goes down they’ll inevitably *have* to drag Icarus down with them. The two of them are so intertwined that if one goes down they’ll drag the other whether they want to or not.)

-> [Mr. Author]

-> How Icarus really just wants this to all *stop* and finish up - how it's been going on for so long and they don't know how much longer they can keep going like this. How they want to talk to the person who wrote their story like this - talk to the person that keeps *letting them do this*, want to talk to the author ruining their life.

-> [Icarus]

-> Something about Fable realizing, however small, that his actions are hurting Icarus. How Icarus is hurting and dying, and how he can't *fix it* - he's not going to be able to fix it, fix *them*, make them what he wants them to be. He can't save them in the way he wants to - they're *going* to die and gods he won't be able to stop it. Specifically right at the end, Fable's death by his own son's hands.

-> [The Bad Guy]

-> That whole idea that all Icarus wanted to do, really and truly, was *fix* everything - but that's not how it went. They went to bad places to fix things, they became the bad guy. They didn't want to be, of course - not again, not after last time - but that's what *happened.* They became the bad guy, and they're finally finally realizing it. (Only, it's really too late, because they're dying now.)

-> [In My Blood]

-> Just that whole idea that this is how Icarus is always going to be, how this is how Icarus is and there's no changing it - how it's in their blood to do this, to *be like* this - how there's no stopping it, no turning back.

-> [Daniel In The Den]

-> Really just that whole idea of Icarus killing Fable, and the following way they attempt to move on. That way Fable was killed by “the ones you think you love” - Icarus, yes, but really everyone contributed. (And, arguably, almost that bit of anger Icarus harbors toward Fable at the end - that idea he wasn't ever going to fix this; that all this pain and suffering was for *nothing.*)

[Section Six - They're. Kind of God now. Question mark. Maybe. I dunno, Icarixis is. Yeah. They're a guy. That's for sure.]

-> [Ruin]

-> They have a conversation. This is simply Midas and Icarus having a back and forth conversation about mistakes and Quixis and *all of it.* It’s very hard to summarize - so uh. Hi line by line analysis, welcome back-

(ICARUS)

“I will bring you ruin in everything I do.” Something about how no matter what Icraus does and no matter how hard they try - they ruin things. Their family, their house, their friends house, their *life.* They bring the people in their life - including Midas, and including themself - ruin and pain no matter what they do.

“It’s never my intention, but it happens all the same.” Icarus rarely means to hurt their family and friends like that - it’s rarely their intention but it *happens.* They can’t stop it happening, be it because of the wack or because they’re trying to *fix something* or or or. They never mean to hurt people - they don’t *like* hurting people - but it just keeps happening and happening and *happening.*

“It starts with love and comfort, becomes a strength of will.” Arguably, talking about their time in the three resets they remember. It started good and okay and alright and it just slowly became their goal to just *survive* - it became a strength of will to just keep going after every little thing that just kept *happening;* After all the death and harm and suffering they’d experience they had to fight to keep going.

“But all that strength made rubble of the towers we built.” Icarus keeping going like they did broke *so much.* The Worldport, Midas, Themself, *The overworld.* It all fell apart, was all unstable, because of *them* - all of that kept falling apart into rubble because of *them.* (And, arguably, also partially because of Midas.)

“Cause brick by brick, you built us and I’d fill in the cracks.” Midas helped build this world, this *life* for Icarus. They built it brick by brick - keeping Icarus from being Quixis so young gave them *this* - a family, a life, safety. Midas built it, and Icarus made it *theirs.*

“Nothing quite prepares you for when they don’t come back.” Icarus wasn't prepared for when Centross didn't come back - when it wasn't just a fluke. They weren't prepared for being *alone* and by themself for that long and they weren't prepared for him just being. Dead.

“I wish I’d done things different, I wish that I’d been brave.” Something about wishing they'd home about getting Centross back differently - not killing people, not doing any of that. Something about wanting to be braver - be braver to leave Him and side with their brother and the rest of their family and not side with the person who killed Centross and who killed so many people. Something about *wanting that.*

“I wish I’d known these stones were something I could save.” Arguably, something about wishing to have known that they could have saved Midas so much earlier - could've taken up their role *months* (*years*) ago and saved Midas so much pain and bad and suffering.

(MIDAS)

“Our mortar was your laughter.” Something about the funnier aspects of Midas changing things - it kept them together. At least for a little bit. It kept everything okay and alright - the silly-ness of it all. (Obviously that didn’t stick very long.)

“And you hurled curses at the land.” Icarus yelling and ranting and being so *angry* at Midas. That anger that Icarus just let boil simmering over whenever something bad or upsetting or just *annoying* happened.

“We didn’t talk, we made universes - out of bitten lips and broken hands.” Something about how Icarus and MIdas never talked talked - sure they had the book and their comms but they never really properly *talked.* Something about how despite that, they built things through their pain and hurt. They built friendships and lives and all of that - even without talking.

“You said, “I love you less than when it all began.”” When it first started Icraus didn’t think anything of it - wanted to know what was up with it but also wasn’t really *worried.* Icarus, at the beginning, almost thought it slightly funny. They didn’t really care what it did. But as time went on and as Midas lost more and more control and as the wack got worse and worse and as it broke more and more - the less and less Icarus liked it. It lost its novelty once it started hurting people.

“And I said fewer cause I make jokes to show how broken I really am.” Something about Midas communicating very *directly* with the wack and their comm and things as the end came closer and closer - they stopped with the messing around and the jokes and the silly changes they used to do, and they just became serious calls for help on both ends. (And beyond the direct communication - the *interfering* with things that could get Icraus hurt or killed.) Gone are the jokes and the small silly laughable changes, replaced with calls for help and calls for *something* because Midas was dying and so was the Worldport. And something about how the direct communication was a lot more spread apart in comparison to Midas’ jokes.

“And in the wreck of all we burnt, stands our piano like a wound.” Something about how in the wreck of everything Midas has done, and everything Icarus has done - The two of them still stand tall, *alive.* And something about how so does the Worldport - despite all the decay and all the things it's been through, it's still alive and it's still going and it's still holding all the worlds and it's slowly getting fixed and and and.

“I’ll play our song to see if it’s in tune.” Arguably, something about letting Icarus see to the end of their story. Letting the song play rather than stopping it far far too early - letting Icarus live and learn and seeing if they’ll make the correct choice; seeing if the song is in tune.

“And I promise to be patient.” Something about how Midas kept *going* - no matter what happened and no matter how much it seemed like Icarus was too far gone and no matter how much it seemed like Icarus wasn’t going to make the right choice, Midas persisted. They were so patient with them - waiting and waiting and *waiting* until Icarus *did it.*

“And you promise to be kind.” Something something Icarus never really wanted to hurt their family - they just wanted their best friend back something something Midas telling them that they’ll be - *knowing they will be* - a good Quixis something something to be Quixis you need to be kind and considerate and things like that something something

“”We can rest,” you say, “in the pieces of what’s left or what we’ve found.”” Guys we don’t know where Midas is, but we do know they’re *somewhere.* Something about Icarus taking up the mantle of Quixis means Midas *finally* gets a break. Midas finally gets to rest and relax after so long of not being able to and having to constantly be doing something wand watching someone - Midas can just *rest.* (Wherever that may be, we have yet to find out.)

“I wish I’d done things different, oh, I wish I’d made it right” Something about how even if Midas doesn’t regret what they did - doesn’t regret leaving Icarus to live their life, doesn’t regret keeping them from being Quixis - part of them probably wishes they had done it differently. Something about wishing so many people didn’t have to die, or their worlds decay, or or or. Something about wishing they had made it right earlier - so they didn’t have to go through nearly as much pain. (So they didn’t have to go through feeling their body decay and *rot* from the inside out.) Something about wishing that, but not regretting - not truly - how you did it in the first place.

“But we’ll burn a hundred theaters, If it means we get the wallpaper right” Something about how Midas would let the Worldport fall apart, let worlds die, let *themself* die, if it meant Icarus got to see the end of their story - if it meant Icarus got to live the whole of their life that had been written out. They’d let it all die, let so much decay and fall apart until it was even decaying *them,* if it meant Icarus didn’t have to Quixis so young (they were younger than midas), if it meant Icarus got to say goodbye.

“Nothing quite prepared me for when that piano sang again.” While we don’t know exactly what Midas has been up to fo the past 2 months since the finale - I feel like finally getting a break and *centuries* and finally passing on your title and finally being *yourself* (or, mostly yourself) again wouldn’t be something you'd prepare yourself for in years of being alone - something about not being prepared to be able to rest and be yourself again after so long of *not* being able to do those things.

“Tomorrow I’ll do things different.” Maybe a bit more Icarus than it is Midas (Mostly because there’s not much more different Midas can do, not now, not after so much time has passed) - something about knowing what happens when you wait to bring a Quixis and something about vowing to *not* do that and put all of the Sherbs through that for a second time. Something about vowing to be different than the person you look so much alike. (Something about vowing to be different than Fable.)

“Tomorrow I’ll be brave.” This one is Midas - something about finally being brave enough to pass on the title of Quixis to Icarus, finally being able to let it go - give it up. (Even if it was just the end of Icarus’ story - even if it was the only logical time to pull them and pass it on - it was still brave. They had waited *so long.*)

-> [Icarus & Apollo]

-> Something about Midas living vicariously through Icarus. Something about Icarus showing Midas *so much* about life and their world and everything. Something about in turn Midas showing Icarus how to be Quixis, how to do this job *correctly* and not fuck it up like they did. Just that whole idea of ascension.

-> [505]

-> I guess Midas after Icarus ascends. That idea of going back home and not really knowing what awaits you. You have an idea, a concept of what might, and you're fully *prepared* for it. That idea of them *knowing* they have to leave after Icarus takes their place - or something like that.

-> [Show Yourself]

-> Icarus to Midas - How they just want to know what in the *world* Midas wants with them, and wants to do with them. Why Midas is following them, why they're changing the stuff they are, the decay, the eye - just wanting to *know*, but also very promptly ignoring Midas more often than not.

-> [Who You Are]

-> They're supposed to be Quixis!!! This is exactly who and where they're supposed to be!! This song really feels very Midas talking to Icarus - Telling them all of this as encouragement that they're going to do good, and that this is exactly where they're supposed to be, regardless.

-> [The Last Goodbye]

-> Saving the multiverse with another version of you. This is very Midas and Icarus coded - How Midas was willing to go down hand in hand with Icarus if it meant the multiverse surviving; also how Icarus was completely willing to take up the mantle of Quixis, even if it meant the people back home couldn't remember them.

-> Something about how they both think they're gonna die, Icarus and Midas - something about it.

-> [still feel.]

-> Dying over and over again, being reset over and over and *over* again, and yet. They still feel alive. Fable pulled them from the grave more times than they can count, and they still feel *alive* despite all that's happened.

-> Quixis is where they're supposed to be, Despite *jumping* they're still here, and they're still alive, and they're still *living.*

-> [Back To Black]

-> Oh so very wet birds. Something about them genuinely only saying goodbye with words - they didn't hug, didn't touch, no. Only words. Something about Ven going back to when he got pulled out, going back to Fable and all of the consequences that come with it. That whole idea Icarus isn't going to go back like that - they're going to go back to the present day and they're *going* to remember him.

-> [Spring and a Storm]

-> This one feels just very general epilogue/post finale times to me. Just everyone off doing their own thing, having fun and being happy. Reminiscing about the past *sure*, but having fun and being good all the same. (If you wanna look at it through an Icarus *specific* lens, for some added angst - Icarus watching their family and friends grow and be happy and gain things they couldn't gain before, while they're in the Worldport. Watching their family grow and get to be truly truly happy while they work on cleaning up Midas’ unintentional mess.)

-> [Ghost Song]

-> Just the whole idea of how after becoming Quixis, Icarus isn't reality seen or *known* anymore - And how they so desperately want to be. How they so desperately want to be seen and known and lived, but they can't - not for a while. How at this point they're just a ghost - changing and lurking, an entity everyone knows the name of, but not knows properly. Also almost that whole idea that they spend so much of their time watching over the Grove while their in the Worldport; changing and altering the small things so people, even if they won’t know until Icarus comes back, know they’re *there.*

-> [Introduction to the Snow]

-> Just that whole idea of now that Icarus is Quixis, they're alone. The Worldport is *empty* - no one is physically there with them, they're alone. They can't talk to anyone, no matter how much they so desperately want to. Also how this is *exactly* where they're meant to be.

-> [Today Today]

-> Just very ‘end of season 3’ coded - how upset Icarus, how much they were just *crying*, and they couldn't seem to stop regardless of how hard they tried. Also that whole idea of time going so so much slower in the Worldport, how ‘today' to Icarus must feel so so much different now. Also just that whole idea of being stuck between places, having everything to do because of everything up with the Worldport. That whole idea of so much happening in all the worlds they’re watching - there's so much to see and watch and understand and and and.

[Section Seven - Group songs, but an asterisk is attached to the first 4 because I write those pre stream and pre playlist re-organize- (sherbert please why did you do that right before stream-)]

-> [Machine]

-> The doubting of Fable's ideals, the realization of maybe they (Icarus) aren't doing the right thing by doing this, and how they don't *really* want to be a part of this anymore - how they don't want to be a part of Fable's machine, don't want to be a tool in his tool box, a means to an end.

-> The Idea that none of the people here, any of the members of the grove throughout the seasons, *want* to be a part of any of this - what to be here, want to do this, want to see any of this. The idea they don't want anymore resets - don't want anymore people to go through this, don't want to be a part of this revolving machine Fable has built for them.

-> [Suburbia Overture / Greetings from Mary Bell Township! / (Vampire) Culture / Love Me, Normally]

-> Just that whole idea of how Icarus is just *angry* at Fable - How they're beginning to doubt him, and his ideals, and how they're just angry at the concept that he won't bring people back - that this was all for *nothing.* Also just them being so incredibly angry at *everyone.*

-> This is also very just season 1. Just the anger at Enderian and Ominous Bane and. All of season 1 and its hardships.

-> [Enemy]

-> Something about how, especially at the end, *everyone* wanted Icarus dead, gone, or both. They didn't want to be friends with Icarus, they'd been given too many chances, and no one was willing to save them anymore. How everyone wants to be, *is*, Icarus’ enemy by the end.

-> Just. The idea of everyone, at some point, being each other's enemy. At some point everyone has been on opposite sides with someone else in the grove - and that meant everyone else was going to side with *one* of them.

-> [The Search]

-> Just Icarus’ mentality right at the end, trying to find something, *anything,* that'd save or fix them, regardless of what. Searching for something they won't find, looking for something they can't see. Also their whole mentality towards Fable - anger and annoyance and *mad* - how in the end they end up killing like he almost killed them.

-> The whole idea of everyone like. Looking for something they can't find, can't get back, can't *see* - and the idea that over time they all slowly grow angry toward Fable and the resets and everything that's taken *anything* from them.

-> [Misery Fell]

-> I feel like you could argue this is either the very end of season 3 coded, or just the grove coded in general. Something about how they're constantly going through terrible terrible things - constantly having misery fall upon them.

-> [When You're an Adams]

-> How living in the grove is often a while experience - How you need to be prepared for anything, really, because you never know what's gonna happen next; never know what Gods are going to get involved or whatever people are going to go on a harming spree or or or.

-> [Ready As I'll Ever Be]

-> Either Perix fight coded, Or the Faction preparing to fight Fable. Something about getting ready for this big battle and fight, while the other side does exactly the same as that.

-> [We Don't Talk About Bruno]

-> I feel like you could argue either Enderian or Fable? The grove singing about them - respectively. Enderian mostly after season one, while the singing about Fable more now. How they probably don't really want to talk about much of that, no matter how far into the future it gets.

#i dont even fucking know chat #2 months of work - for you <3 #18320 is a good number by the way. its round and i rarara #yeah okay i. hope you all enjoy <3 #and to chat - who may or may not see these tags on stream tomorrow - yeah im always like this #oh icarus morningstar and their silly goofy ways <3 #sherbertquake56 #quixis #icarus morningstar #fable smp #fablesmp #fsmp #not to analyze songs on your dash - but to analyze songs on your dash #a tag to help find my own posts

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thatfreshi · 1 year ago

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Can you make an Angsty Astarion x mortal!reader fic where Astarion realizes that one day the reader will pass and he’ll be alone again🙏🙏🙏 I need more Angst of this man😭

TW - Talk of death, graveyards

Recommended Song: Halley's Comet - Billie Eilish

Astarion often visits graveyards. It's some form of therapy, a place where he can let it all out, a place where he can mourn what he never had, what he doesn't remember. You don't usually go with him, deciding it's best to give him something just for him. Occasionally he'll ask you to come with him, if it's been a particularly rough time or if it's a special day. At the very least he goes once a month, and it's never a question of where he's going, you just know. You worry about him sometimes, being alone in some graveyard. You are all each other have, all you cherish, all you love. It's not often you're apart, but it's not all that difficult to stick to someone like sap when you can't be in the sun.

It's the anniversary of the death of some family member he doesn't remember, who died centuries ago, but some part of him feels as though he should at least go. Not like anyone else goes to see his family anymore. You're in the living room, setting up the fireplace for when you return. Astarion comes downstairs, and you hear his shoes tap each step. You turn to find him in all black, you are as well.

"Are you ready to go?"

You ask, grabbing your trusty knife off the table by the front door, sheathing it under your jacket. It's been quite cold as of recent.

"Mhm."

He doesn't say much. He doesn't have to say much.

"Then let's go."

You smile warmly and wrap yourself around his arm. The graveyard you're visiting isn't too far from the house. It's where most of the Ancuníns were laid to rest, including Astarion's 'grave.' When you arrive, he knows right where to go, and you simply follow along. A while back he memorized all of these people, their death dates, who they were, trying to remember anything he could from a life he lost long ago. The two of you sit in front of an ornate grave, a second cousin of his, or something of the like. You feel guilty that you don't remember like he does.

"I appreciate you."

He'd been silent the entire walk here.

"You always come with me when I ask. I know it may not make sense, I just feel as though it's right, to at least try."

"Of course my love. Whatever you need."

You rest your head on his shoulder and read the inscription on the tombstone. Apparently this man got a terrible illness, died sometime in his 20s, extremely young for an elf. You wonder how much Astarion remembers, if he knew this man at all. You never pry though. He always shares when he's ready. Suddenly, he squeezes your hand.

"I'll miss you. I don't miss these people, but I'll miss you."

"That's hardly a fair comparison. You barely remember them."

"I'll remember you forever. Even if I were enslaved for two hundred more years after this, I couldn't ever forget you."

He kisses the top of your head, lingering for a moment to take in your scent, the feeling of your hair, every little thing he'll remember when you're gone.

"The truth is darling, I don't think I'll ever love again, once you're gone."

He begins to cry. You hadn't thought about him with future lovers, lying with another soul.

"That's not fair though."

"What makes you say that?"

"You deserve to love after me. You deserve to be loved after me."

He sadly chuckles to himself.

"As if anyone could ever compare. You're the sun, and I the moon. Without you, no light would ever reflect off me again. A dark husk of a man, that's what I will be when you're gone."

He sounds so sure of himself, as if beyond you there is nothing. Then again, you've made this entire life together. Who else would fall in love with a vampire spawn with no master, a monster who's never going to be quite right? You're not sure what to say.

"To be honest, I don't think I could fall in love with someone else, even if I tried my damnest. You've made me feel safe in a way that is so foreign, fabricated just for me. You can't replicate that. You can't find someone so willing to be this patient, this kind, to not only love me for my body."

"You have so much more to love though."

"I don't think anyone would see it the way you do my sweet."

You shift to turn and look at Astarion, taking his hands in yours.

"You know what I love most about you?"

He softly smiles.

"What?"

"That you can change. It's something many people forget to do, to change and evolve, to find more in life than their misery. You've changed, for the better. Very few can do that the way you have."

"It's you who changed me."

Sometimes it frustrates you, how little credit he gives himself. Then again, it's much better than it used to be.

"Just promise me something? Once I'm gone, find another way to be happy. Find something that makes your heart flutter, that causes those precious creases when you smile. Find something else, if not for yourself, for me."

He nestles into your neck, giving you a soft kiss.

"I promise to try my love, that's all I can do."

His eyes are still misty, the tears get onto your neck. You try hard not to cry yourself, but it's hard when your heart is breaking outside of your body. You pray in that moment, although you're not sure to what god or power, but you pray that he'll be okay when you die, that it's a long time away from someone driving a stake through his ribs, that he finds joy in the small things like he does now. After all, hope is all you have when the afterlife comes to get you so soon.

"I hope I get to watch over you, wherever I end up."

"Like some kind of angel or something?"

"I guess. Like your guardian."

"Do you think I'll know?"

"Yes, I think you'll know. Maybe I'll take on the body of stray cats, follow you on the streets, lead you down paths with less heartache."

"I'd like that, very much."

~~~

Decades later, Astarion gets ready to leave the house, your knife on the table. When he steps out onto the cobblestone streets, there's a pure white cat standing a couple feet away. It meows, almost melodically, and turns to a nearby alleyway. He walks to where the animal was standing, and turns to look into the alleyway, but there is no sight of the stray. He smiles.

"Thank you, my love."

#comfort #angst #astarion #baldur's gate 3 #astarion x reader #astarion x tav

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awh-bowie · 1 month ago

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⋆౨ৎ˚⟡˖ ࣪21 things i’ve learned since becoming an adult

˚ʚ♡ɞ˚ three years is not a terribly long time, but, i feel like regular metrics of time simply cannot be applied to girlhood and the transition to womanhood. my childhood felt like a single moment and being a teenager felt more like a century. but i digress, what have i learned in the three years since i became a legal adult?

୨୧ fostering meaningful friendships is far more important than any romantic relationship ୨୧

♡ the thing about romantic and physical relationships, especially when you’re young, is that they are not a reliable constant. all i can say about this is that close, trusted friends will benefit you better than any “situationship”.

୨୧ think of yourself like a plant, just a little bit more complex ୨୧

♡ what i mean by this is simple: if you feel awful for seemingly no reason, get some water, eat some fruit and go outside. more often than not, the mysterious specter making you sad is just yourself forgetting fundamental self-care!

୨୧ the best product for glowing skin is free! ୨୧

♡ drinking enough water is one of the easiest and most effective ways to maintain healthy skin. hydration helps flush out toxins, keeps your skin cells plump, and improves elasticity. scientifically speaking, staying hydrated supports your body’s natural detoxification processes!

୨୧ cry, cry, cry! ୨୧

♡ crying is a wonderful and natural way to release negative emotions, not something that is weak or embarrassing. we go into this life screaming and wailing, why stop now?

୨୧ invest in blue light glasses ୨୧

♡ blue light is the enemy of your eyes, especially looking at it in the dark. getting yellow-tinted glasses is a game changer, especially if you prefer low light! i never turn on my big light.

୨୧ you have boundaries, period. ୨୧

♡ there’s no such thing as not having boundaries. you can go through life without experiencing things you’d rather not experience again, these experiences create boundaries. if you genuinely can’t think of any boundaries, i suggest doing some journaling! here are some prompts i made for myself that really helped me.

୨୧ balance is good, but extremes aren’t evil ୨୧

♡ it’s okay to indulge, to be hedonistic! as long as you’re honoring yourself and the people in your life, go crazy every once and a while. that’s what life is about, diving into the things you love.

୨୧ use lighter concealer under your eyes ୨୧

♡ a lighter shade of concealer under your eyes helps brighten your face and hide dark circles!

୨୧ diet affects your skin and hair ୨୧

♡ proper nutrition plays a critical role in skin and hair health. consuming foods rich in vitamins and antioxidants, like fruits, vegetables, and lean proteins, can help prevent acne, improve hair growth, and promote a radiant complexion. see my post here to learn more ;3

୨୧ no one is looking at you, seriously, it’s biological ୨୧

♡ let me get a little sciency here. humans tend to overestimate how much people actually notice us, and this is something called the spotlight effect. it happens because our brains are wired to be super focused on ourselves, making us think everyone else is just as tuned in to us as we are. spoiler alert: they’re not. studies have shown that people pay way less attention to you than you think. realizing this is so freeing because once you know that your little slip-ups or bad hair days go unnoticed, you can start living with a lot less self-consciousness. embrace the freedom—no one is watching as closely as you imagine.

୨୧ independence isn’t loneliness ୨୧

♡ being independent doesn't mean you can’t ask for help or rely on others. sometimes the strongest thing you can do is reach out for support when you need it. true independence comes from knowing when to lean on others and when to stand on your own!

୨୧ dedicate time in your day to unplug ୨୧

♡ taking regular breaks from technology allows your brain to rest and recharge. studies indicate that unplugging can improve focus, reduce stress, and enhance well-being. scheduling time each day for a digital detox is beneficial for your mental health and productivity.

୨୧ you don’t have to justify the things you love ୨୧

♡ “i know it’s dumb but i really love [media] because it has my favorite actor in it!” STOP!! if you find yourself preemptively insulting your interest or explaining why you like it, stop and think. ask yourself what about the situation made you feel like you needed to do that.

୨୧ it’s okay to outgrow things ୨୧

♡ i wish i could stay a kid forever, but being an adult is kinda sick. drifting away from people, hobbies, media, etc… is a natural, unavoidable part of growing.

୨୧ it’s okay to not outgrow things ୨୧

♡ that being said, there’s nothing wrong with hanging onto the things that make you happy! if something you have from when you were a kid still brings joy to your life, it would be silly to give outgrowing it another thought. the fact that it still brings you joy means it cannot be outgrown.

୨୧ vitamin C for bright and even skin ୨୧

♡ vitamin C is a powerhouse for your skin!! it helps brighten your complexion, fade dark spots, and even out your skin tone by reducing melanin production. dermatologists recommend incorporating a vitamin C serum into your skincare routine to fight off free radicals and promote collagen production.

୨୧ being “busy” doesn’t equal being productive ୨୧

♡ it’s easy to confuse busyness with productivity. but being constantly busy doesn't mean you're getting more done. true productivity is about working smarter, not harder, and taking time to rest when needed.

୨୧ taking breaks IS productive ୨୧

♡ like i said, taking time to rest is key. studies show that regular breaks throughout the day, especially short ones, can improve concentration, reduce mental fatigue, and enhance performance!

୨୧ cold water rinse for shiny hair ୨୧

♡ a cold water rinse at the end of your shower can help seal your hair cuticles, resulting in shinier, smoother hair. cold water also helps reduce frizz and preserve hair’s natural oils.

୨୧ celebrate every victory ୨୧

♡ no win is too small! celebrating your successes, big or small, reinforces positive habits and boosts motivation. you deserve it, every day you exist is a victory in the eyes of others. according to psychologists, taking the time to acknowledge achievements can increase your sense of accomplishment and satisfaction.

୨୧ they say “trust your gut” for a reason! ୨୧

♡ your gut feeling, also known as intuition, is your brain’s way of quickly processing information based on past experiences and instincts. neuroscientists have found that gut instincts often come from subconscious pattern recognition, and trusting them can lead to better decision-making in situations where logic might not offer clear answers.

-Beau

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goatlottin · 1 year ago

Text

favourite girls

In which you bring your 4 year old daughter to her first football match

genre: fluff

pairing: kylian mbappé x reader

a/n: HIM WITH KIDS ITS JUST. Im in awe everytime hes in a 10ft radius of one. Also i kinda hate this but 💔 i’ve had no ideas lately

The game had just concluded. 3-1 win to PSG with a Kylian brace and he got man of the match. You were so happy for him and couldn’t wait to celebrate alongside him. if you would be able to reach him, that is.

You had made the mistake of bringing your daughter, Ella, with you. Though you knew you had regretted it the second you both left the house.

She was talking throughout the entire match. Asking questions she probably knew the answer to, just so that she can blabber on.

She was undoubtly a daddy’s girl. Despite you finding it adorable, you sometimes found it terribly annoying how much she would hog him. Today, as an example.

He had barely come off the pitch, but she was dragging your hand towards him, just short of yanking off your whole arm. She was so radiant, her father's name and number glistening on her back so proudly. Her tiny pigtails flowing with the wind, the security allowed you both onto the field as soon as he recognized you.

As soon as she was somewhat in his distance, she had let go of your hand completely in order to catch up with him.

It was so beautiful, you had to admit. As he heard her small calls of “dada, dada!” while she tried her very best to catch up with him. He turned his head and his eyes literally lit up. He smiled in awe as she continued her run, crouching down when she was just in reach, and scooping her up. They shared a smile with each other before he threw her up in the air a couple times. her laughs, small, yet filling the stadium.

He then kissed her forehead, before aiming his attention to you only a few steps behind her. She wrapped her hand around his neck securely. He walked towards you in long strides before smiling down at you, then interlocking his lips with yours. A small kiss that put you all in this small little world that made you forget there was even another part of it.

Until Ella interrupted by forcing your forehead back. “My daddy.” She whined as she wrapped her arms tighter around his neck. She grumpily forced her face away from you. He only laughed and looked at her as he touched her nose. You, on the other hand, weren’t really laughing. Were you jealous of a 4 year old? Well.. it was more complex than that. This was about him defending you, at least that’s what you tried to tell yourself.

“You’re just gonna laugh?” You tilted your head with your arms crossed, eyebrows furrowed. He paused his tickling session, that must’ve began as you went into thought, to look at you.

“What was that, baby?”

You rolled your eyes as you scoffed lightly. “You’ve barely given me any attention since we got here!” You complained passionately.

He tilted his head, wondering whether you were being serious or playing a game with him. He turned to your daughter, still in his arms, one leg on either side of his hips. “Is Mommy joking? She can’t possibly be jealous of you, huh?” He rubbed noses with her as she exclaimed small giggles, twisting her face in laughter.

You got annoyed by his mocking tone, him knowing you were dead serious. “Kylian!”

“Hon, you have to be kidding. She’s four!” He pointed out.

Though he was right, you couldn’t help but feel insecure. Throughout your pregnancy, you often felt inferior when he would come home and skip the questions about you. Rather, ask things such as “how’s the baby?” “the little one still kicking?” It drove you crazy sometimes, weirdly enough.

Kylian could see you train of thought ponder off. You snapped back into where you were, at the stadium, to watch as he carefully set you daughter down, leaving her with a final kiss to her cheek.

He crouched down to her level, before pulling some of her hair behind her ear. “Go find uncle Dembele, sweets.”

She ran off in a hurry to find her father’s friend. His height reappeared as he gained his stance from his position on the ground.

He looked down into your eyes, grabbing both sides of your face. You decided to play stubbornly. Opting for turning your face to the side. He smirked slightly, giving the slightest force to bring you back to the two of you.

“Since I have to make it know, you’re my number one girl, hmm? Do I need to spell it out each word for you?” As with Ella, he put a few strands of loose hair behind your ear. The winds dismay.

You pouted, loving the attention that was currently on you.

“You know that right?” He asked for the final piece of assurance.

You nodded into him, putting your hands into your pocket before going on your tippy toes to reach his face. “I know that.”

He smiled before leaning into the kiss.

“Don’t tell Ella about what I said though. Don’t need another one of my girls’ mad at me.”

#kylian mbappe fluff #football fluff #psg #kylian x reader #kylianmbappe #kylian x you #football #mbappe fluff #mbappe one shot #mbappe fanfic #kylian mbappe dilf

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hotchfiles · 10 months ago

Note

Hi!! Happy 100th follower bash! I wanted to request Seth Cohen with the prompt “what if you just want something, and you want it so bad?” If you decide to write it, I can’t wait to read whatever you come up with. Thank you!!

lari's 100th follower bash + send me a prompt and one of my boys for a blurb

seth + “what if you just want something, and you want it so bad?”

three times seth let you go and the one he didn't

┊ ┊ ⋆˚ ⁭

You were his best friend, two little kids watching cartoons and drawing around while your parents drank wine and talked about things you both didn't understand.

As days and weeks and months went by, the more the drinking wine encounters became something only your mother would do, frequently going to the Cohens to talk to Seth's mom.

"Your mommy looks sad."

"She cries a lot too, more than me."

Divorce is the word that has been making your mother cry apparently, and soon it makes you and Seth cry as well. Divorce means you're going away to a new city with your mom.

Seth can't do anything about it but hug you tight and hand you the collection of not really great drawings he made of you, for you.

┊ ┊ ⋆˚ ⁭

You come back for high school, thank God, your mother's job is much more demanding now and she feels your dad can be more present than she is.

It's like you never left, you feel. Seth instantly clings to you like he did when you were children, except this time his mind is going a thousand miles per hour. He wasn't exactly expecting you to come back and now his mind is completely torn into Summer obsessive thoughts and you.

You spend hours and hours watching terrible sci-fi tv shows, he's drawing (more often than not, you're the muse), while you read or write on your journal. It's silent and comfortable and people often tease you about how you're the only one to keep him quiet for so long.

Seth doesn't understand it much either, but he enjoys watching you, the way you furrow your brows when you forget a word, or how you take a deep breath following a surprised sound when something happens in the book you're reading.

He's been thinking about how at peace you make him feel and he has plans to ask you to homecoming, but some sophomore beats him to it. And he could ask you to go with him instead, drop the other guy. But your eyes almost close while you're smiling telling him about it, so he just lets it go.

┊ ┊ ⋆˚ ⁭

2.027 miles. 31 hours drive. 4 hour flight.

Writing came to you as drawing came to him, you both had collab comic books even. He should've known you wouldn't go for Irvine or Berkley. Or any goddamned college in California with a creative writing program. No.

Northwestern University. Illinois. He heard you gush about it all senior year, and doubting yourself, saying you wouldn't get in anyway. But you did, obviously, you had everything they required and everything any university could hope for in a student. He knew you would get in and he obviously couldn't ask you to stay for him.

You were just friends.

And even if you weren't, he would never stop you from going after your passions, what made you happy.

He visits you when he can. You both kiss and make out and tell each other the sweetest things in whispers only you can hear in those times. Nothing more comes of it though, you're busy and two thousand miles away. He accepts it, he lets go of the idea of having you just yet.

┊ ┊ ⋆˚ ⁭

Enough is enough though. And when you tell him about the internship opportunity outside of the country you don't smile with your eyes like prom. Your tone uncertain, your whole body weight being held by his arms as you both laid down on your terrible dorm bed.

And as always he wants you. He wants you so bad. He wants you to stay. To ask him to go with you. Like he wanted you to stay with your dad after the divorce. Like he wanted to be your date for homecoming. Like he's been wanting to call you his girlfriend, his partner, his lover, his wife even.

"Is it bad to want something so badly?" he says more to himself than to you, really, but still you turn your head to him, using his chest as a support for your chin.

"I mean... It's just an internship I don't want it that bad—"

"That's not—I want to ask you to stay. With me. Don't go. And that's selfish." He keeps his eyes glued to the ceiling as if he hadn't just made your heart skip a thousand beats.

"Then just ask me, funny boy."

His grip to you tightens, if that's even possible, and he's finally able to not let it go, to not let you go.

#lari's 100th #IM BACK #thx for requesting omg especially seth #seth cohen imagine #seth cohen scenario #seth cohen fanfiction #seth cohen fanfic #seth cohen x reader #seth cohen x you #seth cohen x y/n #lari writes sometimes

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dekusleftsock · 6 months ago

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Hey, so you said in your tags about how katsuki is a freak in his own way, could you please expand on this idea a little and when it comes to Izuku?

Sure!

I actually made a post about this very concept semi recently but that post also didn’t really have organization lmao

The main reason I’ve always thought Katsuki as “a freak” as I dub him is for the very foundations of his personality. I think the main reason why no one in the western fandom looks at him and sees him for his (kinda) socially inept aspects is because of a combination between cultural differences and the nuances that hero society throws into Japan specifically.

It’s well known that Horikoshi’s story/world is heavily influenced by American super hero comics. Superman, Spider-Man, Harley, Poison Ivy, Bat-man, Captain America, ant man, etc. are all very obvious influences throughout the story, with characters like Allmight often feeling like a combination of Superman and Captain America.

The reason I bring this up is because the very aspects of these super hero comics is kind of in direct contradiction with Japanese society, especially as those heroics within the world affect the society around them.

Heroes are this curve ball thrown into a society that teaches its citizens to be polite, complicit, and quiet. That’s not to say that this is necessarily a “wrong” way to have a society, but I think it’s with this context that Katsuki’s character (and therefore the intentions behind it) become clearer.

Heroes are bright, loud, and powerful. But long before Katsuki was a hero he already was these things; how does that affect his social life? How do the people around him treat him in the context that he is both not a hero nor having of a quirk? If heroes are the “exceptions” to the society around them, and Katsuki is not yet an exception, then he is an outcast, right?

It’s this context that I feel most people forget. Katsuki understands the people around him, he’s very observant and nosy, but he also just doesn’t care. He is unabashedly himself at all times. Those jokes Aizawa made about keeping him out of the spotlight showcase this perfectly, Japanese society expects a certain standard for the social context around him—which he actively ignores.

It’s a very ironic aspect to his character given that most people admire and/or envy him. It puts a whole new light on izuku saying that he was the one “actually in his life”, that Izuku may have admired him before his quirk for simply being himself. Not to mention how it makes sense that he would believe izuku was looking down on him for admiring him before his quirk, because Katsuki was bullied! I think that’s an often overlooked detail given that he only became “acceptable” to most kids around him when he gained his quirk. The memory this is showcased in is entirely Izuku’s pov, which is heavily biased in the sense that he admired Katsuki. Getting jumped by kids two years older than you though is so weird, and I can’t help but wonder if the perspective might’ve changed were it in Katsuki’s pov.

To me, the idea that Izuku’s memories of Katsuki being this social god come from blind childlike envy and admiration, especially as the contextual things happening (Katsuki is a REALLY big hero fan, he’s rude, he doesn’t remember people’s names, actively terrible at making friends at UA for a good couple weeks, getting bullied to even a minimal extent) in comparison to the words being told. You are told by Izuku that Katsuki is amazing, brilliant, talented, energetic, crass, and in reality (especially when they enter UA), to most people Katsuki is annoying, loud, mean, a little intimidating, and not nearly as cool as he thinks he is. His friends spend the entirety of the beginning of their first year actively making fun of him for thinking he’s tough shit when he so obviously isn’t.

And I think the biggest most important part to this “Katsuki is a bit of a social outcast” discussion, is that the villains thought he was like them! They thought he would hurt people because he screamed “die” and didn’t like winning when he felt he didn’t earn it.

The only reason Katsuki is not as much of an outcast as, say, Izuku, is simply because he won the lottery. He earned that extra point. He caught that curve ball to Japanese society and honed it into something greater.

And, see, Izuku can’t really know/comprehend that Katsuki would be, I don’t know, unpopular to any extent (shown in the beginning of the series when he’s freaking out on the bus that HES being complimented and Katsuki is being insulted), because to him Katsuki always acted like a hero. And in a way, he does! But it’s in the way that hero society throws that curve ball, contradictory to social norms, and of course it makes sense why they still happened at all; the past was dangerous! It was life changing! Disparity and violence and death, desperation fueled this huge monumental change. And what is izuku “I don’t know how to make people like me” Midoriya going to do when this kid, Bakugou Katsuki, acts like one of the heroes on TV? He’s not gonna call the Geneva convention and ask why the hell this child isn’t acting like a normal citizen—he’ll admire him to such a visceral degree because it’s almost like he was born a hero.

I like the concept that, because heroes and villain are cut from the same cloth, relatively similar in concept and strength and past hurts in their history, that this also affects how they are socially. You are outcasted by society: you want to oppose societal norms to live freely as yourself and others as theirselves, you want to make sure everyone can smile at the end of the day because sometimes you or your parents couldn’t, you want to be the best because someone told you that you couldn’t, you want to be just like the hero on your TV, who inspired the hero in your life.

Also you need to be at least a little bit of a freak to be listening in on people’s business all the time because it involves your childhood friend/rival to literally any degree. Like bro what is wrong with you come HERE BBG LET ME PICK YOUR BRAIN APART PIECE BY PIECE

More side note: idfk where I got the Geneva convention thing. I was just thinking about how mha has genuinely had violations against the Geneva convention

#bkdk #I think this is a fair ask but I will say #out of the four of them Katsuki is certainly the most normal. you’d think that would be ochako but she has a thing for men getting their-#shit beat and still standing up anyway. what is wrong with you girl I love you #midoriya izuku #bakudeku #bakugou katsuki #mha analysis

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shalotttower · 8 months ago

Text

Cultivating Flowers

Title: Cultivating Flowers

Fandom: Original

Summary: Marquis is a man of many interests, including gardening. Specifically, his new roses.

Word count: 3500+

Characters: OC!Marquis x Reader (female)

Notes: yandere!OC, manipulation, animal cruelty (not detailed, briefly described), seduction.

The first bloom appears two weeks after spring starts and it's the most glorious flower in all Marquis' garden. Gentle apricot color, like your favourite dress. You were saving for months — a whole autumn — and grandfather grumbled and grumbled about the frivolous waste of money, but once you finally put it on, his scolding didn't matter a bit. The dress made you feel like royalty — elegant, graceful, important.

You wonder if this is how Marquis feels all the time.

Gorgeous outfits, a splendid castle, a life of aristocracy and ease where everything is taken care of by servants and every other weekend there's an opulent dinner party full of refined conversations.

Your envy for him is almost as big as your caution.

Marquis Nicolae is rich. Like many rich people he possesses time. And when one has too much, they become terribly, infinitely bored. That's what grandfather told you in one of his drunken rants: people who are rich, castle-rich, private carriage-rich for generations are bored like nobody else, because nothing is scarce to them and so nothing is precious either. Work for them. Take their money. Keep your head low and remember — they don't see us like we see them.

Grandfather doesn't work in the castle anymore. He's got old hands which shake from years of physical labour and fruit brandy, back-aching hunched posture and swollen feet that need rest. Now he stays at home, waiting for you to return with stories and bread rolls baked by the cook.

He used to serve Marquis Nicolae's father, who was twice as rich, but thrice as wicked, according to grandfather's words.

"I was a stableman, your grandmother was a seamstress, God rest her soul. Sewed all my shirts, this one included," he tugs at the fabric with pride. "She did well on it... Look at those stitches."

For a moment he gets lost in muttering and rubs his index finger on an even patch of stitched fabric, as if hoping his touch can conjure a spectre. "Not like now, where clothes fall apart after just three seasons. Quality... Sturdiness," he smacks the table. "People used to think long term. Made their shirts for decades, strong like this."

Grandfather is forgetful these days, he leaps from one topic to another and loses the main line of thought, especially after a few glasses. But you wait.

"When I worked for Lord Cazimir, you see," he says finally. "He had horses, all strong, sleek, looked like jewels. A new horse each two months, said it wasn't right for a gentleman to have one for too long, but by God, I never saw a man treat them worse than him. Not enough sleep, ridden until bones hurt. If the carriage hit a stone, it was the horse's fault, if the reins got tangled it was the horse's fault, not the bloody driver. He had that whip with metal feathers which could cut through an apple. And before he made the last swish, he'd pause. Look the horse in the eyes. That was the scariest thing, how he stared at them, so calmly."

He glances at you, as if fearing an admonishment. For what? You wonder how it felt, caring for something that looked like a jewel time after time, after time, and knowing the goodbye was certain and inevitable, like a turn of a watermill wheel. Did grandfather mourn the horses? Or did he get used to burying their bodies under the soil? Maybe they fed someone later — people who don't have much are resourceful, they don't bury good meat.

You squeeze the water from the sheet in silence.

"None simply lived past two months, that's why he changed them so often."

"Why didn't you quit?"

"And then do what?" Grandfather snorts. "There was little job outside the castle, everyone who didn't have land or livestock worked for Marquis one way or another."

"It must have been difficult."

"Life is difficult," he answers, and you can't disagree.

Life is difficult, that's a fact, and it didn't get better when you started working for Marquis Nicolae yourself. A good thing is that unlike Lord Cazimir from scare stories he doesn't torment horses and rarely pays attention to anybody in a servant uniform. All of you share the same mindset: a quick "Good morning, m'lord" or "Have a pleasant day, m'lord" and then being gone as fast as possible.

Rumors circulate that Marquis never once had a full smile on his face. Charming chuckles when he's in a good mood, courtly lips stretches for ladies, bemused sneers when he's addressed by those who used to be in favour but now are out — yes, but the genuine and full-hearted joy: nobody has witnessed it.

He doesn't seem unhappy though, nor he is too serious. When you see him Marquis Nicolae always looks like he has eternity at hand and there's no hurry to spend it. To you, he is uninterested in anything and sharp about everything at once.

You can't describe him better. Words fail you when trying to fit him into boxes of easy understanding. But after all, it's not your job to fit him anywhere, your job is dusting shelves and scrubbing floors, and, since recent days — taking care of roses.

It's unusual for the castle to have such plants this early in spring. They're imported, said the gardener, from cooler places and prefer winter over the blooming season of May and June. That's why Marquis commissioned a greenhouse construction weeks prior, to have beautiful flowers which can bloom regardless of the weather. It took an entire month of hard work, people hired from nearby towns and a promise of good money. You watched them build from the kitchen window where you were helping with meals.

Roses arrived next. Seven bushes filled with buds ready to open up any day. And oh they did. Soft apricot colors covered stems like dewdrops, beautiful enough to make one gasp.

One morning you bring your rag and a bucket to the greenhouse a bit earlier to enjoy the fragrance before breakfast is served. Nice things like these are not for maids like you — the petal scent and the gentle touch of leaves — they're for ladies in beautiful dresses who have time and luxury to appreciate them, but nobody will know anyway if you stop to lean down close enough for your nose to almost bury itself in velvety softness. It's a small indulgence which can hardly hurt anyone. Nobody will know if you pretend to be a lady just for a minute.

"They're quite extraordinary, aren't they."

You freeze, nose in the middle of the rose bush.

"I- Yes", you straighten up and curtsy. "They are most beautiful, m'lord."

Marquis' figure, backlit by the morning sun, casts a shadow which stretches far beyond your own feet.

"Do you know why I chose it?" he asks. "This breed."

He's dressed in a dark waistcoat with delicate embroidery on the collar and doesn't have a single hair out of place, not a strand too thick, not a strand too thin; as flawless as a painting which hang on the walls of his library, but not as solemn. Those paintings seem to measure everyone around them. Marquis Nicolae looks more approachable in appearance, and that's where the approachability ends. His eyes, burgundy brown colour you've never seen before, measure people too, in value rather than worthlessness.

You shake your head, "No, m'lord."

"Because," Marquis continues without minding your answer at all, "it's pretty."

His lips stretch in a courtly smile of a gentleman who is amused by his own joke. You don't understand it but smile in return anyway, because you must. Because this is how the world works — nobles are amused and maids fake understanding so the amusement can persist a little longer.

"Go on," he says. "They are meant to be smelled after all."

You nod and curtsy again.

Later he will be served tea at the ornate greenhouse table while you scrub the floors until your fingers ache. Marquis' focus will shift towards letters, and this is how it's supposed to be. Him reading correspondence, you being invisible like dust under the shelves you clean. It feels better when he doesn't look at you with those eyes of his. They pierce through everything they see.

There's something wrong about him. But you can't tell what yet.

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Life is monotonous, especially in a place like this, even banquets and events have that homogeneous taste, because there's at least one every three weeks, not speaking of brunches which rotate regularly depending on who's currently in Marquis' favour. You serve dishes full of rich fragrances that make your mouth water but can't ever dream of trying them. Meat dripping with wine sauce, roasted chicken breasts wrapped in crispy bacon and glazed with honey syrup. Fresh fruits coated in powdered sugar. Sometimes in the evening when everyone is asleep you mouth the names of those meals: "Beef Bourguignon," "Veal Piccata", "Chicken Florentine". Those foreign words are hard to pronounce — Beef Boo-gee-nyon, Veel Pick-kata — you do it quietly and mostly in your head so grandfather doesn't hear and scoff about wasting time on useless things.

"You're not starving," he would say. "There's bread, there's soup, you don't need those. Be happy, girl. We used to eat potatoes for months straight during famines."

You've never been hungry enough to know what famine tastes like but suspect that the flavor must be something similar to the dull feeling between the busy hours of work, which gnaws at you and makes your thoughts drift to the lunch break.

Sometimes, in a particularly sour mood he adds, "Don't stuff your head with fancy nonsense you can't have, it's only gonna make you bitter."

True.

You're a maid. A girl. A nobody.

And this is how it's supposed to be.

How to tell grandfather that you don't wish to be fancy? Just to try once the roast duck stuffed with grapes and apples, or fresh sardines baked in butter sauce, which smell heavenly as they're carried up the stairs to Marquis Nicolae's salon where guests are gathered.

How to tell him that it's not about food, not really.

It's about knowing what an apricot rose smells like early in the morning while others sleep. How velvety its petals feel when touched. Delicate things like these you're not supposed to have, but do anyway, because a moment stolen out of monotony pulls you from beneath the apron. You, yourself, not just a pair of hands with tired fingers, exist briefly when roses bloom in Marquis' greenhouse and a little piece of yesterday's cake is smuggled into your pocket.

You understand why he's wary. Grandfather's right: with longing comes bitterness. But you're careful not to overdo it. There's only one stolen minute of appreciation each day, not more, so you remember who you are — someone meant to be seen rarely and unnoticed most of the time — and return behind the apron.

✦•······················•✦•······················•✦

Spring goes on.

Daylight stretches a little longer. Ground gets a little warmer. Marquis Nicolae often spends time in his private study after breakfast, then at noon — in the greenhouse. He strolls there among the greenery or sits by one of the tables with a book. Reading seems to be an activity he favors, and unlike some other gentlemen who grow tired within pages Marquis can stay completely still for hours without once getting restless.

You know because you watch him from the corner of your eye.

What kind of books he likes to read if they manage to keep him entertained for such lengthy periods, what titles do those leather spines hide, which stories are good enough for a gentleman like Marquis? He always seems so politely disinterested. You wonder if there are books that can make even him laugh.

Sometimes he asks you questions which startle you.

"Have you read 'The Castle of the Lady'? It's a novel."

You shake your head. "No m'lord. I can't read."

His eyebrows raise. Not in astonishment, Marquis Nicolae has a face of a man who rarely encounters surprises, his reactions are akin to mild interest bordering on curiosity, as if he enjoys discovering something new, something that doesn't fit into his existing assumptions.

"Can't?" he repeats.

You shift uncomfortably under his gaze, "No, m'lord. Never learnt."

"Who raised you?"

"My grandfather. He's a stableman... was. Now retired".

"I see," he returns to his book.

You fidget with a rag in your hands, why does he care to ask such question? What difference does it make whether you read or don't? It's not that uncommon. Most servants only know the basics, letters which form their names and the ones that stand for numbers. You don't really need the skill. What for?

"You may continue," he adds.

So you do.

✦•······················•✦•······················•✦

"Are you the only child?"

"Yes, m'lord."

"Your mother? Father?"

"My mother passed away giving birth to me, and father was a soldier, so he died in a war."

"What a shame," Marquis says, but it sounds like a comment on bad weather.

You're standing with fresh linens in his opulent bedchamber. It's spacious: tall windows and furniture made of rare wood. Old, like the walls of Albastru castle itself. A maid's life story is neither interesting nor important enough to pursue it, at least not in the place like this. Marquis Nicolae is bored, that's the most reasonable explanation to the current arrangement. He's looking for entertainment, but what entertainment can come at your expense, you're unsure.

Grandfather warned you not to draw too much attention, but it's not exactly your fault. Marquis' schedule is well known — he spends evenings in the salon and retires long past midnight. The chamber should've been empty. You should've been able to change his bedding, clean the fireplace and leave without as much as a sound.

Yet here he is, in a high armchair by the fireplace.

And here you are, in front of him, waiting for a dismissal that doesn't come.

On a small coffee table there're squares with simple pictures — a dog, a cat, an apple, made of thin wood with letters engraved in black ink. You step from one foot to the other, the lemon-scented sheets hide the way your fingers twitch.

Marquis traces a square with a rose.

"Sit down," he says and motions to the other chair.

"Your linens, m'lord-"

"They can wait."

No, they can't, you think. The bedding needs to be done, the fireplace cleaned, carpets swept, wilted flowers removed — there's so much to do to linger, and it's already getting late. If you're not able to finish on time-

But Marquis Nicolae didn't give you permission to leave.

You sit and put the linens on your lap.

Grandfather would say that Marquis enjoys the sight of your discomfort behind that courtly smile of his, but he doesn't look amused, he looks the usual. Calm and slightly disinterested. Sharp, despite being relaxed.

"If you figure out what letters stand from this," he points at the apple picture square, "to this one," then moves his finger to the picture with a goat, "you'll get a treat."

"M'lord?" you frown.

There must be something wrong with your hearing, but no, Marquis leans back and crosses his long legs. "A treat."

Treats are for children, treats are for dogs, treats are for horses who are obedient and look like jewels. You stare at him, puzzled, but try not to let it show; nobles have strange hobbies sometimes: races which cost thousands of gold coins for one bet alone, hunting dangerous animals, forcing their servants into duels to pass time. This must be one of those, an entertainment beyond your comprehension.

Still, time is moving forward and the complexity of your situation is becoming more apparent with every passing second; you've never felt particularly powerful — why would you? — but now you're acutely aware of how fragile one's position is when it depends on someone else's whims.

You take the first picture.

An apple. Letter A. Then a ball — B. Cat... So that's what they look like written down.

Marquis' eyes follow your fingers as they slide across the wooden squares, you feel his gaze like a touch, even though there's a coffee table distance between you and a bit more. You quietly mouth each word and letter by habit, unaware of this little detail. His eyebrows raise, this time with a hint of amusement which you don't see, too focused on your predicament.

Dog — D.

The clock is ticking.

✦•······················•✦•······················•✦

"Well?" Marquis asks later when shadows cross the room. The sun is gone, the fire in the fireplace burns lower but bright enough to illuminate the space. Sitting like this has given you a headache which makes thinking harder.

"I have them figured out m'lord", you say carefully.

"Tell me then."

"This is A," you slide the apple towards him across the table. It feels a little silly. "This is B."

The way you say them isn't quite accurate. It's "bee" instead of "b" and "dee" instead of "d", but he doesn't tell you that. Your voice goes quieter with each following letter, perhaps because you're nervous or maybe simply tired — who knows what time it is by now? Ah, quarter to ten. He watches you struggle with spelling and pronunciation until finally there they are. All squares from Apple to Goat, in order just like he arranged them.

"What about this one?" Nicolae points to the playing cat.

"It starts with 'K', m'lord."

You're quite sure, not that much variation is left after all, and say it with the most conviction you can muster so he would finally be satisfied and end this odd game. Your head hurts and stomach grumbles with hunger — there was no time for the lunchbreak today —both physical and mental exhaustion blur together.

Grandfather must be worried sick by now, he hates when you're late without telling anything beforehand.

Then Marquis covers his mouth, and for the first time since you entered Albastru castle, laughs.

Not chuckles. Not smiles without smiling. Laughs that his shoulders shake, that his eyes crinkle at the corners. You stare bewildered, not knowing what to do. Laugh yourself? Smile politely? Say "m'lord" again?

Marquis' laughter dies down eventually and he collects himself, straightening his waistcoat which doesn't require any adjusting in the first place, he's perfect as always.

"No, that's C."

Your cheeks flush red, how were you supposed to know? It would seem that a gentleman such as Marquis Nicolae should know better than mocking someone's lack of education, but apparently he finds it amusing. You lower your gaze and look away.

"How are you called?" he asks.

After a pause your name rolls off your tongue; small in his bedchamber, it barely leaves an echo.

"Well, I said a treat, didn't I?"

You don't want any treats, or to spend here even a minute longer; Marquis rises and walks towards his desk.

"Come here."

Reluctantly you stand up and follow him. The linens are left on the chair in a crumpled pile, they need ironing now. There's nothing to do other than obeying so you stop next to him where he opens one of the drawers. Inside you can see something wrapped in white paper with a thin ribbon bow around it. He takes the item out and pulls the ribbon off. Delicate scent fills the air, the little cakes, you know their name from the cook ─ macarons ─ bloom inside the wrapping.

Marquis Nicolae picks one up with two fingers and brings it to your lips.

The macarons smell sweet like almonds and look beautiful like roses in his greenhouse. They're not for maids, you think, no, this is...he shouldn't be doing that.

Your mouth waters anyway.

His eyes don't leave your face, "Do you want it or not?"

You do.

"Then take a bite."

The dessert melts in your mouth instantly. Its texture is soft, like petals, like everything else luxurious you've never had but imagined countless times. A little chewy, a bit crunchy, it's the most delicious thing you've tried, better than a piece of cake taken from the kitchen pantry, better than honeyed walnut bread.

"Another one?"

Marquis Nicolae feeds you two more, before you realize what exactly is happening — a bite by a small bite your dignity dissolves into his hand. You swallow the last morsel and quickly step back; you've forgotten yourself, forgot who you were and where, and now there's sweetness lingering on your tongue, while Marquise' fingertips smell faintly of apricot.

What have you done?

He looks amused again.

"Thank you, m'lord," you curtsy, then turn around to gather the discarded sheets.

"Clean the fireplace and change the linens. Then you might be free."

"Yes, m'lord."

It's a dismissal at last.

Marquis sits down and reaches for a book — he's done with you it seems — so you hurry to complete the assigned tasks. The fireplace isn't too dirty fortunately, just some ashes and coal leftovers. Next, the sheets, then the flowers.

Before you close the door and rush down the empty hall he speaks again, "If you still remember them all by tomorrow evening, you'll have another treat."

#shalott fanfiction #yandere #original character #original work #yandere x reader #yandere oc #yandere oc x reader

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