#she’s either unfortunately prophetic

[littler3d]

“It’s either work tracks or ancient otherworldly symbols” Alice if you don’t stop saying foreshadowing shit I’m gonna start thinking you’re evil

[wingsofmud]

The Thrice-Born Twins

I'm starting my WoF rewrite project with the Darkstalker Legend. The book is honestly fine, but I want to see if I can turn it into more of a tragedy where Darkstalker is known to be an animus from the start, Fathom flees the Seawing Queendom after the massacre, Arctic isn't a complete abusive asshole, and Clearsight and Darkstalker were never meant to cross paths.

Here are my Darkstalker and Whiteout designs/redesigns

Design info + minor ancient nightwing fashion hcs + designs without accessories below:

Darkstalker:

I find it incredibly boring that Darkstalker looks exactly like a Nightwing and that Prince Arctic likes Whiteout more because she looks more like him.

The only Nightwing aspect of Darkstalker is his dark scales. Everything else from his body structure, to his wings, to his face says Icewing nobility. In fact, he bears a striking resemblance to his grandmother, Queen Diamond, even inheriting her signature twisted horns. He has a teardrop scale behind each eye and a round scale on his forehead that denote his mind reading and prophetic abilities.

As is expected of any noble Nightwing, Darkstalker is very intelligent and very charismatic. He was always going to be a key pawn in the Nightwing court by virtue of his birth, but when he was born on the brightest night, plans started to shift. Then, to Arctic's dismay, he presented as an animus when he was a dragonet.

Darkstalker is betrothed to Queen Vigilance's daughter and spends his time learning to become the perfect prince. He and all those around him see nothing but glory in his future, at least until he bumps into a strange Nightwing one night.

Darkstalker is always in fashion. Like many noble Nightwings, he wears a cool colored cloth around his body (the more translucent the better). He wears a matching set of bracelets and a tail band as well as silver bands on his horns and spines. The earring he has on is part of a pair gifted to him from his betrothed. He unfortunately doesn't have a nose horn or he would wear a ring on it, he wears one on his wing thumb instead.

.

Whiteout:

Though her egg turned silver, Whiteout hatched the morning after the brightest night, which is unheard of. Unlike her brother, if you painted her fully black she'd heavily resemble a Nightwing, sans some spikiness. She has Foeslayer's eyes and horns. She's shorter than her brother, but a lot more stocky. Whiteout is regarded as strange, quiet, and a pain in the tail to make wear anything.

Whiteout doesn't speak much and the words that she says are either very blunt or don't make much sense...at first. She's sensitive to a lot of stimuli and rarely changes her expression. She was very difficult to teach, regardless of how many private tutors she had, and continues to be unable to assimilate into Nightwing nobility. As a result, she's generally dismissed and escapes Queen Vigilance's eye. She very talented in painting.

Whiteout wears a triple piercing earring with a blue, star-shaped gem on the end as well as a onyx bracelet matched with a nose-horn ring studded with lapis lazuli. She does not wear any clothing outside of formal events. All of her usual accessories have been enchanted by Darkstalker to not bother her.

.

Designs w/o accessories:

[sideprince]

Eileen Prince

I'm relentlessly curious about how a witch from Slytherin, a house that values cunning and ambition on paper, and bloodlines/nobility in its culture, ended up living in a muggle slum.

Unfortunately for me, she's a barely mentioned character written by an author who consistently fails to portray female characters with depth or dimension. The women in Harry Potter are portrayed as either maternal or villains, or, in Ginny Weasley's case, as redeemed by their masculine traits (because Rowling's Thatcher era feminism dictates that equality for women = emulating patriarchal ideas of manhood). About as much as you can expect from an author who's as unable to acknowledge the personhood of trans women as she is to write women as actual people. This leaves a lot of room for interpreting or delving into what Eileen Prince's life may have looked like, and how that would have affected her son's development.

There are three direct mentions of Eileen in the text :

“The picture showed a skinny girl of around fifteen. She was not pretty; she looked simultaneously cross and sullen, with heavy brows and a long, pallid face. Underneath the photograph was the caption: Eileen Prince, Captain of the Hogwarts Gobstones Team.”

HBP Ch. 25

“I was going through the rest of the old Prophets and there was a tiny announcement about Eileen Prince marrying a man called Tobias Snape, and then later an announcement saying that she’d given birth to a" “ — murderer,” spat Harry.

HBP ch. 30

“Harry looked around: he was on platform nine and three-quarters, and Snape stood beside him, slightly hunched, next to a thin, sallow-faced, sour-looking woman who greatly resembled him.”

DH Ch. 33

(Shoutout to Harry James Potter, who didn't recognize Eileen's fifth year photo despite her resemblance to Snape, the teacher whose classroom he got his used Potions book from. Shoutout also to Harry James Potter who didn't connect the dots between the Prince's handwriting and Snape's, a teacher who regularly wrote instructions on the board. "I needed to make the plot work, ok?" - JK Rowling, probably.)

Other relevant excerpts:

“Snape staggered - his wand flew upwards, away from Harry - and suddenly Harry’s mind was teeming with memories that were not his: a hook-nosed man was shouting at a cowering woman, while a small dark-haired boy cried in a corner ”

OoTP Ch. 26

“Harry delved into his trunk and pulled out his copy of Advanced Potion-Making before getting into bed. There he turned its pages, searching, until he finally found, at the front of the book, the date that it had been published. It was nearly fifty years old.”

HBP Ch. 16

Supplemental material re: Gobstones from JK Rowling:

"...it remains a minority sport within the wizarding world, and does not enjoy a very ‘cool’ reputation, something its devotees tend to resent. Gobstones is most popular among very young wizards and witches, but they generally ‘grow out’ of the game, becoming more interested in Quidditch as they grow older.  ... Gobstones enjoys limited popularity at Hogwarts, ranking low among recreational activities, way behind Quidditch and even Wizarding Chess." [There's an additional sentence on the Harry Potter wiki's Gobstones page: "...it is also known as 'the thinking wizard's Quidditch.'"]

A few conclusions can be drawn from what little information we're given about Eileen:

She's described as "cross and sullen" around the age of 15, and as "sallow-faced, sour-looking" when she's older.

She's captain of the Gobstones club around her fifth year, so she likely marched to the beat of her own drum - given that Gobstones isn't particularly popular - and owns it proudly enough to take, or even seek out, a leadership role.

The sport is described as "the thinking wizard's Quidditch" which would imply Eileen was more interested in intellectual challenges and was clever (and can be paralleled with a young Severus' comment about "if you'd rather be brawny than brainy" to James Potter when they first meet on the Hogwarts Express).

Her marriage and the birth of her son are both announced in the paper, which might mean the family she came from was of some importance or note, or perhaps something else... but we'll get to that.

If we assume that Severus' secondhand copy of Advanced Potion Making was originally Eileen's (reasonable, though there is no textual evidence) then its publication date is likely around the time she was a sixth year, given that this particular text was specific to students beginning to prep for N.E.W.T. exams. Harry begins his sixth year in 1996 when the book is "nearly fifty years old," so we can assume Eileen was 16 years old sometime not long after 1946. Severus was born in 1960, which would mean Eileen was in her mid-late 20s at the time.

Her marriage was dysfunctional at best, abusive at worst. As per a Pottermore post that is still up on WizardingWorld.com: "...the desperately lonely and unhappy childhood [Severus] had with a harsh father who didn’t hold back when it came to the whip." Based on this, we can assume Tobias was abusive, and given Eileen's cowering as he shouted at her, she presumably feared him.

From these bits of information emerges the image of a woman who either had a surly personality, or at the very least was guarded, though perhaps just formal. There isn't really any difference in how her face is set when she's in an everyday setting like King's Cross, or when she's having her picture taken for the Gobstones Club. It's possible she was a stern, unsmiling person, but it's also possible - given that her wedding and child were announced in the paper - that she came from a family of some standing and was raised to conduct herself with hallmarks of British class, such as dignity and unaffectedness. After all, there are several wizarding families - such as the Potters - who are wealthy purebloods with social standing but are not part of the Sacred 28. Additionally, the Gobstones Club portrait would have been taken around the mid-1940s, when portraits were formal and their subjects did not often smile, and given that we see only a snippet of Eileen, we don't have enough information that she was unhappy or sour. It's also important to remember that we see her portrait and Snape's memory of her through Harry's perspective and, like his perception of Snape himself, this may convey Harry's biases.

We also know from the text that Snape had a house in a deserted part of Cokeworth, a fictional Midlands town that presumably had a collapsed milling industry, at the end of a street called Spinner's End. There's a great thread that goes into details about the kind of 2 up 2 down house it would have been, and we can assume that this is Snape's family home given that we know he and Lily grew up in Cokeworth. For all intents and purposes, the conclusion we can draw from this being the Snape family's home in the 60s is that they were working class and cripplingly poor. Most estates like this had been cleared by the 60s, and no longer exist today.

This begs the question: how did a witch from a possibly well-off family end up in an abusive marriage in an irrelevant slum?

Buckle up kids, we're leaving the world of textual references and veering into deep meta territory now. I won't label any of this as head canon because I'm not set on these interpretations, and am just drawing conclusions from the text, but some of it may be a bit loose even for meta.

If Eileen was 16 years old not long after 1946, then she would have finished school in the late 40s, possibly even 1950. While some people (including past me) posit the theory that Tobias may have been injured in WWII and his injuries debilitated him, forcing him to go on the dole and affecting his mental health, I'm increasingly skeptical of this theory. It would make more sense if Eileen had known him before he was drafted/enlisted and had committed to a relationship with him, which would then have changed when he came back from the war and was altered. If we assume Eileen's age based on the idea that it was her own copy of Advanced Potion Making Severus used, then she would still have been at school during WWII (which makes an interesting parallel with Severus' own experience of spending the bulk of the first wizarding war against Voldemort as a student at school).

I do think, however, that there's merit in the theory that Tobias suffered some kind of altering injury and that he wasn't necessarily abusive before Eileen committed herself to him. It makes little sense for a Slytherin graduate who was confident and self-posessed enough to be the face of an unpopular club to be drawn to a partner so abusive his shouts caused her to cower and who whipped his child freely. If, however, he was a charming, happy man when they met who suffered a life-altering injury, the trauma of which left him a shell of his former self, then someone like Eileen might stick around for the sake of the parts of his old self she can still see in him.

It's interesting that she didn't seem to use her magic to protect herself or her son, or even to dress her son in clothing that fit, but we know from the text that depression can cause a wizard's powers to wane:

“...it is also possible that her unrequited love and the attendant despair sapped her of her powers; that can happen”

HBP Ch. 13 (Dumbledore talking about Merope Gaunt)

The fact that the Snapes retained the house in Spinner's End seems to indicate that they continued to live there even when the local industry dried up and the slum was cleared as workers were moved to other parts of the country where they were needed (presumably what happened given *gestures at British history*). The most likely explanation for this would be that Tobias wasn't able to work, and perhaps did suffer an injury, only it was at work, and not during the war. This would mean the family lived on the dole (ie. welfare) and also that he would have spent a lot more time at home. It would also explain his anger and frustration that led to abusive behavior (which isn't to say that disabled people are abusive by any means, but it would have been emasculating for a man who considered himself the breadwinner in the 60s, and chronic pain coupled with limited abilities would give anyone a short fuse).

Moreover, this living situation seems to indicate that there is no additional support coming from anywhere. Where is Eileen's family? Why were they not helping? There's no indication in the text that there is any connection with them at all. We can infer from Snape's memories that, as a child, he learned what he knew about the magical world from his mother. This implies that she talked to him about it a fair amount, and his conviction that he and Lily were going to Hogwarts well before they got their letters also implies that Eileen expected him to go there and was set on her son having a magical education, despite how little she seemed to use her own powers.

Severus knows a lot about the wizarding world as a child, including that prisoners are sent to Azkaban and that it's guarded by Dementors, Hogwarts' house structure and what to expect when he and Lily get there, and about the Statute of Secrecy and the laws around it. When Lily asks him if it makes a difference being Muggleborn, Severus hesitates before replying no, presumably because he's aware of pureblood bias being a part of wizarding culture.

Perhaps that's the reason Eileen's family doesn't seem to be in the picture. My own theory is that Eileen hadn't planned to commit herself to Tobias long-term, and Severus was an accidental outcome of an innocent tryst in which a young Eileen, an educated witch from a well to do pureblood family, was having fun slumming it with a working class muggle and ended up pregnant. While we don't know the wizarding world's attitude around pregnancy and abortion, we do know it's a conservative and classist society that parallels muggle British culture fairly closely, and that the late 50s/early 60s were a time when an out of wedlock baby would have been considered a disgrace.

Add to that the anti-muggle bias of a pureblood family and it sounds like Eileen was disowned her for her mistake (and don't @ me, but even though I know that not all Slytherins are purebloods, it does seem to be a persistent cultural value of the house reaching back to Salazar Slytherin himself, so Eileen's being sorted into it can reasonably be taken as an indication of her blood status). Perhaps the marriage and birth announcements in the Daily Prophet were put in by Eileen herself, if she was a woman from a family where this was customary. It may have been her way of letting her family know of the events, or even of asserting herself and even deliberately defying them, announcing to the whole wizarding world that a Prince married and had a child with a muggle. It makes sense that the girl who wasn't just in the Gobstones club, but became captain, would also say to herself, why shouldn't I have my marriage announced in the paper like everyone else in the family?

It's worth noting that mid-late 20s is pretty young to have a baby in the wizarding world, where the life expectancy and child bearing years are much longer than they are for a muggle. According to the Harry Potter wiki:

"Wizard life expectancy in Britain reached an average 137¾ years in the mid-1990s, according to the Ministry of Divine Health ... Wizards in general have a much longer life expectancy than Muggles, usually living two or three times as long as their non magical counterparts, some living even longer than that depending on circumstances. In addition, seeing as James Potter's parents had him "late in life,” witches likely have significantly longer childbearing years than Muggle women."

Although we see several characters in Severus' generation getting married and having kids not long after leaving school, there's a mention in the text that a lot of people were doing this during Voldemort's reign, as the fear he inspired made people more eager to get a move on with life since they thought they might die any day (I think Mrs. Weasley says this but I can't find the quote, @ me if you do). It's clear this wasn't the norm in the wizarding world. Eileen was a Slytherin, a house that values cunning, ambition, and strong wizarding heritage. Something must have gone very wrong in Eileen's life for her to end up having a child so young and living in a muggle slum.

And so it's possible Eileen Prince found herself pregnant and alone, having been disowned by her family to save face in light of her disgrace, and dependent on the only person she was still close to, the father of her child. It's the kind of storyline that Rowling would write, and it would parallel fairly closely the story of Voldemort's mother, thus adding another to the long list of similarities between Voldemort and Snape.

Lorrie Kim makes an interesting point when she talks about how Snape has a strong reaction to other people having a love life or romantic experiences (the context being Rowling's intention of his love for Lily being romantic and unrequited), but doesn't react particularly strongly to mothers sacrificing themselves for their children, whereas Voldemort does. Her insight, and I think it's a reasonable one, is that Severus accepts the idea of mothers making sacrifices for their children, whether it's Lily giving her life for Harry or Narcissa risking all she did to ask for his help in protecting Draco, because his own mother protected him from his father as much as she could.

There's a lot of room for interpretation on what Eileen's relationship with her son looked like, and what it says about her own state. She may have prioritized not angering Tobias to protect Severus, who as a child might have perceived her actions as a form of rejection. At the same time, she seems to have prepared him thoroughly for life in the magical world, perhaps in the hope that he would find his place in it and escape home. Perhaps she missed it and told him so much about it so she could live through her own memories.

The only time we see her argue with Tobias, in Severus' memory, she's cowering as he shouts. We know from JK Rowling that Tobias used corporal punishment liberally, which implies Eileen didn't stop him despite her magical abilities. We also see in the text, however, that while at school Severus stood up for himself against bullies and fought back, and that he was an exceptionally clever and powerful wizard. As an adult he was brave enough to face Dumbledore when he betrayed Voldemort, and later fought against Voldemort right under his nose (or lack thereof). So it stands to reason that at some point Severus began to stand up against Tobias too.

How much of that was Eileen's influence, or the result of Severus seeing her acceptance of her fate and rejecting it for himself, is hard to say. As for what happened to Tobias and Eileen that their house was Severus' by the mid-90s and they were nowhere in sight, I don't think there's enough information in the text to infer.

[darin-nidk]

Shut your cakehole.| Vox &. sibling!Reader.

Content: Older brother Vox having beef with his younger sibling, Reader, once they got to reunite in Hell. Childish bickering.

▪︎ To be fair, Vox hadn't expected his younger sibling to be in Hell. Sure, they were not by any means an angel aaand Vox had recluctantly covered their ass and fuck-ups when they were alive, sometimes taking the blame for either the thrill of a savior complex or because he did care, not that he was going to show them that. Fucking no.

▪︎ So who the fuck would be giving a shit that one of the oh-so-called prophets, that Vox as a 'god' had, was none other than (Y/N).

▪︎ Still, when Vox didn't find trace of his parents in Hell, it was somewhat a bummer. Not exactly something he was looking forward to, but he wasn't opposed to the idea of, you know, having some sort of relative lingering in the back of his mind to visit or whatever it is that healthy families do.

▪︎ He didn't want to think about the very much real possibility of them getting killed before he got here.

▪︎ Nonetheless, when one day Valentino showed up at Vox's room, the one that was surrounded by security cameras (and even cameras that did not have any real purpose other than him being a creep) with a demon way too familiar to the point it was uncomfortable (what's with having an oval-shape head that was actually a LED screen. It was creepy how they shared similar expressions to Vox himself)... Yeah, Vox connected the dots. Unfortunately.

▪︎ "I had never been religious but I did pray to God that I would not cross paths with your sorry excuse of an ass", (Y/N) whined at the sight of their older brother who shared that TV trait, or more like technology theme. They groaned loudly and hid their face on Valentino's fur, and nuzzled there for a moment before straightening their posture. Making their way over to Vox, standing before him. "You looked more handsome in your coffin".

▪︎ "I was much happier when that freak accident killed me before I got home to your cooking". Vox was quick to reply at that jab, both tech-demons staring wordlessly at each other before breaking into a smile and soon it turned into laughter.

▪︎ Valentino was confused.

▪︎ Velvette was unamused when she walked into the Vee's tower and witnessed that scene. Turning on her heels to leave ASAP.

BONUS SCENARIO.

"So today in— fuck, (Y/N) stop, stop doing that!". The TV demon hissed, trying to supress his poorly hidden smile before he gave up and chuckled, hiding a majority of his screen behind the printed script that his claws gripped tightly. Thankfully, this was rehearsal and not an actual LIVE.

The reason for the ever 'everything needs to be perfect' overlord's laughter was his sibling — (Y/N) was behind the camera, displaying funny videos on their face-screen to distract Vox.

[flowerbloom-arts]

AU where the Shifting Mound doesn't snatch the Damsel so soon and you have to deal with the repercussions of existing past "Happily Ever After" with a voluntarily undeveloped Sweet Love Interest™.

(also, yippee finally found a way to put my 2 interests together!!)

(absolutely incomprehensible ramble under the cut.)

Okay so I'm going to make this as understandable as possible for the uninitiated, whether it be for the Moomin comic strip or the franchise at large.

The plushie the Damsel is holding is that of the Snork Maiden (or just Snorkmaiden), the girlfriend/love interest for the main character, Moomintroll. Now, Snorkmaiden is an interesting and largely misunderstood character, especially when it comes to her comic version where she's a bit of a "promiscuous" character who oftentimes ditches Moomintroll for another man when she sees fit, this is where the misunderstanding lies.

Snorkmaiden haters will dismiss this (if they were to read the comics, because in all honesty they aren't that widely considered or even read in the fandom) as an addition to her general unlikeability as an "obstacle" to the fandom's main gay ship between Moomintroll and his best friend, Snorkmaiden sympathizers will leap to justify this with the good ol' It Was Heteronormativity All Along, which is a very... Honestly lazy reading/justification of her character which doesn't hold up under scrutiny. I, however, have an obviously superior reading of her character (/not serious)

Snorkmaiden simply has a very different definition of romance or at least wants to gain something different out of the concept of romance as opposed to the general public perception built up around it, one which even Moomintroll can't even begin to grasp.

What she gets out of romance, and where it begins and ends for her, is the adventurous fall and honeymoon of it, and each new man she gets into a relationship with is thematically appropriate to the adventure/problem of the week that she and her boyfriend's family are currently facing. When she goes to the French Riviera she starts dating a rich actor because it is a tourist shoreline city where all the celebrities go, when she finds herself in the wintery unknown (she and the Moomins usually hibernate through it, they're creatures like that) she catches a crush on a professional winter sportsman, when she decides to live a hedonist life because some self-proclaimed prophet came in and told everyone to she decides to start it by running away with someone new, when she gets a job as a secretary she falls in love with a coworker who is really interested in accounting, so on and so forth. Even with Moomintroll, they fell in love upon her introduction and Moomintroll signifies a new life in the valley in which they currently live in.

And in the end all of these new romances fall apart either due to unfortunate circumstances, Moomintroll's jealous intervention or her simply becoming disinterested eventually, and in the end of all of them she returns to Moomintroll, as per formulaic comic strip storytelling. (I must mention that Moomintroll also falls in love with other women based on their looks, and he also fell in love with Snorkmaiden because he thought she was pretty, so, he's not that much better really)

This is a repeating cycle, one that Snorkmaiden is simply incapable of breaking out of due to the conventions of her narrative. No matter what she tries, where she goes, who she gets with, she'll always end up back in Moomintroll's arms whether he "earns it back through chivalry" or she runs back to him much to her previous chagrin. It's a self-fulfilling cycle too, in one comic it's shown that she's so used to Moomintroll's behavior that it sours her current relationship with an already bad partner even further. If she was capable of Truly Leaving then she stopped being capable at that point. Snorkmaiden is stuck with a long-term boyfriend when she normally strives in a short-term relationship.

She's also deeply entrenched in romance tropes and loves to roleplay them with Moomintroll, and especially loves them when she thinks they're real, these tropes she fancies usually tend toward kidnapping (and not alot of rescuing) or romantic sacrifice such as dueling or... Romeo and Juliet. These things are extensions of her ideas on what romance is, more about the short-term thrill than the long-term contentment.

Of course, with most Moomin media having a child demographic as opposed to the adult newspaper readers of the comics, Snorkmaiden's character in adaptations of these stories get presented without the depth or the means for that depth, as she gets presented as either a somewhat boring playdate to Moomintroll with grand, childish ideas of romance or a naggy girlfriend whom the writers try to make feminist but ultimately fails to deliver on anything subversive or substantial.

How this ties into the Princess is the cyclical nature of it all, the choices with no branching ends, the new experiences with seemingly no development, the change and then the sudden stop. And with the Damsel in particular it is the reduction of such an interesting and intriguing person full of potential to a cutout of a simple Love Interest. All that anguish is suddenly washed away into something more palatable, a parody of a fairytale princess, a goodness so pure that it is sickening, no motivation behind the eyes except for one simple goal.

Now. Don't get me wrong, the Damsel is my favorite princess, between the Adversaries and the Towers and the Witches and Wilds, the Damsel is the one which captivated my singular interest, becaus I'm not immune to her trappings of adorable beauty and saccharine sweetness with no other motivation than to make her hero happy, I believe that it's a combination of the player's desire for her to be a normal princess they can have a happy ending with but also her willfully stripping herself out of guilt of what she's done to the player.

She stripped herself of any real personhood just to make us happy, and that is the purest motivation anyone can have, really, a terribly misguided one but the sentiment is immeasurable. I pity her and I love her and I want her to be so genuinely happy because of what she's gone through but I know very well that she's incapable of that because the decisions the player chose made her that way, she is made incapable of genuine happiness without total dependence on the player's feelings and that really breaks my heart.

It breaks my heart when she's reduced to a crappy middle school anime drawing when she's put through the pressure of getting interrogated or being told strange things about what would make the player happy.

It breaks my heart when she's finally free but then immediately met with the coldness of the Shifting Mound and thought that coldness was happiness.

It breaks my heart when she accepts her second death with tears in her eyes and a smile because she thinks that's what made the player happy, and yet somehow she couldn't accept it as a real decision the player made on their own because in the first time she was warned that they were possessed, so the only conclusion she could come up with was that the cabin was causing this pain and so as the Grey she decides to burn the whole place to the ground and stare at you lovingly until her face melts away.

It breaks my heart that the Grey is in a wedding dress, on top of that.

She's so desperate to cling onto the first person to show her kindness that she seems to have become broken over it. She's so terribly tragic that I can't help but keep thinking about her and the million heartbreaks knowing that she's so lovely and selfless but she wasn't Real anymore.

I want her to have a massive fairytale wedding like at the end of Disney's old Cinderella movie and live forever with some physical manifestation of Voice of the Smitten. I want her to come back to personhood and cry and not be snapped like a twig over it. I want the Damsel to be happy in any way she seems fit to be but I know that can never happy, both by the nature of the game but also in the very programming of her character.

She is trapped, whether it's in the cabin, her own circular mentality or as part of the Shifting Mound, she's incapable of of being really free as her own person unless you count the ending of us leaving with the no-blade blade starter princess.

... And that's why I think she should hold a massive Snorkmaiden fair prize won by her darling new butch knight girlfriend.

[pencildragons]

ty for tagging me tessa @clayvedevs !!!!!!!!!

1. Do you make your bed?

NO. making the bed is evil and also too hard

2. Favourite number?

uhhh UHHHH 12 ? 12 is a good number i liked being twelve. 67 is also a good number !!

3. What's your job?

divine prophet of The Bog (extremely unemployed)

4. If you could go back to school, would you?

yes !!!! i lovee school i lovee learning & my hs? extremely chill

5. Can you parallel park?

yes fire emoji fire emoji fire emoji

6. Do you think aliens are real?

I feel like the possibility that there AREN'T aliens is extraordinarily low, even if they haven't evolved yet or would be completely unrecognisable as a form of life to us. the universe is still comparatively so so young so i feel the chances that at some point in the next quadzillion years that the circumstances of earth won't be replicated at least in part is hugely unlikely

7. Can you drive a manual car?

technically? i learnt to drive in a manual ute that is ABSOLUTELY not roadworthy but i did not get a manual licence :( sort of regret that but im sure if i got back in a manual i could do it again. probably

8. Guilty pleasure?

thinking in depth and forever abt my girl in middle earth oc hobbit fic that i havent properly written since like 2021. she means the WORLD to me i could make it sooo good if i just got over the evil puritans in my head telling me it is cringe

9. Tattoos?

soon!!! one day!!!! trust and believe!!!!!!!

10. Favourite colour?

loveeeeee yellow i love yellow so much soo much. unfortunately i am ginger.

11. Favourite type of music?

idk if i have a favourite TYPE of music persay? but ive sort of been bouncing between a mix of folk rock and Silly Power Metal and i will hit up the odd soundtrack also. wait actually this is untrue i am, embarrassingly, really into hyperpop (UNDERSCORES I LOVE YOU)

12. Do you like puzzles?

yeah! they're kind of evil and i am not great at pattern recognition and they hurt my back. but also v satisfying to do

13. Any phobias?

ants i fucking hate ants i HATE them (i stood in a bullant nest when i was 2) + also maybe thalassophobia? idk though that may have also been cured by the time i played 130 hours of subnautica in a week in december

14. Favourite childhood sport?

touch footie!!! i was very good at it lowk and i miss playing it terribly

15. Do you talk to yourself?

LMAO YEAH. when im thinking about writing especially. or doing literally anything. i will talk to myself

16. Tea or coffee?

TEA I LOVE TEA I LOVE TEA SO MUCH. i cannot drink coffee because The Side Effects + caffeine does not seem to have the intended effect on me, so i don't really drink caffeinated tea that much either? i absolutely LOVE rooibos with honey in it though one million out of ten

17. First thing you wanted to be when growing up?

i wanted to be a scientist because i was under the impression that scientists blew things up and that it was exclusively their job to do that. i still want to be a scientist tbh but for different reasons

18. What movies do you adore?

im so normal and regular and fine about the hobbit extended edition trilogy. so normal. no but fr i love unexpected journey i have watched it more than twenty times total and. five times in the last week and a bit LOL

Tagging:

@sithfox @hastalavistabyebye @patchmates @rockcattomato and anyone else who would like to !!!!

[selkiewife]

Helaena's "Where would I go?" question. The way she looks so... interested in a way? I can't decide if it's like "Where would I go? I already know the future so I don't know where I could possibly go?" OR... maybe this is the first time someone has presented her with another option... and she is actually totally intrigued. It seems as though she receives kind of waking dreams or visions a lot and can't quite separate herself from the dreaming/real life. I think? Tell me if I'm wrong or if you have another interpretation. She tells Aemond this essentially- even if you killed me it wouldn't change anything. But maybe it would?

I have always said that I LOVE the prophecy inclusion in House of the Dragon because it brings up so many interesting questions. And I think what is the most interesting is the way people REACT to the prophecy- and that seems to be a huge thing in the asoiaf novels as well. You might have a dream or prophecy but interpret it wrong. You may have a dream or prophecy and interpret it "correctly" but go about achieving it "wrong." I'm putting it in quotes because I realize it's much more nuanced than I am describing it. I personally love the idea that the Targaryens are having "correct" dreams about the long night but are trying to solve the problem in the "wrong" way. Like yes, uniting Westeros may seem like the right idea (and I honestly can't blame them for thinking that) but it ultimately becomes a really distracting, brutal, self annihilating side quest? Maybe? Helaena, unlike most of the other dreamers or characters motivated by prophecy in asoiaf, doesn't seem to impose her own ideas or actions onto the prophetic visions she receives. She kind of just receives the visions and she doesn't say- "Oh, here is how I can help this prophecy come to fruition" (like Macbeth or Rhaenyra and now Daemon) or "here is how I can prevent this prophesy from happening" (like Oedipus and Daenys- Daenys being more successful than Oedipus of course lol.) Alicent has also seemed to travel her own "I must prevent the "prophecy" (from Otto) of my sons' death from happening- and yet everything she does to prevent it unfortunately ends up leading to her sons' death...

But Helaena doesn't seem moved to action by her prophetic visions. I think it's because she sees that as futile. It upsets her greatly that she can't prevent the tragedies (like her son's murder.) But! At the same time, she is in a culture that kind of reinforces this idea of passive acceptance. "I can't prevent the evil that I have seen is coming" pairs with Otto's non prophecy real world pragmatism of "this is the way the world is- either play the ugly game or die."

And yet, for the first time in perhaps her life, Alicent asks Helaena if she'd like to go somewhere else- to break script- to break her destined path. And I feel like Helaena seems to consider it for a moment. I think it would be an interesting exploration if Helaena is genuinely asking, "Could I? Could I do this? Could I leave the path that is laid out for me?" I also think it's interesting (and I really love) that it is Alicent that presents this possibility- who has always been such a symbol of walking the path that has been laid out for them. Helaena says later in the episode, "It's all a story. And you're but one part in it. You know your part." But can the part players improvise? Can they go off script? Can they wander off the path? Can they collaborate with the story? Can they change the story?

The finale left me with a lot of these questions. I'm not saying that's a bad thing. I'm just really curious and wish for more exploration of these themes.

[nightswatchdisbandmentera]

There is a kind of triple irony in the following exchange because it highlights two types of blindness: literal and metaphorical.

But all of them seemed surprised to hear Maester Aemon murmur, “It is the war for the dawn you speak of, my lady. But where is the prince that was promised?” “He stands before you,” Melisandre declared, “though you do not have the eyes to see. Stannis Baratheon is Azor Ahai come again, the warrior of fire. In him the prophecies are fulfilled. The red comet blazed across the sky to herald his coming, and he bears Lightbringer, the red sword of heroes.” (Samwell V, ASOS)

The first: Melisandre has two sets of eyes that Maester Aemon does not. One set through which she literally sees the world, and another that allows her to tap into the metaphysical. Mel is a powerful seer but she, in a tragic twist of fate, remains blind to the truth. By taking elements of prophecy at face value, she has determined that Stannis Baratheon is the hero of prophecy. But he is not. And so she employs various glamours and tricks to give him legitimacy. And when Mel finally encounters the (very literal) promised prince, her metaphorical blindness causes her to look right past him.

That’s how we get to the second irony: old Maester Aemon is literally blind and does not posses Mel’s powerful prophetic abilities either. Yet he is able to ascertain that Stannis is not the hero of legend. In his blindness, he still manages to see past Mel’s glamours. Stannis’ magic sword may be as bright as the sun, but it lacks heat. And many times, we see that this false “light bringer” only serves to blind people’s eyes (very literally making them look away) and, as Aemon would put it, lead them further into darkness. For all the vision she possesses, Mel quite tragically misses the mark where Aemon does not.

But there is a third irony because even though Aemon sees what Mel doesn’t, both of them are still blinded to the truth. Mel, utterly convinced that Stannis is her man, misses the visions literally spelling out that Jon is the king. And as far as Aemon goes, he spent a good amount of time thinking that the promised prince was Rhaegar. When he had cause to change his mind, he understood that Rhaegar’s son was the one. Yet Rhaegar died, as did his son. So Aemon remained at the Wall nursing his wounds. But unbeknownst to him, Rhaegar’s son did survive. No, not Aegon. The bastard, Jon Snow. And Aemon knew Jon. He taught him, and loved him. But how tragic, and so very convenient, that Aemon did not have the eyes to actually see Jon. Because if he did, would he have seen glimpses of the prince he had mourned all those years?

This is where information becomes important, especially information that helps us understand prophecy. Both Mel and Aemon make decisions based on what is available to them. What they miss is, in large part, due to what has been hidden from view. Mel sees with her magic eyes that Jon is her king but she dismisses it because he does not align with what she knows. Aemon gives Jon advice befitting of a king, even comparing him to one, but at the end of the day he’s only a Stark bastard; he doesn’t know that this bastard boy is Aegon V come again.

So Mel’s quote doesn’t just apply to her, it comes back to Aemon as well. Both of them come to know their prince, their king, but they do not understand who he truly is. And that raises some interesting questions regarding the nature of prophecy. One may know it to the letter, but do they truly have the eyes to see and understand it? Unfortunately for Aemon, he did not and he died in his ignorance. On the other hand, Mel might be given the chance to correct her mistakes. But something tells me that in an attempt to grasp the light, she will only descend further and further into the darkness…until it’s far too late!

[angel-of-hunky-doryness]

How Disney (Unintentionally) Created The Most Sympathetic Disney Villain

Yes, we're talking about Hades. So strap in, folks, this is gonna be a long one.

It may or may not come to a surprise to some of y'all that Mr. Hot head is my favorite Disney Villain. His charm, his sass, and above all his sarcastic one-liners, what isn't there to love about this walking-talking wheeling and dealing Mephistopheles archetype with the most basic villainous ambition of taking over the world.

Okay, fine, the cosmos. But at the end of the day, Hades has a very cut and dry appearance in Disney's Hercules. He doesn't even have nearly as much screentime as other Villains as I had previously believed.

First appearing quite apropos in the shadiest corner of Olympus ready to raise hell and all manner of chicanery just to incite misery to a newborn baby, only to exit stage left to cue the villainous side-plot with a bit of prophetical verse thrown in for good measure. A plan comes into being and he orders a hit on the aforementioned baby, only for the hit to fail despite y'know being the yutz in charge of the land of the dead *cough cough*

18 years pass and suddenly Hades has to completely 180 his plans, focusing not on his intended target of Olympus but the prophecy hero he thought he already axed. And so he unleashes a horde of monsters upon the city of Thebes as a result. The Titans are freed for some reason, Olympus is easily defeated and rescued, and then so is the plot device- I mean the Titans, and Hercules gives Hades the one punch man treatment, and so Hades is left to reconsider his life choices for all of eternity swirling in the Phlegethon/abyss. Pick your poison, either work.

Alright, cool, glad I got that out of the way. Oh, hold on, my sponsor, is giving me that beady eyed stare to remind our lovely audience that Meg was also an unfortunate victim in Hades' scheme. We'll get to Meg and Hades' relationship in a future post, but to summarize, Hades' treatment of Meg is far, far harsher and has tons more animosity than Hades and Hercules- the titular character mind you- ever had.

But I digress.

Despite, Hades' antagonistic role in the film, there are many, many nuggets that Disney gives that allows the audience to sympathize with his lot in life.

In his very quick introduction- it's a Disney movie the plot has to establish quickly cuz animators have lives too. Insert obligatory pay animator's fairly line here.

We have what I like to call Exhibit Alpha: The Introduction.

Now Disney Villains are no strangers to a dramatic introduction.

I couldn't find the exact gif of Maleficent appearing, but I ended up putting the one above because it proves my point. Everything about Maleficent strikes fear in the hearts of her audience. Everyone is watching her every move because they know she's a formidable threat.

When Hades makes himself known, the Olympians aren't scared or spooked like King Stefan and the 3 fairies were when Maleficent first appeared.

They're annoyed.

To them, Hades is the weird uncle no one invited, but shows up anyway. If anything, it looks like the gods have dealt with him before and know how to put on the cold shoulder to get him to leave faster.

The only one oblivious to all this is Zeus who invites him to stay and enjoy the party. But Hades isn't an idiot. He's very aware of the chilly reception he's getting and declines with this one-liner:

Keep this line in mind, we're going to circle back to it.

Zeus then proceeds to meet Hades with a quip right back and a very punny one at that, earning the first laugh since Hades arrived, and one at Hades' expense.

A laughing fit ensues and Hades storms off in a quiet rage.

A short scene indeed, but it tells us a lot about Hades, Zeus, and the gods.

Hades is an outcast.

Boo-hoo, homeboy just needs a girlfriend. Maybe a flaming flower-picking one, but that's neither here nor there.

Now, the interchange between Zeus and Hades makes it very clear how Hades started to become excluded from his family. Hades is absent to a lot of social gatherings and most of it is because of his job. A job that deals with stiffs, the dead, the dearly departed, however you wanna slice it.

Now before you say- well he was scheming to take over the cosmos on his free time, what do we see in the very next scene?

Over 5 billion souls served. Hades is a busy guy and the movie makes it really clear that even in his spare time meeting with the Fates, the work is piling up. Maybe that's why he's a fast talker, he's always moving and grooving so he can get some time to relax.

Yeah, yeah, we saw him smite some of his people on his small world boat ride, but considering we only see one god working in the underworld, he doesn't have the time of day for them and after eons of this drudgery he's gotten quite apathetic to their pleading.

The shades are just as doomed as him really.

Now we're going to gloss over a few scenes and move to Exhibit Beta: The Thebans.

Hold the phone, Hades isn't even in this scene.

My point exactly. Hades is a bit busy amassing a horde of monsters. Hecc, none of the disgruntled Thebans even mention a monster in their list of disasters. The Monster Mash party starts after Hercules rolled into town thanks to Meg after her failed recruitment of Nessus.

So what does that tell us? Whoever causes floods, earthquakes, fires probably caused by lightning incited these disasters not Hades. Hmm, on a weird side note, I don't think Hades' brothers, the earthshaker or god of storms, fit those descriptions at all.

All these disasters were happening while the Olympians did nothing. It wasn't unheard of for the ancient greek gods to send wayward mortals to do their bidding and help people or free them from monsters, so why does Phil put it upon himself to take Hercules out for the hero life? (Yeah Disney should've included the presence of other gods working on earth to make them out to really be responsible and helpful, hell maybe have Hermes fly in congratulating Herc for completing his training and direct him towards Thebes)

It's almost like Hades is the only god who's present or aware of the woes on earth. Sure he adds to it, but are the Olympians really lounging about doing nothing in this movie?

Exhibit Gamma: Storming the Palace

....

I have no words. Zeus and Hera could've been doing paperwork?? Looking out for their son??? Have a meeting with the Pantheon and that's why they're suddenly blindsided by the Titan attack???

Hades, though sassy, though sarcastic, and just a bucketful of ruthless and malicious described the Olympians to a T.

Hecc, the Olympians had no idea the Titans were out destroying the world until they were literally on their front doorstep. If Hades had told them to destroy half of Greece, they would've done so before the Olympians noticed.

And it's so contrived, but the only reason Hades lost was b/c Hercules shows up and frees some of the gods. Like if one other god was not on Mount Olympus they could've come save the day. But every god was there. Make that a fanfic y'all. ONe where the one god who was- I don't know confined to their island or something wondering where her mother went and so she has to gather all the nymphs and natures spirits to save olympus or some drivel like that.

Hermes had to sound the trumpet like judgement day to get the gods rocking and rolling. And that's not even considering how Hades gets punched into oblivion.

Exhibit Delta: Revelation 20:14 (NIV)

The one god who did his job has been thrown in prison??? Zombie apocalypse??? Is that you??? Where's Shawn when you need him???

Confine him to the underworld, Wonder Boy. Get your Greece Lightning father to take care of business in a flash. He'd get you Meg back in an instant. Just ask nicely. We know Psyche is in attendance. Meg deserves it after all she went through.

I know it's more dramatic, but the world of Hercules is absolutely screwed. Talk about a happy ending with terrible implications for the state of the world. Meg and Hercules are going to die and be sent to an afterlife with no deity to even send them to Elysium, and that's if Hades comes back at all.

*Takes a long drink from my pina colada*

I didn't mean for this post to turn into a hate show on the Disney Olympians. I'm just, I always knew Disney messed up hard on this movie. And yes I adore the hell out of it, but making a villain more sympathetic and likable than the hero? When I started writing this I didn't think it would get this bad, but the more I looked into it?

I haven't even touched how Hades has the worst employees, having to put up with his imps? The Titans who don't even know where the tallest mountain is?

For all his manipulation with Meg, Hades did give her everything he promised her. He's a devil sure, but he's a god of his word. He couldn't even force Meg to seduce Hercules, he had to convince her with some extra added relinquish your soul type bit. Hell, he was even willing to negotiate with Hercules after hurting his dog.

To finish off, even with those nuggets sprinkled in, at the end of the day Hades is a villain through and through. Yes, he's fun, yes, every single one of his lines is an improvised banger, but that's kind of the point.

One of the directors of Hercules once described Hades as being the type of evil that's attractive. Drags you in with promises of honey until you find yourself drowning in mercury. He's Mephistopheles offering you a Faustian deal, Satan with the apple, and this author trying to advertise their terrible fanfic that delves into this very topic.

I remain ever yours, dear readers.

Till next time.

[witheredoffherwitch]

I can't help but cringe when I see some people trying to push Aegon v. Aemond or Helaena v. Alys in these online spaces. Each character in the show has their own role in the storyline--and it's absurd to think they could be pitted against each other. It's just too weird.

Aegon v. Aemond isn't a thing because despite these two hating each other's guts, they fight besides each other till their last moment. Aemond fights this war in Aegon's name -- and despite him thinking his brother is nothing more than a drunken wastrel, this fool still offers this challenge to Luke by asking, "did you really think you could just fly about the realm trying to steal my brother's throne at no cost?" In F&B, the conflict is mainly panned out between Aegon v. Rhaenyra and Aemond v. Daemon. Helaena's role is much more passive all while being extremely crucial to how the Dance ultimately ends. Many are quick to point out that Lucerys' death was the catalyst that jumpstarted this whole civil war (even though in truth, it had been simmering since that Driftmark incident) but fail to notice that Halaena's end is what cements the final conclusion of the war.

I have acknowledged my hesitation in discussing Helaena-centric topics on my page because I have always felt like I understand her the least out of all the Green characters. But the way some of y'all go ahead and make assumptions about her relationships with her family -- and make up fake conflicts to justify your own crackship is truly bizzare.

I cannot even comprehend how stupid this forced competition between Helaena and Alys is. People really need to stop injecting Aemond into Helaena's storyline. Her loss, grief and trauma is separate from her brother's struggles -- and Helaena's tragic end is one of the turning points that change the tides against Rhaenyra. Infact, I suppose in this Aegon v. Rhaenyra clash (where Rhaenyra is unbashedly favoured in the show), Helaena's presence might be offered as a false positive for Team Black after the fall of King's Landing. Helaena's death comes right before the Storming of the Dragon Pit that ultimately sealed Rhaenyra's fate -- what remains to be seen is how the show is going to depict the events leading up to that point? In the book, Helaena is more or less a passive figure who is reduced to a grieving queen after the culmination of B&C. I had previously suggested that Helaena's role is going to be bigger than what was depicted in F&B - and given the fact that she has prophetic powers in the show, I assume she will be playing a much bigger role! Helaena is a seer who can see into the future -- and since the show is already exploring the 'song of ice and fire' (a la the long night), it needs to be seen how else are they going to use Helaena beyond season 1. Does she see her line ending after the Dance? Is she aware that dragons might cease to exist after the war? Does she see the eventual demise of her house? Does she see the Dance's conclusion as some sort of inevitable truth that must follow to achieve Aegon's dream?

Alys on the other hand has a completely different role all together. She is either Aemond's high-calling or his partner in chaos. Much of her story is shrouded in mystery. We don't even get a full account of how her story concluded; what happened to her and her child during Aegon III's reign. She becomes the witch queen of Harrenhal but for the next thirty years, we do not know what happened before the castle was eventually given to Lucas Lothston.

In conclusion, I will once again remind folks that each character serves a distinct purpose in this war. The common denominator between these character is unfortunately their father, Viserys -- and this story is essentially a run-down on how the prophetic king himself dooms his entire family (and eventually his house) into the path of self-destruction. For most of his life, Viserys' main aim was to ensure both stability and longevity for his line, and despite his efforts, he failed at that task quite remarkably. Each one of his kids possessed that distinct Targaryen 'trait' and yet this is a king who places his oldest daughter above the rest out of the guilt for killing his first wife. In the end, it was his choice that ultimately doomed his own house.

[hajihiko]

do you have headcanon godtiers for any of your little guys

You know'nt what you started BOY DO I

Akane: I started with her because I think she eludes a lot of what the classpects do or are. She definitely has a lot of heart, but I don't think she's as toed in with romance and souls/the self as Heart is. She would forego using a strife specibus, as Void players do, but she doesn't really have anything else going on with Void. I settled on.... Page of Mind. Hear me out! Pages start out as particularly unimpressive, but later on absolutely explode with power. Akane is, for the lack of a better way to put it, not exactly big on thinking. She would seem particularly unsuited for her class until you realize she bypasses the actual thinking part usually associated with Mind, and goes straight into core instinct and core knowledge- her danger sense and ability to just. Move on from stuff. A Mind player might be prone to overthinking, but not her! She just sort of knows exactly what's up and flips the whole planning thing on its head. She could also be a destructive class in this, though. Sorry about your booty shorts Akane. Page of Mind, role of the Giver, archetype: Warrior.

Sonia: Also a bit difficult, but I settled on Mage of Life. Mages are an understanding class, and Sonia wanted to understand normal Japanese school life and see it for herself. Mages are also notoriously lacking in their own aspect, or it tends to serve them badly- Sollux being nearly fucking unkillable, lacking in Doom, and Meulin having a history of unfortunate romance and being mind controlled (wasnt hat a thing?), lacking in Heart. Both understand their aspect in others, though. Sonia is a kind and understanding person to others, but barely has a life of her own when she's a princess (this would also work for Heart). As for powers, she definitely seems like a healing type, so that fits too. Life players are also usually rich! Mage of Life, role of the Visionary, archetype: Prophet.

Fuyuhiko: I thought of Blood pretty immediately, both because of what it means (connections) and because, yknow. Yakuza, murder, that stuff. I flip flopped a bit between classes, but I think Prince would work pretty well. Prince is a destructive class, either destroying the aspect or destroying with it, and he could fit both. He kills via his connections (Peko and the Yakuza), but he also destroys his chances at connecting with others by acting angry and aloof, and his connections are what constantly put his life in danger. In the end he destroys his strongest connection with Peko, by refusing to play along with her plan, but that births other connections. Connection and bond rebirth in poofy asshole pants! Prince of Blood, role of the Destroyer, archetype: Royalty.

Kazuichi: REALLY HARD ACTUALLY. I stumbled into Heart for him, which I think is probably fine. But class? I guess I'd go with Heir. I'm not sure about the Becoming Aspect thing, I don't see how that fits, but heirs do have something to do with change. Kazuichi tried really, really hard to change himself (change his soul, aka Heart aspect) to be something he's not, and to change Sonia's obvious lack of interest in him. I'd be open to him being one of the classes where the aspects fuck them up, too. As for powers..... manipulation, basically. But in a fantasy power sense. Heir of Heart, role of the Innovator, archetype: Magician.

AND NOW FOR THE JUICY BEST BOY

You know he's gotta be a Hope player. You know it. He's gotta. Also, he's the Ultimate Ultimate and Ultimate Some Guy, and the protag, so he gets to be a master class. Muse of Hope! The ultimate inspiration for others, through the most passive means (just being himself). Muses are also probably tied to martyrdom, or need to die to fully activate their aspect, and he did pretty much die in the Kamukura programme, for the sake of "hope" aka Hope's Peak Academy's agenda. Hell, his super Sayian mode even sort of fits the colour scheme.

As IZURU, however. He flips into being a Lord. Most active class, absolute command over his aspect (which in this case, also means the Talents, since those were lauded as hope things even though they're sorta the opposite). Destroyed Hajime with his own "birth", therefore sealing the martyrdom part. Muses and Lords both also have to do with conducting, similar to how Hajime controls the trials more or less, and Izuru triggered the game's corruption then sat back and watched. Muse and Lord of Hope, role of the Master, archetype: the Conductor.

Additional:

Impostor is way too Void coded to be literally anything else

Sorry, Gundham, but you're not a Lord. Could be a Witch though.

Peko is totally a Knight of Blood (ayo karkat moment)

Nagito can be nothing but Light, with his luck, and a Thief takes from others to use for themselves, which is basically what he does. VRISKA KINNIE

I'm a Muse of Life myself! I actually literally got that on a test. I think it's pretty cool hehe

[dullgecko]

I've been thinking of flavoured coffees because it's almost pumpkin spice season and I was thinking about how Riz would either really like them or hate them. No in between.

Riz wasn't really paying attention to what was going on around him, the rogue perched on the edge of a dining room table at Mordred as he tried to sort out the mess that was one of Kristen's history papers.

Kristen had been sitting at the table with him at one point to at least try to look like she was doing her own homework but he'd sent her away when she started trying to spin pens around her fingers like he did. She'd failed badly enough that it had flown out of her hand and bounced off the goblins glasses with a loud thwaking noise, startling him into spilling his coffee he'd been mid sip drinking.

They'd managed to save their notes but now the rogue was sullen and cranky without his caffeine. His pen making clicking noises against his claws as he spun it around and around as he tried to focus on Kristen's terrible handwriting. He was tempted to just scrap the entire thing and rewrite it for her but he didn't think he could replicate her horrible chickenscratch convincingly. Plus, his mom had caught him doing one if Figs assignments for her last week and made him promise to stop; he had enough work on his plate already without doing his friends school work for them as well.

And so, here he was, doing the infinitely harder and more time consuming task of proofreading Kristen's work for her. He'd honestly had cyphers in his rogue classes that were easier to crack and the lack of caffeine was just making it harder. He couldn't even make a new cup because they were out of instant coffee, but hopefully Jawbone would be home soon with groceries.

Riz took off his glasses, holding them in one hand so he could lay his forehead against the relatively cold surface of the dining room table. Not looking up when he heard the front door of the manor open and someone sat down with a thump on the opposite side of the table from him.

He could hear them shuffling around his mess of balled up papers, most of them getting knocked onto the floor, before something was placed down in their place.

"I have brought you provisions The Ball." Fabian tapped the top of Rizs head, the goblin rolling it to the side to squint at the large take away cup now sitting next to him. His glasses hitting the table with a clatter as he grabbed the hot cup and dragged it over closer.

"Uuuugh yessss. This is why you're my best friend. How did you know?"

"Adaine sent me a prophetic warning that this would be your villain origin unless we acted fast." The fighter laughed when Riz made a noise of agreement, the goblin sitting up and taking a sip of the drink and immediately pulling a face.

"Ugh. I think /this/ might be my villain origin actually. What the hell is this?" He took another sip, the drink making his face tingle as the combination of sugar and caffeine hit his tongue. On second taste it wasn't bad but it certainly wasn't what he was expecting.

"One of those fancy flavoured drinks they have this time of year. Pumkin spice, but I think it's just caramel, nutmeg and cinnamon. No pumpkin at all. I thought it was quite nice." Fabian sipped his own, watching the goblins face journey as they drank some more and tried to work out if they liked it or not.

"Huh... alright then. I mean it's not /bad/ but I wasn't expecting it. Guess it caught me off guard. Thanks." He put the drink down, tongue darting out to lick some of the foam off his lips as he reached for his glasses. "Hmmm yeah. I think I like it."

"Excellent. Do try to pace yourself with it though. It's got three shots of espresso in it and enough sugar to kill an ogre."

Fabian, unfortunately, didn't know what kind of evil he had just unleashed though. Especially because now that Riz had gotten a taste of the fancy flavoured coffees Fabian preferred he wanted /more/. The only problem was they cost fourteen silver from the good coffee shop downtown, compared to the six bronze coins his usual sludgy gas station coffee cost him. Riz was in a foul mood for weeks when he found this out.

[shewhowas39]

rating: Explicit pairing: Astarion x f!durge (June)/OC fic summary: Between the nightmares, prophetic visions, and violent hallucinations, June is losing grip on reality, but she has enough awareness to know that Astarion's flirtation is part of some sort of con. He barely even likes her, after all. When she decides to call his bluff and play along, thinking he'll back down, she's surprised to discover that she and the vampire have more in common than either could have anticipated. And his touch might be the only thing that can keep her sane.

chapter title: Who Are You chapter summary: in which Halsin has answers, June makes a decision about the fate of Minthara, and we learn some definitely not tragic June lore. content warnings: canon typical violence, blood, mentioned (past) murder of children, self-loathing

A/N: here we go! time for some lore about this sad little durge - and also some Halsin bear!

***

PREVIEW

“You don’t remember me?” the druid asks. “I suppose it has been quite some time since I’ve seen you. You couldn’t have been more than ten or eleven years old at the time, but I’d recognize that hair and those eyes anywhere.” 

June stares at the remarkably tall wood elf, desperately trying to reach into the black abyss of her memory to find any recollection of this man’s kind face and wise eyes. But, much like with the familiar face of the man from June’s dream, she comes up with nothing. 

“Unfortunately, our sweet little Juniper tree here is quite the amnesiac,” Astarion says. “Try not to take it personally.”

“Amnesia?” Halsin says. “Oh. I’m heartbroken to hear that. Your grandfather was a dear friend of mine.”

“Grandfather?” June repeats. “I got a grandfather?”

“You did, though I’m afraid he passed on a few years ago,” Halsin explains, voice soft and full of grief. “He loved you and your siblings very much. He never stopped searching for you after…” He trails off, clearly holding something back, before asking, “Forgive me. I’m not sure how far back your memory goes.”

“Not even two full tendays,” June says as her mind reels, trying to process all of the words she’s hearing. “You said he searched for me? Was I missing?”

“Perhaps we should save this conversation for another time,” Shadowheart cuts in. She gives June an apologetic look. “We’re still surrounded by goblin cultists. And we still have these worms in our heads. We don’t have much time to chat.”

[mephestopheles]

Dear gods I love this season of d20. Junior year is just *chef's kiss* fantastic and full of so much anxiety. I keep thinking about Kristen and Cassandra and their relationship. Kristen from the first episode, or maybe the second after she met Helio has spent a lot of time with doubt as her constant companion. She didn't know if she was meant to be Helio's chosen, or that he was worthy of having a chosen. Her doubt led her to studying more, and opening up to philosophy and different points of view.

Creating Yes! was an attempt to find or create her own surety. How can she doubt a god that is just "yes!". But she still doubted, she still questioned everything.

This got long, the rest is under a cut!

And that makes sense, everything her family, her church told her was a lie. It was a perversion of truth to fit their ideals of who is Correct and therefore Good and Deserving, and those who are Wrong, and therefore Bad. And if the "bad kids" actually go out of their way to help people and don't judge anyone for their beliefs or punish others for their failings, then why are they considered "bad".

Of course finding a goddess of twilight and mystery and doubt, makes so much sense for Kristen. With the tools she learned from her friends, those "bad kids" to reach out and not judge, she saved Cassandra.

However, she hasn't saved herself. She's still lost in her own doubt. Tracker has left, amicably or not, that has hurt Kristen, and she's not innocent either. Kristen had a part to play in that relationship splitting, but she's definitely crumbling at this point.

What drew Kristen to Cassandra was her doubt, was her questioning. Her fear and her loss of all those connections that grounded her at the beginning of freshman year. And while Cassandra is correct, Kristen is not alone even in the dark, that Cassandra is there with her, holding her hand (which is such a good line, Brennan omg!) Kristen is having trouble believing in anything.

She believes in Cassandra. Full stop.

Kristen doesn't believe in herself. And she doesn't know why Cassandra believes in her.

It's that ADHD thing, where you feel like you're constantly fucking up in everyway and it's just a matter of time before you fuck up that this person is going to see how much you actually suck as a person. No matter how much you want to stop fucking up, subconsciously speed running it at least accomplishes two things. One) self sabotage gives you an outcome you already know the steps for and the sense of control (false or not) is at least enough to make it feel like a safer choice. Two) it's going to suck when the person you're trying to impress/has control over your grades/ is somehow in a position of authority that believes in you, finds out you are messy, and a failure, and are useless, but at least if they find out fast, you don't have to keep some ruse up.

Kristen isn't conscious of this decision making. Take it from someone who's done it enough to realise that this is what is happening in the background. It sucks so much, and when you don't know you have ADHD it's worse, because all of those are now personal failings.

So of course Kristen has no idea how to relate to Cassandra as anyone other than "the next person I'm going to fail". And she has no idea how to proselytize for any god outside of Helio, and that kind will not work to bring followers to Cassandra. Moreover, Kristen's entire relationship with Cassandra is based on doubt. So while Kalina is correct that promoting the powers found in twilight and mystery, that's not what Kristen sees.

She's still very much a prophet of Helio in Cassandra's robes. She's still using the same kind of spells, and she's so caught up with "how do you show others that doubt is a good thing" that she doesn't see the other options.

And unfortunately that means she's failing, and she feels it. And that doubles her terror. And that's not even including the whole "you're dangerously close to being expelled." Like this would be the instance to literally beseech your god and admit your fear and doubt and Cassandra would understand and would probably be empowered by that connection. It would have the reverse effect with Cassandra than other gods, she gains from doubt and mystery, and Kristen sharing her fears and not knowing how to share Cassandra could be such a good thing for both of them.

But Kristen was raised in an environment where doubt was punished. That was unfortunately reaffirmed by walking away from Yes! because in her mind her doubt of Yes! and that deity's death is her fault because she doubted.

But doubt isn't the reason Yes! died. Yes! died because it was the manifestation of belief in a liminal space by a questioning teen, and should not have had the ability to substantiate something, and wouldn't have been able to outside of the very specific circumstances of a Beardsley nat 20, and the power funnel of a self resurrection. Kristen didn't believe in Yes! Never did. She created it and in that instance stopped believing in it. Yes! Had a slow death of "this is not what I wanted but I don't know how to say that".

I don't know how this is going to turn out for either Kristen or Cassandra, and I'm hoping that there's going to be a reckoning for them, and maybe an understanding between them. Like both are so traumatized. Cassandra is traumatized for losing so many followers to Galicaea and other deities.

So of course she's going to be that much more fixated on getting more followers and making sure that Kristen hadn't left for her girlfriend's goddess. (Ex or otherwise).

[roseofhybrids]

Silly idea: The Disassembly Drones act as overprotective caretakers to Human Uzi and want to make sure that she is safe and sound until she gets extracted from the planet. Unfortunately the only place she can survive on it is the bunker where the worker drones live, and since they can’t murder them since Uzi would then refuse to cooperate they have to settle to an uneasy coexistence.

Would fit perfectly with N's personality. Like when your dog or cat decides to follow you to the kitchen or bathroom even though you'll be coming right back to the living room in just a minute. Can even keep the "quite saving me" line in.

As for V, while she is hostile in the original, how she'd act around human Uzi is up for interpretation of her character. We can see she has a habit of round about protection with N, trying to keep him from remembering what happened back at the manor and digging too deep into the solver. And we start to get a glimpse of her being protective over original series Uzi in episode 6 now that she's warmed up to her. So I could see her being overprotective, probably creating conflict be over reacting to anything a worker drone does around Uzi.

Then there's J. There are two ways to go with her, either she sticks around to oversee this new protection mission, or you kill her off again to send her to Tessa like in the original. If she stuck around, I feel she'd act like a cross between a helicopter parent and bodyguard, much to Uzi's annoyance. J's strict, all business personality could easily lead to treating her more like a prisoner than as a ward. Personally, I lean slightly more towards killing her off. I would be fascinating to play with the idea of her as Uzi's unwanted protector. But if she's killed off, it could make for an interesting encounter with Tessa. If killed off, J could give Tessa a very biased explanation to Tess about the situation. And if you really want to go crazy with it, you could have Nori be involved in killing her, meaning J could tell Tessa that Nori is infected with the Absolute Solver. Creating a similar situation to what's happening between Tess and Uzi in episode 6.

Speaking of Nori. This opens up a gold mine of potential dynamics to explore between the disassembly drones and Uzi's parents. How would Khan and Nori react to some sky demons becoming overly protective of their daughter? We know Khan to be a big ol coward in the show, but now that his wife hasn't been killed by them. How would that change his reaction to them? Then we have Nori. These are the monsters she's been making prophetic drawings of, and convinced her husband to construct giant doors to keep at bay. Now they're hanging out in her living room watching her daughter like hawks.

I think the dynamic between Nori and V would be especially interesting. We saw how V reacted to learning Uzi has the solver in the original. Now she's meeting a solver drone that actually knows about what the Absolute Solver is and what she's doing. Depending on how you want to interpret what we've seen of Nori. She may also know about CYN from when she was taken over at the labs. She could also know a lot more about the disassemblers right off the bat. Not that's she'd be too open to sharing that info. She'd have good reason to keep the solver at bay to protect her daughter.

Which creates both a hostility between Nori and V but also a shared goal of keeping as much about the Absolute Solver from N and Uzi as they can.

And then there's Nori and Tessa. That scenario is absolutely rich with possibilities.

[chernabogs]

This was originally meant to be put out in October for Halloween but what is time management anyway?

SORTIGER

Inc: The Dark Mirror, Crowley, The Fairest Queen, some Draconia's sneaking in there (can't escape them) WC: 1.9k Warnings: Some depiction of violence Summary: He was as he had always been, and he knew no other way—for the concept of anything other was quite beyond his comprehension. (or: eldritch horrors your dark mirror <3)

He recalls the time before. 

In the vast expanse of black in which he dwelled, corporeal but conscious of such, only the dim glow of suns thousands of years away guided him forth. The hum of the void was his calling, and his presence was a mere brush of stardust in the night. He was as he had always been, and he knew no other way—for the concept of anything other was quite beyond his comprehension.

It was within this vast expanse of black that he first witnessed the event that is the unexpected, and frankly quite messy, act of creation. The world of Twisted Wonderland was not crafted by hands in a slow, harmonious fashion; it was shoved into being with a flash, a bang, and a disruption of the peace until suddenly it was there in its spherical form. It startled everyone who was capable of being startled, as it was something that happened in a realm where nothing ever really changed at all. 

He did not approach it first. That was one of the other hidden ones. They slithered forth in their serpentine form to taste this new offering, to feel what would become known as soil and inhale what would become known as air. In the beginning, Twisted Wonderland was a time of opportunity—a time of new growth that those who had existed so long now had forgotten. After the serpent, another crept down, and then another, until only he was left alone in the darkness. His form turned, and writhed, and debated what would be best to appear as until he finally descended in the shape of a figure like the denizens of the land, with a porcelain mask upon his face. 

In the time that it took for him to settle, the others who had come prior had already left their marks upon the land. ‘Age of the Gods’ did the occupants so accurately coin it in their fables and tales. He bore witness to the ones he had never seen before now parade themselves as superiors, claiming that the gift of magic they had bestowed upon a few now let them hold a debt over their bodies. Considering this, he avoided direct involvement with either party, choosing to be more of a vagabond than anything else. The only time he interacted with anyone was when he told them truths. 

Sortiger, he was called. Deliverer of prophecies to the masses—so long as one knew the right words to use.

He didn’t consider himself a prophet, but rather just a being that knows truths. He wandered area to area, devouring experiences he was deprived of for so long, and which this land was now giving to him in abundance. It was a liberating experience that he would not trade for any luxury that the others so hounded for. 

Sortiger, as odd as it was, also served to be the chains that bound him in the end. Magic was a gift granted to a few to provide them the tools for easier living. Unfortunately, man is as cunning as he is ambitious. If one were to hear tales of a travelling prophet, what else would there be to do then try and bind them to you somehow? There is power in knowledge, and infinite knowledge means infinite control.

___________________________________________

It was a tailor’s apprentice who tricked him, in the end. A young woman with her needle and her thread who clothed him in a false sense of security. He was unaware that she was one of few blessed with the gift of magic. Or perhaps he was aware, and he simply chose to ignore that intuition in place of emotions, instead. It mattered little in the end—she had lured him into her trap like a spider in wait, and then paralyzed him when the moment was exactly right. 

There’s magic in mirrors. 

There always has been, even before the idea of Twisted Wonderland was born. He recalls vaguely the shimmering reflections of dust in the stars; it was one of the few times he was able to see his form—a writhing, black mass, dripping ichor with a burning heart that pulsated with each bit of life that crept through his veins. The sight always unsettled him because there is no hiding who you are before an item that is meant to show you in full. 

He had fought. 

Naturally, he had fought. He was a being of unmeasurable power that was not meant to be confined to a singular realm. He had screamed unholy screams and tore at the glass with nails until they broke, and split, and bled that ichor that so dripped from his body when he was unbound, and he was free. He had spewed curses and words with a blackened tongue, his porcelain face warped in rage and, worst of all, heartbreak. 

This ire and this power are why, in her cunning, the tailor’s apprentice did not confine him to one place. There is a concept that humans share known as a panopticon; a circular platform meant to serve in prisons so one guard can keep an eye on everyone at once. 

He was not trapped in a singular realm. He was instead trapped in multiple at once. He was held stagnant with thousands of mirrors surrounding him, showing the thousands of lands that he could have walked had he listened to his instincts instead of falling into the honeyed trap of gentle words and gentler touches. There was no ceiling, there was no floor—it was as though he had been returned to that void from whence he came. 

So it goes that even gods fall prey to the whims of love. 

He considered it a mercy, then, that he did not remain in her possession for too long. After all, if one were to hear tales of a prophetic mirror, what else would there be to do then try and steal it somehow? 

But it was not a mercy to bear witness to the destruction that followed henceforth. Villages consumed by flames, steel finding more familiarity in the bellies of innocents than a blacksmith's forge. The tailor's apprentice had been slaughtered to gain access to his mounted form; if he had been free, he would have saved her, he would have wrapped her in his power and carried her to the stars above. Instead, all he could do was look in the mottled face of her killer as bloated lips tried to coax a story out of him. 

It went like that. 

From soldier, to merchant, to captain, to priests. He found himself meeting the most privileged in one moment and the most deprived the next. At one point, the term mirror, mirror, became synonymous with his existence and the prophecies he was meant to give. It may have been initiated by the woman that held onto him the longest. He met her when she was still a young girl, the crown on her head not as grand as the one yet to come. The fairest of them all—until her heart became warped with a combination of both paranoia and hate. She was as stunning as a portrait right up to the moment she met her end. 

___________________________________________

This all has little relevance. 

If one see’s enough faces, they begin to lose the ability to discern them. He has been bound in this panopticon for so long that he no longer has a comprehension of time, or of the worlds he examines. At one point, his mask begins to change—from smooth porcelain to one with a lace patterning upon his brow.

There was a princess he had met once who had a similar pattern on her face, though hers was of scales and not lace. He had not received her name, nor had she asked him any questions. She had stared into his reflection, her crown wrapped around the proud horns on her head and her eyes reflecting a sense of exhaustion that ran deeper than surface level, before she had simply turned away.

No mirror, mirror. No demands. Only a glance, and then she was gone into the night. 

He considers that encounter the reason he ended up at Night Raven College. He sees that woman once more in the form of a boy who approaches him, a pair of proud horns on his head and his eyes reflecting a sense of anxiety that runs deeper than surface level. He considers it fate to be here once more—even though fate is but a vague manipulator to a being of his stature. 

He considers it fate, too, when he encounters the human. 

“Are you certain there’s no way home?” Crowley murmurs when the students all depart to their dorms. He studies the equally masked face when asked this question. Eons of existing has allowed him to recognize one who deceives without much effort—not that it’s his place to call the man out. He must be asked the right question to do that. 

“Again.” He responds, voice lower and colder than the one used for the students. A small mercy. Crowley’s golden eyes narrow with their own darkness, which so often hovers just inches from the surface. 

“Mirror, mirror, born from the unknown—is there a way to send the student home?” Crowley then drawls out, his voice dripping with contempt at each word he utters—such a stark contrast from the usual upbeat man he presents himself as. He must keep a smile from touching those porcelain lips as he affixes a blank gaze.

“We are not the ones who have the ability to do such an act.” He replies, the answer as blunt as ever. 

What many do not know is that a mirror is not only a means of accessing a different location. Although he has serviced hundreds before to travel from one place to another, many remain unaware of his ability to let them travel from one world to another. He can never leave himself—the tailor’s apprentice made sure of that—but that doesn’t mean he can’t guide others. 

She knew that—the woman who looked like the boy with the proud horns on his head. Not the princess, but instead someone older—someone who knew him when he was still with the fairest queen. 

Queens are cunning—he has come to learn this over time.

Crowley clicks his tongue in disagreement. It’s a sharp, jarring sound that echoes in the empty chamber as he turns away to march back to the door. This inconveniences him. He has a plan that he’s attempting to follow, and the presence of an unknown variable is throwing that all off. 

Is it pitiful? The mirror considers it quietly as the chamber door slams shut. The bubbling of the green fountain at his base remains the only source of noise left. The unknown variable may construe Crowley’s plans, but he knows that it would benefit him in the end. The woman had known that too. It was why he had let her do what she had asked. 

He pulls his face back from this mirror and turns his attention towards the thousands of others that surround him. All of these lives, all existing with the freedom of movement, of choice. 

He will join them soon. The lace on his face feels more prominent then ever, and he knows, he will join them soon.