#regarding some characters in book two

[you-are-my-neverland]

you ever watch or listen to something and all of a sudden there’s a whole duology in your head that must be written immediately. anyways: apocalypse fiction anyone? a hint of supernatural worldbuilding and spiritual sensitivity? friends that go through life and death situations? other things that are half formed in my head? 

[ image id: a wall of text in times new roman font, with several sections blacked out. it reads:

THE PREMISE

a duology that spans an apocalypse and then the post-apocalypse world.

BOOK ONE follows the apocalyptic event itself and the aftermath. [several lines of blacked out text]

There are two categories of monsters: Soul Stealers and Sun Eaters (commonly collated as suneaters). Soul Eaters are wraiths, humanoid shadows with glowing silver centers where the human heart would be. [wall of blacked out text]. Sun eaters are Soul Stealers monstrous companions. [sentence of blacked out text]

BOOK TWO is set ten years after the apocalypse and the events of book one. It follows a handful of young initiates who begin training to be Seekers/Guards, those who can traverse the wastelands and combat Soul Stealers and Sun Eaters. / end id]

[aleki-lives-here]

If I do end up writing murderbot fanfic, it'll probably include some nasty taking over control virus that will not be conveniently stopped before it can actually start acting. The way murderbot was absolutely terrified when faced with that alien shit in Network Effect was absolutely delicious. I need that, but ten times worse and also painfully drawn out.

It would miss the moment it got into its system for "trying to save humans no time to waste" reasons, and by the time it had a chance to get a diagnostic it would have already hidden itself. By the time it noticed something was off, it would already have enough control to stop it from doing something about that. Maybe changing the memory files so that it struggles to keep track of it, and maybe directly stopping its body from cooperating.

A scene that came to me had Murderbot try and tell Mensah about the virus and have the output be cancelled (perhaps before it got to that point it would have noticed a slight delay in the reaction time, which would definitely be hella concerning), just completely being unable to notify others that there is a problem. Except that they have those code words with Mensah and so it does tell her that something is really really fucking wrong, but can't elaborate. Now everyone is worried, and it is struggling to fight off the virus that has had enough time to prepare to really not make it easy.

Anyway, ideally it all escalates despite everyone's attempts to figure out what the fuck -- Murderbot's diagnostic tools are fucked from the inside and humans have better luck at noticing the problem but can't really help much. The perfect culmination would be total control. Murderbot just being completely trapped into its own body, forced to do something it doesn't like or even just stand still (no access to media if you want to turn it into an especially excruciating torture). Tho turning its control completely is a waste of its talents. Maybe the virus could just get the governor module back online, but completely under its control, so Murderbot can enjoy being electrocuted some more.

Gods I just love to torture my favorite characters. If I end up writing a fanfic, it would be this kind of terrible no good scenario

[longagoitwastuesday]

I am liking Jujutsu Kaisen, way more than I imagined I would, but I foresee it will let me down and it's keeping me from enjoying this as much as I could haha

I think the characters and dynamics are well set, and I think many of them have an incredibly good and deep potential, but I would be willing to bet they'll not get a proper development, enough for them to really hit. A well assembled set of gears is not enough to make the movement go, you have to wind the clockwork.

I think Gojo and Megumi have a fascinating and very complex dynamic, but I doubt it will be given the time and care that imo it needs to actually work. And it is going well enough for now! One could see the intimacy between them was deeper than the one Gojo had with, say, Yuji and Nobara ever since the very first few episodes despite the fact Fushiguro too was a first year. But the pieces forming what they have are extremely complex, and it just wouldn't be realistic if it doesn't show, even if in a not showing way, or if it doesn't have consequences or implications.

It's one of those dynamics that shape one's life, the way one regards the world, the way one establishes or not relationships with other people. It's one of those dynamics that could be full of fondness, gratitude, resentment, admiration, trust, and that imply intimacy, the good kind or the bad, even if in just the knowledge of someone who's been a constant through your life. It could, and would, imply a myriad of feelings, and probably in such a mix it could imply contradictory feelings too. Even the nothingness would weight, even the nothingness would be significant and meaningful.

Gojo took Megumi and his sister under his wing, the son of a man who murdered him, because of both selfish and selfless reasons. Megumi looks like Toji. What does Gojo feel about this? How does Gojo deal with this? How does Gojo go about taking care of Megumi? Would he walk him to school? Make him breakfast? Celebrate his birthdays making him blow candles? Did he take him to the zoo? Does the relationship between them feel professional or is it something more? Gojo appreciates his students, but is Megumi to him just another student? When Gojo faces Sukuna in Megumi's body, did he see the kid he raised, or does he just see Sukuna in one of his students' body? Did he have one faint wavering instant? And how does Megumi feel about this? Is he resentful of him? Resentful of the situation? Of the selfishness behind his actions? Does he feel like a pawn? Is he grateful? Does he resent feeling grateful? Would he rather not? Does he love Gojo? Does he feel nothing about him other than what he could feel about a teacher that sort of annoys him but knows he's reliable in his strength? Does he think it unfair, cruel or unfeeling that Gojo is close, closer perhaps, with Yuuji or Yuta, considering their story? When Sukuna slices Gojo in two, does the remnants of Megumi's soul tremble?

And not just Megumi and Gojo. Yuuji and Nanami, Gojo and Nanami, Yuuji and Fushiguro, Nobara and the boys, or Nobara and Maki, Todo and Yuuji or Yuta, Gojo and Yuta, Megumi and his sister. Gojo and Geto, even! If the pieces are well set, the dynamics are intriguing, interesting, and have potential to be deep, but then the characters have like two plot relevant scenes that punch you hard, but little more, it's not nearly enough. Especially not nearly enough for the enormity that is shonen dynamics and situations. And the potential existing at all, and then not delivering, makes it all the more frustrating when you're left with something mediocre that could have been so good.

The development of dynamics through not only a few plot relevant gut wrenching moving scenes, but also the smallness of life, is important. The friend who recommended this to me said that those things were just unnecessary filler, but I disagree. I think there's a big difference between a large amount of anime-only filler episodes whose existence is based on the fact they had run out of manga chapters to animate, and moments of quietness. The low stakes character-driven moments of quietness can be so telling and so insightful, and they are so satisfactory when brought back later in higher stakes situations. My friend teased me there was no scene of Gojo making breakfast to Megumi, that it would be an idiotic idea, but it would be so telling. How he makes breakfast, what they eat, if he tries hard or if it's all mechanised, if they have personal bowls or if they use whatever, if he just buys them some pastry on the way to school, if the way they have breakfast changes through the years, or if he doesn't make them breakfast at all! All that would be very insightful on their dynamic and its evolution. All that would give a glimpse on how they regard each other and why, even in the present. All that could become meaningful in tense situations and high stakes scenes.

These moments also let the plot breath; if a lot is happening all the time, if every character is always experiencing trauma after trauma, the entire story is so emotionally draining that at some point you don't even care all that much. Besides, these nothing moments or low stakes plot arcs, besides deepening and developing dynamics, also let some in-world time pass, which would make the intimacy and bond between characters more believable imo; between Yuuji eating Sukuna's finger and their last confrontation in December how much time has passed? A few months? Am I truly to believe these characters are so everything to each other in only a few months?

Without some smallness, some repetition, some daily life, some low stakes not plot-centric development, the dynamics don't hit, they don't truly feel fleshed out, and dynamics as complex as the ones Megumi and Gojo have, or as supposedly meaningful as the one Megumi has with Yuuji or his sister, should be fleshed out if they're going to exist at all. Otherwise they'd risk making the writing feel awkward and fake. Besides, if the dynamics felt well fleshed out and realistic, they would shape the way the characters interact and act, and how they deal with situations, thus being plot relevant.

The shonen genre has so much happening all the time, the stakes are so high, the dynamics are so rooted in big events and the relationships carry enormous weight and implications. Yet they barely get developed, and it feels so stupid, so plain, the absence of something so important noticeable like a constant void, a shapeless nothingness present in every scene. It makes the characters feel like cardboard figures. Jujutsu Kaisen is already getting a better job than many, but I doubt it will do enough for what I've heard, and I fear I am bound to feel let down, and bound to feel unmoved.

After all, if not enough time and care has been given to develop a dynamic, I am not going to feel pressured by the high stakes; if not enough time and care has been given to develop the dynamic between Megumi and Yuuji, as good potential as it has I am bound to feel little for this last confrontation between Sukuna and Itadori, and his effort in getting Megumi back.

[jewishcissiekj]

incidentally came across a Mike Chen tweet and decided to search up Asajj tweets on his twitter. which was a mistake because that man is doing nothing but pissing me off and his Asajj takes are infuriating and I most of all despise his take on Tartakovsky Clone Wars Asajj and Anakin Yavin 4 fight

is he like. stupid. did he even watch the show. I don't get it

[jacksintention]

I'm thinking again on the fact that so often comments, criticism and readings on Jack dwell a lot on how he is barely human/a person/doesn't have a personality at the point of the story and, while I somewhat understand these points, I find them so lacking. I find them... ableist? I'm always doubtful to use the word here because I'm not sure if it's applied in this kind (mental health) of context, but something like that. And I find them extremely simplistic.

However, honestly, a big part of the reason for these readings being so popular is that the manga itself words it that way. But that's one of the problems I find in the manga. When I say P.andora Hear.ts is very good but unfortunately it is very manga-like at times, besides the 2000s homojokes and the like, I'm usually thinking about things like this. I feel like often characters and situations that are (potentially) very intricate instead of getting insightful deep overviews often get screwed by the writing itself, which falls into very manga tropes a lot in a bad way (not that every manga has to fall into them, or that every manga trope has to be bad or written badly).

I don't know... For instance, I'd argue R.askolnikov's capacity for love in Cr.ime and Punishmen.t is debatable, but it's never treated as if it made him less of a person, a human being or made him not have a personality. I'd say not even Svidrigailo.v, who is as much a Bad Guy™ as a character can be, gets that treatment by the writing. I'd say that even him or Mikol.ka are written as fully fleshed human beings with their intricate internal lives and feelings. Svidrig.ailov's last scene with D.unya is fascinating for both characters and spins the whole dynamic and makes you question the entire narrative and veracity of not only those two characters, but brings to mind several other conversations among different characters and throws light (and doubt!) on the main plot between R.askolnikov and Porf.iry.

In similar situations, Jack's humanity, personhood and personality are debated, doubted and even full on accepted as vanished. No one reads Crim.e and Punishmen.t and comes to the same conclusions about Raskolni.kov, Svidrig.ailov, Sony.a or Razu.mikhin. The writing doesn't allow it. The writing doesn't allow you to forget that humanity is diverse and multifaceted, that it can be sad and cruel and loving and monstrous, even all at the same time, or that a person may struggle with feeling at all; and one is still a person.

[eyesocketinchworm]

i'm not going to complain about shadow and bone too much because i could obviously just like. not watch it. but just know that ohh my god. oh my god

[fragmentedblade]

At this point I don't care about the hot swordsman with Orphic themes at all. I only care about the heathcliffean master craftsman

[mikkeneko]

In various places -- here, the bird app, even YouTube comments -- I keep running into people with some variation of the same question:

"Does Scum Villain have a teacher/student romance?" And every time I want to answer with: No, But Also Yes, But Also Not Really, It's Complicated (And That's On Purpose.)

Which is an answer that's too long to fit in a tweet or a YT comment, but fortunately tumblr has no (effective) post limit! So here I go.

1 - No

In the very straight forward porn cliche sense of "oh but professor, I really ~need~ to pass this class or my life will be ruined, can't I do ~anything~ to get you to change my grade?" *bats lashes* and "Hoho, my pretty young teen student, I've got your good grade right here in my pants, if you ~apply~ yourself..." then no.

No sex or romance between a teacher and their student in the bounds of a teacher-student relationship happens in this book. No deliberate grooming of an underage student on the part of a teacher occurs in this book. No sex or a romance between an adult character and an underage character occurs in this book, nor is the adult 'waiting' for the minor to reach adulthood to initiate one.

2 - But Also Yes

No sex or romance between a teacher and their student in the bounds of that relationship happens in this book. Two people who were formerly in a teacher and student relationship do enter into a sexual and romantic relationship by the end of the book. Also the nature of the society they're in further means that even though they are no longer in the schooling environment, it is socially assumed that the deference owed by a student to their teacher lasts forever, even after the student leaves that environment, and they continue to regard themselves and refer to themselves in those roles even though the teacher no longer strictly speaking has authority over the student.

Also, the student was really hot for his teacher even when he was still a student. (The teacher was oblivious to this fact.)

3 - But Also Not Really

By the time sex and romance is even on the horizon for these characters, their relationship has so drastically changed from that of a "teacher and student" that it is barely recognizeable as such. The power/authority dynamic between a teacher and their student is subsumed pretty much entirely by the facts that:

A. The 'student' has become a medeival fantasy warlord of such unsurpassable magic and might that literally no other person in this world can stand up against him, 'teacher' included, and the 'teacher' is well aware of that.

B. Also, the 'student' is metaphysically endowed (heh) with the Protagonist Halo, a literally active force within the setting they're part of, which means that not only can he not be defeated, he ontologically cannot be denied anything that he desires; what he wants, he gets, and what he doesn't want, cannot be forced on him.

C. ...But also, the teacher in this setting is a metaphysical outsider to the world order the student is part of, which means that he is aware of all of the above, and can and does manipulate it to suit his own agenda, which may or may not align with giving the student what he wants at any point in time. Assuming that the teacher has the correct understanding of what the student wants. (He doesn't.)

D. ........But also also, for all his power, one harsh word from him can destroy him. For all his knowledge, one tear can devastate him. (Which one? Both.)

4 - It's Complicated (On Purpose)

*throws the chalk against the wall*

Between a teacher and their student, who has the power? Between an emperor and a scholar, who has the power? Between a hero and the villain he is predestined to destroy, who has the power? Between a character and the reader who's read ahead to the end of the story, who has the power? Do we find some of these power imbalances more acceptable than others? And if so, why do we?

Trying to track Who Has The Power or Who Has An Unfair Advantage socially, physically, and metaphysically between this particular pair of characters is damn near impossible and that's on purpose.

The Scum Villain's Self Saving System is a lot of things, but one thing that absolutely defines it is that it is a parody. It's a parody and a deconstruction of a lot of things -- the 'stallion' genre, the 'isekai' genre, the 'pay-per-chapter webnovel' genre, the 'gay drama' genre and, most relevant to this conversation, it is a deconstruction of teacher-student romance.

What kind of a teacher-student romance has a clueless, fish-out-of water NEET in the role of the Wise Old Mentor? What kind of a teacher-student romance has a black-hearted, demonic, domineering feudal warlord in the role of the Blushing Virginal Student? What kind of a teacher-student romance has the two principals so close in age -- by the end of the book, they may be as little as a year apart -- that they're more like peers than teacher and student? What kind of audience are we, going into a story like this one and finding ourselves cheering for the teacher to fall in love and lust with his student, only to be disappointed when that doesn't happen because the teacher fails for three books straight to recognize love and lust when it's literally looking him in the face and crying?

Asking "does Scum Villain have a teacher-student romance?" is sort of like asking "does Galaxy Quest have a lot of high science fiction concepts?" No, but also yes, but also not really. It's complicated, and that's on purpose.

[skyahri]

How They Found Out |Naruto Boys X Reader| HC

Part Two Masterlist Ko-fi

Characters: Sasuke Uchiha, Naruto Uzumaki, Shikamaru Nara, Kakashi Hatake

Summary: How your relationship ended up being revealed.

Warnings: Naruto's is short af because he's an open book. Deal with it. NSFW themes. Mentions of sex and being caught.

- - - - -

Sasuke Uchiha

You'd been together for about a year at this point. In the beginning, you'd agreed to keep it hush-hush until you'd figured things out.

Before you knew it, it'd been more than six months since your first date, and it was still secret. You enjoyed the privacy of it, but didn't enjoy hiding things from your friends.

So you decided to stop actively keeping it a secret and instead allow things to come out naturally.

But that was six months ago and still no one knew.

Sasuke hated PDA and no one had asked either of you about relationship stuff, so it was still quiet.

That is until today.

You two were victims of Narutos' lack of boundaries and awareness.

It was late at night, about 11pm, you were in Sasuke's apartment.

He was drilling into you, his hands holding down your legs and mouth connected to your neck.

You were too busy enjoying the all encompassing feeling of him fucking you, and he was too busy ravaging you to hear Naruto enter the front door.

Suddenly, the bedroom door swings open. Narutos face very quickly goes from his usual happy-go-lucky to a horrified, dramatic look.

Sasuke is quick to cover you with the sheets before he yells at Naruto to get the Hell out.

Naruto is already way ahead of him, bolting straight out the front door and to God knows where.

After that, it wasn't long before the whole village knew. Honestly, once Gai found out, there was no one who didn't know.

Naruto Uzumaki

Find out? Ha! There is no finding out because he immediately told anyone and everyone the second you agreed to a date.

If he did somehow manage to keep it quiet, it really wouldn't be long until it got out.

Hes just so... excited to be with you.

He likes showing you off like a prize. He likes going on dates and holding your hand and loudly proclaiming that you're his.

You don't mind, of course.

Shikamaru Nara

You two lay around together most days. A while back, you shared a kiss, and it very VERY slowly escalated from there.

It was almost six months before you actually had sex.

Mostly because he'd somehow rationalized kissing was "just something you guys did" and didn't require any extra thought.

The sex was amazing. Slow and passionate, just like you'd expect from the lazy Nara.

And so things continued on like that. A relationship had formed, but it was never something either of you talked about.

You liked his parents and they liked you. You'd help his mom with dinner some nights and played Shogi with Shikaku. They didn't question your relationship either.

Things stayed on the down low for almost eighteen months before someone finally brought up something regarding his romantic life.

"So, Shikamaru, who was your first kiss?" Choji asked one night in the bath house.

The question caught him off guard since he wasn't usually included in these types of conversations. (They mostly assumed he wasn't interested in women, or something like that.)

"Hm? Oh, Y/N."

Cue the silence. Then total chaos.

"What?? When was this?" Kiba asked.

"I don't know... sometime around the solstice last year."

That sparked a lot of questions from his friends, only some of which he'd answered.

The guys relayed all the information to the girls the next day, where they then went and hounded you for answers.

Despite all of your friends knowing about your relationship, nothing changed between you and Shikamaru.

You just stayed... whatever it is you were.

Kakashi Hatake

Gai, Kurenai, and Iruka all had their suspicions about you two but had nothing to back it up. It's been years at this point, yet they still come up empty-handed.

That is, until Kakashi’s students decided they were interested in his love life, and began to poke around.

It's after the war; Naruto, Sakura, and Sasuke are fully grown adults, but something is just so tempting about reverting to their youthful days of trying to spy on their sensei.

Kakashi is all for it, partially because he's glad his students are getting along again, and partially because he's grown tired of keeping secrets.

This is something he discusses with you, and as he predicted, you're completely on board.

You gradually make yourself seen with Kakashi over the next week- leaving the Hokage tower with him, getting dinner with him, and even allowing him to walk you to his apartment.

The kids watch all of this happen, but there's no evidence that actually proves anything, just like Gai sensei had told them in the beginning.

So they continue to stalk you two around the village. They're better at it than when they were little, but it's still pretty easy to spot them.

At the end of the week, when you're sure all three of them are watching, Kakashi kisses you in front of your front door.

You watch as they all zip away, surely off to meet up or possibly report back to your friends.

You and Kakashi can only laugh.

[shitpostingkats]

An Asexual's love letter to Good Omens 2

There's an infamous quote by Neil Gaiman going around, regarding the general vibe of season 2, and many people (I believe humorously) yelling that it could not be further from the truth. Particularly in the last episode, where that happens.

I disagree.

The final episode of season 2 was deeply, deeply comforting to me. 

I am asexual. Have been my whole life. Even before I had the words to describe what that was, child-me had this feeling in their gut of being an outlier, that everyone was exaggerating, or in on some joke, that I wasn’t privy to. Because I was bombarded on all sides by shows and movies and books, telling the same story of love, again, and again, and AGAIN. It’s drilled into our brains with the same fervor as the days of the week, or the quadratic formula. Meet-cute -> misunderstanding ->declaration of feelings ->kiss. More or less steps can be added to account for runtime or complexity of narrative, but that’s the basic structure that a relationship follows. It MUST be, because that’s the formula every character who's ever been in a story goes through, often times when it even feels like an add-on, like it’s only there because this is a story, there HAS to be a romance. And it has to follow the steps.

For a long time, I felt love wasn’t for me, because if there’s only one way to be in love, I sure as hell wasn’t feeling it. 

Instead, the relationship I ended up in looked a lot like what Beezlebub and Gabriel go through. Meeting someone routinely until it starts to feel comfortable. Getting to know them and slowly growing more attached. Eating chips and listening to music.

We like to joke whenever someone asks us how long we’ve been together, because the answer is we just sort of slowly fell into it, and we honestly don’t know when the line got blurred between ‘friends’ and ‘partners’. And, at least for me, a good deal of that confusion, that hesitancy to label, came from the fact that what I was feeling, what we were, couldn’t be love. It couldn’t be romantic. 

We were just quiet and gentle.

And that wasn’t love.

Because it was slow, because it wasn’t physical, because there was no structure aside from consistency and companionship. Because it didn’t follow the Rules.

Then I found myself in stories, and it felt like a revelation.

Beelzebub and Gabriel aren’t the first time I’ve seen a love like I feel represented in a narrative, but it never stops feeling special. And I don’t know if I’ll ever stop celebrating it.

Throughout the sequence in the pub, I kept expecting them to “confirm” Gabriel and Beelzebub. A dramatic line, a kiss, a whatever. That’s what I’ve been taught to expect, after all, that’s the only way a relationship is “real”. Of course, this doesn't mean Crowley and Aziraphale sharing a dramatic kiss is wrong, or that I can’t see why it resonated with so many people, but for me. Those moments in the pub are worth so much more.The last scene might have been literally showstopping, but those handful of moments between the duke of hell and an archangel were the beating heart of the season for me. A simple love story in four scenes. No kisses. No ‘I love you’s. Not even any definition of what. The love Gabriel and Beelzebub have is strong enough for them to both want to shatter their worlds and flee their lives and it's just. 

It's just that. 

Two people in a pub, playing the other's favorite song, giving a little gift, buying a packet of crisps. 

That sequence means far more to me than any kiss ever could.

Love isn’t only real when it's hot and sudden and ephemeral, it can also be

Quiet.

And gentle.

And still romantic.

Still real.

[spectorgram]

eyes wide open

pairing: theodore nott x f! reader summary: you discover that there is so much more to theodore nott than you thought.  content: gryffindor! reader, semi-nsfw (characters are 18+) word count: 5.46k

You have never spoken to Theodore Nott before. You’ve him around a lot, usually with Mattheo Riddle or Lorenzo Berkshire, and he is a regular on the quidditch team — a chaser — so you’d see him zoom by during matches. He’s also in a majority of your classes for this year, which lets you observe him from afar. But past that, you’ve never really had much to do with him beyond seeing him with Malfoy and witnessing how he stands quietly — with either a small smirk or a look of complete apathy on his face — while Malfoy and your friends argue back and forth. 

Having class with Theodore Nott has let you learn three things about him: he’s quiet, whip-sharp, and unbelievably handsome. You didn’t need classes with him to know the last one is a well-known fact; he’s constantly noted as one of the most attractive of your classmates. “Shame he’s a Slytherin,” Lavender Brown once said to you, which had made you roll your eyes and retort, “And what’s wrong with that?” It had gotten you into a big fight and you don’t think she’s spoken to you since, not that you’ve really wanted her to. 

“Are you sure you don’t want to come with us?” Ron asks you as he, Hermione, Harry, and Ginny stand at the entrance to the Gryffindor common room. “Mum would love to have you. She’s always banging on about what a lovely girl you are and how polite you were.”

“And I’m sure Fred would love to see you,” Ginny adds. 

You snort, “I’m really sure. But please give my regards to your mother and Fred.”

“Will do,” Ginny says with a two-finger salute. 

Your friends say their farewells as they leave through the portrait hall. You flop against the plush velvet of the couch, staring at the roaring fire. Your parents were on a months-long that brought them to see famous wizarding landmarks so you’re stuck at Hogwarts for the holiday. You’re a little disappointed that you won’t be with your family but another part of you is excited to be in the castle when it’s less populated. You’ll finally get to make your way through the massive pile of books you have at your bedside since you’re usually caught up in listening to and gossiping with your roommates. 

You head up to your room, empty except for you and your owl hooting in his cage. You wiggle your fingers inside, Ramses rubbing his feathery head against them. You grab the first book from the top of your pile, turning the leather-bound edition over in your hand. Hermione gifted it to you for your last birthday: William Shakespeare’s Romeo and Juliet. You shimmy into your gold and red striped sweater and tuck the book underneath your arm, walking down to the dining hall for dinner. 

Students are scattered around the Great Hall, some chattering with their friends while others eat silently. The ceiling has shifted to depict a clear night sky, floating candles casting an orange glow. You spot Mattheo Riddle alone at the Slytherin tables but the way he keeps looking to the door makes you assume he’s waiting for a friend. You settle down on a bench all to yourself, piling your plate with the mouthwatering selections available to you. 

You rest your chin on your fist, cracking open the play. You get only a few pages in when you hear a familiar low voice. “All alone, little lion?” His eyes examine you and you suddenly feel too exposed despite your layers. 

You come face-to-face with Theodore Nott and his sea blue eyes. He regards you coolly and you ask, “Can I help you, Nott?”

He points at your copy of Romeo and Juliet. “Where’d you get that?”

You furrow your brow in confusion. Why in Godric’s name is Theodore Nott of all people interested in a Muggle book. You respond, “Hermione gave it to me. Why?”

“It’s hard to find Muggle books here,” he says. His eyes linger on the play. “Think I could borrow it when you’re finished?”

Your brain stalls, questions floating around your head. “Sure,” you finally answer. He nods and neither of you say anything more. The quiet that falls between you two makes you tense and you say, “Is that all, Nott?”

He considers and then says, “I think so.” He heads to the Slytherin tables without another word, sitting beside Mattheo, who’s been watching on keenly. You catch his stare and he smirks, raising a hand in a casual wave. Theodore smacks his shoulder and pulls Mattheo’s hand down. 

You sigh, shake your head in disbelief, and go back to reading the play.

It’s been a few days since your encounter with Theodore, but the interaction sticks with you. Every time you open up the play, you’re reminded of it and your curiosity returns tenfold. 

It’s odd being at school when it’s this empty. You’ve managed to occupy yourself by playing Wizard’s Chess with some fifth years, helping Professor Flitwick organize his classroom and the Frog Choir’s practice room, and working on knitting gifts to give you friends when they return. 

You’re sitting in the Gryffindor common room, working on Harry’s scarf, when you spill a cup of tea one of the house elves had made for you. Cursing, you move your knitting out of the way and survey the damage to your sweatshirt. With a groan, you gather your things and bring them to your dorm, blotting out the growing stain with water and letting it dry over the edge of the bathtub. 

You slip into a forest green sweater and throw a brown corduroy jacket over it. You grab your copy of Romeo and Juliet and head down to the Black Lake. The cold breezes nip at your cheek and carries the scent of pine trees, which you inhale gratefully. You plop yourself underneath a tree on the shore of the lake, reclining against the trunk and cracking open the book.  

You’re not even a page in when you hear a familiar voice call your name. Your hold on your book tightens but you peer up, watching Theodore approach. He’s in a dark wool overcoat and similarly dark trousers, hands tucked into his coat pockets. His strides are leisurely and long, reaching you in only a handful of steps. 

He stands tall in front of you, shadow cast long in the afternoon sun. His gaze roams over you and he says, “Isn’t wearing green considered treacherous for you?”

You’re confused for a second before you follow his line of sight and glance down at your own sweater. Right. You reply, “No more than it would be for you to wear red.”

The corner of his lip twitches up in a small, half-smile and he says, “High treason then.”

You echo your words from earlier in the week: “Can I help you, Nott?”

He ignores your question, instead choosing to tip his chin at your book. “What part are you at?”

“Mercutio’s died in his duel with Tybalt.”

He nods and recites, “‘A plague o’ both your houses. They have made worms’ meat of me: I have it, and soundly too: your houses.’”

You don’t bother to hide your surprise. “You’ve read it?”

“Haven’t most people?”

“Sure, most people know the story but they don’t usually read it. 

“I’ve read it a couple of times,” he admits. He adds, “My mother’s favorite book.”

“I see. Is that why you want to borrow it from me?”

“Yeah.”

Silence falls between the pair of you. Distantly, there’s a cry of crows. Theodore is still standing above you, gazing down, and you squirm a little. He then says, “I always liked Benvolio.”

You’re reminded that Theodore’s half-Italian in the way he says ‘Benvolio,’ accent smooth and lilting. It suddenly feels a little too warm under your coat but you ignore it. You instead blurt out, “Of course you would. You’re kind of like him.” 

Theodore raises one eyebrow and you feel your face heat even more, embarrassed, and you hope he doesn’t take it as a bad thing. He doesn’t seem offended though and asks, “Oh, how so?”

“I mean,” you say, “you are— well, you seem like the most reasonable of your friends. A mediator of some sort.” 

“That sounds about right,” he says. “You remind me of Juliet.”

“Really? Why’s that?” You’re not sure if you should take it as a good thing or not.

“Well, she has a solid set of beliefs and stands up for them. She knows herself; she tells her parents that she doesn’t want to marry Paris, not just because she’s in love with Romeo but also because she knows she’ll be unhappy. What is it she says? ‘Now, by Saint Peter’s Church, and Peter too, he shall not make me there a joyful bride! I wonder at this haste, that I must wed ere he that should be husband comes to woo.’”

Theodore’s mouth lifts in a tiny, lopsided smile again and he says, “Plus, she’s the one most of the guys fawn over, right?”

You’re left to gape at him in shock and awe, processing what he just said as he turns and walks back to the castle along the shore, just outside the gentle lapping of the water. You watch his retreating figure, watch as he grows smaller and smaller and eventually disappears. 

You don’t get much reading done, the book remaining open in your lap and your eyes fixed on the spot where Theodore once stood.

You sit there until the top curve of the sun is just peeking out over the horizon and you stand, still a tad dazed, and make your long walk back to Hogwarts. 

It’s just past one in the morning and you can’t sleep, tossing and turning fitfully. Theodore Nott and his long shadow and his blue eyes keep appearing behind your eyelids, no matter how much you try to shove the thoughts out. You want to bang your head on one of the wooden poles holding up the canopy of your four-poster bed, but you opt for sliding on your slippers and going down to the kitchens to see if the house elves have any leftover brownies from dinner. Maybe they could warm up a mug of hot cocoa for you too.

You shuffle through the hallway, the chill of the castle waking you up. You rub your hands along your arms, wishing you had worn something over your pajamas. Since it’s break, restrictions about when and where students could go are essentially non-existent. You pass Filch, who scowls at you, clearly aggrieved that he can’t punish you for being out of bed, and Nearly-Headless Nick, who greets you cheerfully and questions you as to why you’re up at such a time. “Can’t sleep,” you explain. “I’m checking if the elves have any midnight snacks for me.”

He chuckles, “An excellent reason but don’t stay up too late, or you’ll wind up like me!” He laughs hard at his joke and you can’t help but giggle, bidding him a goodnight as you descend into the basement. 

You nearly run right into Theodore as you approach the kitchens. You jump at least a foot, clasping your hands over your chest. “Merlin’s beard, you scared me!”

“Could say the same for you,” he says. “Nice pajamas.”

You forgot you were in a tank top and shorts. You cross your arms and say, “You seem awfully fixated on my clothes, Nott.” You try to look as threatening as you can but the slight tremble to your body takes away any effect.

Theodore rolls his eyes and slides the robe he donned over his striped pajamas off, holding it out to you. When you don’t take it, he just throws it over your shoulders, the weight comfortable and warm. You say, “You keep popping up out of nowhere. Are you stalking me or something?”

He snorts, “You would never know if I was. But no, Mattheo’s snoring kept me up. I figured I should take advantage of my insomnia and grab some brownies from dessert.”

“Great minds think alike then,” you say. 

You and Theodore walk down the corridor towards the kitchen when he asks, “Have you finished the book?”

“No, didn’t get a lot of reading done after you left.”

“Did I distract you that much?” He looks smug, smirking, and it’s your turn to roll your eyes.

“In your dreams.”

“Yeah,” he says. “When do you think you’ll finish?”

“Bloody hell, you’re impatient,” you groan, rubbing your temples. You’re not sure what possesses you, if it’s your sleep-deprived brain or something else but you suggest, “How about this? You grab brownies and cocoa for us and I’ll get the damn book and we’ll meet in the Clock Tower and read it together.”

Theodore considers it for a moment before he says, “Alright. I’ll meet you there in fifteen.”

“Perfect.” You scurry back to the Gryffindor dorms. Nearly-Headless Nick queries as to where your snacks are but you don’t answer, moving swiftly. You enter your dorm room, only pausing for a moment to catch your breath. Your heart is pounding but you can’t tell if it’s from the journey or from the thought of sitting alone in the Clock Tower with Theodore Nott. You don’t let yourself dwell on it and you pick up Romeo and Juliet and climb the stairs to the Clock Tower. 

Theodore has beaten you there, already sitting up against the glass of the clock. The frost on the glass obstructs some of the moonbeams streaming in but it’s just enough light to read. In the moonlight, Theodore’s hair looks lighter and more burnt golden than brown. He takes a sip of his cocoa and holds out a ceramic mug to you as you settle next to him. You accept it gratefully, plucking a brownie from the plate between you two. 

You flip through the play to find where you left off, the page dog-earred. Theodore makes a sound at the back of his throat. “What?”

“Don’t you have a bookmark or something?”

“No. Leave my marking choices out of it.”

He snickers and leans over you to get a better look at the text. Your shoulders brush and you’re all too aware that he smells of chocolate and sandalwood. His smell is clean and distinct; his robe smells like that too. 

As you two begin to read, Theodore tells you to turn back or move forward. You eventually figure out a rhythm, knowing exactly when to do so. You’re about ten minutes into reading when you feel Theodore’s gaze on you. You remain still, wondering if he’ll stop but when he doesn’t you mumble, “Stop doing that.”

“Doing what?”

“Staring.” “Does it bother you?”

“It feels like you can see into my soul.”

“You didn’t answer my question. Does it bother you?”

You pause. “I don’t… I don’t know.” A beat. “Why are you?”

“Why am I what?”

“Staring at me.”

His voice drops, somehow deeper than you have ever heard it. “Because I like to.”

Your head whips to him but no words leave your mouth. He regards you carefully and asks again, “Does that bother you?”

You hesitate. Then, “No, it doesn’t.”

He hums and you think he’ll do… something but he just ducks his head back down to read and you let out of the breath you didn’t know you were holding, disappointment pooling in your stomach. You don’t know what you wanted him to do. You don’t know why you’re disappointed. 

You two read until your eyes grow heavy. You struggle to keep your lids open, head jolting up when you realize you’re drifting off. Theodore taps your shoulder and says, “We can stop here. Pick up another time.”

“Yeah,” you murmur, standing and stretching. You stifle a yawn and remember you have his robe on. You begin to take it off but he says, “Keep it. You can give it back tomorrow.”

“Tomorrow?”

“Yeah, tomorrow. Same time, same place?”

“Okay.”

It doesn’t take you long to finish the play with Theodore only two days later. You noticed that Theodore read slower than before, telling you multiple times per session to go back a couple of pages. 

Your eyes follow the last line: For never was a story of more woe / Than this of Juliet and her Romeo, and you close the book with a dull thump. You sit in silence with Theodore, listening to the clock hand turn to the next minute. You stay like that for a while. You sip on the spiced hot chocolate the house elves prepared for you. You share sugar cookies with Theodore that are shaped like snowflakes. 

“So,” you start, breaking the silence, “this is your mother’s favorite book?”

He nods. “I think she read it a lot when her parents arranged for her to marry my father.”

“Oh.” You don’t know what else to say, adding lamely, “I’m sorry.”

“It’s okay.”

Silence. 

“Can I ask you something?” you ask.

“Yeah.”

“Why did you stay here over break?”

He stiffens, expression unreadable. He glances over at you and finally sighs. “My father’s trial is happening right around now. My family doesn’t want any of the kids around this so…” He motions to the Clock Tower, adding, “My siblings are either at their own schools or with my grandmother.”

Your heart aches at the frown on his face and you bite the inside of your cheek, unsure of how to proceed. You’re thankful when Theodore moves on. “What about you?”

“Oh, my parents are on a sight-seeing cruise so they’re not home. I got a postcard today, though, they’re in Japan now.”

“I’ve never been. How’s it look?”

“Pretty. They said their tour guide told them the best time to come is when the cherry blossoms bloom. I would like to go.”

“We’ll go together then.” 

He says it with a finality that makes you shy. “When?” is all you can ask. 

“Someday.”

You haven’t seen Theodore in a couple of days, an odd thing to try and get used to when you’ve just adjusted to him popping up wherever you are. You assume that he’s done with you now that you finished Romeo and Juliet. 

It all makes your heart sink.

You’re alone in the common room, wrapping up your gifts for your friends. You stack Harry’s scarf on top of Hermione’s mittens, Ron’s socks, and Ginny’s hat, and you lean against the couch with a huff. 

You think about the spare red yarn sitting in your room. You think there’s just enough to make another scarf. 

Theodore’s face flashes in your mind’s eye and you run a hand down your face in frustration. Whatever weird thing you had with Theodore is over. He’s probably out with Mattheo at the Three Broomsticks or something. You’ve seen them there before along with Enzo, Blaise, Draco, and Pansy as well as just with each other, usually flirting with girls there.

You didn’t used to think much of it — just scoffed along with Ron and Hermione — but now the thought makes your stomach churn. 

You think about the extra yarn in your room again and you almost can’t believe that, despite his disappearing act, you’ve decided you’ll knit a scarf for Theodore Nott.

Almost.

You’re greeted with a delicious Sunday roast for dinner on Christmas Eve: tender roasted beef, warm Yorkshire puddings, fluffy mashed potatoes, and a side of jus from the beef. You sit by yourself once again, the loneliness threatening to swallow you whole as you plate your dinner. 

Theodore seats himself right across from you and places a parcel wrapped in brown paper in front of you. You look at it in confusion and he says, “Open it.”

“What is it?”

“Christmas present.”

You raise a brow. “You got me a present?”

“Yes, now open it.”

“Shouldn’t I wait until tom—” The sharp look he gives you makes you set your fork aside and tug on the string of the bow. There are two books inside. The first is a copy of Shakespeare’s Macbeth, similarly leather-bound like Romeo and Juliet, and the second one is an ornately-decorated collector’s edition of Romeo and Juliet. 

Your jaw falls open and you whisper, “Theodore…”

He says, “Figured that we can read Macbeth together. It’s a personal favorite of mine.”

Your fingers trace the golden embossment of Romeo and Juliet, swooping down to follow the curve of the ‘J.’ “Where did you even get this?”

“Sent a lot of letters and had Mattheo help me pull strings at Flourish and Blotts.”

Your face is on fire but you grin at Theodore and say, “Thank you so much.”

“Happy Christmas,” he says and you catch the pink at the tips of his ears.

“I actually have something for you too,” you say and his eyebrows shoot up in surprise. “I’ll get it to you after dinner.”

“I’ll come with,” he says and you nod. You wonder if he’ll get up but he stays put, taking a plate and serving himself dinner. 

You two talk quietly in between bites and something dawns on you halfway through. “Where’s Mattheo?” You look over your shoulder and can’t find the other Slytherin boy.

Theodore smirks. “Might’ve slipped him a couple of galleons to leave us alone.” Your cheeks heat pleasantly. 

You two finish dinner after that and Theodore walks you to the Fat Lady’s portrait. She eyes him suspiciously, glaring at you. “You know students from other Houses aren’t permitted in the Gryffindor dorm.”

You disregard her and give her the password. Begrudgingly and with one last glower at you and Theodore, the portrait swings open and you step inside. Theodore peers around the common room and says, “Never been in here before.”

“Some Gryffindor girl hasn’t taken you back with her?” you ask but you instantly regret your teasing words. The thought of Theodore with someone else (Lavender Brown comes to mind and you scowl internally) makes you queasy.

“Can’t say that it’s happened,” he says, shooting you a cocky smirk. “You’d be the first.”

“I’m honored. Wait right here.”

Theodore flops on the couch and sighs in satisfaction. “So much more comfortable than Slytherin’s.”

“Yeah?” you ask as you retreat up the stairs. He shouts after you that Slytherin’s couches, while not wholly terrible, are stiff whereas your common room’s are plush and cushy.

Theodore’s scarf, knit in a red cashmere, lays innocuously on your bed. You’re abruptly self-conscious of it; Theodore got you two beautiful and likely expensive books and you knit him a measly scarf in colors that aren’t his House’s. 

Merlin, you think, what if he hates it?  Only one way to find out, you suppose. With a deep breath, you pick it up and hide it behind your back. You peek into the common room, where Theodore lounges on the couch, his figure long and relaxed. His shirt has ridden up a little and you spy a sliver of the toned muscle of his stomach. 

“Close your eyes,” you say. You watch his eyes shut, unfairly long lashes brushing his cheekbone. You creep into the room, halting in front of him. The flames dancing in the fireplace are the only excuse you can come up with for why you’re so warm. “Hold out your hands.”

He sits up straight and does as he’s told. You say, “It’s not wrapped.”

“That’s alright.”

You inhale, exhale, and gingerly place the scarf in his hands. He opens his eyes and inspects the scarf, rubbing the knit yarn in between his fingers. You hold your breath.

His face breaks into the biggest grin you’ve ever seen on him. He looks—

He looks beautiful. He’s always handsome, yes, but he’s beautiful here.

“This is really nice. You make it yourself?”

You hum in affirmation and he loops it around his neck, standing and spinning around playfully. “How do I look?”

“I think red’s definitely your color,” you tell him, your own cheeks hurting from how widely you’re beaming. 

Theodore takes a step closer, his shoes nearly knocking into yours. The glee in his expression morphs slowly into something different. It’s not anything bad, but it’s somehow more intense and softer than before. “Thank you,” he says.

“You’re welcome. Thank you again for the books.”

“You’re welcome.”

The fireplace crackles, embers spitting.

You’re not sure who moves first. Your mouths crash against each other like waves against a bluff, all lips and teeth and tongue. Your hands are everywhere, in his hair, clutching his shoulders, cupping his face. His hands are just as frantic, grabbing at your waist and hips, squeezing you tight against him. 

You two come up for air but you don’t surface for long. Despite the way he’s worked up, he’s careful in unwinding the scarf from his neck and draping it over a nearby arm chair. Then, he’s on you again, pulling you flush against him. 

He guides you to his lap as he sits back on the couch, lips never leaving yours. You straddle his thighs, tugging lighty at his curls. He moans into your mouth. Your hips move against his. His fingers, long and cold, creep under your shirt and send a shiver down your spine. 

His mouth only leaves yours to latch onto your neck, sucking and licking and nipping. You whine and push yourself against him harder, your hands clumsily trying to undo the buttons of his shirt. He helps you, flinging it off his shoulders, and pulling your own off your torso. 

“Fuck,” he groans, chest heaving as he takes in the view of you. He’s staring at you like you’re some sort of goddess. “Fuck, you’re beautiful, amorina.”

You melt under his gaze. His ocean blue eyes are a little glazed and his mouth is kiss-swollen and ajar. Godric, he’s one to talk. You lean in closer, tracing his jaw and letting your hand trail down his neck, his chest, down to his stomach. You graze the top of his trousers and lightly scrap your nails over the skin just above. He hisses, hips bucking, and before you can say anything to him, he’s yanking you down for a kiss. 

It’s slower, no less passionate but less frenzied, and you only break apart to whisper, “Bedroom, Nott.” 

He doesn’t say another word, springing from the couch, grabbing the scarf you made him, and dragging you up to your dorm. As soon as he’s inside, he sets the scarf on your bedside table and pushes you down onto the mattress, climbing on after you. 

You squeal as he peppers kisses along your neck. “Theo,” he murmurs against the skin of your collarbone. “Call me Theo.”

“Okay,” you say, testing it out. “Theo.” His hips slot against yours once more and you cant your up. He slips a hand down your pants and when he presses his palm against you, you whine, “Theo!”

Another rumbling moan, “Amorina, you don’t know what you do to me.” Another long, hard kiss. Your hands move to unbutton his trousers. 

You don’t care how sweaty and sticky you are as you lay panting against Theo’s chest, feeling the way it rises and falls in rapid succession. You listen to his racing heartbeat and he places a sweet kiss to the top of your head. 

As you two catch your breath, Theo says, “I think Juliet should have gone with Benvolio.”

You look at him like he’s crazy. “That’s really what you’re thinking about?”

He winks at you. “Of course not. I’ve been thinking about it since we finished the book.”

You slap his chest playfully and ask the obvious question: “Why do you think so?” 

“Well, you said I’m like Benvolio and I told you you remind me of Juliet.”

“Huh?” You think for a couple of seconds and then it clicks. “Oh!” You take in Theo’s half-lidded eyes staring at you. “Oh…” 

He dips down to kiss you again.

Over the break, you’ve expanded on what you know about Theodore Nott. One, he’s quiet because he’s thoughtful, always observing, always analyzing, and storing away information for whatever purpose he’d like to use it for. 

Two, he’s whip-sharp — you see it in the way he can quote Shakespeare plays like second-nature; in how he easily banters with you, always coming back with a swift reply and a cheeky smile. 

Lastly, he’s unbelievably handsome. You knew this before but it’s different now. You admire the way he holds himself with an unflagging confidence, how he has these rare full-bellied laughs that make you crave the sound. But you think he’s most handsome when you sit together, cloistered away in the Clock Tower, reading Romeo and Juliet and now Macbeth together. You’re so close, you can smell the peppermint on his breath from the candy canes the house elves snuck you. You can see all the shades of blue in his eyes. You can count the beauty marks on his face. 

This close, you can lean over and kiss him and delight in the way your heart thrums when he reciprocates, cradling your face and coaxing you into him. 

You spend the majority of the rest of the break wrapped up in Theo’s arms. By the last day, you’re sure you have snuck each other into your dorms more times than either of you can count. You hang out a few times with Mattheo, who turns out to be not as bad as your friends make him out to be. He’s sharp and quick-witted like Theo with a tendency towards the dramatics that makes you laugh. 

You’re sitting at the same spot underneath the tree at the Black Lake, Theo relaxing between your legs. He’s swaddled in the same black overcoat you saw him in before, only this time, the red scarf you knit is starkly bright against the coat. You card your fingers through his soft curls, ducking to peck his forehead. He tilts his head upwards and smiles boyishly at you and it makes you giggle, planting a kiss on his mouth. He brings your hand down to his lips, kissing each fingertip.

You relish the quiet with him, knowing that tomorrow will be a flurry of activity with students and faculty returning from winter holiday. It makes you sigh, the thought of leaving the little world you and Theo have created. Your relationship is only a couple of days old and you can’t deny that you’re anxious about your friends coming back. 

As if sensing your nervousness, Theo sits up and spins around to face you. You attempt to plaster on a reassuring smile but it’s wobbly and uneasy. He cradles your face with one hand, thumb stroking your cheekbone. “What’s wrong, cara mia?”

“I don’t know,” you mumble. He tilts his head, raising an eyebrow with an expression that tells you he knows you’re lying. “What are we going to do when everyone comes back?”

“What do you mean?”

“Theo, our friends all despise each other.”

He replies, “So? Just because they don’t like each other doesn’t mean we can’t.” He kisses the back of your hand. “And I happen to like you very much.”

You smile weakly at him. “I know, and I like you very much as well. It’s just…” You can picture the dawning horror on Ron’s face and the grimaces on Hermione and Harry’s. 

Theo’s mouth turns downward and he asks, “Why do you care what they think?”

“Don’t you care what your friends think?”

“No,” he says firmly, adding, “Plus, Mattheo likes you so who’s to say everyone else won’t?”

“Theo…”

He repeats, “Why do you care?”

“I just don’t want anything to ruin this, ruin us.”

“They can only ruin it if we let them and we won’t.”

“You don’t know that for sure! We’re still in the early stages of our relationship.”

“Do you not have faith that we’ll stay together?” he asks.

“I do! It’s—” You sigh in frustration, brow furrowed. “I just want to preserve what we have without outside influence. Please, can we just wait a little to tell everyone?”

You wish you didn’t see the way Theo’s expression falters, hurt passing across briefly before he wipes it away.  He’s studying your face, eyes dark and unreadable but he nods. “Fine. But you have to promise me that it’s just for a little while.”

“I promise.”

“Alright. I’ll tell Mattheo not to open his big mouth.”

“Thank you, Theo,” you say. This time, you reach for his hand and peck his knuckles. His shoulders lose their tension and he bends towards you, mouth ghosting against your neck. You squeal and giggle and you feel him smile against your skin.

author's note: at long last, the theo nott fic i teased months ago... this fic was supposed to be a lot longer but i when i went back to college and hit a major writer's block, it just languished. i'm proud of what i've written, which is why i want to post it, but please excuse the kind of abrupt end. there is a potential continuation in the future <3

[heavenlymorals]

Details that I've noticed about Arthur Morgan-

-He, for the most part, despises male touch, especially if it's overly affectionate. He gets tense anytime a man hugs him and wants it to be over as quick as possible (Jamie, Mickey) and he looks visibly offended when Professor Bell touches him. He even sometimes gets annoyed when Dutch touches him on his shoulder, someone who he considers a father figure.

-On the flip side, he does not mind female touch at all. He even initiates it sometimes (Tilly, the girl at Beaver Hollow). Now one could argue that they were high stress situations, but if Tilly was a dude, he would've just set her free, make a snide remark, give her a gun, and then he'd expect her to help him with the fighting. He is completely cool with the nun giving him a hug and doesn't get offended when Mary Beth touches his hand in their therapy session.

- He seems to be pretty well read. He knows Shakespeare, with Romeo and Juliet, and Icarus. He makes other literary references. This is probably due to Dutch. Dutch is clearly very well read and cultured. However, Arthur seems more interested in practical works like guides then philosophy and stories, given that the only book he has on his tent desk is a plant guide.

- He's great at remembering faces and less so on remembering names.

- He does have an amazing propensity to remember physical features, like how he is able to create amazing portraits of the people he meets without consistent reference. It's incredible and works back to the whole great at remembering faces thing. Same goes for animals.

- He is very curious. He is always touching things, looking at things, critiquing things, and trying to understand how they work.

- He generally refuses to be emotionally open with men and does it only with women- this could be due to the idea of the Cult of Domesticity. I've made a post about it before. Compare him speaking with the nun to Reverend Swanson. Compare him speaking to John about Dutch leaving him to him speaking to Sadie about Dutch leaving him.

- He is very connected or is fond of artistic people. He and Mary Beth talk about their journals. He is fond of Albert Mason's photography and helps him out. He is interested in Charles Chataney's artistic work, even if he doesn't like it or connect with it.

- Since a lot of camp members respond to Arthur's antagonizations with something like "not again" or "I knew I'd be next", it's safe to assume Arthur will go off on people from time to time, regardless if you play high or low honor.

- Does not have a fixed temperament. In some missions, he is more energetic and in others, he is more downtrodden. Very realistic and I fucking love it.

- Has direct eye content at all times- will look anyone in the eye and does not give a fuck. NPCs will look away from him if he stares at them.

- Gets mad when men don't behave like men, especially when it concerns women. He gets pissed at John for not stepping up and being a man to his family. He gets annoyed and even pissed off when asking why Beau couldn't have helped Penelope Braithwaite as she is his woman.

- Given how the camp falls to shit whenever Arthur isn't donating, we can safely conclude that Arthur is the most valuable member of that camp, bar maybe Hosea and Dutch.

- He is very reminiscent of the Dark Romantic, which is really interesting as a lot of times, it can be looked at as the middle ground between Romantacism and Realism, two ideologies that were very popular in the 19th century. I will make a full analysis regarding this later.

- Introverted, but not shy at all. In fact, he's very charismatic and is just as good as dealing with people as Dutch and Hosea (The Riverboat Mission) This 'dumb, mumbling' cowboy thing he's dumbed down to in the fandom is an insult to his character.

- He probably acted like a father figure to Jamie Gillis when he was still with Mary, given the fact that he taught him how to ride a horse. Will probably also make a full post about this later.

- Some people say that Arthur is around 5'10-11. Others say He's 6'0-3. Whatever his height actually is, he's still way taller than the average man during this time period, who was around 5'6. Now imagine that with muscles and armed to the teeth- fucking terrifying.

- Very sentimental. He keeps a photo of his supposedly no good Pa and wears his hat. He keeps a photo of his mother who he doesn't really remember at all. He keeps a photo of his dog, a horseshoe that probably belonged to a dead and beloved horse. He keeps a flower from his mother. Keeps a photo of Mary as well. If he had a photo of Isaac, he'd probably keep that too.

-Arthur died at 36 years old from Tuberculosis if you play high honor. The real gunslinger and outlaw Doc Holliday died at the same exact age and the same exact way.

- Genuinely doesn't give a fuck about movements, social issues, and cultural issues, but does care about individual people.

- I love him

- So fucking much

- 😃

[raven-at-the-writing-desk]

sebek and his big ol' heart

Y’all thought I would be writing an extensive analysis on [REDACTED] or Skully but JOKE’S ON YOU, I love my lame idiot child Sebek 😭

When I tell you I actually CRIED MULTIPLE TIMES reading his Nightmare Suit vignettes… because all the pieces fit together SO well…

Before reading this (long) post, I’d like to ask that you also take your time to read this analysis and this analysis. They will help you understand some of the points I made later regarding Sebek and his internalized racism + how he expresses himself.

Have your recommended reading done? Great, then let’s hop to it!

***Spoilers for Sebek's Nightmare Suit vignettes, book 7, and various other Sebek and Silver card vignettes.***

Sebek is one of those characters that lives in infamy for how much time he takes to get warmed up to. He presents himself as loud and brazen, with these traits often earning him the ire of both in-universe peers and irl fans alike. Worst case scenario, Sebek can be seen as someone who is outright hateful. He’s rude to most people (including Silver, his childhood friend, sometimes), denounces humans, acts like Malleus can do nothing wrong, and doesn’t seem to respect his own father.

Well, I’m here today to tell you those claims are false and that Sebek is actually capable of so, so much love. All you need to really do is look at his Nightmare Suit vignettes—and how well they connect with the rest of his lore—to understand what I mean.

The vignettes start with Jack Skellington finishing a bento that Sally made for him. Sebek tells Jack that he should now return the basket that the bento was delivered in to her and to let her know what he thinks of her meals, but Jack says he can’t because he’s busy with Halloween preparations. Jack asks Sebek and Azul to return the basket in his stead, which they do. (These vignettes appear to be following Trey’s Nightmare Suit vignettes, as those open with Sebek and Trey seeing Sally jump out of a window with food with Jack. Sebek points out to Trey that Sally wants to hand deliver that food and says he believes there is some other reason than just being nice to Jack.)

They aren't allowed to see Sally because Dr. Finkelstein has locked her up for misbehaving, so they leave the basket. Azul advises that they also pass along Jack's comments (he had called Sally smart, thoughtful, and kind; he often forgets to have meals when he's absorbed with his work, so it's generous for her to prepare a delicious meal like this for him). Sebek loudly refuses, as he believes that hearing these grateful words from Jack himself would be much more meaningful to Sally.

He later confronts Sally at Town Hall and asks to speak with her privately (in an ALLEYWAY lol). There, Sebek flat-out tells Sally that such roundabout tactics will never help her feelings reach Jack because he's way too dense. Of course, she reacts with denial which sends Sebek into a passionate speech about the lengths Sally will go to for love (short of actually speaking about it). She literally threw herself out of a window and put herself in bodily harm to get to Jack when Dr. Finkelstein locked her in her room. She deliberately disobeyed her guardian and brainstormed a way to get out when theoretically she should not have been able to move around freely. If that's not motivated by love, then what is? Sebek declares that it's really annoying to watch Sally dance around the issue and to see her devotion go to waste. IT'S LIKE HE'S WATCHING/READING A ROMCOM AND THE TWO MAIN CHARACTERS KEEP PLAYING THE "WILL THEY, WON'T THEY" CARD... She admits that she can't share her feelings because Sally thinks she's not worthy of someone as impressive as Jack... They're not compatible. And you know how Sebek responds??? BY TELLING SALLY ABOUT WHAT IS BASICALLY TWISTED ROMEO AND JULIET... Sebek reading tragic romance confirmed 😭 He describes the story as one of two lovers whose families do not approve of their union. In desperation, the lovers try to elope--but their plan fails and they return to their warring families. Instead of committing dying like in the original tale, the lovers live the rest of their lives lamenting the outcome and how they can no longer see the person they love most. Sebek shares his own interpretation of the story and its moral: because the lovers gave up hope that they could get their families to accept one another... because they never tried to get their families to get along... because they could not properly articulate their feelings to their families... the lovers could not be together. He is convinced that if they had communicated better, the story would have a happier ending. Sebek is of the firm belief that a story itself cannot come to be without the author wanting to share their own thoughts or feelings; he even suggests that maybe the author of Romeo and Juliet experienced something similar--a regret that resulted from neglecting to express deep-seated feelings. It's not just this book either, Sebek claims to have many stories with a similar theme or miscommunication leading to conflict.

Above all, Sebek stresses to Sally that she must believe in herself and take swift, decisive action. And why does Sebek whole-heartedly throw himself into this belief? Because his own family is living proof that a happy ending is possible if you try hard for it.

If you've paid attention to Sebek lore prior to this, you'll know that he has a human father and a fae mother. Their marriage faced opposition and scrutiny in Briar Valley, a country which is isolated from the rest of the world and suffered greatly from human invaders pilfering the fae lands for resources. One of these sources of opposition and scrutiny is Sebek's own grandfather and his mother's father, Baur. Apparently, Mrs. Zigvolt married Mr. Zigvolt against the wishes of her dad.

Sebek shares even more details with Sally in his Nightmare Suit vignettes. To this day, Baur does NOT approve of his daughter's marriage--but Mrs. Zigvolt doesn't let that get her down! No, she does everything in her power to prove to her father that she made the right choice and she's perfectly content with her life. She'll send letters enclosed with photographs of her family, take her children to visit Baur's home, and invites him to join family dinners. Sebek adds that he's sure his mom made other efforts too--all to try and get Baur to acknowledge her marriage. More recently, Baur seems to have lightened up a little... as in, he always used to turn Mr. Zigvolt away at the door, but now lets him in about once a year (though Baur still avoids eye contact with him and continues to frown). Mrs. Zigvolt stubbornly believes that if she keeps this up, her dad will one day change and bless her marriage with the man she truly loves. Sally commends Sebek and his mother's ability to speak their minds loudly and proudly, but then disparages herself again by saying she can't do the same. Sebek then confesses that he can relate to Sally's frustrations. He related her feelings to his own inadequacy in serving Malleus, the powerful and noble king-to-be of his country. That feeling... Sebek describes it as akin to heartache. But instead of wallowing in that heartache, he pushes himself to close that distance between himself and his idol. If he keeps hesitating, then there is absolutely no way he can catch up to where Malleus is! Sebek must dedicate himself to becoming someone worthy of serving him. He encourages Sally to do the same through both her words and her actions! At that moment, Jack walks in and Sally makes good on Sebek's advice. (This part isn't important to the analysis on Sebek's character, so I'm glossing over it.) The vignettes end with Epel complaining about Sebek being loud as per usual. Sally doesn't take issue with his volume though. She simply giggles and informs Epel that Sebek speaks so loudly and clearly so that his words can resonate with others--like how his words gave her courage.

We have learned new lore about Sebek's grandfather and mother. What does this tell us about Sebek? A lot, actually--if you slate it with all the other lore we have on hand.

We see just how strong of a woman his mother is. I suspect this is where Sebek picked up a lot of his hard-headedness, as well as the tendency to express himself very overtly, from. However, it also speaks to the loving environment he grew up in.

His mother seemingly never questioned her own life choices and never gave up fighting to prove her happiness to a father--and likely an entire community--that rejected her marriage, her husband, and maybe even her children. She fiercely loves and defends her family and the life they have made for themselves. Sebek states that he looks up to her for her magical strength, but that he also admires her principles and strong convictions. Indeed, it was her who ardently pursued Mr. Zigvolt and did not allow naysaying to deter her.

Then there is Mr. Zigvolt. In Sebek's Birthday Boy vignettes, he describes his father as "a strange man" who is "magically deficient" and "never lets his smile fade, no matter what I say to him [...] he defies comprehension." Though Sebek doesn't seem to hold the same amount of respect he has for his mother for his father, we don't hear Sebek openly insulting his dad, just expressing confusion about him. When asked about it, Sebek denies depending on his father--but it's clear there is a fondness there that he's not addressing. Mr. Zigvolt is impressed whenever his children use magic, buys them snacks they never asked for, and talks with them for long periods of time in a calm, patient manner. His father, too, has given Sebek so much compassion and understanding.

We don't know a lot about Sebek's siblings, but they seem to get along fine! He has mentioned going to parks with them. They've also gone fishing together and witnessed magic competitions, which they were all amazed by. The Zigvolts in general (or at least the parents) seem to be accepting too, as they volunteer to take Silver in whenever Lilia is unable to take care of him.

And you'd think that's where it ends, but NO. Baur ALSO has a lot of love to give. Despite not approving of his daughter's marriage, he doesn't actively despise his grandchildren. Quite the opposite, in fact! Though he's rough around the edges and looks scary, Baur doesn't fault any of his grandchildren for being born half fae and half human. He actually makes it a point to bond with them, and especially with Sebek. It was Baur who taught Sebek the language of nocturnal fae and instilled in Sebek his love for reading (as he bought many books for him and tells many stories himself). He also personally reached out to Lilia to train Sebek, as the young boy (at around age 7) expressed an interest in martial arts. Sebek has a love for salmon carpaccio because he and his siblings would fish at Baur's house and then prepare the dish for him--Baur was so happy about it. Additionally, Baur values getting a good education and was proud when Sebek shared with him that he was invited to attend Night Raven College.

Sebek grew up in a country that dislikes humans, but he was raised in an household where he was loved unconditionally and provided with all the resources he could need to get a good education and become someone who is physically strong. So of course he becomes frustrated when he sees Sally, who is so nervous to act on her feelings. What would have happened if Sebek’s mother had been like Sally, thinking she and her now-husband are incompatible? If she didn’t try pursuing her feelings at all? Sebek, as the youngest of three, might not event exist. His parents may not still be together… or maybe they wouldn’t have gotten together in the first place. It’s exactly because Sebek knows what love is supposed to be like--courtesy of his own family—that he can see it so well in others, and wants them to act on it. His very existence is proof that love is possible, and it transcends arbitrary labels like race that serve to divide people into categories.

One quirk of Sebek's is how he's always dishing out back-handed compliments or making comments that come off as rude but aren't at their core. He can't seem to help but say a good thing that sounds like something bad. His Diasomnia classmates, usually Silver, have to translate these Sebek-isms for others, who misunderstand him or interpret his words in the worst possible way. For example, from one of Silver’s Fairy Gala lines; “Sebek said to me that no self-respecting disciple of Lilia’s would dare get a single stain on this clothing. That's his way of encouraging me.” In Silver's Dorm Uniform vignettes, Sebek tries to reassure his friend and tell him to not let other people's opinions hurt him--but he phrases it as, "Hmph, ridiculous! I see no reason for you to heed a few random comments from some humans." The duo is also shown to be competitive with one another in training; it's never malicious, they both want to prove themselves as the superior knight, and the other serves as motivation to improve and/or a means of measuring one's own growth against a fellow disciple. When the mostly elderly population of Harveston is in need of physical labor, Sebek comments "[...] the humans in Harveston are woefully out of shape," yet he insists he "still [has] energy to burn" (as if to volunteer himself to do more work) and calls such tasks "simple" (as if to point out how easy it is for him to do, so don't worry about troubling him). He hauls apples and helps the villagers with whatever they need, declaring that they should "be grateful"--but if he truly did not care, he could have stopped at any time or settled for just making fun of them. But Sebek doesn't, because he DOES care deep down. This aspect of Sebek is made even more obvious in Fairy Gala: What If. He appears at Ramshackle and opens by declaring, "NO! I am by no means worried about anyone! [...] Don't mistake my intentions. I am NOT here to help! If your mission doesn't succeed, the repercussions will definitely affect Malleus and Lilia. Hence... I shall lend you uneducated humans my aid! [...] You're welcome to weep with joy at my magnanimity..." Time and time again, we see Sebek demonstrating a lot of kindness, but deflecting or not being totally transparent with his intentions due to pride or embarrassment. This behavior is very reminiscent of Baur, the grandfather that Sebek loves dearly and spent so much time with. Baur, too, can be very passionate and loving, but struggles to speak of those feelings openly. Just look at how the man deals with Mr. Zigvolt. The behaviors of the family, then, imprint on Sebek and influence his behaviors--and being that Sebek is from such a loving group, it follows that Sebek puts out a lot of love into the world too.

A lot of times when the fandom discusses Sebek's attitude, I feel it's from the context of him being hateful towards humans. I'm not going to deny that Sebek has said some pretty nasty things about half of his own identity. The point I would like to make here is that Sebek can love just as strongly.

The most obvious thing that supports the claim that Sebek is capable of strong love is how he views Malleus. It's no great secret that Sebek practically worships the ground his dorm leader walks on. That's essentially Sebek's key defining character trait. What I'll ask you to consider instead is the nature of Sebek's love--not the obsessiveness of it, but rather the unconditional nature of it.

In Lost in the Book with Nightmare Before Christmas, Skully laments that Sebek has not been disappointed by his idol, Malleus. Sebek actually corrects him by saying that love isn't imposing your own views on your idol, it means preparing to accept them, flaws and all. He says the same of Malleus; should the time ever come where Sebek's expectations of Malleus falter or their paths have to diverge, then he will still embrace his young master, never once turning his back on him. And where does Sebek gets this from? His parents. The father who loves his children no matter how critical Sebek may be of him. The mother who remained so strong in the face of her friends and family being against her life choices.

A common fandom sentiment regarding Sebek is that he blindly follows Malleus--and to be fair, he does for a large part of the main story. But when speaking about his idol to Skully, Sebek says that agreeing with someone and continuing to love them are different things. You can disagree with someone's actions and still continue to love them and accept them. This follows what Sebek does in book 7 and likely alludes to the character development he goes through during + following book 7; though he is betrayed and hurt by Malleus turning his powers against the world, Sebek does not let up on the hope that he can bring his young master back. He even sillily calls the yet-to-be-hatched Malleus tamago/egg-sama, showing even an infant form of Malleus great respect after witnessing his OB. Skully took the opposite path that Sebek did; when he realized that his own idol, Jack Skellington, was not as he imagined him to be, Skully became enraged and lashed out over it. Sebek points out Skully's inadequacies as well, which ties back to how he spoke of his own drive to improve in his Nightmare Suit vignettes. Skully confesses to trying desperately to emulate Jack--so much so that he breaks down when Sebek's UM destroys his iconic shades. He wallows in his current state and doesn't make efforts to change or to be better; the past and his own vision is where he's comfortable. It's a strong contrast to Sebek, who has made it clear he will continue to train and work hard to prove his merits and to be someone worthy of protecting the great Malleus Draconia.

It is Sebek's passion and boundless love that makes him a hero both in Lost in the Book with Nightmare Before Christmas AND in the main story's book 7. He serves as a foil to Skully in the former and actively saves Silver when he's on the brink of despair in the latter. After learning that his biological father is the man responsible for killing Malleus's mother and leading the Silver Owls' onslaught on Briar Valley, Silver despairs and comes to the conclusion that his father must loathe him. "He could never love the son of the man he despised! He has to hate me! He has to!" Sebek rushes to Silver's side using Living Bolt, a UM he has yet to master (thus causing residual damage to him when he casts it), to correct him:

"You have this much strength... and you dare to say you weren't loved?! That you were hated?! [...] If [Lilia] hated you, he didn't have to give or teach you anything. He could've just raised you into a dimwitted coward and made you a servant. But he didn't--and look at you now. Even alone and helpless, you stood firm. You spoke up, unfaltering in the face of our liege's madness. Even trapped in the darkest despair, you kept on fighting! Who raised you to be so strong? LILIA DID! Why don't you see? Why do you doubt? You should have understood years ago! What can you call your strength, if not the direct result of Lilia's love?!"

WHETHER SEBEK REALIZES IT OR NOT, A LOT OF WHAT HE TELLS SILVER HITS HOME FOR HIM TOO... Like, thinking about it... Sebek must have faced a lot of prejudice from his community because of who his father is. He might have grown up thinking he, too, was hated, had he not been protected by his loving mother, father, and, yes, even grandfather, who is still struggling to accept the human in their family. Baur must have been feeling very complicated emotions upon meeting his half human grandchildren for the first time... but even though he dislikes humans, he could never find it in himself to dislike his grandkids. If he had hated Sebek, he wouldn't have wanted him to get a good education. Baur wouldn't be happy that he got into NRC. He wouldn't personally ask Lilia to train the grandson who expressed an interest in combat. He wouldn't buy so many books for Sebek or read with him or tell him stories or teach him his language. He wouldn’t spoil Sebek by giving him sweets (which, by the way, Baur himself dislikes). But Baur DOES do all of these things, because deep down he loves Sebek no matter what he is. You can hear it in the hurt of Sebek’s voice when dream!Baur reacts to him coldly. That isn’t the grandfather he is used to. Though it’s said that Baur doesn’t exactly welcome his grandchildren with open arms, he definitely loves them and cares for them in his own way. If it was anything less than love Baur felt for his grandson, if he decided to neglect his grandkids, then Sebek would have grown up as some "dimwitted coward". IT'S ALL CONNECTED.

And now here Sebek stands, able to tell others that they are loved and should be cognizant of that love. He reminds Silver that Lilia loves him. He advises Skully to reevaluate how he sees his idol. He tells Sally to speak honestly about her feelings, because it was his own mother speaking honestly about hers that led to Sebek and his entire family being as happy as they are now. He shouts at people to act and to speak their minds because he doesn't want them to live with regrets, because he doesn't want to see them be weak and timid--a version of himself that could have resulted if he hadn't been loved so strongly.

You can say many things about Sebek: that he's loud, that he's rude, that he's a fanboy, that he has big muscles. But of all those muscles, Sebek has a very big heart too. And what made him so strong? All the love he received from his family, despite growing up an environment that surely invited hatred for humans.

[nouearth]

a sticky situation.

peter parker x male reader.

summary: peter has a major crush on his roommate: you. everything unravels when he walks in on you changing.

wc: 4.1k. genre: smut. warnings: holland!peter, sub!top peter, voyeur!peter, college!au, dry-humping, grinding, frotting, handjobs, kissing, peter's first time, dubcon, cumplay, peter and reader are shooters, characters are aged up!

a bite of the cold air shuddered your damp and nude body once you stepped out of the bathroom, cataloguing the tidiness of your shared bedroom after. your shoulders tensed when the heated air and cold draft clashed for an estate of your body. but by the way your muscles eased into the green towel around your waist, you’ve figured which side won the war. a warm cheer to victory buzzed in your head.

god, did i luck out with peter… 

you found yourself repeating that observation often these days. it’s only been two months into the semester, but you’ve already concluded that peter was leagues better than your previous roommate. though, the bar was low—he was kind of a homophobe. that guy was a walking proof of evidence that opposites, in fact, do not attract.

on the other hand, peter had proven that similar interests and personalities were the foundation of beautiful, growing relationships: both platonically and romantically. still, relationships were never that black and white—a grey area. a theory that will forever be tested on, only for the outcome to come out vaguer than before, you’ve realized.

peter was like you: friendly, smart, awkward at times, funny to some. you and him basically have the same qualities of a dog, but there was more to it. 

you both shared the same liking down to the genre of video games, the magic of fantasy novels, the cleanliness of a room, the color-coded organization of study notes, and more. 

from there, the similar line of characteristics began to blur. whereas you’d prefer to learn from experience, peter liked playing by the book—sticking to it if he could. peter liked red, you liked blue. he favored savory snacks, you devoured them, but preferred sweet drinks.

opposites attract—the theory was once again, broad in your honor.

difference and similarities aside, you were lucky to have peter in your life. the bedroom was colder before you went to shower, but now it blossomed with a gentle heat.

he knew you hated the cold after a warm shower.

taking the other towel, you dried off the rest of your body while you checked your phone for notifications: a missed call from a friend and a few emails regarding construction around the building you had your classes in.

seriously? still? it’s been almost a year already…

normally, you wouldn’t have walked into the bedroom like this, baring skin and all. but peter went to get food because you both have become familiarized with what they served as food at parties.

note to self: you cannot get full off alcoholic beverages. you and peter both tried two parties ago, and it ended with you two sharing the toilet bowl, detoxing your insides of that liquid poison the entire night. the only enjoyment that resulted from that night was learning that peter was a drunk-crier, and you, a drunk-dancer. your friendship had only leveled up since.

you slid on your white briefs once you dried off before shuffling to the other side of the room, browsing through your shared closet aimlessly: he took the left side, you took the right. it was always dim at those parties, so a nice outfit would be wasted. also, you somehow became a magnet for other people’s misfortunes. it took hours to get rid of the smell of this one girl’s vomit—you threw it out in the end. 

“no, no… it’s going to be cold later…” you cycled through your clothes again, sighing when nothing caught your eye. “guess i can wear this aga-“

“hey!” out of nowhere, peter’s voice sprung out from the side of the room, followed by a quiet thud, and you twisted your bare body towards the source out of fright.

“jesus, you scared me.” the closet door blocked your view of peter, and vice versa, but you presumed he was leaning against the frame—a habit you noted. “i didn’t even hear you come back.”

“sorry- what was i saying..? oh!” his shadow loomed between you and him, growing as he stepped closer to the closet. “did you want to eat now or-“

judging from the volume of his voice, you should’ve expected how close peter was when you shut the closet. “fuck!” you jumped back, eyes widening when he was practically chest to chest with you. “dude, you really gotta stop doing that.”

on a daily basis, you always looked up at him, but you never paid it much thought to how much taller he was. 

“sorry! guess everyone’s a little antsy with the- oh.” he paused.

“what?” you curiously looked up at him, catching sight of his wandering gaze. you were quick enough to follow it, flickering between glimpses of your bare body and face several times like a tennis ball. somehow, you didn’t puzzle the pieces between his shock and your curiosity until he backed away, skittish in nature.

you were in your underwear. still in your underwear. the barrier was the captor of your embarrassment, heat rosed your cheeks as you stood frozen. and with it, the barrier was also your savior.

 “oh- OH!” the size of your eyes matched his and upon realizing he’s been staring for far too long, peter cowered his gaze to the side, a gentlemanly hand blocking his sight as he further backed to the door frame, then blindly bumped his shoulder into the door. “i’m so sorry-“ 

“no, no! i should’ve knocked. i-“ he groaned out, pacifying the sting to his shoulder with his palm. “that was stupid of me, i’m gonna-“

that was another similarity that you both valued: privacy. 

before you could reply, he scattered off. for a moment, you felt hot in the face, in the neck, even on your chest. but it would only take a few more seconds for your skin to cool, comforted by the fact that you could’ve shown more—you didn’t.

when peter scrambled out of the room, his gaze fixated on the ground, to the stripes of his socks as they shuffled to the kitchen. 

but he never made it very far, because he was easily persuaded. either by his hormones, by the shape of your body, or by his closeted feelings about you. in the end, it didn’t matter because a tightening feeling conjured him back to his original spot—it was always going to be about you. 

he was silent in his footsteps, treading backwards to the bedroom as his throat ran dry—heartbeat equally.

tonight. i should do it tonight. are my feelings that obvious? god, i hope not. wait, no- they are! they gotta be… who the fuck wipes marshmallow off of your roommate’s lips and calls them cute?!

peter does.

as his thoughts ran rampant, clouded his regularly murky mind, you were in his line of sight, perfectly captured in the middle of his gaze—now stilled—awe-strucked while he watched you change. 

quick portraits of your thick thighs and calves came and went before they were completely masked by the slide of your shorts. then your stomach and chest; pliant, moist skin that layered over the contours of your body before being covered by a tee. he exhaled, then inhaled, smelling the scent of your shampoo and body wash, and he was delighted because you own that scent.

enraptured because only peter could have his senses triggered by you on a daily basis.

if peter could frame this moment, it would be an expensive endeavor that would sacrifice all the money in the world to find the most perfect materials that complemented your textured skin. your smooth body. your handsome face. 

you. that was all he wanted. 

peter had been trapped since the day he saw you unpacking your things into the dorm. sweaty from the sun, and you knew that, because you refused to shake hands with him until you insisted on washing up first. he wished you never did—your thighs looked better sweating under those shorts.

he’s had crushes before. one in middle school, three in high school. but they amounted to nothing, he never had the confidence. rather, he preferred isolating himself and admiring from afar. rejections had already been predicted, and he was used to the feeling of defeat. if someone were to accept his advances one day, then that would lead to a disruption of events—a catastrophic end to humanity—he joked.

you were different to peter. he loved how, for once, he didn’t have to be the one initiating conversation. he also loved how you didn’t use him for answers because instead, you would help him out with his assignments.

oh, is that professor warren’s class? I think i still have the textbook for her class… let me look. 

even when it would only take five minutes to grab a drink down the street, you still invited him. not out of pity like everybody once did, but because he was your friend. parties have never been your thing, but you accompanied them with him because it made him feel better—to know someone.

maybe since he’s grown more mature since then, but now that he was off on his own, it was up to him to predict his future. it was an advice you gave him one night, and he’s kept that close to his heart since then.  not the hate that had inflicted his mind, not his peers telling he wasn’t good enough for someone—but him.  

in his imaginary world, peter could feel the walls shake when he was around you. the buildings would then fall apart, the earth would scorch civilians and planetary life with heat, and the thundering rain would only make it worse. it was a morbid image. yet, if it meant that you truly liked him, then…

aliens, come do your thing. we insist upon an invasion!

peter wanted you. point, blank, period. it wasn’t his preferred way to confess, but intense sentiments of like, love, lust—all at the same time—ate him up on the inside, and he was scared of being devoid of feelings for you.

“i want… you,” peter muttered, and you jolted again, turning back around in case you misheard him. you were bewildered at the sight of him. once again, you didn’t hear his footsteps.

“what?” you shuffled nervously on your feet. the tension in the air was thick and hot now with the way he stared back at you, frightened yet assured.

“i want you.” there was credence in peter’s tone, and he neared to the door now. 

your eyes narrowed into the deep abyss of peter’s eyes as you sat on the foot of your bed, putting on socks. somewhere in your endeavors, you found a flicker of that familiar joke. “ha. ha. very funny,” you muttered bitterly.

it haunted you. as soon as you came out, you were taunted by those same exact words by your ‘friends,’ by your previous roommate. what made you different from them became a simple reason to cease empathy and kindness, and you were baffled that this was happening again.

maybe peter was like the others after all.

you avoided peter’s gaze in favor of the floor, the legs of your desk, your rug—anywhere but him—and you could feel the color drain out of your face, out of this room—deja vu. “look, i know it’s funny to you because i like guys and for whatever reason, straight guys like to flirt with gay men to get a reaction out of us,” 

the rug cushioned the weight of a familiar pair of feet, and you looked up, a great frown etched in your face when your eyes met peter’s. he towered over you, bewildered. “but it makes me uncomfortable. and it’s not funny to-“

he didn’t know what roused him. the pain in your voice made him want to apologize without any resort to excuses. the pout on your lips made him want to cradle your head, yet kiss you at the same time. the growing tent in his pants made him want to pin you to your bed, and simply ravish you.

it was all a blur. 

his impulsive thoughts became a reality once he stole the remaining words left in your distress, and clumsily swallowed them with a kiss. you didn’t have time to process his lips on yours because you were then pushed onto your back, stilted and surprised, as peter applied his weight on top of yours—his broader build shadowed you in welfare.

“pete-“ you groaned into the hot, breathy kiss, and despite the light attempts to push him away, you were compelled to return the wet exchange. breathlessly, you repeated, “stop, this isn’t funny-“ he kissed you again. all this time, you could’ve had him, but you deluded yourself into thinking otherwise. 

“i’m not laughing,” peter muttered, and his hips began moving into yours, aimlessly trying to alleviate the stiffness in his pants. “i want you.” his voice lowered—no longer a confession, but a demand. he rocked into you harder once he felt you throb under those tight short, and you slipped out a moan, memorizing the beat of peter that pulsated against you.

you remembered him being bashful when you two talked about your firsts. you weren’t completely inexperienced like he was, but you mentioned that it’s been a while since you’ve done anything remotely intimate. school was your focus, a relationship was your reward.

“peter,” you repeated again, he wasn’t listening. “peter.” he whispered a demand; to keep calling his name, and you couldn’t help but quietly chuckle at the cliché line often heard in soft porn.

then, you cupped your hands around his temples to pull him away. he gazed into you with ardent hunger, almost annoyed that you ruined the trail of kisses he began leaving on your neck. “did you drink without me? because if you did, then i don’t think we should-“

“i didn’t,” he sobered on the softness of your lips, and like a flip switch, he snapped out of his fictional world of you. “fuck- i’m so sorry, i didn’t even ask you if you wanted to- fuck, i even forgot to say that i like you.” he ranted to himself, beginning to pull himself away. “this was not how it was supposed to go.”

infatuation had expanded into something beyond your control, and your feelings for him ignited even more. a wick bursted into powerful flames, and it warmed your body knowing that you two shared the same sentiment.

before he completely peeled himself off your body, you pulled him down by the neck, then pressed your nose to his, grinning. “I like you too.” a peck to the tip of his nose, then the center of his lips. your onslaught of fleeting kisses to his skin drowned him, pacifying every muscle in his body until it became jelly, and also making it all the more easier to roll him under you. 

“not exactly how i imagined my first date with you, but,” you straddled his lap, roaming your hands around peter’s chest, an asset of his you’ve frequently daydreamed about. “you sure?”

the applied pressures to your waist, then bottom should’ve been a definite measure of his answer, but he smiled up at you, guiding a steady pace of your hips to his groin. he was easily distracted, suddenly cascading his other palm up your shirt then down to finally feel the bare skin he had spent long showers jerking off to. fantasies had now been served onto a platter before him, and peter planned on devouring you, piece by piece. “please.”

“must have had a lot on your mind if you couldn’t even confess to me.” it was unusual to see him like this—absolutely enthralled by your presence, high off of it. aching for more of you with the way he pushed his groin into you. “how long have you been thinking about this?” being unusual always had negative connotations to it. 

you pressed into him harder, rubbing at his print with gallant grinds. not in this moment. 

he moaned, “far too long…” then fumbled with the waistband of your shorts before doing the same with the zipper. “you’ve been driving me crazy, especially these days.” it was a simple task, a daily labor that peter was great at, but his hands shook when his finger met metal. you chuckled, and placed a comforting hand to his cheek, stroking the soft skin with the amplest caress. 

take your time. i’m not going anywhere.

“mind sharing what you thought about then?” the only time you peel yourself away from peter’s groin was to help him slide your shorts off, then his jeans. peter lifted his hips, and you two were joined together again. aching together. “just curious.” you joked by pulsating your bulge, and he shyly laughed when he saw the restrictive twitch. 

felt it.

“well... where do i start?” peter’s warm hand rested on your inner thigh, dangerously close to your erection while delicately exploring your soft skin. “there’s been so many times where i just wanted to…” he was too ashamed to finish his sentence, looking away.

“wanted to…?” your body arced over his, placing a persuading kiss to his cheek, then neck. “what was it?” they lingered, sunk deep into his skin with the utmost affection, and he left the deepest, pleasurable sighs as if you withdrew it from him. you commenced his dilemma. “tell me what you thought when you first saw me. saw that i was your roommate.”

 “i...” peter began, and you could tell his nerves got the best of him, so you rocked into him again, begged with your hips. the position made it easier to feel all of him, press into his warmth more, and you couldn’t stop. wouldn’t. “i didn’t know what to feel. i was happy, that i had someone as kind as you…” you gleefully hummed, agreeing as you continued leaving kisses to his neck.

“then i was nervous, because you were so… cute. handsome. beautiful.” he moaned when you began to grind in slow, deep strides. your bulges squeezed and pushed one another, peter did the same, growing impossibly bigger against you. “but when i saw you in those shorts, sweating because move-in day was always on a hot day…”

“yeah?” you beckoned him to finish his sentence because you were closing your eyes now, remembering that very moment because you felt the same. the way peter’s chest, his muscles, were broad and stunning under his own layer of sweat, under his loose shirt, under that naivety that you would never have dreamed to think of him as such a…

“i just wanted to fuck you.”

pervert.

the shy smile he gave you messed with your perception of him. clearly, you’ve underestimated him all this time, and you kissed him again. “so, you only thought about pleasuring yourself.”

he quickly broke the kiss to defend himself. “wait, no! t-that’s not what i meant.”

“peter, relax.” your laugh calmly settled into a comforting smile, and you blindly reached down to his thick print, feeling and squeezing at whatever you can because you were desperate to explore him. “i’m joking.” his chest rose.

for the remainder of time, you spent it stroking peter through his underwear. dryly to his frustration, but he never told you because he wanted to experience you in every way. his lips never left yours, only parted to moan into your mouth when you shoved your hand into his briefs to sate your desire to feel him bare.

peter was big in your small hand. the weight felt suffocating to your palm when you grabbed ahold of his sack, fondling his balls, then stroking his cock again, and you were intoxicated in the way he melted under you, looked into you, begged for you to go faster. 

you did. who wouldn’t when he gazed at you with the most puppy-like eyes?

he had complete control of you now, because every action, every stroke, from then on had been a journey to his personal paradise. you didn’t care that you were left abandoned, that you were aching harder than he was. watching him was more than adequate.

both pairs of briefs and shirts have been tossed to the side now, and you maintained your straddle. it was riveting to watch how much bigger peter was when you took both of your cocks together and stroked. he practically enveloped you with the weight of his length, the girth of his shaft, and you wallowed in the fact that he was incredibly bashful about it. 

peter’s hand never left your body. he charmed you by his neediness. it was clumsy in execution, but he always squeezed a moan out of you with he felt your ass, your chest, your nipples, your thighs. “fuck, pete.”

everything about you was beautiful, incredibly more so when you caved into him as he dealt kisses to your bare skin and took his own turn at jerking the both of you off.

he was eager. delirious. hard, stiffening hard, against you, and you felt every vein pulsate the harder— the faster—he squeezed and stroked. you leaned back, hands planted to the mattress beneath you, then maneuvered your hips to the rhythm of his fist. you found a pace while peter kept you steady, and fucked into his fist, against his wet cock, sliming your dripping pre-cum together with the utmost fervor. 

“wait, (m/n),” he hiccuped, and his hold on you tightened, nails dug into your left waist but you ignored his plea, fucking steadily into his fist. “stop, i’m going to-“ they fell on deaf ears, and mouth agape, peter watched you with incredulity. you can feel his body flex, your balls smushed to his when you grinned up, your pre-cum sticking to his, his to yours, like a sick web. “s-stop, oh god.”

and peter unraveled before you with a guttural moan, finishing the rest of his plea with a blasting of thick and creamy ropes to his chest, like a cannon. the force was strong enough to have a few shots land on his face, then his hair, and then somewhere above because peter was a big shooter—a strong one, you’d passionately testify. “f-fuck, i didn’t mean to cum so-“

“holy shit.” you watched peter in all his glory, then in his embarrassment, while stilted on his lap and sweating, not taking notice of the delay of your climax because it crept up on you quick. a rocket broke the cloud in your thoughts with a boom, and you spilled all over him, shooting like fireworks. “shit!”

peter was your canvas, and it was your duty to paint him. debris of sex splattered everywhere, because you somehow found the strength to continue fucking yourself into the cream of fist, unloading and unloading onto him until you were dry, heaving and dripping.  

“fuck- I didn’t mean to ruin your sheets-” he mumbled, a blush stained his cheeks, and you joined in the warmth with a kiss, panting.

“where’s the fun in all of this if you aren’t going to stain at least one thing.” your brows raised at the wet stain on the wall above peter’s head, right below your wall-shelf, and peter’s gazed followed. 

he groaned, distressed by the evident he made. “fuck, sorry…” his bashfulness only endeared you even more. 

“it’s okay,” you hopped off his lap, stretching your arms into the air. “i’ll clean you up.”

“okay,” peter lay still, his hand cautiously held over his stomach to catch the drips of his cum and yours. it was fascinating to watch the mixture flow together, strands of it melding and un-webbing as he played with the sticky residue. it was the scientist in him. “my towel is on the- fuck-“

without a beat, you took his dripping flaccid cock into your mouth, sucking off any remnants of spunk. an unfamiliar taste you weren’t used to, bitter and salty. it wasn’t until you noticed how peter’s eyes glazed over you, half-lidded because he was in heaven now, that you found the taste of him delectable. peter’s caution for staining your bed sheets was disregarded, because he knew you’d clean the rest of him off. 

after you pulled away with a soft pop, he traced your wet lips with the cum on his fingers, then his knuckles, before he pushed one by one into your mouth. one finger at first, then two, then three, you moaned erotically around his digits as peter pumped, marveling in the eagerness of your mouth. he slowly pushed more cum into your mouth. the creamy residue gathered at the corner of your mouth at first but he made sure to scoop it back in, and continued doing so until he was polished clean. 

nothing was wasted. 

the taste of you and him spread in the warmth of your tongue, and you have never felt more intoxicated.

to peter, you have never looked more beautiful.

nouearth. please do not repost, plagiarize, or translate my works. andif you like this story, please reblog and leave a like!

[squirrelwithatophat]

How the Chantry (and Orlais) Turned Kirkwall into a Police State

One aspect of the Dragon Age series that I’ve always found odd is the way in which rather crucial political and historical context surrounding major conflicts the player must decide tends to be relegated to codices, outside materials (e.g., books), and optional dialogue with minor characters... meaning that many if not most players don’t seem to end up actually seeing it.  Wicked Eyes and Wicked Hearts (Dragon Age Inquisition) in particular has become somewhat notorious for what it left out, but it’s far from unusual.

With regard to Dragon Age II, there’s a popular perception among fans that the troubles in Kirkwall can be attributed almost entirely to rogue behavior on the part of Knight-Commander Meredith and various evil blood mages.  This is understandable given the overall narrative framing and Bioware’s aforementioned problem of making key context very easy to miss.  But once we take a look at the full picture, it ought to be clear that the Chantry did not simply “fail” in their responsibilities towards the mages or towards the citizens of Kirkwall more broadly — they actively created and maintained the very nightmare they later professed to be dismayed about.

Moreover, despite the running Mages vs. Templars theme, the mages were hardly the only one's who suffered under Meredith's rule. Indeed, Kirkwall endured a brutal 16-year-long dictatorship (9:21-9:37 Dragon) that came into being courtesy of the Chantry and the Orlesian empire and only fell due to the mage rebellion.

Here I’ll describe in detail (with sources and citations) the story of how the Chantry turned Kirkwall into a police state and one that ultimately descended into what the writers themselves termed "genocide."  

The Templar Coup of 9:21 Dragon

Our story begins with the conflict between Viscount Perrin Threnhold of Kirkwall and Emperor Florian Valmont of Orlais.  

With the beginning of the Dragon Age (the era), the Orlais had experienced a major loss of territory and influence.  In 9:00-9:02 Dragon (the exact dates conflict), the Fereldan Rebellion led by Maric Theirin and Loghain Mac Tir overthrew Meghren, the last Orlesian King of Ferelden (personally appointed to the position by Emperor Florian himself), and reclaimed their country’s independence after nearly a century of Orlesian occupation.  These events are described in detail in The Stolen Throne. Emperor Florian, however, remained reluctant to recognize Ferelden’s sovereignty -- with peace between the two countries not being fully established until his death and the ascension of his niece Celene to the throne in 9:20 Dragon -- and may have been eager to reassert Orlesian influence in the region.  Perrin Threnhold, meanwhile, ascended to the position of viscount of Kirkwall (also formerly occupied by Orlais) in 9:14 Dragon.  At some point during this volatile period, Threnhold decided to raise money by charging what the Orlesians regarded as unreasonably high tolls for passage through the Waking Sea, which also controlled Orlais’s sea access to Ferelden and its capitol, Denerim.

For reference, here’s a map with my highlights:

The Orlesian Chantry, founded by Kordillus Drakon I (the first emperor of Orlais), had from the beginning been dominated by Orlesian interests.  According to World of Thedas vol. 1 (p. 56): “The Orlesian capital, Val Royeaux, is home to the Chantry’s Grand Cathedral, the center of the Andrastian religion’s power.  Over multiple Blights, the Orlesians have used the Chantry to expand their influence beyond the nation’s impressive borders, notably to the north into Tevinter territory and southeast through Ferelden.”  The Chantry, not surprisingly, had backed the Orlesian invasion and occupation of Ferelden, most recently under Divine Beatrix III (probably) and Grand Cleric Bronach of Denerim. It should be noted that this is all part of a pattern of highly-aggressive and imperialistic behavior that has persisted for centuries from the early years up to (potentially) the events of Dragon Age Inquisition.

It also cannot be emphasized enough that the Templars are the Chantry’s army and were created by the Chantry in the first place.  They do not simply hunt and guard mages; they fight the Chantry’s wars and carry out its policies.  Quote: “the Order of Templars was created as the martial arm of the Chantry” (Codex: Templars).  According to First Enchanter Halden of Starkhaven (8:80 Blessed), “While mages often resent the templars as symbols of the Chantry's control over magic, the people of Thedas see them as saviors and holy warriors, champions of all that is good, armed with piety enough to protect the world from the ravages of foul magic. In reality, the Chantry's militant arm looks first for skilled warriors with unshakable faith in the Maker, with a flawless moral center as a secondary concern. Templars must carry out their duty with an emotional distance, and the Order of Templars prefers soldiers with religious fervor and absolute loyalty over paragons of virtue who might question orders when it comes time to make difficult choices.  It is this sense of ruthless piety that most frightens mages when they draw the templars' attention: When the templars are sent to eliminate a possible blood mage, there is no reasoning with them, and if the templars are prepared, the mage's magic is all but useless. Driven by their faith, the templars are one of the most feared and respected forces in Thedas” (Codex: Templars).  Likewise, a Chantry official confirms that the Templars are both “the watchers of the mages and the martial arm of the Chantry” (Codex: Seekers of Truth).  In Dragon Age Origins, the (unwillingly) Templar-trained Alistair elaborates, “Essentially they’re trained to fight. The Chantry would tell you that the templars exist simply to defend, but don’t let them fool you. They’re an army... The Chantry keeps a close reign on its templars. We are given lyrium to help develop our magical talents, you see… which means we become addicted.  And since the Chantry controls the lyrium trade with the dwarves… well, I’m sure you can put two and two together...  The Chantry usually doesn’t let their templars get away, either.”

In response to Threnhold’s intolerable restrictions on the Orlesian navy’s movements in its traditional sphere of influence, Divine Beatrix III, an acknowledged “friend of the emperor” (and predecessor to Divine Justinia V of DAI), ordered the Kirkwall Templars under Knight-Commander Guylian to force open the Waking Sea.  Viscount Threnhold retaliated for this obviously-illegal military interference by ordering the Templars expelled from Kirkwall and later executing the knight-commander.  Then-Knight-Captain Meredith Stannard led the remaining Templars to storm the Keep and arrest Threnhold before appointing a weak viscount unwilling or unable to resist her control.

From Kirkwall: City of Chains by Brother Ferdinand Genitivi (Codex: History of Kirkwall: Chapter 4):

Taxes were crippling and Perrin Threnhold used the ancient chains extending from “the Twins” standing at Kirkwall's harbor—unused since the New Exalted Marches—to block sea traffic and charge exorbitant fees from Orlesian ships. The Empire threatened invasion following the closure of the Waking Sea passage, and for the first time, the Chantry used the templars to pressure the viscount. Until that point, the templars had done nothing to counter the Threnholds even though, as the largest armed force in Kirkwall, they could have. Knight-Commander Guylian's only written comment was in a letter to Divine Beatrix III: “It is not our place to interfere in political affairs. We are here to safeguard the city against magic, not against itself.”  The divine, as a friend to the emperor, clearly had other ideas.

In response, Viscount Perrin hired a mercenary army, forcing a showdown with the templars. They stormed the Gallows and hung Knight-Commander Guylian, igniting a series of battles that ended with Perrin's arrest and the last of his family's rule. The templars were hailed as heroes, and even though they wished to remain out of Kirkwall's affairs, it was now forced upon them.  Knight-Commander Meredith appointed Lord Marlowe Dumar as the new viscount in 9:21 Dragon and she has remained influential in the city's rule ever since.

Given that this was written by a Chantry scholar, the self-justificatory rhetoric surrounding the viscount and the Chantry-instigated coup ought not be surprising.  It appears, however, that in Kirkwall itself popular perceptions of Viscount Perrin Threnhold are in fact fairly polarized.

Whereas Brother Genitivi calls Perrin’s father Chivalry Threnhold “a vicious thug who took power through a campaign of intimidation” and Perrin Threnhold “even worse,” an unnamed servant writing 7 years after the coup paints a rather different picture (Codex: Viscount Marlowe Dumar):

What happened to Viscount Perrin Threnhold was a travesty. I served in the Keep, and my blood boils when I hear people call him a tyrant. He was a good man who tried his best to free Kirkwall from the control of those who use power for their own purposes. It's always been that way here, hasn't it? Long ago it was the Imperium. Then it was the Qunari, then the Orlesians, now the templars... when have we ever ruled ourselves? He tried to kick those templar bastards out and give us real freedom, and what did it get him?

Whether Threnhold was an evil tyrant or a nationalist hero (or both or something else entirely) is beside the point, however.  He was not overthrown for mistreating the citizens of Kirkwall; he was overthrown for opposing Orlais and the Templars (acting as an arm of Orlesian imperialism and in defiance of their official duties).  Seneschal Bran, himself no fan of either Threnhold or the Templars (and the only character to ever discuss the coup out loud), points this out in an easy-to-miss optional conversation in Act 3.

Hawke: What happens if they [the Templars] don’t like the [nobility’s] choice [of viscount]?

Seneschal Bran: Do you know how Viscount Dumar’s predecessor, Perrin Threnhold, left office?  He was a tyrant, certainly, but his rule was not ended until he actively sought to expel the templars.  “The good of all” is inexorably tied to what is good for the templars.

It’s unclear whether Knight-Captain Meredith was acting on her own initiative in toppling Threnhold or whether she received prior encouragement from the Chantry, but either way, what is certain is that the Chantry moved quickly to legitimize her actions and bolster the new order.  Moreover, the intent to seize power for the Chantry and its military forces rather than “liberate” Kirkwall from the depredations of a tyrannical viscount can be seen in the way they illegally imposed their own viscount (one kept submissive through threats of violence) rather than allowing the people to choose or at the very least following accepted selection procedures (i.e., allowing the nobility to vote on the next viscount). Indeed, this refusal to let the nobility select the viscount as per tradition is the basis of Orsino's protest at the beginning of Act 3.

In any event, Grand Cleric Elthina, as the highest-ranking representative of the Chantry in Kirkwall (appointed to her position by Divine Beatrix III herself around 20 years before Act 1) and thus exercising authority over its Templars, presided over the show trial at the end of which Threnhold was imprisoned and later murdered in his cell. Then she rewarded Meredith with a promotion.

According to the codex for Knight-Commander Meredith:

She is credited with removing the previous viscount, Perrin Threnhold, from his position after he attempted to have the templars expelled from the city in 9:21 Dragon.  The acting knight-commander was arrested and executed, and Meredith led a group of templars into the heart of the Keep to capture Threnhold. He was tried and imprisoned three days later by Grand Cleric Elthina and died from poisoning two years later. Meredith was subsequently elevated to her current position.

While merely implied here, Elthina is explicitly confirmed to have given Meredith the position of knight-commander in the first place in World of Thedas vol. 2 (p. 193):

Following Threnhold’s arrest, Grand Cleric Elthina appointed Meredith as the new knight-commander.  At Knight-Commander Meredith’s suggestion, a new viscount was chosen: a man named Marlowe Dumar.

Then in blatant violation of Kirkwall’s own laws and traditions -- again, dictating that the viscount be chosen by the nobility -- the Chantry had allowed newly-installed Knight-Commander Meredith to select the new viscount.  If approached in the Templar-occupied Viscount’s Keep and spoken to in Act 3, Seneschal Bran will explain:

Bran: When a line is judged unfit, or ends, we appoint from Kirkwall’s elite.  Or we would, if the situation was normal.  But it is not.

Hawke: Who nominates a new viscount?

Bran: A consensus of the nobility.  Normally.  And a willing nominee.

It seems to be the general consensus that Marlowe Dumar was chosen specifically because he was weak and willing to play the role of Templar/Chantry puppet (a subheading in Dumar’s WoT v2 entry even explicitly calls him “The Puppet”).  Meredith, after all, is not only responsible for his appointment but has been threatening him into compliance from the very beginning.

Again, Brother Genitivi writes quite bluntly: 

Knight-Commander Meredith appointed Lord Marlowe Dumar as the new viscount in 9:21 Dragon and she has remained influential in the city's rule ever since.

And quoting once more from the unnamed servant:

Now the Chantry has chosen Lord Marlowe Dumar as his replacement. After weeks and weeks of arguing, after telling the nobility that they would be choosing their viscount, after everyone saying it was time to use a new title—why not "king"? Why keep using the name imposed by the Orlesians? And after all that, the Chantry chose him. I suppose I can see why—everyone thinks he has the spine of a jellyfish, and it does seem that way.

Truly, he has the templars on one side, the nobility on the other, and everyone expects him to solve all their problems—yet he has no power to actually accomplish it. He keeps the peace as best he can, and I think he does a good job even if no one else does.

Likewise, to quote from Marlowe Dumar’s entry in World of Thedas vol. 2 (p. 184-185):

The new knight-commander, Meredith, appointed Marlowe to the seat, much to his surprise.  Just before he was crowned, he met in private with the knight-commander at the Gallows.  Marlowe was escorted, surrounded by grim templars, to Meredith’s well-appointed office, and there, she explained her reasons for the choice.  Kirkwall was filled with entitled degenerates... “With my help, you will turn this city around,” she said.  “We will be allies.”  Meredith’s message was clear: Remember who holds power in Kirkwall.  Remember what happened to Threnhold when he overreached.  To drive her point home, she presented Marlowe with a small carven ivory box at his coronation.  The box contained the Threnhold signet ring, misshapen, and crusted with blood. On the inside of the lid were written the words “His fate need not be yours.”  Marlowe ruled Kirkwall without incident for almost a decade, in no small part thanks to Meredith’s backing.  During his reign, the templars grew even more powerful, and the knight-commander’s influence was evident in almost every one of Marlowe’s decisions.

And from Meredith’s entry in WoT vol. 2 (p. 193):

Meredith presented Dumar with a carved ivory box at his crowning.  All present witnessed the viscount going white as a sheet as he opened it... It is not known what the box contained, but the reaction from Dumar made its importance to him obvious.  What is certain is that Dumar never openly or strongly defied the templars.  Over the course of his reign, Meredith’s grip on Kirkwall grew ever tighter, and Dumar’s failure to act absolutely contributed to the events that led to the mage rebellion.

According to Lord Bellamy, “a longtime political ally of Dumar’s” (p. 193):

“Dumar had a good heart.  A good heart and a weak will.  On his own he might have made a good leader, given time.  But he wasn’t on his own.  The knight-commander was always there, looking over his shoulder.  She let him know she was watching, that he wore the crown at her sufferance.  Meredith appointed him. This was a nobleman of only moderate wealth, with little influence.  She knew she could control him and there was little he or anyone else could do about it.”

Ultimately, the coup not only secured Chantry control over Kirkwall but furthered their (and the Orlesian Empire’s) geopolitical interests in the Free Marches as a whole. After all, the “Free Marches is [sic] best known as the breadbasket of Thedas. Its farms along the banks of the great Minanter river are the source of much of the continent’s food” (World of Thedas vol. 1, p. 65), and as with many a real-world “breadbasket,” its natural abundance and misfortune of lying between multiple empires had made it the target of one invasion and occupation after another. After the slave revolt of 25 Ancient toppled the Tevinter Imperium’s hold over the region (see Codex: History of Kirkwall: Chapter 2), the city-state of Kirkwall fell to Qunari invasion in 7:56 Storm, then invasion and occupation by the Orlesian Empire in 7:60 Storm, and finally gained its independence about 45 years later in 8:05 Blessed (see Codex: History of Kirkwall: Chapter 3). Prior to the Chantry-instigated coup, Kirkwall had enjoyed independence under a locally-chosen viscount for around 115 years, with Viscount Perrin Threnhold himself ruling for 7 years.

Other city-states of the Free Marches have likewise fallen under the Chantry’s sphere of influence (if not outright control):

Starkhaven is ruled by the Vael family. According to the codex for The Vaels, “They remain devout, dedicating at least one son or daughter per generation to become a cleric in the chantry.” The sole potential heir to the throne of Starkhaven is of course our DLC companion Sebastian Vael, “The Exiled Prince.” To quote from his first codex: “Sebastian Vael is the only surviving son of the ruling family of Starkhaven, which was murdered in a violent coup d'etat. Sebastian cannot forget the irony that he still lives only because his family was so ashamed of his drinking and womanizing that they committed him to the Kirkwall Chantry against his will… Since then, his belief in the Maker and His plan for Thedas have been unshakable. Embracing his new role, Sebastian took vows of poverty and chastity to become a sworn brother of the Chantry... until word of his family's deaths forced him to take up worldly concerns once again.” Elthina appears to have been playing mind games with Sebastian from the very beginning -- first she agrees to have him confined in her Chantry, then poses as a secret benefactor helping him escape from her clutches, with the revelation of her identity as said pretend benefactor leading him to embrace her authority and the life of a Chantry brother with genuine enthusiasm (see the Sebastian short story or his WoT v2 entry for details).  After his family’s murder, Elthina urges him to remain with her rather than reclaim the throne.  Yet when he gives up on seeking the throne and actually does attempt to return to the Chantry during “a crisis of faith,” he is “turned away by Grand Cleric Elthina, who believed he had not yet committed fully to either course” (see Codex: Sebastian - The Last Three Years), leaving him confused and even more under her thrall than ever.

Ostwick is dominated by the devout, staunchly pro-Chantry Trevelyan family. According to the codex for Trevelyan, the Free Marcher: “It is an old and distinguished family, in good standing among its peers, and with strong ties to the Chantry. Its youngest sons and daughters—those third- or fourth-born children with little chance of becoming heirs—often join the Chantry to become templars or clerics.”

Tantervale is certainly... special. According to WoT vol. 1 (p. 71): “Chantry rule is all but absolute in Tantervale, earning the city its dour reputation. The city guard is obsessed with enforcement. A street urchin would get a year in the dungeon for something that would get him a pat on the back in Orlais” (p. 71).

But let us return to Kirkwall, shall we?

"The Puppet”: The Reign of Viscount Marlowe Dumar (9:21-9:34 Dragon)

Viscount Marlow Dumar’s status as an impotent tool of the Chantry and its Templars appears to be common knowledge in Kirkwall.  Various characters, from city guards to lowlifes like Gamlen, casually refer to Meredith as if she is head of state and defer to her authority.

Immediately upon approaching the gates of the city in the first quest of the game, The Destruction of Lothering (Act 1), the following exchange occurs:

Guardsman Wright: So Knight-Commander Meredith wants us to sort you all out. Most of you are getting right back on your ships, though.

Hawke: That's a templar title. Why would a city guardsman answer to the templars?

Wright: We don't answer to her... but she's the power in Kirkwall. Don't know what would happen if the viscount went against something she wanted... But he's sure never taken that chance.

Likewise, if asked about “the word on the street,” Corff the bartender remarks as early as Act 1, “People say Meredith's the real power in Kirkwall, not the Viscount. Even Dumar answers to her.”

Ordinary citizens appear terrified of Meredith, and with good reason.  During the quest Enemies Among Us (Act 1, set in 9:31 Dragon), we get the following exchange with the sister of a Templar recruit:

Macha: I pleaded with him not to join the Order, but he wouldn't listen. You hear dark rumors about the templars and Knight-Commander Meredith. And now my brother is gone.

Hawke: (“Are templars so bad here?”) In Lothering, some templars died protecting villagers. I never heard any dark rumors.

Macha: And those are the stories my Keran adored. But it is not like that here, serah. There is a growing darkness in the order. They prowl the streets in packs. Hunting. And now, they say their duties put them above us, that they have the right to... take people from their homes. It is frightening.

Hawke: (“Tell me about Meredith”) What do people say about Knight-Commander Meredith?

Macha:  Oh, she has many admirers. They laud the service she does in keeping the mages in check.  But others say she is terribly fierce and utterly without pity. That she sees demons everywhere.  It is dangerous even to whisper such things.  People harboring escaped mages just disappear.  Templars interrogate and threaten passers-by.  My friend has a cousin who’s a mage, and she says he was made Tranquil against his will.  You hear more with each passing day.

Of course, Knight-Commander Meredith’s reign over the Gallows was notoriously brutal long before she came into contact with Red Lyrium.  Writing 3 years after the coup (but 7 years before Act 1), in 9:24 Dragon, Brother Genitivi remarks that "Kirkwall has been a tinderbox since becoming the center of templar power in eastern Thedas." As early as Act 1, mages in the Gallows can be heard crying out, “This place is a prison,” and “Knight-Commander Meredith would kill us all if she could.”  When asked if mages are imprisoned, the guardsman replies, “Used to be, back in the Imperial days. They kept slaves here until the rebellion. Now the templars run it and use it to lock up their mages. Guess not much has changed” (The Destruction of Lothering, Act 1).  Karl Thekla’s final letter before being turned Tranquil (with such illegal uses of the Rite having been repeatedly reported to Meredith) “said the knight-commander was turning the Circle into a prison. Mages are locked in their cells, refused appearances at court, made Tranquil for the slightest crimes” (Tranquility, Act 1).  If Hawke questions the truth of these accusations, Anders responds, “Ask any mage in Kirkwall. Over a dozen were made Tranquil just this year. The more people you ask, the worse the rumors become.” (Elthina also appears to be aware at least to some extent of the subsequent ambush, in which a Tranquil Karl was used as bait to ensnare his former lover).

According to the short story Paper & Steel (focusing on Samson): “Under Meredith, freedom was a cruel dream for Kirkwall’s Circle mages. They were often locked in their cells, watched night and day by templars who were told any step out of line was suspicious. All those young magelings, told that magic was a curse, that they were dangerous, and that they had to be shut indoors all their lives looking out through those windows. Some went mad. Others, mad or not, tried jumping.”  And from First Enchanter Orsino’s entry in World of Thedas, vol. 2 (p. 195): “Every time a mage died by their own hand, Orsino would hear Maud’s final words to him: 'This is no life.’ The templars didn’t seem to care about the suicides. Most had the courtesy to say nothing at all, but some would snigger when they thought no one was listening. 'One less to worry about.’ ‘The only good mage is a dead mage.’ Orsino’s anger at the templars grew...” (Note that this began long before Orsino became first enchanter in 9:28, three years before the start of the game). It's also worth noting Knight-Captain Cullen Rutherford quite explicitly attained his position as second-in-command of the Kirkwall Templars position because of his anti-mage extremism, later including violence against those perceived as mage sympathizers and their families.

To name more specific abuses, the Gallows features whipping posts (with dialogue confirming the reliance on whipping) and multiple other medieval torture devices, including a rack, a pillory, and iron maidens.  We also see numerous references to casual beatings, sexual assaults, forced Tranquility and facial branding, long-term confinement in dark cells, and permanent family separation (e.g., Emile du Launcet).  Escape attempts are typically punished with summary execution, according to multiple sources (e.g., Ser Thrask, Ser Karras, Grace). According to Ser Thrask, the most sympathetic Templar (besides Carver), kindness to mages would be a "badge of shame" among among his colleagues. For more, I recommend checking out the “DA2 mage rights reference post” by @bubonickitten​. Again, note that these are cruelties largely occurring prior to or during Act 1, long before Meredith started going insane due to Red Lyrium.

If Feynriel is forced into the Circle at the end of Wayward Son (Act 1), the ex-Templar Samson says, “I hear they got your boy Feynriel locked up in the Circle. Bad business, that. It ain't all templars that're bad. It's hard luck being born a robe, but most places, they make it work. That bitch Meredith runs the Order in this town like her private army. You don't toe the line, you end up on the next corner here in Darktown.  I don't think you got to hate mages to love the Order.  But Meredith don't agree.” Samson, it should be remembered, had been expelled from the Templar Order for passing love notes from the mage Maddox to his lover.  For the crime of “corrupting the moral integrity of a templar,” Meredith ordered Maddox turned Tranquil.  According to Cullen in Before the Dawn (DAI), “Knight-Commander Meredith wielded the brand for far lesser offences, believe me."

Ordinary citizens appear to be well aware of at least some of Meredith’s reign of terror in the Gallows, given that various NPCs (including some who do not personally know any inmates) will refer to it.  During Tranquility (Act 1), for example, a mob of Ferelden refugees threatens the party over fears that the latter intend to turn in “The Healer of Darktown” to the Templars. One exclaims, "We know what happens to mages in this town.  And it ain’t gonna happen to him." Moreover, the knowledge is sufficiently widespread as to have reached faraway countries.  A note dated 9:35 (set between Acts 2-3) from a mage of the Hossberg Circle in the Anderfels expresses utter horror: “I have heard that in the Kirkwall Gallows, mages are locked in their cells with barely room to stretch, let alone exercise.  I can promise you that any mage of the Anderfels would be stark raving mad after a week of such treatment... No wonder Kirkwall has such trouble with blood mages” (WoT v2, p. 173).  

And through all of this, Meredith has the support of the Chantry and more specifically Grand Cleric Elthina.

Not only did Elthina appoint Meredith to her position in the first place (WoT v2, p. 193), but if asked her opinion on Meredith in Act 1, Elthina snaps, “Gossip is a sin, child. Knight-Commander Meredith has an admirable devotion to her duties. It is not my role to form opinions on her character.”  An odd statement to make about a subordinate, since Meredith reports to her directly (as knight-commanders legally do to the nearest grand cleric).  The codex for Knight-Commander Meredith confirms at as of the end of Act 2, “she enjoys the grand cleric's full support and has free rein in Kirkwall as the commander of its most powerful military force.”  According to Elthina’s codex, many claim that Elthina “allows Knight-Commander Meredith more leeway with each passing year.”   According to World of Thedas vol. 2, which tries to put a more positive spin on Elthina’s role, her detractors “say her stubborn refusal to exercise her Chantry-given authority allowed the conflict between the templars and mages to escalate, finally resulting in the disastrous mage rebellion of 9:37 Dragon... Since Elthina was loath to exploit her authority as grand cleric, she refused to order either the mages or templars to stand down when tensions flared.  Many believe that she could have forced one side to retreat by showing her support for their position, but Elthina refused to take sides” (p. 196-197). This is at best an abdication of responsibility to dependents for someone intent on remaining in power.

Moreover, Elthina’s dominance over Kirkwall appears to depend in large part on at least appearing to manage Meredith and her troops.  According to her codex, “People frequently turn to her to mediate disputes—particularly those involving the powerful Templar Order, over whom she holds authority as the Chantry's ranking representative.” So Meredith as military leader rules both the Circle and the city-state through fear and violence, while Elthina maintains her power by playing Good Cop to Meredith's Bad Cop. Both then maintain a pretense of legality and legitimacy by fronting Viscount Dumar as the public face of the regime.

And this dual-power system works quite well for them -- at least until Meredith starts losing her mind under the influence of the Red Lyrium idol.

[A link will later be provided for Part 2 on Escalation and Direct Rule. If I ever do get to it 😭😭😭]

[mr-walkingrainbow]

DESCENDANTS: The Rise of Red! (or the REAL hidden story in the movie + what’s gonna happen in the sequel THEORY!)

So we ALL watched the movie right? We ALL thought the plot sucked and the movie ended abruptly with a underwhelming climax?

WELL HERES WHY WERE WRONG!

So I did some really deep thinking, and I figured, these writers can’t be THAT stupid? The director can’t be THAT idiotic, lame, and boring? That would just embarrass Disney, not to mention all the well respected actors that are in this!

So I thought hard. I thought hard and I thought long. Like hella long. And I tallied up all the plot inconsistencies, all the weird explanations, all the very specific lines in songs, and I did it. I fixed descendants rise of red! I FIGURED IT OUT!

So!! Here it is! What TRULY happened that crowncoming night! And what going back in time actually did!

(I intentionally put a keep reading so if anyone wanted to avoid spoilers they can)

So! Now that we’re under the keep reading. Anything spoilerly can be said!

So first things first. The biggest theory everyone is saying.

ELLA DID IN FACT POISON BRIDGET!

Yes! I said it! We all thought the movie was leading to this! So it was underwhelming when it was revealed it was Uliana and her crew were the origins behind the prank.

OR WERE THEY?

We all saw that once they opened the book; they were frozen. Because they were ‘bad’ and Merlin’s security system was set into place.

And many of you came up with the giant plot hole that this would have happened REGARDLESS of whether Red and Chloe interfered.

AND YOUR RIGHT!

This sole reason, is why the group COULDNT have done it! Not only were they frozen, but they couldn’t read the recipe, and were properly sent to detention, ergo exonerating them from being at the dance! Meaning their was literally no way they could have been behind the prank!

So with them being withheld from the dance, who could it be? Who was the one person who was originally at the dance, but now no longer could be? What was the one actual change that Red and Chloe set off?

ELLA. AND THE VASE!

We all see that when the two go into Ella’s house, Chloe knocks over a Vase. Breaking it. Lady Tremaine GROUNDS Ella! Meaning that she COULD NOT go to the dance!

This DIDNT happen originally! Meaning Ella DID go to the dance in the original timeline! Which is proven when Cinderella (I’m calling Adult Ella, Cinderella) talks to The Red Queen (I’m calling Adult Bridget The Red Queen) about how the prank being pulled was wrong. She had first handed knowledge of the prank. AND she told Chloe she fell in love with Charming at the dance.

But! Since Ella is the only difference in the two timelines in regarding to the dance, this is PROOF that she was the one who actually pranked Bridget, NOT Uliana and her crew!

So here’s what I think happened!

Ella, who saw Bridget being bullied about the cupcakes, and saw Uliana take all the cupcakes. And promptly being threatened by Uliana. Decided to bake Bridget something to cheer her up. However Bridget literally has all of the cookbooks in auradon. As shown. So she snoops around and finds Merlin’s cookbook! (Because it’s also shown she’s okay with breaking the rules if it’s for a good cause. From her get our hands dirty song!) and double and, the book WOULD open for her because she is a good person. AND she was doing it for a good reason!

she flips through the book and finds some simple blase recipe that cheers Bridget up. Maybe gives her cool hair (Red hair??). Something simple but sweet.

However. While doing this, she happens to see the Monster food recipe. She doesn’t look at it for long of course. Just enough to remember it’s a thing.

BACK TO BRIDGET!

Now! I swear to whatever’s out there that the person who played Chloe said there was a queer character in Dedcendants 4. I can’t find it now but it was some tumblr or insta post. I know cause I immediately told my friend afterwards.

Anywho. I think Bridget is the queer character! We see in the movie her only friend was Ella. Not only that but she YEARNS for someone to care about enough to ask her out (in a romantic way like charming just tried to do for Ella) Ella, who again. Is Bridget’s only friend. And ergo, shows her love no one else does, IMMEDIATELY asks her to go to the dance with her! (Might have said as friends in the other timeline too. Who knows)

But! This only makes Bridget’s crush on Ella even BIGGER. And she falls in love with her! She probably thinks they might have a chance!

This is also somewhat proven by The Red Queens song ‘Love Ain’t It’

Title ; Love Ain’t It

Red : “With all the Grief you’ve experienced”

Red (Speaking of Cinderella) : So you Knew her?

The Red Queen : I saw through her. Cinderella and I were classmates in a way.

(Notice how she uses Ella’s mocking name after she has time to recover from the interaction. She said ELLA originally when she caught her off guard. Also. The line. I SAW THROUGH HER. It’s a double edged sword. Saw through her fronts. Saw the hurting girl inside. Saw through her LIES saw the mean girl behind)

Proven by the next lines

The red Queen : I spent way to much time in this place

So I had to escape

the people might smile

but their two faced, too fake.

Girl was relentlessly bullied and betrayed by someone she loved

And Ella Knows it.

Cinderella : Some people act mean at first, because their too afraid to feel

[the reverse is also true]

Cinderella : Look hon. Back in high school, a mean prank was played

And ever since that fateful day

She was never the same, it’s quite a shame.

So the Red Queen sings a whole song about how Love isn’t it. And we ALL KNOW that her only connection to love as a kid was through ELLA. meaning Bridget HAD A CRUSH on Ella. Was IN LOVE. With Ella.

So. How did Crowncoming originally happen you ask?

Here’s my theory

Ella and Bridget go to the dance. They are happy! They have fun. Bridget falls further in love with Ella. Meanwhile. Ella falls in love with Charming!

Her and Charming hit it off. And Ella starts to feel loved and appreciated for the first time in her life.

Then, Bridget performs her ‘Shuffle of Love’ dance. All the attention is on her! Even Charmings.

Ella feels robbed. She feels jealous. She feels angry that her friend is stealing the one good moment she is finally having to herself.

And so she briefly remembers the spell. And in a moment of error, she either A. Remembers the recipe already and makes the recipe. Or B. Re-Sneaks back into the office to see it. However I’m going with A because the book wouldn’t have opened again for Ella because of her bad intentions.

Whichever way. Bridget eats the baked treat. (I think it was a cupcake. Ella could have lied and said it was from the earlier batch)

And then. IT HAPPENS! Bridget is turned into an ugly terrifying monster. Everyone LAUGHS at her. Everyone makes fun of her

And Bridget, who is confused, understands only ONE person could have done this to her. She looks at someone she was in love with. And just sees Ella and Charming laughing. Laughing at her. Bonding over laughing at HER.

Bridget runs off. In tears. Broken inside. With an equally broken heart.

Maybe if Ella had immediately realized her error and run after her she would have turned out differently. But no. It is proven that Ella stayed at the dance and stayed with Charming. They wouldn’t have had the chance to fall in love if she left.

So Bridget. Spends the rest of the night terrified. Looking like a monster. And being laughed and screamed and made fun of everywhere she goes. And not only that. But her ONLY FRIEND. Her CRUSH. Someone she TRUSTED did this to her

Now THIS! THIS is something can break a person. This is something that can change their views on the world. On humanity itself. She was a kind girl. Was kind to everyone no matter how meanly they treated her. But through it all, Ella was her rock. Her friend. Her secret love. Someone who was good and kind through it all.

But she betrayed her. Tbe one nice person betrayed her. Showing that being nice doesn’t do it. Being nice does not mean good things happen. Being nice doesn’t is worthless if this is what it gets you. Everyone is two faced. And the only thing that’s real. The only thing she CAN feel. Is hurt. And pain. And fear. And so that’s what she swears to become. That’s what she swears to do. Be mean and cruel and heartless so she never has to feel all this pain ever again. So her eventual DAUGHTER never has to feel this again. It’s better to be alone and feared. Then alone and broken.

Ella probably realized the error of her ways the next day. But as she said. It was too late. Bridget was never the same.

This Explains why they had so many odd interactions. The raw feral burning chemistry between them. All the odd phrase. Why The Red Queen would be okay sending her BEST FRIEND to death. Why she would be okay killing her. And taking over auradon. To Her? Cinderella is the one who made her this way.

but also part of her still remembers. Still cares. It’s why she gave her once chance to kneel to her. (And as we’ve noted in the books and movies. She doesn’t give ANYONE else a second chance. She punishes I’m immediately and harshly)

And so! With all of this happening. Theirs gonna be some catylist in recent times. The Red Queen might be nice now. But something will have changed. Ella never went to the dance. (She clearly fell in love with charming somewhere else cause otherwise Chloe would have disappeared) but something happened when she wasn’t at the dance. Something that caused another problem. And THATS gonna be the sequel to this movie. Descendants : Rise of Red part two.

(as we’ve seen the official script for the movie is literally called Descendants : Rise of Red part one. MEANING they wrote it with the purpose of being part one to either a sequel or a threequal)

And THAT! Ladies and Gentleman, is what I think the REAL plot behind Descendants : Rise of Red is! A movie that is not idiotically not thought out at all, but really something so secretly genuis is blows your mind!

Hope you enjoyed!