#or reanimated dead creatures

[i-love-ulysses-butterflies]

Nico headcanon

Nico would probably have scavengers hanging around him, such as crows and vultures since,

He is canonically said to smell like death which would be another factor to attract scavengers, (I heard there was a butterfly that was a scavenger or something), I feel like this would be really cool and it would be nice for Nico, (he is too traumatized he needs a little bit of happiness)

[evilvalentin3]

i can draw literally anything

[horrorborer]

Horror Hands :)

[frogwithfeelings]

hello ive decided to share with you all a list of films i consider 'silly horror'

'but what is silly horror?' i hear you cry! well shut up im gonna tell you

the criteria for silly horror is that it should have at least 2 of the following:

good practical effects and/or shitty cgi

goofy creature design

at least one point in the film that makes you think "what the FUCK is going on :D"

ridiculous ending or plot in general

cartoonish violence and/or unrealistic gore

a generally goofy vibe

(bonus points if it's from the 80s)

these are mainly comedy horror films that have what i consider the absolute silliest vibes however there is opportunity for a serious film to fall into this category unintentionally, unfortunately tho i havent come across any yet :( (if you know any send them my way :3)

ok so without further ado my silly horror films

REANIMATOR & BRIDE OF REANIMATOR

EVIL DEAD 2 & ARMY OF DARKNESS

BRAINDEAD (also known as DEAD ALIVE)

THE FRIGHTENERS

FROM BEYOND

THE TEXAS CHAINSAW MASSACRE 2

LITTLE SHOP OF HORRORS

KILLER KLOWNS FROM OUTER SPACE

FRANKENHOOKER

ok thats all i have so far if you have any recommendations please tell me i love these films :D

[fungus-no69]

“The term of 'almost deer' is really fitting, not but quite accurate. It was like a deer that someone who had never seen a deer drew, but only after someone else described it to them.” - u/Ampersand_Dotsys

Doodles

[bag0fsnakes]

hey babe I don't have a heart so I got you someone else's- why are you running away

[artbytimfeeney]

Think this was maybe an old Inktober piece?

[rodentsofdisbelief]

*sits suddenly upright in a cold sweat* Cattonquick Reanimator AU

[sysig]

Dr. ZEXenstein (Patreon)

[theswampghost]

dan turning on the bride and calling her a monster like he didn’t just help CREATE her jesus fucking christ dude!!!

[flanaganfilm]

Hi, I'm a big fan of your work. Sorry if this is a dumb question, why kill the kitties? I notice it a lot in horror in general, and it completely takes me out of the story and just makes me feel bad for the cat. I feel like I'm missing something.

Not a dumb question at all - and I knew I'd be getting some of this the moment we decided to include Poe's The Black Cat in TFOTHOU. The comments sections of the world are full of accusations that I hate cats and/or hands, and - well - neither is true. I've admittedly gotten a little flippant with my humor in the past when people have brought this up. My knee-jerk reaction is always to say something along the lines of "well, Websters defines 'horror' as..." But honestly, as far as I'm concerned, it's just not a thing.

A brief history of cats in my work:

HUSH - Maddie's beloved cat, "Bitch," escapes the danger of a home invader completely unharmed and is alive and well at the end of the movie. The last shot of the movie is Maddie lovingly petting the cat on the porch.

THE HAUNTING OF HILL HOUSE - Yes, a malnourished stray kitten dies within Hill House, only to be horrifically reanimated. This was done to show the horrors of Hill House, serve as a warning to the family, and foreshadow the deaths of several human beings (who would meet more horrible fates) later. Hill House is an evil place, and it killed and collected all sorts of living things... there are dead humans aplenty, and also phantom dogs, which Stephen and the kids hear several times and see in episode six. I'd argue that Hill House is an equal-opportunity horror show.

DOCTOR SLEEP - Azzie the cat is a great friend to Dan Torrance. Azzie also has a "shine" of her own, and can sense when patients at the hospice are going to die, and goes into their rooms to comfort them. Azzie is never once in any danger throughout the film and, we presume, lives a long and happy life.

MIDNIGHT MASS - All of the residents of Crockett Island, which include 157 people, a huge population of stray cats, and at least one particularly sweet dog, do not fare so well in this show. But nothing against the cats - everybody dies. The arrival of a certain evil creature marks doom for literally every living thing on the island (except for two people). And yep, it started with the cats, because they were plentiful and would not alert anyone to its presence. We see its lair full of dead rats, birds, and raccoons as well, all eaten while the creature was in hiding.

THE FALL OF THE HOUSE OF USHER - we adapted The Black Cat, written by Edgar Allan Poe. If you're familiar with the Poe story, you know that it involves the horrible death of a cat, which then seems to get revenge from beyond the grave. This is Edgar Allan Poe's story - we did not write it. HOWEVER, we decided to make a huge change to Poe's story. At the end of our retelling, we reveal that Pluto the cat is alive and well (and still wearing the Gucci collar), and that the supposed violence against the cat existed entirely in the person's mind. Pluto 2 - the terrifying, supernatural replacement that stalked Leo - is not real either. It is just Verna, taking another form (hence the injury to VERNA'S eye). So in this show, not a single animal is harmed AT ALL. We did that on purpose. We decided to change Poe's classic story so that the cat lived. We went out of our way to do that. I truly don't have anything against cats. I do tell horror stories... but that's about it! I hope it doesn't make it more difficult to enjoy the story, and thank you for watching.

[literaryvein-reblogs]

Writing Notes: Halloween

REFERENCES (Banshee; Ghost; Ghoul; Goblin; Haunt; Specter; Vampire; Wraith; Origins of Halloween)

Banshee

A female spirit in Gaelic folklore whose appearance or wailing warns a family that one of them will soon die.

Banshee came from combining the Gaelic words meaning “woman of fairyland,” but any positive associations with fairies ends there.

Are female spirits that, if seen or heard wailing under the windows of a house, foretell of a death in the family that lives there.

Today, the word is most frequently heard in the idiom “scream like a banshee” or “wail like a banshee,” which shows the power of myth and the imaginative power of language, since probably no one has actually heard one.

Ghost

Most common meaning today is “a disembodied soul” or “the soul or specter of a deceased person”, which came next, a meaning based on the ancient folkloric notion that the spirit is separable from the body and can continue its existence after death. It originally meant “vital spark” or “the seat of life or intelligence,” which is still used in the phrase “give up the ghost.”

An older spelling of ghost, gast, is the root of aghast (“struck with terror, shocked”) and ghastly (“frightening”).

The German word for ghost, geist, is part of the word zeitgeist, which literally means “spirit of the time.”

Ghoul

A legendary evil being that robs graves and feeds on corpses.

Ghoul is a relatively recent English word, borrowed from Arabic in the 1700s.

Because it’s spelled with gh-, it looks vaguely like the Old English words ghost and ghastly (which share a common root in the Old English word gāst, meaning “spirit” or “ghost”).

In fact, it comes from the Arabic word ghūl, derived from the verb that means “to seize,” and originally meant “a legendary evil being held to rob graves and feed on corpses.” The word was introduced to western literature by the French translation of Arabian Nights.

Goblin

An ugly or grotesque sprite.

Usually mischievous and sometimes evil and malicious.

Haunt

To visit or inhabit as a ghost.

However, this is not the original sense of the word.

For centuries, it had a perfectly unfrightening set of meanings: “to visit often” and “to continually seek the company of.”

In the 1500s, it began to mean “to have a disquieting or harmful effect on,” as in “that problem may come back to haunt you.” The meaning here is simply the lingering presence of the problem, not the possibly scary nature of the problem itself; it is applied to thoughts, memories, and emotions.

The noun haunt retains this fright-neutral definition, “a place that you go to often,” as in “one of my favorite old haunts.”

A lingering idea, memory, or feeling may have led to the ghostly meaning of haunt, or one by a disembodied or imaginary spirit.

Specter

A visible disembodied spirit.

Specter originally meant “a visible disembodied spirit” in English—a good synonym for ghost. But, unlike ghost, the notion of being visible is paramount in specter, which came to English from the French word spectre, which developed directly from the Latin word spectrum, meaning “appearance” or “specter,” itself based on the verb specere, meaning “to look.”

Specere is also the root of many English words that have to do with appearance: aspect, conspicuous, inspect, perspective, and spectacle.

Vampire

The reanimated body of a dead person believed to come from the grave at night and suck the blood of persons asleep.

Legends of bloodsucking creatures go back to Ancient Greece, with harrowing tales of them rising from burial places at night to drink peoples’ blood before hiding from dawn’s daylight. These stories were popular in eastern Europe.

Originally comes from the Serbian word vampir, which then passed from German to French, coming to English in the 1700s.

The extended senses of vampire, “one who lives by preying on others” and a synonym of vampire bat, were both in use within a few decades.

Wraith

The exact likeness of a living person seen usually just before death as an apparition. The distinguishing quality of a wraith, compared with other ghosts, is its specificity.

Originally, it referred to either the exact likeness of a living person seen as an apparition just before that person’s death as a kind of spectral premonition of bad news, or a visible apparition of a dead person.

When referring to a living person, it’s a synonym of doppelgänger, or the “spirit double” of a living person (as opposed to a ghost, which refers to the spirit of a dead person). Doppelgänger is now frequently used in a broader sense to mean simply “someone who looks like someone else.”

When referring to a dead person, wraith is a synonym of revenant, which originally referred to a ghost of a particular person and subsequently has been used for a person who returns after a long absence.

ORIGINS OF HALLOWEEN

The traditions of Halloween have their origins in Samhain, a festival celebrated by the Celts of ancient Britain and Ireland.

Samhain marked the end of summer and the onset of winter, and occurred on a date that corresponds to our November 1st.

It was believed that during the Samhain festival, the world of the gods was visible to humans, and the gods took advantage of this fact by playing tricks on their mortal worshippers. Those worshippers in turn responded with bonfires on hilltops and sometimes masks and other varied disguises to keep ghosts from being able to recognize them. Things tended to get spooky and dangerous around Samhain, with bloody sacrifices and supernatural phenomena abounding.

Samhain chugged along for centuries, until Christianity poked its nose in: in the 8th century CE, All Saints' Day, a somewhat new Christian holiday, got moved from May 13th to November 1st.

The evening before All Saints' Day became a holy—that is, a hallowed—eve. Within a few centuries, Samhain and the eve of All Saints' Day had been merged into a single holiday. Protestants of the Reformation and all that came after largely rejected the whole thing, but the holiday persisted among some communities.

19th-century immigrants to the U.S., including many from Ireland, brought their Halloween customs with them and deserve no small amount of credit for the holiday as it's celebrated in the U.S. today.

More: Writing Notes & References ⚜ Word List: October

[theplotmage]

50 Supernatural Entities to Haunt Your Halloween Night for Paranormal Fantasy Writers:

1. Vampire

Description: Blood-drinking creatures of the night.

What They Do: Feed on the blood of the living, sometimes charming their victims first.

Appearance: Pale skin, sharp fangs, often dressed in dark, old-fashioned clothing.

2. Werewolf

Description: Human by day, wolf-like beast by full moon.

What They Do: Transform into violent wolves and hunt at night.

Appearance: Muscular, covered in fur, with fangs and claws; halfway between wolf and human.

3. Ghost

Description: Spirit of a deceased person.

What They Do: Haunt places they have ties to, usually in a restless state.

Appearance: Translucent, often resembling the person they were in life.

4. Banshee

Description: A female spirit who forewarns of death.

What They Do: Wails loudly to signal someone’s impending death.

Appearance: Gaunt, with long hair and wearing white or gray robes.

5. Poltergeist

Description: Mischievous, noisy spirit.

What They Do: Throws objects, slams doors, and causes disturbances.

Appearance: Invisible but known for chaotic energy and moving objects.

6. Revenant

Description: Corpse risen from the grave for vengeance.

What They Do: Seeks revenge on those who wronged them in life.

Appearance: Decayed and skeletal, with tattered clothing.

7. Wendigo

Description: Cursed, cannibalistic spirit.

What They Do: Feeds on human flesh and spreads madness.

Appearance: Tall, emaciated with antlers and pale, cold skin.

8. Zombie

Description: Reanimated corpse, often mindless.

What They Do: Wander in search of living flesh to consume.

Appearance: Rotting, decayed, with vacant eyes.

9. Ghoul

Description: Creature that feeds on the dead.

What They Do: Raids cemeteries, feasting on corpses.

Appearance: Grayish, decayed, with sharp claws and teeth.

10. Shadow Person

Description: Mysterious dark figure, often seen in peripheral vision.

What They Do: Follows or observes humans, inducing fear.

Appearance: Tall, dark silhouette without detailed features.

11. Lich

Description: Undead sorcerer who achieved immortality.

What They Do: Uses dark magic to control other undead beings.

Appearance: Skeletal, with tattered robes and glowing eyes.

12. Mummy

Description: Reanimated, embalmed corpse from ancient tombs.

What They Do: Seeks vengeance or protects their treasures.

Appearance: Wrapped in bandages, often missing pieces.

13. Grim Reaper

Description: Personification of death.

What They Do: Collects souls of the deceased.

Appearance: Hooded figure in a black robe, carrying a scythe.

14. Succubus

Description: Female demon that seduces men.

What They Do: Drains life energy through intimate encounters.

Appearance: Attractive, sometimes with bat wings and horns.

15. Incubus

Description: Male counterpart to the succubus.

What They Do: Preys on women, draining their life force.

Appearance: Handsome, often with dark or demonic features.

16. Dullahan

Description: Headless horseman from Irish mythology.

What They Do: Rides a black horse, heralding death.

Appearance: Carries their own head, glowing eyes, wearing dark armor.

17. Necromancer

Description: Sorcerer who commands the dead.

What They Do: Raises and controls undead creatures.

Appearance: Dark robes, carrying a staff or book of spells.

18. Hellhound

Description: Fiery, demonic dog from hell.

What They Do: Guards the underworld, hunts souls.

Appearance: Large black dog with glowing red eyes and flames.

19. Draugr

Description: Undead Norse warrior.

What They Do: Guards treasure and attacks intruders.

Appearance: Bloated, decaying corpse with armor.

20. Chupacabra

Description: Beast that preys on livestock.

What They Do: Drains blood from animals, mainly goats.

Appearance: Reptilian, with spines and sharp teeth.

21. Djinn

Description: Ancient spirit capable of granting wishes, often with a trick.

What They Do: Manipulates wishes to harm the wish-maker.

Appearance: Wispy, ethereal, with sometimes human features.

22. Yurei

Description: Vengeful spirit from Japanese folklore.

What They Do: Haunts those who wronged them in life.

Appearance: Pale, disheveled, with long, dark hair.

23. Headless Horseman

Description: Decapitated rider seeking revenge.

What They Do: Rides at night, often hunting for a head.

Appearance: Headless, in dark clothing, riding a black horse.

24. Gorgon

Description: Snake-haired monster that can turn people to stone.

What They Do: Hunts or curses those who look upon her.

Appearance: Female, with snakes for hair and a terrifying visage.

25. Kraken

Description: Giant sea monster, often attacking ships.

What They Do: Destroys ships, drags sailors underwater.

Appearance: Gigantic, tentacled beast resembling an octopus.

26. Nosferatu

Description: An older, monstrous version of a vampire.

What They Do: Preys on blood, more feral than elegant vampires.

Appearance: Rat-like features, bald, with elongated claws.

27. Shtriga

Description: Witch from Albanian folklore that preys on children.

What They Do: Sucks life energy from young children.

Appearance: Elderly, shriveled, with a long, pointed nose.

28. Jiangshi

Description: Chinese hopping vampire.

What They Do: Drains life force, hopping instead of walking.

Appearance: Rigid, dressed in ancient attire with a pale face.

29. Aswang

Description: Filipino shapeshifting creature.

What They Do: Hunts humans, especially at night.

Appearance: Changes from human to monstrous form with long tongue.

30. Noppera-bo

Description: Japanese faceless ghost.

What They Do: Terrifies people by erasing their face.

Appearance: Normal human but with a blank face.

31. Kitsune

Description: Fox spirit from Japanese folklore.

What They Do: Plays tricks on humans, can possess or enchant.

Appearance: Fox with multiple tails or as a human with fox traits.

32. Rakshasa

Description: Demonic being from Hindu mythology.

What They Do: Devours humans, uses magic to deceive.

Appearance: Animal-like face, often with fangs and claws.

33. Wraith

Description: Malevolent spirit tied to a place of death.

What They Do: Harms those who enter their territory.

Appearance: Shadowy, with skeletal hands and a hooded cloak.

34. Ghast

Description: Larger, more terrifying version of a ghoul.

What They Do: Consumes living and dead flesh.

Appearance: Grayish, skeletal, with sharp teeth.

35. Kappa

Description: Water demon from Japanese folklore.

What They Do: Drowns humans and feeds on them.

Appearance: Humanoid with a beak, webbed hands, and water-filled head.

36. Selkie

Description: Mythical seal creature that transforms into human form.

What They Do: Lives as human on land, as a seal in water.

Appearance: Human with soft features, seal-like in water.

37. Manananggal

Description: Filipino monster that detaches its torso to fly.

What They Do: Feeds on unborn children and blood.

Appearance: Upper body separates and grows wings at night.

38. Gashadokuro

Description: Giant skeletal monster from Japanese folklore.

What They Do: Crushes and devours people.

Appearance: Enormous, skeletal, with fiery eyes.

39. Pontianak

Description: Vengeful female spirit from Malaysian folklore.

What They Do: Attacks men, especially those who wronged her in life.

Appearance: Beautiful, but transforms into a blood-stained, terrifying figure with long nails.

40. Strigoi

Description: Undead creature from Romanian folklore, precursor to modern vampires.

What They Do: Rises from the grave to feed on blood or energy.

Appearance: Gaunt, pale, with sharp teeth, sometimes bearing claw-like nails.

41. Demon

Description: Evil entity from various mythologies.

What They Do: Possesses or torments humans, spreading chaos.

Appearance: Often with horns, red skin, and menacing features, sometimes invisible.

42. La Llorona

Description: “The Weeping Woman” from Mexican folklore.

What They Do: Wanders near bodies of water, crying for her lost children.

Appearance: Pale, drenched in white, with a sorrowful, ghostly presence.

43. Kelpie

Description: Shape-shifting water spirit from Scottish folklore.

What They Do: Lures people, usually children, into water to drown them.

Appearance: Often a beautiful horse, but can appear as human.

44. Dybbuk

Description: Malevolent spirit from Jewish folklore.

What They Do: Possesses living people, usually to fulfill unfinished business.

Appearance: Invisible, but exerts dark energy around the possessed.

45. Hag

Description: Wicked, old woman often associated with witchcraft.

What They Do: Casts curses, manipulates people, sometimes feeds on fear.

Appearance: Elderly, with wrinkled skin, often carrying magical trinkets.

46. Mare

Description: Spirit that causes nightmares.

What They Do: Sits on the chests of sleeping people, creating disturbing dreams.

Appearance: Shadowy, mist-like figure, sometimes with a vague human shape.

47. Fenrir

Description: Gigantic, mythical wolf from Norse mythology.

What They Do: Destined to bring about Ragnarok, devouring gods.

Appearance: Massive, fierce wolf with powerful jaws.

48. Tengu

Description: Supernatural creatures from Japanese folklore, part bird and part human.

What They Do: Mischievous or malevolent; protect forests and mountains.

Appearance: Humanoid with bird wings, red face, and often a long nose.

49. Doppelganger

Description: An exact double or duplicate of a living person.

What They Do: Appears to forewarn misfortune or even bring harm.

Appearance: Identical to a specific person, but with an eerie, lifeless presence.

50. Nightmare Horse

Description: Fiery, demonic horse that haunts dreams and the night.

What They Do: Gallops through night skies, bringing fear to those who see it.

Appearance: Black horse with glowing red eyes and flaming mane and hooves.

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[citrous241]

In my head-canon for Minecraft's "history", these two are (technically) the same species.

It all stems from my perception of the Ancient Builders. Its mostly inspired by the comics of the amazing DongLie (check them out their work is amazing), with some changes to fit with how I see the elements the game lays out.

For one, I believe the Ancient Builders' ultimate goal was eternal life. Their hubris is why they're "extinct". And two, there were 4 Mistakes that lead to their downfall.

I'm gonna go over these 4 Mistakes some day, but the second and fourth one is what I'm going to go into in some detail.

So what does any of this have to do with the Wither Skeletons and Endermen?

Well, first I must describe the second mistake. And to rationalise why it happened, I must also touch on the first mistake; the creation of Creepers. I believe the Ancient Builders created Creepers in their desert temples as their first foray into eternal life. This attempt fundamentaly changed the Overworld, cursing it to produce these creatures every night. I believe Zombies, Skeletons and Spiders have always existed in the Overworld, and the Ancient Builders had adapted to them the same way we have. But the Creepers rocked their society. Some of them went deep underground (leading to the third Mistake), and some of them went "deep" I.e: to the Nether.

This is where the second mistake occurs. They found the Piglins, whose corpses became reanimated upon their death. Not anything crazy, the same thing happens to Ancient Builders in the Overworld, if not for the fact that Zombified Piglins have actual awareness. Immortality through zombification became an option and the Builders deduced it was true to the Nethers sand trapping souls from across dimensions.

So they buried their dead in the large valleys of this sand, and they became reanimated. It was exactly what they wanted, they were aware and immortal.

Unfortunately a complication ensued; Piglins had adapted to soul sand, but the Builders hadn't. Those who had been buried rapidly found their flesh withering away, and their actions becoming more and more aggressive. These withered skeletons became the guards of the Fortresses the Builders constructed to protect themselves from the Nether's dangers. They became nothing more than thugs.

So the Builders continued their work. They theorised that the combined biomass of multiple corpses could overcome the withering problem.

They were right. And they were so, so wrong.

They had awakened one of the primordial forces of the universe, the force of chaos and destructions. The trapped souls had been screaming out to them all along. The withered skeletons were a warning that was impossible to ignore, yet they did.

The Wither had descended upon the Ancient Builders, wanting nothing more then to spread its infection.

The Builders tried to escape, abandoning their portals into the Nether. But they were too slow, the Wither had followed them to the Overworld.

This lead to the third mistake, but I'm not going to talk about that now.

The fourth and final mistake came after the Overworld was no longer safe for the Builders. The Wither was gone, destroyed in the third mistake, but it's rot still corrupted the land. To go to the surface was suicide, to go deep underground was suicide. So the Builders clung to just below the surface. They used their magic to invert stone and tore out their eyes to construct a portal to somewhere out of the Overworld.

They took a leap of faith, and it didn't pay off. They had found a dimension in the Void between dimensions, the End of all reality. Nothing but blank islands for all eternity. But there was something... else.

Another primordial force that threatened everything. Native to this place or trapped their, they did not know. But they had opened the door out and had to close it. So they purposefully disabled the way out, created a dragon to guard it should anyone try to leave. Every island for miles around the exit point was annihilated, as to separate it.

It was the ultimate sacrifice and the final mistake; sealing themselves into the End.

Over time they evolved; their skin became darker, blending into the eternal night; their eyes became larger to see in the darkness; they became taller, their limbs becoming longer to pluck the high snaking chorus fruits - the only food in this place. We've all eaten chorus, we all know how it teleports anything that consumes it. Eating just that fruit caused them to eventually teleport regardless.

And finally, these End-men had become immortal. But there was no victory, their minds had long been lost. Even when they eventually gained the ability to teleport across dimensions they held no memories of these places. They can only grab blocks to move as they did long ago, but none of them know why.

When they see us they feel pain, they look us in the eyes and remember humanity. This makes them sad, which makes them angry. They cannot understand their unexplained grief so they act only in fear and self-preservation.

These 2 creatures, the Wither's skeletons and the men of the End are brothers. Yet they do not know it. For both have long since lost their mind and history; one in pure aggression and obsession, and the other in hubris and insanity.

Credit to DongLie for most of images used here.

[beesgav]

So, in Bionicle, when we start off with the Toa Mata, all their masks have, like... fairly "standard" powers. There's a shield, super speed, x-ray vision, etc. Very basic superhero level fare, and that isn't a bad thing.

And then, as you get further into the story, the mask powers start getting a bit more intricate- invisibility, telekinesis, mind control- they're still pretty obvious powers to have, but they feel a bit more advanced and situational, which is fitting since they were introduced at the same time as the first run of masks but weren't expanded on fully until a few years into the series.

Then you start getting to the next lines of masks and they start getting a bit esoteric, like. The ability to act at 110% your physical peak for short bursts. The ability to aim perfectly. The ability to separate your soul from your body and possess people. Which are all, like, cool, the Calix has literally my favorite mask power, but it's starting to get very esoteric.

And next is the level of both "holy shit what a cool power" (ability to use the abilities of any creature you currently share an element with, ability to reanimate the dead) and "holy shit in what situation would this possibly be useful aside from the very specific ones in which they're used here" (ability of echolocation, ability to summon a random creature, but it's not necessarily on your side, you've just brought a random beastie to your location)

I don't even want to get into the Makuta masks or the unique masks because for one thing they mostly just become "mask of [vague concept]" or "mask of [impossibly niche ability that only really works if the character is based around that power]" and I don't really think they count because they're, like, meant to be unique one-of-a-kind things, and not something just anyone can make/obtain given the right tools

From a storytelling standpoint it makes sense just in terms of like. Always going bigger and upping the stakes and making things more intricate once you've got an invested audience who can keep up with the rules. You have to keep adding new things because the old ones become boring and played-out.

But all of this is to say I really want to see a rewrite of the Mata era where they have the weird endgame masks right at the beginning. Make Tahu Mata deal with an Arthron. Give Lewa a Zatth and just let him go. Let Kopaka have an Iden so he can well and truly Fuck Off when he's annoyed

[merakiui]

me & you, beyond a horizon so blue.

scaramouche/wanderer x (gender neutral) reader cw: slight angst, brief and vague mentions of scaramouche's past and the shouki no kami fight, you and wanderer have adopted a child together, this fic takes place before scara tries to erase himself in irminsul note - after he's defeated in a fight against the traveler, scaramouche wakes up in the distant future and learns a few things about an emotion he's always felt undeserving of.

It’s dark until he has the courage to force his eyes open.

Immediately, he wants to shut them. Near-blinding, the afternoon sun beams into his room through a part in the curtains. If he were human, it would have caused some sort of irreversible retinal damage. He’s not—though he isn’t spared the impending irritation—and so he’s able to adjust with relative quickness, his indigo eyes soon finding comfort in the brightness. It means a new day has dawned. He’s not dead—if that mortal concept can even apply to a puppet like him.

With a weak groan, Scaramouche drags a hand down his face and, like a sluggish, reanimated corpse, sits up in bed. The sheets are clean and soft, a soothing balm amidst the unrest that vibrates through him. It has been a long while since he’s slept through the night, preferring the shadows over the sun. Nocturnal like nature intended. A creature created in gloom can change and adapt, but it will always seek familiarity no matter what. 

Intrinsically like a rooted habit.

It’s only natural he would be forced into sleep, considering the fall was not pleasant, nor was the inevitable impact. He brings his fingers to his cheek, presses against the area, and assesses for injury. Nothing is damaged.

But then nothing is fixed. Not internally.

Having expected the dreary interior of an infirmary, he’s struck with bewilderment when he makes note of the bedroom he’s currently confined to. It’s furnished like a typical residence, unlike that of any inn he’s ever known, and there is a strange sense about this space. As if he’s always known about it and has just recalled it, destined to wake here one day and submit himself to its simple charms.

This can’t be right.

He’s never seen this bedroom before, let alone slept in it. Until now, that is. Perhaps a part of him has subconsciously willed it into existence with all of his fruitless wishing, the result of some illusion weaved from the intricacies of hopeful dreams.

Scaramouche glances at the bedside table, his brow furrowed in the beginnings of a wary scowl. Something is so obviously, painfully not right. He knows it has something to do with this room and the fact that he’s alone and unguarded. Lesser Lord Kusanali is not a fool, no matter how much he’d like to comfort himself with that delusion, and so he knows there should be no reason why he’s here instead of where he’s meant to be. 

And then he hears them—voices. Three of them, actually. One is high and giggly. It’s a little girl. Judging by the intonation of the other, an adult. Her guardian, to be more exact. He can’t place the third, especially since it’s one that sounds so grossly affectionate. He’s never heard anyone, human or not, speak with such tender warmth. 

He’s never known such a thing. Not in a long while. 

Scaramouche throws the covers off at once, stumbling from the bed in a panicked flurry. Watching it like it’s a threat, he clutches his chest. He doesn’t feel a heartbeat; rather, it’s the crackle of Electro deep within the core of his being that resounds, fizzling like snapped, angry circuitry. His fingers dig into wrinkled fabrics and he takes pause, realizing his actions.

To think something as mundane as a bed could startle him.

To think comfort would feel like a curse. 

What a joke. Even here, I’m not allowed the peace of a lonesome parting. 

He walks on intact legs, bidding the room a final glower before throwing the door open and stomping outside. Wherever he’s found himself, whether the mortal coil or a place beyond, he’s determined to get out. He pays no attention to the picture frames on the wall as he stalks down the hall, his mind working twice as fast to conjure a plan. If this place proves to be foul, there will be casualties. Three of them. 

Bloodshed is nothing new. 

What is new, though, is the scene he walks into when he approaches the kitchen, stepping through the threshold and immediately stopping short when he sees himself. 

Only…he’s different.

“You’re in poor shape,” his other self comments, almost conversationally, as if this sort of talk is casual. He’s dressed in breezy colors: whites and blues, the prettiest of hues. It’s a color scheme he would never entertain at present, but it sings of free skies with fluffy cumulus. An unburdened soul, light as a feather. 

Scaramouche opens his mouth to retort—so are you—and shuts it because that’s not true. His other self looks better than ever as he sits at the table. He looks healthy. 

He looks happy. 

“Whoa! There are two Papas?!” 

He flinches, horribly rigid, every sense on high alert. His gaze pans over to the little girl peeking out from behind your legs. She looks at him like he’s a wonder to behold—like he’s someone worth adoring. 

It’s different. It’s not the fondly fearful gaze of a devout follower, nor is it the clinical stare of a mournful creator or a deranged doctor. It’s something else. 

It’s…

What is it? What is that emotion—the one that has evaded him for the entirety of his existence?

“Good afternoon, sleepyhead. We were beginning to wonder when you’d wake up.”

He turns to look at you. A smile softens your features. Coupled with the glorious sunlight filtering in from the window, you are the most seraphic creature he’s ever seen. Horrified at the development of his thoughts, he hardens his face into a vicious glare and tamps down the weakness that rises to the surface.

“You were expecting me?” he asks, but it sounds like a demand. “What’s the meaning of this?” 

“Why don’t you take a seat? I can fetch you a cup of tea,” you offer, your voice gentle and coaxing. He glances at the little girl. Her gaze is worn down with worry.

“I will do no such thing,” he snaps, folding his arms across his chest. “You have no authority over me. I’ll sit if I so please, and I do not please. So I will not sit, nor will I indulge in tea.” 

His other self barks out a laugh. “To think I was like that… I was intolerable.”

“Still are,” you reply with a cheeky grin. 

“You’re just as bad,” he snipes back, but there isn’t any heat to the remark. There’s that emotion again, reflected so clearly when he’s looking at you. His other self smiles—genuinely smiles—and then addresses him next. The smile tightens into something serious. “Relax. We’re not going to bite.”

“No, but I can and I will. Don’t think for a minute that just because you’re me I won’t—” He stops himself when the little girl tugs on his shorts, peering up at him with more wide-eyed concern. Rather awkwardly, he does his best to bring his attitude to a child-friendly level. “I… I’m fine.” He searches the silence for her name. 

“Aaliya! Nice to meet you, Papa Number Two!”

Scaramouche nods mechanically, moves to bend down to her height, and then straightens again, thinking better of it. “What is all of this?” His hand sweeps across the room. “Just who are you?” 

Like clockwork finely tuned, you and his other self exchange a furtive glance before nodding. It’s some unspoken language Scaramouche can’t decode. He frowns as he watches this interaction, even more suspicious than before. 

“Aaliya, could you draw something for me?” you ask, guiding her from the kitchen towards the neighboring sitting room. Aaliya grabs a notebook and pencil from the countertop as she goes, humming her compliance. “We need another masterpiece to hang up, and you’re the best artist we’ve got.”

She giggles. “You can count on me!”

The sound calms him. He almost allows his shoulders to drop. Almost. 

Scaramouche watches from the doorway, observing the way you interact with the girl. It’s parental and adoring. You care for this child, and she cares for you. 

Just what is that elusive emotion? Why can’t he place it?

Once Aaliya has been successfully distracted with the allure of art, you return to take your seat beside his other self. Scaramouche stares between the both of you, utterly lost. 

“You don’t have to sit—not like I could get you to after you’ve made up your mind—but, at the very least, let’s talk.”

Scaramouche’s eyes narrow. “Speak.”

“So entitled…” His other self sighs. “I shouldn’t expect anything less. I am you, after all.” 

“Was,” he corrects astutely. “This isn’t the present day, and it can’t possibly be a dream.” He scrutinizes his surroundings, slowly fitting the pieces together. “It’s gone on for much too long.” 

His other self tilts his head, playful. “Are you sure you’re not just stuck under Buer’s thumb?”

Right. Dreams. Lesser Lord Kusanali can poke her nose in and out of dreams as she pleases.

“Plausible, yes. But this is too detailed. And you—” he gestures to Blue Scaramouche— “are different. I wouldn’t dream of something so inane. Something like…this.” 

Something so carefree and content, he almost tacks on as an afterthought, but he refrains. Weakness. 

“Oh, but of course. You’re too good for good things,” his other self jeers, sardonic in a way that incites violence. He pushes that urge away. There’s a child nearby. “For what it’s worth, we’re still the same person.”

“Do not compare me to a weakling like you.”

“Hah? You think I’m the weak one? I’ll show you—”

“Wawan, relax,” you say, moving your body to obstruct his view. 

Both look on, horrified. 

“Wawan?” Scaramouche ventures, brows furrowed. 

“You…” He turns away with a huff. 

“What? It’s cute! You like it!” You smile and nudge him.

Scaramouche is in awe, nearly slack-jawed from witnessing such a bold display. If anyone were to do that to him—to the fearsome Lord Harbinger Scaramouche—they would not get away unscathed. In fact, he’d subject them to a death so brutal they’d beg for release even in the afterlife. No one lays a finger on him unless they’re actively seeking a bloody finale. More importantly, no one reduces his being to such flowery nicknames. 

Disgusting. 

His other self—this Wawan fool—recovers from his flustered state and clears his throat. “Wanderer,” he says, hurrying the syllables before you can make any more comments. “The name I go by. You should know it because you’ll use it one day.”

“I will do no such thing.”

Wanderer’s expression softens at that—out of sympathy, he realizes. Uncharacteristic, Scaramouche thinks. I do not soften, nor do I sympathize. 

“You lost, Balladeer. There is no future for the god you hoped to become because he doesn’t exist. Not anymore.”

He bristles, suddenly defensive. “And who’s to say I haven’t already achieved godhood? Your claims are as useful as a corpse. You have no valid proof.”

“But I do. I’m you.”

“Even so, you’re woefully uninformed if you can so carelessly prattle on about—”

Wanderer sighs again, and this time you offer your hand. He hesitates, looking between Scaramouche and you, before his hand slips into yours, holding tight. Scaramouche’s face twists. 

Foul. 

“You failed, and this is the result of that—the future neither of us could have foreseen.” 

“Failure is a strong word,” you chime in, running your thumb over the top of his hand. You look at Scaramouche next. “You didn’t succeed, yes, but you can learn from your mistakes and grow.”

“And grow I so apparently did,” he mutters, bitter and resentful. “Into a weakling who…” He pauses, his tongue heavy in his mouth, eloquence escaping him. “A weakling who… Who shackles himself to idyllic nonsense with nothing but…” His fingers curl into tight fists. “Nothing but filthy weaknesses to show for it.”

Nonplussed, Wanderer submits to temporary silence, to the comforts you provide. There’s a feeling sprouting between the both of you. Neither of you says anything, but you understand regardless. It’s a silent sort of communication, an undeniable connection. An understanding fostered from that despicable emotion. 

With an offended scoff, Scaramouche turns swiftly on his heel and freezes when he finds Aaliya standing there. She peers up at him, studies his poker face, and presents him with her drawing. 

“Papa tells me love is hard, but it comes easy when you’re with the right people. You need to be willing and accepting. When you are, love will find you and you’ll find love.”

She presses the parchment into his hands. Shakily, he beholds it. It’s a poorly drawn family portrait, but Aaliya’s artistic talents mean nothing to him. It’s the first time he’s ever been willingly included in a portrait. A family portrait. The only time someone has bothered to document a side of him that isn’t the vindictive, villainous, ever-raging tempest he’s known for. The one time he’s ever known what it means to be loved. 

Ah. There’s that emotion. That temperamental, difficult, stormy emotion. It’s love.

In this future, he is treasured and cherished. He has a family. He has love, and he feels it and it’s reciprocated. Or Wanderer feels it, that is. But Scaramouche can see it: the quiet intricacies of your relationship—it’s all the result of love. You love him. Him—a being who was never created for the sake of loving. A being who has always been undeserving, unfit for the burden of divine admiration and reverence. You love him, and he loves you. Godhood and power and control—none of these things matter when compared to love itself.

Scaramouche stares at Aaliya next. He folds the drawing into a neat square, clutches it in a trembling fist, and—

And he cries.

Silently. His shoulders do not shudder. He does not gasp and wail like a newborn. It is entirely soundless, a reaction delayed by years. Tear trails streak down his porcelain cheeks in steady streams. His lip wobbles.

And he cries. 

He cries as he brushes past Aaliya, ignoring her protests and your mumble of, “Let him go. He needs space,” while he flees, beelining for the bedroom. He cries when he unfurls his fingers to cradle the folded square in his palm. He cries when he thinks of the life he’s lived—the suffering and the lies and the tragedy and the backstabbing and the manipulation. He cries because he can’t hold back anymore. Because he failed. Because he will never be a god. Because he is inadequate in the eyes of the divine—as unsubstantial as a common pest. 

He cries because he’s loved. Because someone has found something within his fractured being that’s worth loving. 

He cries into the night, curled in on himself to protect what’s left of his exposed weakness.

It’s dark when he closes his eyes, and unlike before they remain shut. Because if he opens them—if he doesn’t patch up the damaged floodgates—he will cry. 

And it hurts to cry.

And Scaramouche, for all of the pain he���s dealt, has never enjoyed being on the receiving end of agony, self-inflicted or otherwise.

It is a long, sleepless night punctuated with the soft pitter-patter of rainfall.

He’s lying sprawled like a defeated starfish when the first few rays of sunshine poke through the window. Groaning, he slides his arm over his eyes. He knows himself, even if Wanderer is a version of himself he has not yet experienced, and so he doesn’t expect to be checked on. The silence is both a comfort and a curse, smoothing his nerves and chewing through to the core of his being. 

He thinks I’ll come to him first. How utterly foolish.

Scaramouche turns his back towards the sun and presses his face further into the sheets, drained of energy even though he’s just woken up. His ears prick at the sound of a girlish giggle and he lifts his head slightly, his eyes sliding towards the window. Aaliya skips down the pathway, carrying a basket in one hand and holding another girl’s hand with her other. 

A friend, Scaramouche observes, watching the girls until they’re out of sight. He hears you call out to them even though they’re already long gone: “Be back before dinner and don’t get into any trouble!”

He peers at his own hand and flexes his fingers experimentally. Is everyone this feeble in the future, or am I just too strong?

There’s a knock on his door next. He intends to lie back down and block the world out, but instead he sits up and stares. 

“Balladeer, I’ve put a pot of tea on. You’re more than welcome to have some if you’d like.”

He won’t dignify you with a reply. Or that’s what he initially thinks, but then he’s covering the distance to the door before he can stop himself. He yanks it open, much to your surprise. 

“I—” he starts, his scowl mellowing into a reflection of the cold and cruel Fatuus he’s known to be. “I…will have a cup,” he finishes, oddly subdued.

“You don’t have to force yourself to talk. You can glare at us if it makes you feel better. Just make sure to take care of yourself, okay? We’re here for you if you need anything.”

He scoffs, straightens his posture into something regal, and pushes past you. “I was feeling much better until you opened your mouth and spat that irritating dross.”

You exhale through your nose, tentatively stepping into his path. For a minute he considers sweeping past you, but deep down he knows that he—the one he supposedly becomes in the future—would regret it. He would hate to push you away when you’re making an effort to be close—an emotional proximity he’s so clearly avoiding.

“You’re always welcome here.”

“Considering the circumstances, you have no choice but to be hospitable. It’s pointless to feign sincerity just because I’m here. I’m not fragile. Do not treat me as such.”

“You’re right. You’re far from fragile.”

He opens his mouth to argue that point and then pauses, absorbing your words with a dubious frown. 

“You may not believe me, but you’re very resilient and so strong. I should know because I wake next to him every morning, and his existence is enough to remind me that he’s come a very long way.” 

Smiling, you continue onwards. Scaramouche stalls, wondering what that could possibly mean. A very long way from what?

He’s not sure he wants the answer to that.

As if it matters.

“Without spoiling too much, I’ll say you’re in for a world of development,” Wanderer says once Scaramouche has graced the kitchen with his arrival. He’s sitting at the table, which is set for three people and adorned with the usual Sumerian snacks. The scent of tea hangs in the air, fragrant like perfume. “Lots of fun things.”

“Fun,” Scaramouche parrots, his nose scrunching. “What an unconventional way to refer to countless days and nights of agony.”

“I never said it’d be easy.”

“You never said it’d be difficult either.”

“Both of you,” you cut in—vocally and physically, you’re standing between the two of them— “no fighting at the table.”

Wanderer takes your hands in his when you lower into the seat beside him, his thumbs tracing delicate patterns into your skin. “Do you see how troublesome he is? Did you really have to put up with him all those years ago?”

“He’s part of you, Wawan.”

He scoffs. “No part I particularly care for anymore.”

Scaramouche rolls his eyes and folds his arms over his chest so the couple in front of him won’t pick up on his discomfort. “I’m not asking to be cared for or coddled. Hate me all you want. I don’t intend to like either of you.”

“Well?” Wanderer raises a brow, a smirk lazily tugging at his lips. “Insufferable.”

“Bitter like your tea,” you agree, to which Wanderer and Scaramouche huff in unison.

They glance at one another, searching the other for an indication of mutual tolerance, before turning away.

“I suppose,” Scaramouche says after a beat of silence, “I shall indulge. Be grateful.” He steps closer towards the table, lifts his cup from its saucer, and brings it to his lips. It’s lukewarm and just as bitter as the tea he’s enjoyed in the past. “It would be a shame to let tea go to waste after your efforts to prepare it.”

He nods in your direction and you beam under his approval.

“Thank you, Balladeer.”

His brow raises, but he doesn’t ask. You fill in the blanks yourself.

“This is the current you. Right now, Wanderer and I, this entire home, the life we share, and even our dear Aaliya—none of it exists in your present. If anything, we’re just a dream to you. So who else are you if not The Balladeer?” 

Who else…

“Obviously I’m no one in this…reality.” He frowns. “If I’ve become that, there’s no need for any of my current aliases.”

“Perhaps not, but you’ll see for yourself when you get there.”

“I’d rather not. I’ll simply shut my eyes.”

“Avoidance is a common symptom of unresolved trauma,” Wanderer oh-so-helpfully adds.

“Oh, you’re a comedian now, are you?” But he isn’t laughing. 

“Just passing on a fact I learned. You’ll hear it for yourself one day. Why not share it in advance? Soften the blow a little.”

“And you’re so perfect?”

“I have no intention to be.”

“Sure.” Scaramouche sips his tea, swallowing the torrent of insults weighing heavy in his mind and on his tongue. “I suppose all of this just fell into your imperfect lap then?”

“Wouldn’t you like to know?”

Before they can continue their petulant bickering, you gaze sharply at Wanderer and then at Scaramouche. He’s never felt compelled to obey anyone; he’s never needed to heed those who have always sat below him on the hierarchical pyramid. But for some reason he shuts his mouth and lowers his gaze to the floor.

This is pointless. I must find my way out of here at the earliest convenience before he drives me into the ground with his irritating sentiments.

“Arguing isn’t going to solve anything. He’s our guest, first and foremost. We should treat him like one.”

“I guess it can’t be helped. If this truly is our reality for the next few days, there’s no point in living in denial and self-loathing,” Wanderer concedes with a huff.

“Which is precisely why we should welcome this opportunity. It might not come around again.”

“Let’s hope it never does,” Wanderer and Scaramouche admit at the same time.

That elicits a giggle from you, and they turn on you with disapproving glares. “Sorry, sorry. It’s not funny—I know. I just couldn’t help it. You’re the same person, yet so different. Even your stares hold different feelings.”

Scaramouche won’t acknowledge your observations with a response. Instead, he watches his reflection as it warps and wavers in the tea. And then he drinks.

This is by far the most excruciating dream I’ve ever had the displeasure of experiencing.

There is no pain or death in this dream. No power tantamount to that of a god. He may as well be an apparition without an apparent place in this world. But there is domestic bliss and that is by far the most torturous aspect of this dream.

To think anyone could look upon my visage with such tenderness… You must be out of your mind.

“It’s not like I particularly care, but you seem to lead a quaint life.” Scaramouche sets his empty cup down and leans against the wall, his arms folding impetuously. “Why?”

Wanderer, troublesome menace that he is, bats his eyes and pulls you against him in a possessive half-hug. “Difficult to believe, isn’t it?”

Scaramouche wants to scowl, but he refrains. “I wasn’t asking you.”

“It’s mostly quaint,” you cut in, smooth as alabaster. “Life is always busier when you’re with your loved ones and there’s plenty to do—never a dull moment, as they say—but I don’t mind it. I like busy days.”

The delivery sounds rehearsed, but Scaramouche suspects it’s the truth. Your eyes soften and your smile mellows into something adoring when you nudge Wanderer. He almost retches outright when his other self nudges you back, discreetly reaching for your hand beneath the table. He won’t comment, but it prickles his skin with disgust when he watches this display. His other self fancies you so openly… The current Scaramouche would never.

Could never.

“Also, busy days prevent useless idling.”

“And keep boredom at bay,” Wanderer finishes. He assesses Scaramouche with a fleeting once-over. “You’ve always been a sad, lonesome existence. Your busy days were but minor distractions meant to fill a bottomless void that could never truly be filled.”

“What of it? I prefer solitude.”

He exhales a humorless breath. “Centuries of solitude and all it took was a single vase of flowers… Neither of us could have guessed.”

A vase of flowers? he wonders, bewildered, but too prideful to ask for an explanation. When will I ever receive flowers?

“You don’t need to worry about that right now,” you say, sipping at your tea with a cryptic smile. “Good things come to those who wait.”

Scaramouche rolls his eyes. “I’ve had enough ‘good things’ for the rest of my life.”

“I wouldn’t be so sure. Even if you don’t think so, you’re deserving of good things. Everyone is, even if they’ve done something bad.”

He waits for the gutting punchline. It never comes.

He watches the world beyond the window: fluffy clouds, grass rustling in a breeze, a bird hopping about on the ground. His reflection frowns back at him. “I don’t agree.”

Wanderer shrugs. “If you say so.”

“That’s okay. If that’s what you think, who are we to judge your opinion?”

Briefly, Scaramouche wonders how you can have the patience to put up with him. With Wanderer, he thinks, even though he knows he’s just as troublesome, if not more.

He finishes the rest of his tea and then rises from his seat.

It’s not as if it matters. He doesn’t fit in this family portrait. He never will.

But he does in some distant future.

How peculiar…

Scaramouche wakes on his third day in a rather pleasant purgatory. As it happens, he’s still stuck in this unusual cottage with a bizarre doppelgänger.

So be it, he thinks, sitting up in bed. It occurs to him that he hasn’t been very resistant since he was plucked from his timeline and dropped here. But what is there to resist? You and his other self? This comfortable home? Family? Happiness? Love?

I should get back to my world as soon as possible. That’s my priority. Do not get distracted.

Ideally, he’d like to imagine that’s where he belongs, but he knows there’s no place in this world—or any other world and timeline—where he’s wanted and accepted. At the very least, there’s some semblance of home in his timeline. Even if it isn’t the most welcoming.

When he wanders into the kitchen, he finds you standing over the stovetop. Strips of meat sizzle in a pan. Sitting at the table, doodling on a blank page, is Aaliya. He hasn’t spoken much to her since his first day, and she hasn’t come to his room to pester him. 

“Let him settle in,” you and Wanderer tell her whenever she stalks past the closed door. 

Still, he feels the beginning of a smile pull at his lips as he watches her kick her legs to and fro to an imaginary tempo. 

I’m looking after a child in this timeline. Me. A parent…

He struggles to fathom it.

“Oh, Papa’s back!”

“Already?” You whirl around, a greeting on your tongue. “Ah, no, honey, that’s our visitor. The Balladeer is his name. He does look like Papa, though, doesn’t he?”

“B-Balla… Ballaba… Babadeer?” She scrunches her face up, perplexed.

Scaramouche offers her a gentle, understanding smile. “You may call me ‘Baba’ if it’s easier to pronounce.”

She lights up immediately. “Okay! You’re Baba and Papa’s Papa!”

He finds that the term is more endearing than any alias he’s taken on in the span of his lengthy existence.

“Speaking of, where is he? I would assume he’d be smart enough not to leave me by my lonesome.” 

“He’s out for the day. Won’t be back until later.” You lift the pan from the stove and proceed to distribute breakfast between two plates. He shakes his head at you when you attempt to fix him a plate. With a shrug, you add, “You slept in. How was it?”

“Acceptable,” he admits, lowering into the chair beside Aaliya. “I suppose it’s better than most places.”

“I’m happy to hear that.” You place a cup of tea in front of him. “Bitter. Just how you like it.”

Scaramouche eyes it like it’s poison. “Your hospitality is…appreciated.”

“What do you think?” Aaliya lifts her drawing, proudly showcasing the portrait she’s sketched of you.

Scaramouche is a critic of many things. Art is not one of them. Still, he takes the page in his hands and spends a moment admiring the shaky linework.

“Very wonderful,” he praises, and he means it. “You should become an artist.”

“I want to, but I also wanna be like Papa. He’s really smart.”

“Is he now?”

“Mhm! He’s studying at the Akademiya. My friends told me only really smart people go there.”

I’m a scholar? Truly? He looks to you for confirmation. The proud smile on your face is answer enough. To think this is what becomes of me in a distant reality…

“A commendable occupation. You should always do your best in your studies. They’re very important. But most of all…” He hesitates. Thankfully, his other self isn’t here to listen to his encouraging words and ridicule him. He’s certain he’d never hear the end of it. “You should pursue what you enjoy.” He reaches out to pat her on the head. “Always dream, Aaliya.”

“I will! I promise.”

Scaramouche doesn’t do promises, but somehow he’s convinced by this one.

You sit across from him. “Time to eat, my dear. You can finish your pretty drawing later.”

She nods and pushes her pencils and crayons away in favor of focusing on her plate. Scaramouche watches, stiff and awkward. Family meals are not an unusual occurrence, but it’s been so long since he’s spent quality time with another living creature. With humans.

Am I really so foolish that I’d willingly indulge in a life with humans? Don’t I know better?

“Wawan told me your arrival might be linked to a faulty Ley Line. We’re not sure when you’ll return to your world—if that’s even a possibility—but until we know more you can stay here with us.”

“If I must. Although I assumed that was already established.”

You chuckle. “Is that right? Then it looks like you’ve gotten comfortable in the three days you’ve been here.”

He rolls his eyes. “Your singular deeds are not enough to earn my veneration.”

“I’m not trying to.”

With a huff, he averts his eyes. An uncanny feeling crawls up his throat and settles on his cheeks. You hide your playful grin behind your utensils and eat alongside Aaliya in peaceful silence.

If only everyone could see him: a puppet now named Wanderer, who attends the Akademiya and has a family of his own. A puppet who seems complete when he surrounds himself with his loved ones. It’s impossible to live in denial when all of it is unfolding before his eyes like a fantastical tale in a storybook. He really can’t believe it.

“Tell me—am I fulfilled in this reality?”

You blink back at him, and suddenly he regrets asking. There’s vulnerability in a question like that. An open wound waiting to be exploited.

“Will knowing put you at ease?” Before he can snap back with a defensive reply, you add, “I suspect you’re already aware of the answer.”

He stares at the amber-colored tea in his cup. “I am,” he confesses quietly.

“And do you feel any better?”

“Am I supposed to feel that way?”

“I can’t tell you because there’s no right or wrong way when it comes to emotions. You just…feel them.”

Just feel them?

“I’m more conflicted than anything else. That Wanderer fool… He can’t truly be me. I would never allow myself to grow so weak. To surround myself with weaknesses… How utterly thoughtless.”

“What you see as weakness is his strength.”

Scaramouche’s gaze slides from the tea to you. “And he… And I… I’m happy here? This isn’t a grand farce?”

“As absurd as it seems, this is to be your reality. You’re not always going to be happy. Sometimes you’ll dwell on the past. Sometimes you’ll feel angry and upset. It’s all part of existing.”

“That sounds horrendous.”

“What does?”

“Existing. Isn’t it tiring? I’ve never understood how humans do it.”

“It’s tiring, yes. But it’s also very rewarding. To exist is to cherish happiness and weather hardship. It’s not perfect, but it’s enough. Sometimes all you need is enough.”

What if I’ve never had enough? What if I’ve never had anything?

He shuts his mouth. So many questions flit around in his head, but he already knows the answers to most of them. He just doesn’t want to hear it from himself.

To have enough when you’ve never had anything—when you’ve never felt like anything substantial—he surmises Wanderer can sympathize.

The first few drops of rain patter dry earth. Like dolls moved with wire, you and Scaramouche turn towards the window to watch water beads pearl on verdant fronds.

“Oh, it’s raining!” Aaliya exclaims with a delighted giggle. 

Scaramouche reaches to touch his cheek. A single tear wets his fingertip.

“Huh,” he mumbles. “So it is.”

Sitting on the stoop, watching worms wriggle in wet soil, Scaramouche sighs.

“Did you know the worms sometimes lose their way when it rains?”

“Is that right?” he murmurs, glancing at Aaliya who scoops one up from the stone path and places it in the grass. He smiles at her kind impartiality. “It’s very admirable of you to help them.”

“Mhm! Papa tells me even worms need homes, so it’s important to help them when the rain washes them away.”

He breathes a laugh that sounds more like a scoff. “I really said that? That’s difficult to imagine.”

Ironic, too.

“If no one helps, how will they find their homes?”

“They’ll find their way. Everyone does eventually.”

“Even you?” She blinks at him from where she stands in the grass, worms held in her palms.  

He exhales slowly and gazes skyward. The clouds have opened to let in the tiniest peek of sun. “If worms can find their way, then so, too, can I.”

He’s not sure he trusts it. Not now, at least. But it’s just as inevitable as the shifting seasons—an undeniable, irrefutable fact. He’s changing, if only slightly, and soon he’ll be in Wanderer’s shoes—a puppet with a home and a family. With all of life’s greatest joys and sorrows at his fingertips.

Aaliya sets the worms down in the grass before meandering over. She lowers to sit beside him, resting her head against his arm. “I believe in you, Baba.”

“Thank you.”

Soft as rain, subdued like a snuffed candle, his voice doesn’t waver. For the first time in a while, Scaramouche is defenseless. He’s not so sure he believes in himself. Wrapped in waning sun, listening to the hushed sway of grass, he tries on a smile. Albeit awkward, it fits.

He knows why his future self has become the wind, free and flowing, gentle and tumultuous all at once. Liberated from the past.

Even though he has his doubts, he knows he’ll get there soon.

The sky clears up just as Wanderer’s form comes into view. At first, he’s an insignificant pinprick against a blue sky. Aaliya jumps up from her spot on the stoop to run the rest of the way, calling out to him in an eager voice.

“Feeling any better?”

He keeps his eyes pinned stubbornly ahead. “It’s nothing to concern yourself with.”

“You’re our guest, silly. Of course I’m going to be concerned if you’re not comfortable during your stay. Ah, but I expect you’re coming up on the end of that, aren’t you?”

He blinks at his hands and realizes they’re transparent. “So it appears.”

“Does it?” you tease, patting him on the shoulder. Or you try to, at least. Your hand goes through him. “Guess it wasn’t very funny.”

“Not in the slightest,” he snaps with a scoff. He checks to make sure Wanderer isn’t within earshot. He’s kept occupied with Aaliya, who jumps around him like an energetic bunny. “But… Thank you…for everything. I’m aware I wasn’t the most grateful guest, nor the kindest.”

“You don’t have to be. As long as you felt safe and secure during your time here, despite everything that’s happened in your timeline, that’s all that matters.”

Scaramouche stares at you. I suppose it was a worthwhile escape. Unnecessary, but worthwhile.

“It wasn’t as hellish as I thought it’d be.”

“I’m glad. It was nice having you.”

Just then, Wanderer approaches. Aaliya sits proudly on his shoulders, her fists in his hair. “Glad to see everything’s still in one piece. No atrocities today?”

Suddenly, any sort of security Scaramouche might have been feeling evaporates. He’s reminded that it’s impossible to endure his other self for more than a few minutes. It’s actually impressive you’ve put up with him for this long.

Love is weird like that.

“Go back to the Akademiya and maybe you’ll learn a better sense of humor.”

“Aren’t you a bundle of joy?” Wanderer chuckles and levels him with a playful smile. His next words are tender and truthful. “Good luck on your journey. Have lots of fun.”

What sort of fun could possibly be found in pain? I don’t want or need your sardonic optimism.

“Oh? Baba’s leaving already?”

Scaramouche and Wanderer share a look. You smile behind your hand.

“Baba?”

“P-Pay it no mind!” He reaches for his hat in hopes of relieving everyone of his flustered expression and stops short. He’s not wearing his hat. He hasn’t had it this entire time. Refusing to admit he forgot such a crucial detail, he turns away and folds his arms over his chest. “It matters not.”

“Sure,” Wanderer concedes, but Scaramouche can tell he’s thinking something snarky. “We’ll go with that.”

“Thank you for visiting us,” you interject before the two of them can argue semantics. “Even though our time together was short, it wasn’t any less enjoyable.”

“I’ll miss you, Baba!” Aaliya extends her arm for a high-five.

“Careful now,” Wanderer warns, steadying her on his shoulders. “I suppose, though you’re more trouble than anything, it wasn’t so bad seeing my past self again.”

“You’re a welcoming lot,” he says with a curt nod. “It made this entire debacle slightly tolerable.”

“Only slightly?”

“Your presence didn’t add anything of substance. Don’t get it twisted.”

“Hmm. Perhaps not. At least I get to say I saw you once more.”

At that, he rolls his eyes. Am I supposed to feel flattered?

Wanderer smiles, but Scaramouche can’t place the authenticity. Maybe it’s there and he just doesn’t want to confront it.

“Don’t be so hard on yourself. I know the feeling well enough.”

“And live every day one at a time. There’s no rush,” you advise, sweet like a real parent. 

“I believe in you, Baba! You’ll find your way just like the worms.”

Wanderer raises a curious brow, but instead of ridiculing him he takes your hand in his and squeezes. Aaliya giggles and pats Wanderer’s head. The three of you make a family. Togetherness. Love. It’s everything he’s never had.

Now he understands. When Wanderer is with you and Aaliya, he’s whole. He’s happy. Free. He’s turned a new leaf. There are still so many apertures and questions—so much he’s missing from a puzzle not yet pictured to completion—but he isn’t worried. Equipped with this new information, he finds himself at peace with the present situation.

“I don’t know if we’ll ever have the chance to meet again in this timeline, but if we do let’s not dwell on the past.”

Scaramouche can feel his consciousness slipping from this realm, every sense pouring in like light through the gaps in trees. Just before he can make sense of it all, he notices the pendant glowing just above Wanderer’s chest.

Impossible… Is that what I think it is?

“You have a lot to look forward to, so next time let’s talk about the future.”

Suddenly, he’s not so sure he wants to leave. Scaramouche steps towards his other self, hand splayed, and wants to say something. Anything. A million words and phrases stick to the roof of his mouth.

I’d like that, he thinks just as the rest of his corporeal form vanishes in a blip.

Scaramouche comes to in the infirmary. He lifts his arm towards the ceiling, observing shattered fingers and broken joints. Thin cracks run along his arm—surface injuries as far as he’s concerned. They’ll be gone within the day, a testament to his self-sufficiency.

You’re very resilient and so strong. Someone once told him that. But who? And why does it warm him so?

“Oh, you’re up!”

He gazes sidelong at Lesser Lord Kusanali, the God of Wisdom, past the wellness bouquet on the bedside desk, and his features harden with antipathy. “Buer.”

“Did you have a nice dream?”

“Dream?” He scoffs. “I don’t dream. Not anymore.”

But it feels like I’ve been asleep for ages… Just what have I been doing all this time?

“Everyone dreams—even when they’re awake. Dreams are what give us hope.”

“Not me.” He turns on his side and shuts his eyes to block her out. “I have no need for childish dreams and misguided hope.”

What does it matter? I have nothing. I am nothing. There’s nothing for me in this rotten world.

Her hum of acknowledgment reaches his ears. “I wouldn’t be so sure.”

Scaramouche scowls. Stop poking around in my head. You have no authority over my thoughts, Buer. Get lost.

“Well, if it makes you feel any better, I’m here to give you a second chance.”

“I don’t want it. It’s pointless to put me on the path to redemption. Inane, even.”

“Redemption starts with recognition. If you realize that what you’ve done is wrong and are willing to change, redemption will find its way to you.”

He inhales a long, weary breath. “What more is left for me?”

Scaramouche, despite his grandiose title, feels small lying here and contemplating the worth of his existence.

“Plenty of things—good and bad—that you’ve yet to experience.”

He tries to envision what these things could be and turns up blank.

Strange. I was so certain… He sits up in bed, clutching the space where his heart would be if he was human. I could have sworn there was something…

He gazes at his palms next. What happened while I was unconscious?

Surely he witnessed a joyous scene. Otherwise why would he wake feeling so…hopeful?

Inhaling a resolute breath, Scaramouche decides it doesn’t matter.

“Why don’t you take some time to think about it? I may not know the full extent of the turbulence in your mind, but I do know it’s not something to treat lightly.”

The void is both loud and quiet when she departs, and now he’s forced to come to terms with his reality. He lost. Even as a manufactured deity, he was still unfit for godhood. It was a moment so short-lived it was practically a blink—insignificant in the colossal tapestry of time.

“What a joke,” he spits, glaring at the wall ahead. “All of that for nothing…”

He sits back against the cushions and drowns in the silence. It doesn’t comfort him.

Don’t be so hard on yourself. Where has he heard that line before?

Perhaps it was just another delusion.

Scaramouche’s gaze is drawn to the bouquet next. The flowers are fresh and vibrant, each blossom a representation of good health and happiness. Someone placed these here. Someone went out of their way to assemble a bouquet in his honor and then send it over. He wonders if this is the work of Lesser Lord Kusanali.

Who else could muster the empathy for a sorry creature like him?

Will knowing put you at ease?

He thinks it might. At the very least, it would soothe a restless part of his being—the part that craves a connection and yearns to be wanted despite everything he’s done. He wants a heart and a home. He wants to feel the rays of the sun stinging his skin and bathe in the exhilaration of being alive and in the moment. He wants to finally know all of the sweetness he was deprived of in life. The sweetness that comes from love in all its many shapes and forms.

Scaramouche reaches for the bouquet and pauses. He could swipe it off the table and watch rumpled petals scatter amidst shattered glass in a puddle. He could ignore it and pretend it’s not worth his time or attention.

He wants to act like it doesn’t matter, but something’s nagging at him.

For once, the feeling isn’t terrible. For once, he has something to look forward to—an anchor to cling to in this vast, wild sea.

And he isn’t going to let go.