#strong character being vulnerable is my number one weakness... she's been through so much... I would kill for her ;n;

[blisschi]

Hi, can i request a zhongli x male reader angst to fluff hanahaki au where male reader was a God a long time ago who died to hanahaki because of zhongli and guizhong, but male reader is resurrected as a mortal and zhongli sees them again

Hey! I'm not completely sure if that is what you meant nonnie, but this idea was stuck in my head for a while now and I just had to write it! It's certainly not one of my best pieces but.. I hope you like it.. 💕

🌸In another life🌸

Pairing: Zhongli x Hanahaki! M! Reader

Warnings: Major Character Death, Angst to Fluff..? I think.. It's really bittersweet.

Notes: u_u ... I can't english

Zhongli turned his head towards the storyteller, who clearly caught his attention with the words that just left his mouth. Although for most people it was unknown, forgotten, Zhongli never forgot a single event in the story he started.

"Once upon a time, there was a young god who loved every creature in Tayvat."

He lowered the cup that he was holding, focusing his attention on the words of the story.

They always started out the same.

"The god that loved every creature in Tayvat, the same god that would offer everything to everyone by his love, lost life."

They always ended the same way.

Zhongli closed his eyes and took a deep breath, remembering the moment he met the young man with a smile on his face.

The man told him that he was visiting Liyue out of sheer curiosity, and that he was coming back to it out of curiosity as well.

"Do you think I could be any kind of a threat to you?" You laughed softly, turning your head towards your friend. Although you were a weak god and you were far from strong, somehow the Geo Archon decided to devote a moment of his attention to you. The moment that sprouted into feeling.

Morax smiled slightly and walked closer to you, gazing out at the sea of ​​clouds.

"Things that are dangerous, not often have to look like a threat."

Just like love.

Love can be beautiful, but won't it turn into poison in the blink of an eye as soon as you lose control of it?

Like flowers, can delight with their amazing charm, when their roots must dig into the very center of the heart, almost breaking it.

"He taught him to understand."

"The young god introduced himself by the name [Y / N]. He befriended Rex Lapis, despite different views and observations." The storyteller continued.

Zhongli looked down at his cup, half full of tea. His mind was full of the thoughts he always chose to leave to himself. He thought that from the mortals, he probably would never hear this name again.

Morax sighed softly, smiling as you pulled his hand along the fields of flowers. He never really understood why you loved them so much, but he could accept that the time you spent with them made you feel relaxed.

"You have some really beautiful plants here, you know?" You laughed as you let go of his hand and ran to one of the trees, immediately sitting under it. The other male calmly approached you and watched as one of the butterflies sat on your finger.

Maybe it was your charm that all creatures loved so much? Until then, he was unable to answer this question. Why did he choose to protect you? Is it because he really thought you were a dear friend to him? Maybe it was because you seemed so vulnerable and weak, just making him feel pity.

You lifted your hand up, showing the creature to your friend. It's wings were golden that gleamed like the light of the setting sun.

"It's so small. but it was not afraid to sit on my finger.. just like I was not afraid to make contact with you, Morax." Glistening pupils looked at you now, taking their attention away from the butterfly. "If you wanted to, I would have been lying underground a long time ago. If you only thought that I was a threat.. ha.."

You laughed softly as you watched the butterfly fly away from your sight.

"You wouldn't hesitate to attack me, would you?"

"He taught him to look up to the future."

Sometimes being weak has its advantages. Not everyone sees you as their enemy, the stronger will usually ignore you, or offer help caused by feelings of pity. Pity over your existence and weakness.

Where do you see this land in a few hundred years, Morax? It was one of your first questions to him that he had to think seriously about. Of course, he cared about Liyue, but admittedly he never thought about what everything would look like in the future.

Will he still dominate these beautiful landscapes? Will he still be able to be called their Archon?

"He taught him to take care."

Zhongli smiled, closing his eyes. He would never have thought it would end this way. True, his life was not over, but the divine era certainly came to an end. People, although weak - will cope.

A soft laugh broke the silence in the room as you ran one hand through the god's hair. This was one of those days where you spent time together, without any worries. You gently braided Morax's hair, smiling to yourself.

"Maybe you should wear this hairstyle more often?" You asked, gently tangling some pieces of flowers into his hair. He just closed his eyes and relaxed in the feeling of your touch. Your hands always seemed extremely delicate. "No? The great god who rules over all Liyue doesn't have time to spend a few minutes making a hairstyle?"

"I didn't say anything." The man sighed and turned to face you. "Why should I worry about a trivial thing like my hair?"

You raised your eyebrows and tilted your head slightly, apparently surprised by his answer.

"Isn't it nicer to look at Liyue when everything is in its place?" You asked, getting up from the ground and placing both of your hands on his shoulders. "If you take care of every smallest element.. eventually these elements will fit together and create perfection.. No matter if it is the perfect weapon.. power.. or hairstyle.."

You were happy watching your friend become attached to more people. At first you enjoyed it, you thought you helped him open up to the world. On your journey together, you met a large number of amazing beings, but suddenly one goddess appeared that seemed to take the person dearest to you away.

"The young god taught him feelings that Rex Lapis did not understand before. He helped him open up to new things, to new people."

Zhongli gritted his teeth as he remembered the rest of the story. Even though you taught him so much, he still understood so little back then.

"[Y / N] had feelings for Morax stronger than to any other being. But it was not his will that made the love strong." The storyteller continued, drawing the attention of more people. "For one-sided love is the strongest. For one-sided love hurts the most."

Goddess of dust, beautiful and gentle, good-hearted and wise. She was a weak god, just like you, maybe that was why Morax had paid more attention to her back then? Maybe he forgot that in fact your strenght was nothing, but his presence near you. He spent every free moment with the goddess. You dreamt that he could give you more attention, but apparently it was not given to you.

You taught him so much and all he offered you was jealousy. Jealousy was eating you from the inside as you saw the goddess slowly pull Morax towards her. It hurt your heart when you had the opportunity to meet a man less and less. But you yourself didn't have the heart to stop it all, because you knew that this goddess meant well for him.

You understood that it was easy to fall in love with someone like him.

"The years passed, the gods drifted apart. The young god was helping Rex Lapis to understand the newer and newer feelings that the goddess had helped him to experience this time."

You understood that you are not the only one who deserves this feeling to be returned.

Zhongli shook his head and opened his eyes, staring at his reflection in the already cold tea. If he knew you thought so.. If he knew he was slowly breaking your heart while spending time with the goddess, it would have all ended differently.

Anyway, it never came out of his mouth that they were 'just friends', it never came out of his mouth that they were something more..

Zhongli clenched his fist, remembering your last moments with him. He remembered your tears, your painful, but smiling face.

"Over time, his feelings did not diminish, but bloomed like the flower buds that he admired so much on his first visit to Liyue. The feeling became unbearable, breaking his heart, hurting him, making him even weaker. The young god then wanted the feeling of love to become something alien to him. "

He remembered you asking him to tell you one of the old stories that he once told you at the beginning of your friendship.

"Why do you suddenly want to hear it? I must say, it's not one of the most interesting ones.."

You laughed quietly, but apart from the laughter, a choked cough escaped your mouth, which you tried to hide with all your might.

"It just.. this story really brings me good memories.. remember? You told it to me when we were sitting under the same tree.. years ago.."

Morax closed his eyes and leaned against the tree, staring up at the sky.

"Well then.."

Zhongli stared at his hands placed on the table in front of him. If he himself lost his life, would he be able to meet you again?

"It was their last meeting. The young god left after him nothing but flowers, which slowly choked him from the inside. Rex Lapis never lost the abilities he had received from his friend. Rex Lapis never forgot, he carried his feelings to the end. One can only hope that after the death of the God of Geo, the two met again."

"Master Zhongli, right?" A soft voice snapped him out of his thoughts, making him look up at the person that called his name. "Can I sit here?"

A joyful smile on the face of a stranger, unusually similar to the smile of a young god who left this world many years ago. The same gaze, that looked at his face with love and affection.

Zhongli nodded slightly, not taking his eyes away from the face of the newly met person.

"I see you here a lot, so I figured I'd introduce myself!" The male laughed, painting a smile on Zhongli's face as he reached towards the consultant. "[Y/N]."

"Maybe in another life, they'll be happy together'."

[uponrightful]

So, I love possessive, jealous Crosshair 🥵 Tell me about this scene (please?):

“Trouble doesn’t suit you, doll.” He murmured lowly, soft voice contrasting the slight pressure over her pulse point and the swell of her hip. Crosshair was all-consuming and Dutch was weak to do anything but try to stay silent under his pressing weight and commanding presence at her back.

Also, I’d love to know what Echo was thinking once Cross went to the fresher after Dutch.

You’re the best! 😘

Commentary Track for Coriolis Effect

Copy 500 words -or more- of any of my fics and I'll give you my thoughts/rambles on what was going through my head -or the character's- when I wrote it!

*send one in here anytime!*

My oh my! 😍 What spicy scene we have here. I'll start with what's going on with Crosshair first, then I'll come back for Echo and the rest of the Batch. haha

***

Crosshair is fuming with rage during his conversation with Echo: It's that kind of bodily energy you get after watching a action-movie, where your whole body feels tired, but it's twitching with adrenaline that can't be spent or released. That kind of feeling you can't get rid of no matter what you do to ignore it, or work through it. Your mind feels like it working so fast that it's in slow-motion, overanalyzing the smallest details until your grinding your teeth because there's nothing else that helps relieve the pressure.

But the second he enters the refresher all of that energy snaps from anger and fear for Duchess, into dead calm. His inner voice stops screaming and evens out in tone and his hands stop shaking. His breathing slows and the second Cross sees her standing there, it's like he's been meditating deeply for hours. This kind of concentration is only present in Crosshair one other time... And you guessed it. When he's shooting.

Note: This is the epitome of Crosshair's ability to manage impulse-control in unfamiliar -and stressful- situations. Key-word here being "unfamiliar." I firmly believe that Cross is painfully terrible at monitoring and expressing his emotions. He has so many of them all the time that from a young age he had to learn how to turn them off in a moments notice, simply so he could survive. Think about it... How can a sniper worry about his brothers dying right before his eyes and still make clean shots? Not even Crosshair can do that. So the second he's certain Dutch is safe -by visually proving her health- that well-trained nature takes over to protect him like it always does.

Crosshair -at this point- isn't sure what he wants. He needs to touch her though, remind himself that she's tangible and within reach. Not that he isn't aware of his effect on her, but this moment isn't about sexual appeal or attraction. This is desperation, and Crosshair knows that; He's just banking on the hope that she'll let him, because she's always done so. He feels safe with Duchess, and even though this feels/looks sexy, Crosshair feels completely vulnerable right now.

Note: I will say it now; Once and for all. I have never subscribed to the idea that Crosshair is a typical Dominant/BDSM/Sadisim kind of guy. And the distinction is all to do with motivation. I've spent a lot of time trying to figure out why he acts the way he does, and how that manifests itself. So when I planned this scene, I wanted to focus on just how strong his desire to have security is. Not prowess, or control. It's all to do with the desperate need he has to prove how he feels about her. That kind of vulnerability just comes easier to him physically than it does emotionally. Duchess gives him a sense of stability -in and out of the sexual sense- that makes his characterization insanely complex and difficult to balance.

The moment he finds his words, it's a compulsory need to cover his own jealousy. Crosshair is undoubtedly unhappy knowing she went out with Regs... but what's really bothering him is how easy it is to feel so strongly for Duchess. Every time he speaks, it's intentionally driving attention towards someone else, and away from his own desire to be the focus of her attention. Cross uses his fear of her being unsafe to mask the jealousy that constantly compares himself to the others who can give her attention more freely than he can personally. Duchess sees his calm nature as patience and precision, but it's really Crosshair planning out what he's going to say because he knows one wrong move will reveal just how desperate he is to have her acceptance of him.

Note: I've never struggled to balance possessiveness and love like I have with Crosshair. He's so intense that if I'm not careful, he comes off like a walking red-flag. Word choice is essential when getting Cross' character and reactions right. Whether it be the way he talks to her, or the way he naturally falls into a protector role. That's why when I'm writing for him, it takes double the time it does to write anything else. Every movement, every word he says, needs to be written like he says it in the moment. That's the only way to show his softness... because the love that he gives is best felt in person. You can't describe Crosshair's love with words easily.

Now for sweet, sweet, Echo.

Let me preface this by saying: Echo is his brother's keeper. There is a relationship there that goes far deeper than the ones Crosshair holds for his other brothers. It happened slowly, but it wasn't until the two of them were too far into it that either recognized what had happened. Their personalities are something that wouldn't really mix on first glance, but for some reason or another, they just get each other. It's natural, and they gravitate towards each other.

That being said, Duchess and Echo are their own kind of dynamic. I see them as the "platonic-soulmate" kind. She has an intensity that Echo marvels at, and Dutch knows she could take any problem to him and he would do anything to help her. They both see something in the other that they wish they still had, or could develop. It's probably the purest friendship Duchess has ever had, and Echo can't help but harken back to Fives when he sees her attitude -in future chapters.

Note: From the first moment I created Duchess, I just knew in my heart she was meant to be something special to Echo. To me, it was only right that Crosshair's doll would feel strongly connected to Echo as well. Add in their common feeling of loss for brothers, and that just made their relationship that much stronger. She's such a force, and the ARC trooper can't help but find a enamorment with people who have such a strong will and fiery personality. (See Fives)

The moment Echo sees Crosshair, he's already preparing to do anything necessary to protect Duchess from incurring another possible hit to her bruised emotions. Echo trusts Crosshair, but he's highly attentive to Cross and how raw his emotions are. Their interaction is based in Echo's desire to save the couple from losing the chance to do things the right way. Intuition and experience guide Echo through the whole conversation; He really is flying by the seat of his blacks here... But he's so well-versed in reading Crosshair that none of the other Batcher's even think about offering to be the first one Crosshair faces when he comes in the bunk hall. Echo has unmatched faith in Cross, and this was something both of them knew would happen.

Note: Writing this scene was challenging for a number of reasons. For one, neither Echo or Crosshair really talk a whole lot. They say what they need to, and that's the end of it. So I spent days watching Echo and Crosshair's interactions. Trying to figure out what I could based off the -very little- examples I was given. In that, I found that the two of them hardly ever stand next to each other, but they're constantly sharing glances and looking at each other. Echo and Crosshair have silent conversations all. the. time.

Had Echo not allowed Crosshair to go and see Duchess, their sexy scene would have never happened. (And I played around with that idea very seriously...) Ultimately, Echo's intuition was the deciding factor. That conversation, and Crosshair's attempt at honesty was the reason Echo felt confident in letting him speak to her. And although Echo could sense Crosshair's patience running thin, he'd already told the rest of the Batch to be prepared for any fight. Echo wouldn't put it past Cross to stun him, but a gut-feeling kept him from mentally preparing to do the same thing.

Additionally, it was Echo who made everyone leave the bunk hall. The second Crosshair and himself reached an agreement, Echo was the first to step away. His next move was to shove the rest of the Batch out the doors and give Duchess and Crosshair the privacy needed to work through their shit. And although he expected it to end in sex, the desire to keep their business between them alone was Echo's main motivation to empty the bunk room. Neither Crosshair or Duchess really trust the Batch at this moment -in Echo's mind at least- and risking their privacy wasn't something the ARC would stand for. In the back of his mind though, Echo was terrified that Crosshair would fuck her and leave it at that. He's seen the sniper at his best and his worst, and although his best is wonderful, his worst can be miserable to endure. Echo was praying that Crosshair wouldn't be too harsh -physically and mentally- on Duchess.

When Hunter finally decided enough time had passed, Echo was on edge to see just where the two of them would be. The image of them sleeping in separate bunks: Crosshair pretending to sleep -like always- and Duchess laying quietly and pretending like nothing happened shook Echo to his core. But the second he saw her bunk in a disarray, and her not in it, Echo couldn't help but fucking grin. He was proud of his brother for doing the right thing. For doing something for himself, and not worrying about how it would make him look for once. Add in the way Crosshair reprimanded Tech, and how deathly serious he looked with her sleeping peacefully against him...?

That was the moment Echo knew for certain that Crosshair was never coming back from this. He saw a visible change in his brother, in the way his attitude changed. The way Crosshair wasn't worried about himself, or attempting to hide behind sneers and sarcastic comments. Echo noticed how attuned he was to her in that moment, putting her comfort above all else. For a man who pretended to not care about anything, Crosshair did a terrible job of hiding his true personality when Duchess was curled up into him. And Echo couldn't be happier, knowing that his trust in Crosshair hadn't been for nothing. Not only was his brother experiencing love in a way that all of them desired, but Duchess was never going to live with the question of whether or not someone truly cared for her.

***

I hope this was what you were looking for in-terms of answers 😅. I had a great time writing this for you, and I hope you'll feel comfortable doing this again whenever you feel like it! I love sharing the behind-the-scenes stuff with you! It makes the cuts and editing feel a little less sad knowing I might be able to share some of it with you anyways!

[rinharu-purple]

Emmm 👉👈 can i request Gavin's spring festival date analysis?! Ehem especially when Gavin said "I've waited a long time for today.." 💙

But Of course if you're not busy.. I'll wait patiently.. I just.. love read your analysis 💙 like i can feel your love and dedication for Gavin.. a lot of Gavin stan is very smart and loyal.. just like Gavin itself

Hello nonny and of course you can! Thank you for your lovely ask and reading my posts. It makes me really happy to hear this 💞 I can also double up what you've said, Our birdcop is smart and loyal and I really love being a part of Gavin-standom which includes so many talented writers, artists, analysts and it has @cheri-translates! There are so many great posts from various accounts and one can feel the love, passion and loyalty towards Gavin in all of them! 💫

An analysis on Spring Festival date is so overdue, so it is me who should apologize for not having written this before. I will more than gladly include your request scene, I hope you enjoy it ^_^

MC Testing Waters: Spring Festival Date

At the beginning of the game, MC is a young woman with lots of love in her heart, however without much experience in love. Fortunately this starts to change when she meets LIs as adults.

Spring Festival Date takes place after Firework Date and before the Romantic Date, although the timeline is quite messy, which I will come to by the end of this analysis.

If you look closely, you can see MC checking Gavin's romantic feelings towards her by using this "boyfriend game" and also uses the opportunity to get beyond his hardened exterior and touch his vulnerable side 💗

Spoilers start below this line

This date comes to, because MC lies to her aunt about having a boyfriend to avoid arranged blind dates and even promises to visit her on New Years with her boyfriend. Speculatively it seemed like a solid play, until...the time literally came.

Thinktanking about a way out of this with Kiki and Willow, they weight different options as to tell them she broke up with him, leave the city or call in sick but then the best wingman on earth Minor saves the way and suggests that she just takes a "fake boyfriend" with her, surely enough with Gavin in his mind.

MC goes through her contacts list to search for a suitable candidate, but her heart Whispers her the answer by skipping a beat as her fingertips scroll down to one name.

... Gavin

As such... MC has chosen her player for the game and Gavin's Heart Trial with MC's family commences...

---Press Start---

Creativity Test

Unluckily Gavin actually shows up for this highly important date late, with his phone off! From the storyline he arrives a couple of minutes late to MC’s aunt's place, thus starting the game one point behind. He was late because he was buying presents for the whole family! With the spot on gifts which are well received by the family because they're expensive, imported goods, limited products, cute and thoughtful he makes up for the lost points.

But it's just the first stage and he has 3 more stages to clear, the pressure is slowly rising.

This gray suit has a lovely story behind it, which you can find by the end of the story.

Decision Test

Gavin has passed the creativity test with flying colors, but in the second stage more challenging questions are on the menu. The eldest aunt wants to know Gavin's age, occupation, salary(?!) and possessions(?!). The last two questions are fairly over the line and is a no-no in my country. Asking people about their financial status as well as bragging about it is perceived as rude and insolent, that's why the way Gavin answers these questions skillfully without bragging about his wealth adds just another brick on my Gavin-temple.

Age: 24

Occupation: Police Officer

Salary: Covers the bills

Possessions: A flat in the city and a motorcycle.

In my Prank date analysis, I've mentioned about Gavin's ability to deal with impertinence and also here, he stays friendly, but only answers the questions necessary to get through with the situation. MCs family is checking whether he's wealthy enough to take care of MC (which is sad that in the 21st century that in some countries women need to be financially secured by men). So Gavin just gives them just the right enough of information to pass the test and pass he does.

There is another aspect to his way of answering though. You see, Gavin is an unmaterialistic man. He doesn't care about money or any other meta. He doesn't touch upon the fact that he's coming from a wealthy family, or that he inherits his grandparents house or that he can afford designer dresses, overseas travels or gems without giving a second thought. That shows just how humble Gavin is and I love him for it. What defines him is not his wealth, nor does he allow anyone define him on his financial status. It's his character, the values he stand for, the vision he embodies, the way he treats MC.. Ehm.. And.. His champion body and drop dead gorgeous looks (comes as an extra;))

But the game is far from over, because the family council is now going to challenge him on...

Affinity Test

This is where things get rosy as the family would like to know how they've met and whether they've been together since high school.

Look, Gavin is actually not playing a game, but living the moment. He is well aware of the fact that once he and MC become an official pair, he will be standing on the same spot a year later. He is serious...

So when they ask about their affection, he gives them his genuine answer and confesses his crush on her during high school and says that they've been going out since fall. This dazzles MC, as if she hasn't been dazzled enough lol.

The three glasses of drink he gulps surely has a role in this sincerity and taking three glasses of a drink as a punishment also becomes a tradition for MC and Gavin in the future.

And so, he proudly passes the Affinity Test with flying colors, effortlessly. Only one more stage and he's done it!

Execution Test

Every hero has his moment, when the fight takes a gloomier turn against his favor and the odds don't look good as before when he gets a strong blow, that is when the family hits him with the question "Don't you get alone well with your family?".

This is Gavin's weak spot, his cryptonite, his bleeding wound and MC's family just pressed on it. What makes this scene so heartbreaking is not just the topic itself and we know why it is a sensitive topic for Gavin but also that Gavin actually tries to signal them that this is not his favorite topic. He tells them he doesn't go home for holidays (friendly warning number 1), the aunties pushes by telling him to take some meal with him to which he replies "Thanks, but that's okay. I've been away for a long time" (friendly warning number 2) the family pushes further and as a one last resort he tells them that during college he rarely went there and spent holidays working afterwards (friendly warning number 3). Sadly the auntie than ignorantly ask whether his family doesn't worry about him and now because he's given three fair warning shots which, he downright gives them a brief and resolute answer:

- No.

That's usually the latest where people with common sense stop digging in further. Unfortunately then the auntie asks whether he doesn't get along well with his family to which Gavin no longer responds. This is the perfect way of dealing with such people and Gavin has a very intuitive talent for dealing different people from different mindsets. Give them three friendly and fair warnings, still pushing? Then give them a last chance by one final brief and to the point answer, they choose to ignore the signal? Stop interacting, you can only waste time beyond this point.

The only problem with this situation here, is that these people are not just somebody, Gavin wants to win these people over, so he cannot just ignore them. But also he cannot do it without a timeout, so he goes to grab some wine. (God it makes me so sorry everytime he has to face his family drama or is misjudged. I just wanna hug him bring him hot cocoa, give him a backrub and bring spicy food for him. Luckily he has MC ^_^)

But let's not talk only about about Gavin, because MC is struggling too. And we should recognize her stick up for him with the most cherishing words:

-Auntie, you got it wrong. He is a decent and pure man and has come to my aid many time and in quite dangerous circumstances.

When she comes back however cannot find Gavin, once she does, a heartwarming moment blooms between them.

This scene is very crucial in Gavin and MC's relationship because this is the first time MC sees Gavin tired and flustered. She feels sad for him but also happy for herself, for she feels as though she gets closer to him, thus seeing the real Gavin. By the way she show him her genuine care, Gavins heart melts and kisses the back of her hand as a gesture and so the first intimate moment involving them having a kiss ensues. Furthermore, they show each other their mutual care, which brings them one step closer and this gives Gavin the only courage he needs to tackle the situation.

When our hero gets the courage and the stamina he need from his girl, nothing can stop him now. Having gatherer his strength, Gavin returns to the dinner table:

“I am so happy to be here with you all today. In fact, I haven't felt this atmosphere of family in a long time. I have a very strict father and a brother I seldom see...I don’t even know when I turned into such a loner. Eating alone, sleeping alone, doing everything alone...until I met her. It was a beautiful autumn day. The gingko leaves were floating in the wind. I was also going through a pretty dark time. But she saved me before I hit bottom...It’s she who told me I could live a stronger life. And it’s also she who told me I could live a more tender life. I never felt lonely before, until I met her. I started to get used to star-gazing with her, having dinner with her, spending the New Year’s with her. In the future, I'll give it my all to stay with her, to take good care of her and love her. I wanna make up many times over for all the times I wasn't there”

MC’s heart stopped, aunties eyes teary, the elder Aunt want his actions to back up these words and thus Gavin has a pass from MC's family. Now that he's won the game, it's time to collect his prize.

After they leave MC's aunt's house, our lovebirds walk together in the night full of fireworks and Gavin tells Mc that Minor has mentored him on being the perfect son-in-law, hence he was late. He also asks her what she would do if he didn't show up, to which she says that her intuition says that he won't fail her and he murmurs quietly:

- I've waited a long time for today.

Of course he doesn't repeats himself when MC asks him about what he just said. But that's what kept him going all night long.

He has waited for six whole years to meet her again, to stand by here, take good care of her and love her. Tonight, he could do them all by being her "boyfriend", giving his word to her family and having their blessings. He could see that she also cares a lot for him, worries about him and wants to be there for him. He landed his lips for the first time on her delicate skin and could give her warmth.

He could finally confess his feelings for her and say the genuine things he will only say to her.

So yes, he has waited for a long time for this moment to come and when it came, he made sure to grab it tightly.

----—----—---

Timeline issues:

- The order of the dates in the game doesn't always reflect the real course of events. The grey suit that Gavin wears is actually bought after Romantic Date, which takes place after this date.

-Even though MC plans this whole game to avert blind dates, but she still gets set up later on a blind date by another aunt lol.

Thank you once again for your patience nonny and I hope that the analysis proves to be worthy of your wait 💗

Masterlist

For MC's confession let me take you here

For Gavin and MCs relationship milestones here

For a fun trivia about this date you can click here

[mrslittletall]

For the writing prompt could ask for the 1 or 21 or 28 for Hollow Knight (maybe any of the 5 knights?) ?

Title: After the Dream ends Fandom: Hollow Knight Characters: Hornet, The Pure Vessel Word Count: 3.297 AO3-Link: https://archiveofourown.org/works/30159255

Summary: After the little Ghost has faced off with the angry god trapped inside of the Hollow Knight, Hornet is left with her broken mess of a sibling.

(Author's note: 1: “Please don't leave.” 21: Leaning against someone. 28: “You are gonna be fine.”

I am so sorry, but for some reason I read “for the Hollow Knight” instead of just “for Hollow Knight” and I noticed if FAR too late. Technically, THK is pretty close to the five great knights, so I hope you can still enjoy it.)

Hornet awoke from the grasps of her unconsciousness.

It wasn't a slow waking up, like waking up from a deep slumber, but a sudden one. For her, it felt like no time had passed at all. One moment she had been hurled into a wall, the next moment she was awake, groaning at the lingering pain in her head from the impact.

The next thing she noticed was the absence of any fighting noises. The last thing that Hornet had done to help the little Ghost, was pinning the Hollow Knight to the ground, giving them an opening. Right after that, her world had turned into darkness.

There was another thing that was absent as she took in the scene in front of her. The little Ghost was nowhere to be seen. All she could see was the infection that had stopped to pulsate and glow and seemed to slowly dry out. In the middle of it, she could see the Hollow Knight, bend over on the ground, their gaze directed towards the floor, their body shaking, their chest slowly heaving as they struggled to breathe properly.

Hornet didn't knew where the little Ghost could have gone, or if they even were still alive, but right at this moment, it didn't matter to her. She could search for them later. She needed to take care of the last family she had left, her older sibling, first.

Hornet rushed over to them and laid both of her arms on their shoulders. “Hey, are you alright?”, she asked. Not only a second later she wanted to slap herself for this question. She knew that the Hollow Knight couldn't speak, they wouldn't be able to answer her, and even if they would have been able to shake or nod their head at her, they were clearly not alright.

“What am I talking about, you are clearly not alright.”, Hornet spoke, maybe more to herself than to the Hollow Knight, because they didn't seem to have acknowledged her. Her gaze wandered over their body. The most noticeable thing was a whole arm missing, the stump that was left dropped flakes of the infection of the ground. Their chest didn't look much better, the infection had grown in large cysts there and they must have popped open, orange liquid running down the pitch black body of the Hollow Knight. There was a large crack on their mask, going directly through their left eye. The eyes that once glowed orange from the infection, now where black holes again, but the leftovers of the intruding liquid stained their mask like grotesque tears. It wasn't a nice picture to look at and that was only their physical state.

Hornet could barely fathom their mental state. They had been forced to lock away an angry god for... how long had it been? Hornet didn't have a sense of time anymore once the kingdom had fallen into some kind of stasis. It might even have been centuries... Hornet decided that a very long time was probably the most fitting description for the duration of their imprisonment.

So, they had been sealed away for a very long time, having to contain an angry god and... failed at that task. Hornet knew why. She had gotten all the ugly details, from him, before he had vanished. The Hollow Knight... hadn't been without a mind like intended, but had developed feelings and a will, and that had made them vulnerable for the infection. That was why it had leaked out.

Hornet looked into the dark eyes of the Hollow Knight. She remembered the time when they hadn't been half eaten by infection, when their mind that they shouldn't even possess in the first place hadn't been broken. She felt her heart tighten in her chest at the memories.

When she had been but a little grub and ran around the palace, finding them standing there, all regal, all stiff, all motionless. At first she had thought they were a statue and it had been a game to get them to react to her once she saw that they were, in fact, being able to move once her father had called them to his side.

The game had turned into something else once the Hollow Knight had started to react to her. Acknowledge her. They never had said a single word to her, now she knew that they had been made without a voice, but they had sat next to Hornet, listening to her blabbering about her day, having let her sit between her horns and sometimes they even had caressed her little head.

They had been her cherished older sibling and back then, Hornet hadn't understood why they had to go away, at the same time as her mother as well. She had felt so left alone, having lost her mother and her older sibling at the same time, with only her father being left and he... he hardly seemed to care about her.

Now that Hornet knew all the gritty details about their and her own origins, the tightness in her chest welled up into anger.

“You didn't deserve this.”, she spoke, cupping the mask of the Hollow Knight between her hands. “You sacrificed yourself for this doomed kingdom and nobody is even left to thank you for it.”

She felt herself shaking, clenching her fangs, only stopping when she noticed that the Hollow Knight in front of her was shaking even harder. What she had just said to them... had it evoked a reaction? Whatever it was, they clearly needed help.

“You are going to be alright.”, Hornet said. “I promise it. I won't ever let you rot away behind a sealed door, for a kingdom that has long gone. Can you walk?”

Hornet stepped away from the Hollow Knight and looked expectantly at them. They didn't act at first and Hornet had a hunch that she had to change her way of wording. They had been used to follow orders after all. They probably didn't know how to react when asked a question.

“Stand up.”, she ordered, hating how her voice sounded as she spoke out the command. The Hollow Knight winced and then slowly tried to get up on their feet, only to break down and nearly crack their mask open even more when their missing arm failed to completely catch them.

“Apparently not.”, Hornet said, stepping closer to them. “Here, lean on me. I'll help you out.”

Standing right in front of them, Hornet noticed how ridiculous her offer sounded. Even when they were kneeling on the floor, the Hollow Knight was taller than her. When they would stand up, they would be twice her size. Hornet always had disliked that her height was one of the properties she just had to inherit from her father.

Luckily, as a creature of Deepnest, and half spider, she was also strong and resilient. She gently guided the remaining arm of the Hollow Knight around her shoulder and supported them as best as she could with her small body. With her help, they managed to stand up and walk a few shaky steps.

“There's a hot spring deeper into the Forgotten Crossroads.”, she explained. “I will help you get there, to take care of your injuries and to get you cleaned up. The infection did a number on you, Ho...”

She interrupted herself, not speaking it out completely at first. It had been her nickname for them when she still had been a little grub. Their title had been far too long for her, so she normally had called them Hollow.

“Is it fine when I call you Hollow?”, she asked, feeling as if the Hollow Knight should have a say in their name. She felt a nudge on her shoulder and took it as cue that they are fine with it. “Hollow it is, then.”

Helping Hollow walk even to the exit of the temple proved to be a challenge. Not only because they were twice as tall as her, but also because they hadn't used their legs for such a long time. They more stumbled and fell and Hornet had to grit her fangs together when their hand clawed into her shoulder, putting far more weight on her that was comfortable. Still, she had to endure for her sibling.

Worse than the physical pain, was the silence between them. She knew that Hollow couldn't talk, being made without a voice. That made it all the more worse. They may have had so many things to say, but they were forced to be silent. They couldn't even tell her if they were in discomfort.

“If you are in pain or need a break, give me a sign and we'll stop right away.”, she said, hoping that Hollow would understand what she meant. She doubted a bit that they even knew that they were allowed to feel weak and being in pain. She asked herself how they felt right now... did they feel like a failure? They surely didn't look like they felt like a hero.

She should try and take their mind off stuff. Or fill it with stuff to think about, in case they tried to empty their mind, like they had been taught so long ago.

“Do you still remember me?”, she asked as they stepped through the exit. “It's me, Hornet, the daughter of Hallownest. The pale gift. The gendered child. You may not recognize me because I have grown quite a bit in the meantime. The last time we met I could sit between your horns with ease.”

Looking down at her and at Hollow's horns, Hornet had the feeling she still could sit between their horns. Hollow didn't look at her or made any acknowledgement of her words, they just continued to stumble along with her support.

“It's fine, you don't have to answer me. I know that you can't. I just want to talk to you.”, Hornet continued. “Just... I want to let you know that if you still try to empty your mind, you don't have to do it anymore. It's over. It's all over and we have been left with the pieces to pick back up.”

Where had that come from? Hollow was the last bug she should unload her baggage at.

“My apologies...”, she said. “The hot spring is further down, so I am afraid we have to walk quite a bit of a distance. At least now that the infection has dried up, nobody tries to attack us anymore.”

Hornet could see them. The bugs that had been freed. The lucky ones simply coughed up the dried out infection and stood up, confused, finding other bugs to share their confusion with, the unlucky... well, they laid as empty husks on the ground.

“The crossroads has been hit the hardest.”, Hornet told further, as she continued walking with her sibling in tow. “It looked horrible here. The infection was everywhere. This will be a mess to clean up for menderbug, if they are even still around.”

They probably would like it though. Menderbug always loved to fix and clean things.

“The whole of Hallownest was affected... and not only Hallownest, Deepnest as well... When I go back there... I don't even want to think about it... Technically I am their queen, but...”

She stopped when she felt that Hollow had started shivering again. Maybe, not clearly talking about the infection had been the wrong thing.

“My apologies...”, she said again. “But be assured, it isn't your fault. It was never your fault.”

The shivering didn't stop, only got slightly less worse and Hornet wanted to punch herself for her insensitivity. She had to find another topic or stop talking. She knew why she felt so awkward... she had spent an eternity alone. She had managed to talk to the little Ghost, showing herself to be aloof, but she had never expected an answer from them and just had left them alone one they had gotten the bits and pieces of information from her. Trying to hold casual smalltalk, with her traumatized and badly injured sibling nonetheless, proved to be difficult.

“Do you know that your sibling saved you?”, Hornet spoke, softly. “Not me, one of the others. I called them Ghost. They bested me in combat, twice, and they understood every hint that I threw at them. For such a small being, they were fierce and strong. They never backed down. They even went into the temple without hesitation. They saved you... and they saved Hallownest... um, what is left of it anyway. I wish you could have met them... under brighter circumstances.”

Speaking about them made Hornet feel melancholic. She should go back to the Black Egg Temple later and see if she could find any trace of them. If... if they had died back there, then they would deserve a proper resting place and if not... well then at least Hornet would have an easier state of mind knowing that they just had decided to leave this place.

Hollow buckled a bit next to her and Hornet stopped immediately. “Are you alright? Are you in pain? Do you need a break?”

They stayed bent over for a couple of seconds before grabbing back onto her shoulder and continuing walking or more specifically, letting themselves get dragged by Hornet.

“The hot spring isn't far away now, hang in there.”, she said. She was just glad that the bugs that had awoken from the infection were too confused to really notice her and the few that did, quickly scurried away when they saw a predator and the hulking figure behind her.

Hornet filled the rest of the way with silly anecdotes from their time together in the White Palace, talking about how they had played with each other and how sad she had been every time that Hollow had to leave to stand at their father's side. She could feel Hollow's hand clawing into her shoulder each time she mentioned their shared father. How their stance about him was for Hollow, was unclear for Hornet. In their case, she would probably hate his guts. She did and she hadn't been tormented for an eternity in the temple of the black egg. She would never be able to forgive him for leaving his kingdom – and her – alone when they most had needed him.

They finally reached the Hot Spring and Hornet helped Hollow sink into the hot water, rubbing her shoulder. Practically dragging their big frame over there, had been a strain on her body.

Once they sat comfortably into the hot spring, Hornet looked them over. The soul infused water of the hot spring would help them get some strength back, but she could see that the crack on their mask wasn't closing up in the slightest. The water also couldn't heal their void body, as their lost arm didn't regrow. Thinking about it, Hornet was pretty sure that the hot spring couldn't regrow limbs at all, but also the scar around the nub didn't seem to close.

“I guess all we can do is clean out the dried up infection.”, Hornet said, as she sat down on the edge, only dipping her feet in the water, and produced a bit of silk which she weaved into a washcloth. Then, she gently cleaned up the wounds on their body of void, with Hollow wincing a tiny bit whenever she pressed too tight, but mostly the infection just flaked off and slightly tinted the water orange, leaving horrible scarred tissue visible on Hollow's body.

“I can't repair your body that is made of void.”, Hornet said. “That was something he never taught me. I can only bandage your wounds and we can hope that it will heal itself.”

Was Void able to heal? The vessels were basically a shade bound by the mask on their head. She had seen their more feral form, the unleashed shade that would lash out at anyone that came to close. If it originated from a primal instinct or from suppressed feelings, she didn't know.

Hornet helped Hollow out of the hot spring and sat down with them on the bench. There, she produced more silk and used it to bandage every wound she could find on Hollow's body. She weaved the silk around the scarred tissue on their chest, around the nub of their missing arm and the shoulder and even around the crack on their head. The wound would likely not heal completely, but she could at least prevent it getting worse.

With Hollow sitting on the bench next to her, she took another more thorough look at them. The way they sat, with their head lung low, their breathing heavy, they looked so broken and so weak. It was clear for Hornet that the spring water wasn't enough to sustain them. After an eternity on a diet of only soul, fed to them via the chains they had been sealed with, they needed some proper food.

“I'll be right back, Hollow.”, Hornet said as she hopped from the bench, readying her needle, ready to find some prey for them, but before she could take even one step, she felt how they tugged on her cloak.

Hornet turned around and saw Hollow looking at them. “What is it?”, she asked and upon remembering that they wouldn't be able to answer, she specified her question. “Are you in pain?”

Hollow shook their head and looked at her again and even though they weren't able to change the ever same stoic expression on their face, Hornet understood what they tried to tell her.

Please don't leave.

“I won't be away for long, I just need to get some food. You sorely need it.”, Hornet said and turned around again, only stopping when she felt a nudge on her cloak. She glanced back and saw Hollow on their knees on the ground, their arm grabbed around the tip of her cloak and they were shaking.

In an instant, Hornet felt a deep guilt settle itself into her chest. Her intentions had really been to only get some food and come right back, but when she saw Hollow like this, she understood the implications. Why they didn't want for her to leave.

The last time that Hollow had been left alone, they had been imprisoned with an angry god who did its best to torment them, both mentally and physically. For Hollow, who had been without comfort for so long, her leaving to get some food must feel the same as her dying and never coming back.

“On second thought, we can get some food for you later.”, Hornet said and helped Hollow up, once again groaning under their weight and height, to help them back to the bench. There, she sat herself next to them. They were still shivering, but they looked a lot calmer.

“My apologies, that I wanted to leave.”, she said, coming a bit closer, unsure if they wanted physical contact, but once she had initiated it, Hollow practically cuddled against her.

“I eventually will have to get up to get some food. We can't stay here forever.”, Hornet said, caressing their leg, one of the few spots on their body that weren't too injured or scarred. “But I promise you, I will never leave when you aren't fine with it. For now, take your time and heal. Both your body... and your mind.”

She took a deep breath and then said: “It will take some time, but you are going to be fine. I promise it.”

[umbralstars]

Alright now that I've talked a bit about his province it's time to talk about the man himself. We should all be aware of the few bits of canon info we got about Rufus, but here's my own general thoughts about his character and the relationships he has with his family.

Rufus is 13 years older than Lambert and wasn't exactly thrilled when his parents decided to make Lambert heir instead because of him possessing a crest while Rufus didn't. Rufus understands logically why Crests are useful for rulers to have (the legitimacy they offer along with a powerful Relic if a ruler needs to defend the state is useful and he won't deny that) but doesn't believe a Crest necessarily makes one automatically a good ruler. Recognizing early on the faults in Faerghus' system of governance, and feeling like he has something to prove, Rufus was hell bent on leaving his mark on Faerghus whether he's king or not.

Rufus is actually an incredibly intelligent politician who studied not only the governing systems of old, but also tried to learn as much as he could about foreign governments so he could reform Faerghus. He's been reform minded since he was a teenager. Even spent a good portion of Lambert's formative years impressing his ideas onto his younger brother, until Lambert knew enough to start coming up with his own ideas and debating solutions with Rufus. While the brothers were never the closest, Rufus implicitly trusted Lambert because his brother was just willing to trust and listen to him and that meant a lot to Rufus. He did more than his fair share of criticizing his younger brother, but at least he knew Lambert could find appreciation in that.

As Grand Duke of Itha, Rufus had a certain view on wealth and how a government should be structured.

He firmly believes that wealth should be used to glorify the state through great public works and that a well educated populace along with a well fed and protected populace led to the greatest societies. He still lived large and made it known, but he had a more patriotic attitude towards his wealth and believed he had a moral obligation to spend it on Faerghus' greatness. Under his rule, Castell Itha went from a cultural backwater in Faerghus to having one of the largest public libraries (something that would be replicated in Fhirdiad with Lambert turning the Fhirdiad College of Sorcery's library into a royal one open to the public) in Fodlan and having better urban planning than many cities in the Empire. He personally encouraged the creation of great works of art, poetry, and new magical techniques all for the good of Faerghus. He believed that Faerghus could be a cultural powerhouse and he was going to make it so by Sothis.

Rufus' aspirations weren't just limited to Itha either as he was of the opinion that Faerghus' incredibly decentralized governance style was holding the Kingdom back from greatness. Ever since Loog, the Kingdom had been an almost confederation of various states who paid homage to House Blaiddyd and the royal court but devolved so much power on internal matters they were functionally independent. The Kingdom's codes of chivalry were mostly developed and lauded by the crown as a way to retain some centralized authority and respect, but the various states in Faerghus could pretty much beef with each other as they pleased. Nowhere worse was this problem than in the northern reaches of Faerghus. Because much of the north has sided with Loog there was never any consolidation, so the north was made up of hundreds of duchies, counties, baronies, etc that could give the Holy Roman Empire a run for its money.

Rufus saw all of this as a blight on the Kingdom and made it his life's mission to fix it when he became Grand Duke. Lambert and him were working towards a goal of essentially a federalized monarchy with a strong centralized government. It's the entire reason he started to consolidate power and take out anyone who dared to get in his way. He also has a very 'my way or the highway' outlook on the other noble houses and wouldn't hesitate to screw them over if they don't fall into lines or prove to him that they're incapable of leadership. 

Rufus can also be incredibly petty and spiteful if he feels he's been offended in some way. House Galatea is the big example of this. Galatea had been having financial problems for decades before hand, and the Count spurning Rufus on his betrothal request for peaceful inclusion in the Grand Duchy he considered a grave insult. Rufus didn't incite the rebellion as some claim but he did capitalize on it because he wanted to show how weak Galatea was and undermine the Count's authority. A more bloody example came when a smaller noble house in his domain tried to kill Rufus and his heir to take the riches for themselves. While they failed on both counts, Rufus decided to purge the entire family and their supporters with having the ringleaders tried and executed leaving the rest to flee for the Alliance.

The only House he begrudgingly respects is House Fraldarius because he does consider Rodrigue to be a capable leader and they do somewhat get along. They encountered each other a lot and, while Rogrigue is critical of Rufus' certain proclivities, they were able to be amicable to one another. He dislikes how many nobles fled to House Fraldarius due to the perceived aggression on the Grand Duchy's part. But for him, as long as Rodrigue was on Lambert's side with the reform measures he can share power in the north. He and Margrave Gautier have always disliked each other for numerous reasons, but the two don't clash over territory so they can tolerate each other's presence.

Rufus is also a mixed bag of being extremely charismatic, but pretty much only becomes so to woo people or get what he wants. In all other aspects of his life Rufus was domineering and stubborn with his beliefs and in his social life. He was and still is extremely piss poor at handling emotions and this includes his own. He could also be cold and ruthless when it came to pursuing his goals and was willing to do shitty things to get results.

Speaking of doing shitty things yes the man is a prolific womanizer, and every single relationship he has with the women in his life and his children is unique. He does frequent brothels and has done so since he was in his late teens. He courts heiresses to incorporate their houses into his territory or for purely political gain. Many of the children he has had may very not consider him a father at all simply because he's never been in their lives for whatever reason. At bare minimum he makes sure his mistresses and his bastards have at least a comfortable living situation, but that's about it. Rufus is obviously not incapable of loving people or considering his children family, he just doesn't a lot of the time while he never wishes ill upon them. There are a few instances where this was not the case and he was much closer to his mistresses and children, but they were honestly few and far between.

Since I mentioned his family other than Lambert and Dimitri it’s OC time. 

Rufus and Emyr

Darya Artemi was probably one of the few women Rufus ever truly fell and love with. He initially approached her in the same way he had heiresses in the past with just intentions of courting her along with her soon to be lands, but somewhere along the line he genuinely did fall for her. When Emyr was born and it was discovered he had a Major Crest Rufus jumped on the opportunity to make him the heir. They never did legally marry, but she was Duchess Consort in everything but legality. Darya was mostly fine with having an open relationship with Rufus as long as he was around for her and their children.

Rufus as a parent is just as domineering as in every other aspect of his life. He could be caring but extremely strict as well and pushed for perfection in everything Emyr did. He wanted his son to be the perfect heir for the province he was building, and be like him in many aspects. Emyr did love his father and wanted to live up to every expectation.

When Darya died, Rufus experienced one of the first major depressive episodes in his life. He pulled away from his children, threw himself into work and all of his vices, and became even harder on Emyr than he was previously. If her death wasn't enough, some of his mistresses felt an opportunity to get ahead and tried to fill the void or even remove Emyr on a few occasions. The houses never really leveled out again and both Emyr and Rufus clung to the perceived stability they had before Darya's death to their relationship's detriment. They never could come close to breaching those vulnerable waters.

When Emyr ran away with Katya, it came after years of strife between him and his father that did permanently damage their relationship. Rufus was devastated when he lost Emyr and Katya along with a good portion of his family. He grew even more depressed, lost control of the court entirely, and never could form anywhere close to a good relationship with his nephew. He lost a good number of relationships during the four years before his death in friends and family. He spent the last years of his life guilt ridden, dogged by horrible rumors, and trying to keep together a country which was begging to rip itself a part. 

For Emyr's part, he never did wish for his father to die in the way he did. In some ways he did love Rufus even after everything. Emyr is like his father in many ways and terrified of becoming him in many others. 

TL;DR: Rufus is complicated.

[rosereview]

Top 9 Favourite MaasVerse Couples

I did a favourites list of couples in the Shadowhunter universe last year that was really fun so I thought I would do one with all of the couples from Sarah J. Maas’ universe, especially after reading A Court of Silver Flames (review coming soon). Because of all that and given that Sarah J. Maas never fails to be sneaky with which guy the main character ends up with in the end, this favourites list will be full of spoilers. So like before, the top couples all are couples that for sure end up together, while the honorable mentions are couples that I like or ones that I think would be good together or who I want to be together. 

Honorable Mentions

To start off we have character couples that I love but don’t know enough about to be super invested.

Amren & Varian- from ACOTAR. I just think that they are so cute and I love Amren and I’m so happy that she has someone who is there for her. I also think Varian is an interesting character who is the perfect balance for Amren’s intensity, also at all the family gatherings with Varian there, he just feels like the typical come-home-for-christmas-with-a-guy boyfriend who the family gets to know, but also plays around with because he’s new (don’t know if that makes sense, but if you’ve ever had a sibling or cousin bring a partner home for the holidays to a joking-around type family then you’ll get it).

Kallias & Viviane- from ACOTAR. Also don’t know a lot about them, but for the few interactions we see of them, I think they are super cute! The other courts always intrigued me, but especially the Winter Court because I love snow and I also love how close Kallias, Viviane, Rhysand, and Morrigan are (especially Viviane and Mor). I just think it’s so nice that they have other friends in other courts, and again they just seem sweet. 

Juniper Andromeda & Fury Axtar- from Crescent City. We only find out that they are a couple near the end, but from the few times we see them together, I think Juniper and Fury are adorable. Fury is just that super badass bitch that I love to see vulnerable in a couple. I just like seeing that badass girls can still have a very raw and human side, especially when they are with their significant other. Also Juniper was always a favourite minor character throughout the book because she’s such a good friend to Bryce. I can’t wait to see more of them as a couple in the next books!

Next I have people who I want to end up together:

Ruhn Danaan & Hypaxia Enador- from Crescent City. I thought Ruhn and the mediwitch had a great amount of chemistry, and when it was revealed that she was actually the young Queen Hypoxia of the witches, I was so excited! I feel like her and Ruhn will end up together, and because I love Ruhn and just want to see him happy, I think that the two of them as a couple would be great!

Morrigan & Emerie- from ACOTAR (more specifically ACOSF). When Emerie saw Mor in the latest book, I giggled so hard! I think the two of them would be adorable and it’s high time that Mor got a new love interest who will make her happy. (I also really want Emerie to be happy now that I’ve gotten to know her more as a character, and I do think the two of them would work really well together!)

Elain & Lucien // Azriel & Gwyneth- from ACOTAR. This next one I won’t talk a lot about because I’m saving it for the review for ACOSF, but just so you know what side of the debate I’m on, I really do think Lucien and Elain would be good together if Elain gave him a chance, and now since reading the special edition short story about Azriel at the end of ACOSF, I ship Azriel and Gwyn together. (Although I’ll honestly be happy with whoever ends up together as long as all the characters are happy!)

Nyx & Unborn Child of Rowaelin- from ACOTAR and Throne of Glass. I saw this post one day of someone shipping Nyx (Rhys and Feyre’s son), and the unborn daughter of Rowan and Aelin, I fangirled so hard! No matter if Rowan and Aelin have a girl or boy first, I already ship them so hard with Nyx. We already know that Nyx would have been born during the time of the war at the end of Kingdom of Ash (because Aelin fell through the worlds and saw pregnant Feyre and Rhys standing during Winter Solstice) so if Aelin and Rowan had a child not long after, they would be close to the same age, and because of that moving between worlds moment, we know that’s it’s possible for the two kids to meet one day. (Also I have a theory that what happens in the Crescent City books will tie into the possibility of world jumping because it’s already talked about in there how most species in Crescent City came from different worlds, so yay!) I know that this is all just wishful thinking, but I think that would be the cutest thing Nyx being together with Rowaelin’s child! Let me believe what I want to.

9. Nesryn Faliq & Sartaq

This list was so hard to make and I’m sad that these two are so low on it, but I just couldn’t get them any higher! At any rate, I loved these two during Tower of Dawn and when they ended up together I was ecstatic! First of all, I think Sartaq would be an amazing Khagan of the Southern Continent and he’s honestly the only real good one of his siblings. Him and Nesryn leading the Southern Continent will be amazing and I love the way that they bonded over riding the ruks. I do wish that we got to see them even more, but considering all of the characters and storylines, I was still satisfied with the development of their relationship and themselves as characters (just want more content with anything from the Throne of Glass series because I know it’s over and that makes me sad!)

8. Dorian Havilliard & Manon Blackbeak

Next is another couple that I love so much but had to put lower on the list because there are just too many great couples in the Sarah J. Maas universe! I never thought that Dorian and Aelin (or Celaena at the time) would be good together, but was absolutely heartbroken when Sorsha died. BUT that death did lead to so much sexual tensions between Dorian and Manon that it was all worth it! I love these two because, again, it is so nice to see a badass female character also have a loving side, but also seems pretty “dominant” (for a lack of better word) in the relationship. I think Manon and Dorian are so great together, and their banter and cute nicknames (Princeling and Witchling) just gave me life! Even though the end of Kingdom of Ash left me completely shattered, I was very happy that Dorian and Manon still had each other, and I think the two of them will be great monarchs in their separate kingdoms, but also together.

7. Elide Lochan & Lorcan Salvaterre

Another amazing couple from the Throne of Glass series! Even though Lorcan was kind of an asshole when you first met him, when he and Elide had their whole adventure together, I fell in love with the two (especially Lorcan). I love a good “bad” boy “good” girl trope, and Lorcan and Elide were definitely that perfect fit. The way that Lorcan cared so much for Elide while they had to travel together was really cute, and I was so happy to see how Lorcan softened up and Elide became strong as well. It was nice that they still weren’t the typical weak girl, always rescued by the strong Fae. Lorcan and Elide made each other show the world their other sides as well. 

6. Nesta Archeron & Cassian

This couple I have a lot of thoughts and feelings about but most of that will be in my ACOFS review coming soon, but for now I will just say that I LOVE them! We always knew that Nesta and Cassian were probably going to end up together, but still their journey as individuals and a couple was so fantastic to read. The way that the two of them helped each other out in terms of mental health while still being the individually strong characters was so good to see. Their sexual tension was great to read, and I loved the way that their whole story arc developed through the book.

5. Chaol Westfall & Yrene Towers

Again, I loved these two so much probably because they had their own book practically dedicated to them. I loved Chaol in the first two books from the Throne of Glass series, but like most people, I lost that love as the series went on. Going into Tower of Dawn I was really worried that I wasn’t going to like it because of Chaol being the central character, but like always, Sarah J. Maas writes such good redemption and flawed character arcs that it was impossible not to love Chaol again, and the woman who brought the light back to him. Similarly, I really liked Yrene when we first met her in The Assassin’s Blade stories (The Assassin and the Healer), and I was so happy that we got to learn more about her in the whole Tower of Dawn book. The way that Chaol and Yrene went from hating each other to falling in love was done absolutely perfectly, and by Kingdom of Ash when we found out that Yrene was pregnant, I almost threw my book in happiness, I was so excited. This couple is well deserving of the number five spot!

4. Aedion Ashryver & Lysandra

Now we have another favourite couple from the Throne of Glass series (that series is just so big and full of characters, most of the people on this list are from there). I really loved the idea of Aedion and Lysandra from the beginning when we start to see Lysandra play a bigger role in the series. Again, it’s the banter between these two characters that gets me every time, and the way they make fun of each other while also flirting is just so great to read. I was a little worried about what was going to happen to their relationship in Kingdom of Ash, especially since everything was going so well in Empire of Storms and then ended so badly at the end, but knowing that they got married almost immediately after the war was exactly what I needed. Also I LOVED Aedion with Evangeline and all their interactions, which was also why I knew that Aedion had to end up with Lysandra. Every time a kid comes into the picture I feel like I ship that couple just a bit harder. The three of them make the most perfect family. 

3. Bryce Quinlan & Hunt Athalar

I know that technically we don’t know for sure if these two will be endgame, but if they aren’t I will sob and never forgive SJM! I love these two with all my heart and the only reason that they are in number three (and not higher!) is because we only have one book with them. I would not be surprised if they went up higher on my list after the next books come out. First of all, their sexual tension is fabulous. Second, I just adored how they both helped each other health through the book  and how they went through so much together emotionally. I feel like that made the strongest foundation for a relationship, and if that foundation breaks, I think I might just dig myself a hole and stay there. While both are strong characters separately, they are just so much better together! Every scene of them was like magic, and they were the whole reason I could stop reading HOEAB. I need the next books so badly, just because I need to see them together more!

2. Aelin Ashryver Galathynius & Rowan Whitethorn

Finally at the top two, and this decision was probably the hardest one I’ve ever had to make. I love both Rowaelin and Feysand so much, this was impossible to decide, but it came down to the fact that out of every SJM book, A Court of Mist and Fury is my favourite. That book is a f*cking masterpiece and the reason for that is because of Feysand. So Rowaelin is second. Aelin and Rowan are amazing characters individually, but like the reason for all of these favourite couples, the journey that they go on together and help each other through, is what makes them so special and so strong as a couple. Rowan helped Aelin in a way that Chaol or Dorian never could, and Aelin in turn helped Rowan through centuries of pain just because they understood each other so well. The best and strongest part of all these couples is that they became friends first, before going into a romantic relationship (except for Nessian a couple others, but you know what I mean). Being able to create a strong bond before anything physical is so important with these characters, especially helping them get through so much trauma, and ultimately seeing that growth on the page connects you so much more with them as a couple. Seeing these characters go through so much together was really what made me love them to this degree (which is a high degree) which is also why I’m having a hard time believing that their stories are done. I will always need more Rowaelin content. 

1. Feyre Archeron & Rhysand

And now we’re at the top. Like I just said, this was a hard decision, but it also feels so right. Feyre and Rhysand had an amazing development as a couple through the books, and A Court of Mist and Fury is definitely my favourite SJM book precisely because we see their relationship develop. I am beyond happy that we aren’t at the end of the ACOTAR world and we get to see more Feysand in the years and books to come, because I am not ready at all to say goodbye yet. Just thinking of Feyre and Rhys’ lives now (especially with Nyx) brings a smile to my face, and I think that it's amazing how an author and a book can do that. Both Feyre and Rhysand’s characters are so strong and their journeys were so heart wrenching to follow but so worth it at the same time. There is really nothing bad I can say about this couple, besides the fact that I want to thank Sarah J. Maas for writing such great characters, and I can’t wait to see more to come!

Thanks to anyone who read to the end. I know it was a long ramble again. Stay tuned for my ACOSF review coming soon as well.

Until next time!

~Rose Reviews

[pocket-luv101]

Deep Green Eyes - Gluttony Pair

Fandom: Servamp Ship: Gluttony Pair Characters: Illdio, Niccolo

Summary: Illdio and Niccolo meet and they form a contract. As they wait for the others to arrive, they talk and learn more about each other. (Gluttony Pair, Canon Divergence AU)

Lonely Eyes Series: KuroMahi // LawLicht // Tetsono // MahiSloth // Jekuni // (Gluttony Pair)

We might speak different languages; And we might have differences; But where you are; I'm right there too.

“What are you?” Niccolo couldn’t look away from the man who had rescued him. While he had stopped the rival mafia boss from hurting him further, he didn’t know whether he could trust him. He defeated the armed men with inhuman strength and speed. The strange man turned to him and Niccolo stiffened. He was tied to a chair and he frantically kicked his feet against the ground to push himself farther away from the man with white hair.

“You’re a man?” He asked and he reached out to him. From his shouts earlier, it was clear that he only saved him because he thought he was a woman. He didn’t know if he would be as compassionate to the heir of a mafia family. Niccolo held his breath as he took a strand of his long hair into his fingers. “They really did a number on you, didn’t they? There’s blood in your hair.”

“You killed your own comrades. They called you—” Niccolo repeated the name he heard yet he didn’t react to it. He was well aware of the complicated internal politics of a mafia family and how coups could occur. However, he doubted the man had killed his mafia leader for selfish power or blind anger. He looked up at him and he couldn’t find a hint of regret in his eyes. “Why would you turn against them?”

“We had a deal. I would work for him as long as he doesn’t hurt a woman, child or animal.” He said and he dropped his hand. His long hair slipped from his fingers. “My employer is dead. Nothin’ to do about it now. In this business, it’s hard to find someone who will keep that promise. I’m sure he would’ve broken it eventually.”

The man knelt behind him and Niccolo assumed that he intended to cut the rope binding his wrists. He was confused when he felt his warm breath brush over his skin. Niccolo turned his body to look over his shoulder as much as the rope would allow. He wrapped his hand around his wrist and he brought it closer to his lips. Then, he bit the rope and his sharp teeth tore through the thick bounding easily.

He was finally free and he turned in the chair to face the man. He looked into his red eyes and hesitantly asked, “Are you wearing red contacts?”

“My eyes are red because I’m a vampire.” He spoke so bluntly that Niccolo almost thought his claim was sarcastic. He didn’t appear to be lying though. Niccolo had heard stories of vampires and he couldn’t help but stiffen. However, the man was far from a cold monster who only thirsted blood. He defended the vulnerable and he didn’t try to bite him.

“When those men were beating me, they mentioned how they had an immortal man working with them. They said I shouldn’t anger them or else they’ll bring you out to beat me worse than I could imagine. It’s a little ironic that you’re the one to save me.” Niccolo chuckled despite the outlandish situation he found himself in. “Thank you.”

Niccolo stood on his weak legs and he winced the moment he shifted his weight. He was glad that his bones weren’t broken because he could stand at least. He faced the vampire and he smiled wearily. “You already helped me a lot but can I ask you a few questions? Is this place a hotel or your employer’s headquarters? Are there any guards waiting outside?”

“We’re in an abandoned building. The boss thought he didn’t need to bring many people with me here.” He watched Niccolo sway on the spot and he wondered how he expected to fight anyone in his condition. His eyes were drawn to the complex tattoo on Niccolo’s back and he knew that he was from a mafia or yakuza family. It was rare for normal citizens to have tattoos. “Why didn’t you tell them what they wanted to know? Being that stubborn will kill you, y’know?”

“I don’t think it’s being stubborn.” Niccolo looked down at the ground and his hair fell over his face to cover his emotions. World End took his black sweater and he placed it over Niccolo’s head. The gesture caused him to turn back to him and their eyes met. His voice was so low that he almost didn’t hear him. “A man who sells out his comrades doesn’t deserve to live.”

He knew all too well how it felt to fail someone who relied on him. Sometimes, he wished he had a stronger resolve where he could be ruthless like other mafia leaders. He would be able to protect everyone in his family and city if he wasn’t weak and hesitant. Niccolo grew up in the mafia so he knew it was naïve to hope he could fight a bloodless war.

Niccolo was shocked by the man’s next words. “You must be strong.”

“I wouldn’t call myself that.” Niccolo shook his head. His gaze moved between the bodies on the ground and the vampire. He didn’t know what kind of family they were to the vampire but he was alone now. Where would he go after this? Would he be left on the streets alone? The man was a vampire employed by a rival mafia family so it would be a risk to take him back to the Carpediem.

Despite that, Niccolo held out his hand to him. “I don’t know much about vampires but I want to repay you for helping me. My name is Niccolo… Niccolo Carpediem. What’s your name?”

“You can call me whatever you want. Our contract will need a name, a personal item and blood. I don’t really care what those three things are as long as I get to eat and fight.”

“A contract?” Niccolo didn’t understand what he could’ve meant and he assumed it was his own initiation of joining a mafia family. He didn’t have anything special to give him and he placed his hand in his pocket. A smooth fabric brushed over his fingers and he pulled out a napkin. His family name was embroidered on the corner of the napkin. His father had given him the napkin and he hoped it would be a suitable item for the moment.

Niccolo placed a hand on the chair to steady himself as he walked forward to stand in front of the vampire. He lifted the napkin and he wiped the blood from his forehead. He stared at his face and he thought of various names he could give him to form the contract. After he cleaned the blood from his face, he held out the napkin to him. He couldn’t help but notice how strong he appeared to be. If he didn’t know he was a vampire, he would guess that he was a god.

“Illdio.” When he spoke the name, a golden chain appeared and it fell in a circle around them. The bright light disorientated Niccolo and he instinctively flinched away from him. However, Illdio didn’t seem to be surprised by the chain. Niccolo moved his hand and he realized that the chain was attached to his wrist. The metal was surprisingly warm. “What is this?”

“Our contract.” His answer was brief. Illdio took his hand and he drew his wrist to his lips. The ropes that had bound his wrists had chaffed his skin and left a mark. He gently bit his wrist and mumbled against his skin. “The last thing we need is blood.”

“My friends should be here in twenty minutes. Let me talk to them first. They’ll never believe that you’re a vampire.” Niccolo told Illdio. They sat on a bench outside the abandoned building and he stared up at the moon. He couldn’t explain why the moon appeared different now that he knew vampires existed. He lightly traced his thumb over the bite mark on his wrist. “When you told me to give you a name for a contract, I thought it meant you would join my family. I don’t know if I can be an Eve.”

“I didn’t explain?” Illdio gave him a confused expression and tilted his head slightly. He only explained their contract in detail once they were outside the building. “You’re the leader of a mafia family, ain’t ya? Being an Eve is a little like that. You give me orders and I’ll fight for you. As long as I can eat and fight, I’m fine with whatever.”

“Are you? If I know you needed an Eve, I would’ve had Cappuccino be the one you made a contract with. He’s stronger than me and he’ll make a better Eve.” Since he was immortal, he could only imagine how many Eves Illdio had before him. His previous Eve was a mafia boss as well. “I don’t know what kind of Eve I’ll be but I want to be someone you rely on. I won’t hurt a child, woman or animal.”

“I already told you that it’s the Servamp who does the fightin’. Have you ever been in a fight before? You should consider cutting your hair. Someone can grab it easily in a struggle.” Illdio suggested. He reached out to him and he brushed his fingers over his bangs. Niccolo recalled how casually he had touched his hair earlier and he felt a little shy.

“I can’t cut my hair.” Niccolo shook his head. He tucked his dark hair behind his ear and explained, “My sister has started a family and rival mafia families target them. Tiramisu said I should put them in a safe house but it didn’t feel right to keep them locked up. We compromised that she would have a guard or me be with her whenever she leaves the safe house. I can’t fight but we look similar with our long hair. I’m a decent decoy at least.”

“My old boss kidnapped you thinking you were a woman. It wasn’t a mistake then.” Illdio muttered to himself but Niccolo heard him.  He had looked unaffected by his Eve’s death during their first meeting. However, as he peered into his lonely eyes now, he questioned if his feelings were so blunt and simple. “You can’t win all your fights by putting yourself in danger and getting lucky like today. I’ll teach you how to fight.”

Niccolo wasn’t certain whether he would be a good match for him. Between the title of Eve and mafia leader, he questioned why the world pushed him into positions he felt unsuited for. He watched Illdio in the corner of his eyes and he had to note that he didn’t have an Italian accent when he spoke Japanese. Niccolo assumed he didn’t know Italian and he began to use the language. “I hope you don’t regret making me your Eve. I’m probably going to lean on you more than the others.”

A heavy sigh escaped Niccolo and he leaned back against the chair. He stared at the stars above him. “After Father died and left the family to me, everyone is watching me. My methods are different from Father’s because I’m too weak to take a life. Sometimes, I’m scared it’ll tear apart my family. They’ll lose trust in me and leave. People rely on me and I want to help them. It’s just… It feels like no one actually sees me. They only see what my father left behind. I feel alone sometimes.”

“Those things don’t make you weak.” Niccolo jumped in surprise when Illdio responded to him despite the different language. He had to wonder how he was able to read his mind after he added, “Our contract allows us to understand each other no matter what language each of us uses. It’s a little hard to explain.”

Illdio didn’t tell him that he was also able to read his emotions through his green eyes. He wouldn’t meet his gaze like a nervous cat. Yet, he saw a silent strength in his eyes that made him curious about the man. He was different from the other mafia bosses who had used him like a weapon. He hoped that Niccolo would be different and he found someone who could be his Eve.

[casually-inlove]

19 Days Character Archetypes. He Tian

This idea had been dancing around the back of my mind for a little over half a year now. I wanted to compare and contrast 19 Days characters with the list of archetypes proposed in the neo-Jungian research and finally, I got some time to spare. For this post, I am going to talk about He Tian. Before I begin, however, let me clarify a few things. Since the subject is fairly complex, I do not intend to write in detail about the theory itself or the studies mentioned because that is not the purpose of this post. I am only looking to give a quick and basic run-down of the common archetypes shared by the 19 Days characters.

What is an archetype? An archetype is a set of predefined characteristics, a mould. Carl Jung described the archetype as a “fundamental unit of a human mind” or a “primordial image”. Simply put, the archetypes are the recurring and simplified patterns — but also symbols. According to his ideas, these basic symbols exist universally irrespective of epochs, nations, cultures, races, places, etc. Jung believed them to be shared by the so-called collective unconsciousness. However, even before him, the philosophers of old introduced the ideas of pre-existing ideal immaterial forms which shape the material reality. Since the archetypes are fundamentally primordial, they permeate every single sphere of human life. Art, media, movies, day to day interactions — all of them deal in archetypes.

While working on his research, Carl Jung defined the driving impulses of the human psyche. In turn, that data helped him come up with underlying basis for human behaviour. Based on his findings, Jung outlined the so-called primary archetypes. Later his research served as a basis for many other studies and classifications, particularly for The 12 Archetype Model, proposed by Margaret Mark and Carol Pearson in “The Hero and the Outlaw”. Naturally, there can be an infinite number of archetypes, each having their subtleties; still, the short lists give the generalized picture. Deconstructing characters to these basic blueprints is a fair game because a character, no matter how complex, is still an abstract entity.

For this series of posts, I am going to rely on the 12 Archetype Model mentioned above. The list goes as follows:

1. The Innocent

2. The Orphan

3. The Hero

4. The Caregiver

5. The Explorer

6. The Rebel

7. The Lover

8. The Creator

9. The Jester

10. The Sage

11. The Magician

12. The Ruler

Having examined this list, I am led to believe that He Tian primarily represents a mixture of The Hero and The Rebel archetypes.

The Hero and The Rebel

Let us start with the most obvious, the Hero. This archetype is closely associated with the ideas of masculinity, and thus it is also referred as the Warrior, the Crusader, etc.

The Hero archetype characteristics

Motto: Where there is a will, there is a way

Core desire: to prove one's worth through courageous acts

Goal: expert mastery in a way that improves the world

Greatest fear: weakness, vulnerability, being a “chicken”

Strategy: to be as strong and competent as possible

Weakness: arrogance, always needing another battle to fight

Talent: competence and courage

These go very much in line with what we know of He Tian. His childhood flashbacks suggest that he indeed intends to be “the strongest”.

The failure to protect the puppy, the harsh words of He Cheng — all of it led him to become fixated on becoming the Hero, the one who swoops down and single-handedly saves the day. It is in the way he stands in to fight She Li for Guanshan or rushes to prevent Jian Yi from getting kidnapped. It is in the way he attempts to resolve the other boy’s problems with debt collectors. It is in the way he deflects the coke can and decides to meet his father for Guanshan's sake.

He Tian yearns to be the strongest because the alternative — being weak and helpless — has already scarred him in the past. Whatever joy he used to have as a child was taken from him, because he was not strong enough to handle things on his own. He entrusted the puppy to his brother and the man betrayed him — or so He Tian was led to believe.

More than that, he wants Guanshan to come to him, whether it’s talking about his complicated past or whether it’s about learning the guitar.

It goes without saying that He Tian is almost eerily good at anything he does — as such he believes he can learn music from scratch in a short time. That speaks volumes about the confidence he has in his capabilities, and yet to an outsider's perspective this might come off as blatant posturing.

Apart from almost baffling self-confidence that he shows, He Tian is also known for his nearly abnormal physical prowess. He managed to hold his ground against several armed adults (which is probably just flawed writing) and way back he even managed to impress Guanshan by effortlessly hopping over the school fence, so it makes one wonder what kind of training he had undergone.

However, the truth is, The Hero is also susceptible to weakness. In his work, Carl Jung has coined the term “The Shadow”, which became a stand-alone archetype in his list. The Shadow stands for our suppressed, ignored or denied traits, in other words, it is everything that we cannot see or refuse to see in ourselves. The concept of this hidden darkness has been since absorbed into a number posterior studies, such as Robert Moore’s and Douglass Gillette’s “King Magician Warrior Lover”, where they introduce triadic paradigms of the archetypes and their corresponding active and passive shadows. Notably, they link the aforementioned archetypes with the concept of “masculinity” and its development throughout adolescence into adulthood.

What is The Shadow to The Hero archetype? When The Hero cannot fulfill their purpose, they surrender to the shadow. The dark side takes their best qualities and transforms them into flaws. The confidence thus turns into arrogance and hubris, courage into foolhardiness, competence into bravado and posturing — or the complete opposite happens. Courage transforms into cowardice, confidence into insecurity, etc.

Whereas He Tian is concerned, before he had developed an emotional attachment to another person (and by doing so gained something to cherish), we could observe some of the definitive shadow patterns in his behaviour. Until he recognized Guanshan as someone to know and to protect, he used to goad the other boy, if not outright assume the position of his superior, demanding obedience and subservience. He Tian also used the snide tone when talking to Guanshan, and he did so in order to establish his power to steer the boy in what he deemed to be the right direction — that is attempting to curb Redhead’s short temper and brashness. And in doing so, he was not shy of subtly threatening the boy or using physical force to make his point.

To be in touch with his masculinity — that is to channel his energy constructively in order to feel strong and needed, — he required to have someone he could play the knight for. Once he could direct his inner impulses properly, his violent tendencies have subsided.

Even so, in his aspiration to be the ultimate good — driven by the hatred for his family background, perhaps — He Tian often opted for doing rash, foolhardy stuff, such as attempting to take on the debt collectors all by himself, for instance. Sure, he would have gotten to “save the day” and be the hero, but that single moment would have cost him his life.

Now, having glanced at the Hero archetype, let us move to the next one, The Rebel. This archetype is characterized by the following:

The Rebel archetype characteristics

Motto: Rules are made to be broken

Core desire: revenge or revolution

Goal: to overturn what is not working

Greatest fear: to be powerless or ineffectual

Strategy: disrupt, destroy, or shock

Weakness: crossing over to the dark side, crime

Talent: outrageousness, radical freedom

The Rebel is also known as the outlaw, the revolutionary, the wild man, the misfit, or iconoclast.

Indeed, He Tian rebels quite a bit in the manhua. First and foremost, his rebellion is directed at his flesh and blood — Mr He and Cheng.

Not much is known about He Tian’s childhood, yet it is pretty clear that he hadn’t exactly had a happy one. His mother died early on and he was left to grow up practically without parents since Mr He is a textbook absentee father. From what He Tian knows, his brother backstabbed him, an act that keeps plaguing their relationship years after, while his father is labeled as a monster — someone who is ostensibly capable of eliminating people who disobey.

It is also clear as the day that young He Tian is traumatized by whatever dealings his family conducts behind the scenes. At some point, we even witnessed a scene where HT is tossed out of the burning yacht, while his brother is covered in blood and holds a gun. A violent experience such as this inevitably leaves a scar — and actually get to see it. He Tian is shown to experience something closely reminiscent of PTSD, recurring violent nightmares, the fear of the dark, etc.

Back in the present day, we see that He Tian wants to put distance between himself and his family. It manifests in living separately from his kin and cutting the contact to a bare minimum. He makes a point of stating that he is independent, severing the ties he deems to be dysfunctional. Yet the same time He Tian cannot quite let go of his familial bonds. In particular, whenever He Cheng is concerned, the boy sneers and flagrantly shows his impetuousness and disrespect.

In many ways he’s practically stomping his feet, attempting to show that he doesn’t need his brother, yet by doing this he proves the opposite: he still yearns his bitter feelings to be validated by He Cheng — and by his father too, to an extent.

This results in bratty behaviour on his part: He Tian orchestrates property damage at the He mansion, impishly rejects Cheng’s gestures of goodwill, etc.That is the work of the Rebel’s “shadow” counterpart — when the desire to overturn things and break free takes on darker shade and slips into dangerous territory. Resisting and opposing then becomes a way of life, and only through it does the “shadow rebel” feel certain of their self. 

He Tian pushes at the boundaries of what is permitted and socially acceptable to feel in control of the situation. If we examine the way He Tian interacts with others, we will see that the shadow manifests in many other ways. He Tian is compelled to stir and instigate others, using his wit and cunning to make them uncomfortable or confused, and thus easy to manipulate to his amusement.

Speaking of socially acceptable behaviour, Chinese culture places a great emphasis on the respect towards senior family members — and I probably cannot stress this enough — He Cheng lets him get away with this lack of reverence. Deep inside He Tian seeks his brother’s approval and attention, but rejects it when he is given, and in the process he sets out to tear down anything that displeases him.

Establishing a connection with Guanshan let He Tian fulfill his Hero potential and channel his energy in constructive ways, and yet at the same time, it allowed him to tap further into his “Shadow” Rebel tendencies. That is, to it rub in into He Cheng’s face that he’s no longer welcome or needed.

Naturally, as a character, He Tian possesses traits of other archetypes — such as The Lover, for instance — albeit to a lesser extent, so I’m not going to dive deep in here. Let me just mention, that as a Lover, He Tian is compelled to increase his attractiveness to his love interest  — we often see him fishing for compliments and validation on Guanshan’s part, which underscores his inner need to feel needed and wanted, yet also turns into clinginess at times.

With that, this quick rundown of He Tian’s character patterns is complete. All in all, you could say that He Tian is fairly archetypal at his core, and yet it’s the combination of these “trite” features that mark him as an utterly realistic and believable character. It is because we’ve seen these archetypes countless times before that He Tian appears to be true to life.

Lastly, this is going to turn into a series of posts, but right now I cannot say when the next part is going to be up since writing this took me some time. In the meantime, you can read a bit more below ✨. 

 A bit more about He Tian | Support me at Ko-Fi 

[jokerfan99]

My Top 10 Favorite Anime Heroines by DarkChild316

Being a hero isn’t easy, but someone’s gotta do it! And these ladies have shown to be just as capable as their male counterparts. Now I’ve already done a list showing everyone “My Top 10 Anime Villainesses”, but I figured: “Hey the good girls deserve some love too,” so I decided to give you guys my list of my Favorite Anime Heroines as well. So, with that in mind, here’s my list:

#10. Saeko Busujima (Highschool of the Dead): This is an anime that will give you plenty of two things in abundance…boobs and zombies! While it may seem like your run-of-the-mill apocalyptic fanservice anime, among the well-proportioned ladies is this kendo warrior who’s more than capable of holding her own against any foe and would fit right in with even the most old-school samurai-themed anime. When the dead start to walking most of the cast usually reach for a form of firearms, not this lady who prefers to slice apart the undead with the greatest of discipline and precision, whether it be with her signature bokken or her deadly Murata-tou sword. There’s no denying that Saeko’s the ideal companion we’d want on our side for a zombie apocalypse.

#9. Touka Kirishima (Tokyo Ghoul): Living as a ghoul isn’t easy, especially when you’re trying your damnest to retain what little remains of your humanity. Starting off as a cold, yet collected individual, Touka found shelter in both the horrors of her dark past and her constant hunger for flesh in her day job at a café as a waitress which serves other ghouls and as a hangout stop for ghouls. While she grew warmer as her relationship with one Ken Kaneki grew, she’s not without her bestial side, possessing an abject hatred for the CCG after they killed her parents. In a series where everyone seems to be on the edge of insanity and turning into a rampaging, bloodthirsty monster, Touka is one of the few characters genuinely fighting for a chance at a peaceful life.

#8. Riza Hawkeye (Fullmetal Alchemist): Lieutenant Riza Hawkeye is undoubtedly one of the best female anime characters of all time and for good reason, she is truly the perfect soldier. As both an Amestrian State Military’s officer as well as Colonel Roy Mustang’s bodyguard, Riza Hawkeye is a dangerous sharpshooter and firearms specialist. From the outside she can seem strict and even a little cold, but those close to her know that there’s much more to her than her strict no-nonsense attitude, including a courteous nature in the presence of her allies and a desire to protect those she holds dear. Beneath the strict persona is a kind soul who understands the difficulty of carrying a heavy burden and let’s not forget…she’s a true badass in every sense o the word!

#7. Erza Scarlett (Fairy Tail): She went from child slave to arguably one of the strongest mages in all of Fiore. All while battling against S-Class mages, terrifying demons, and even her own psychotic mother, now that’s dedication folks! Forced by her possessed childhood friend to build the Tower of Heaven, she manages to escape her captivity and make her way to Fairy Tail, where she would soon rise to become one of Fairy Tail’s youngest S-Class mages and one of the most truly badass fighters in Fairy Tail’s ranks. With her magical ability known as Re-Quip, she has an unlimited number of weapons and armors at her disposal, each possessing their own devastating abilities. She’s a stoic warrior with a soft heat and a dark past, and you can bet your ass that she’ll fight to defend her Nakama to the bitter end.

#6. Ryuko Matoi (Kill la Kill): Her choice of armor may be a bit on the revealing side but going against this rebel isn’t the smartest idea if you value your life. You’re not likely to find a more stubborn soul in this absolutely whacky series and trust me…NONE of these characters are on the subtle side of things. In search of her father’s killer, Ryuko takes up the sentient life-fiber uniform Senketsu, and openly battles the dictatorship that is the Student Council. Stubborn as hell, Ryuko will always stand up to anyone who gets in her way, no matter how badly the odds are stacked against her. How can you not love someone with that kind of drive!

#5. Saber (Fate/stay night): Before she became a hero in the endless Holy Grail Wars, Saber was actually Artoria Pendragon, known throughout history as King Arthur, the mythical King who united Britain. As the Saber-class servant, Artoria generally tries to hide her identity in battle by using an invisible sword. When pushed, she can brandish Excalibur instead though, a sword she wields with unmatched skill and can do long-range attacks as easily as close-range. With her holy sword, and her “Mana Burst” ability, she is one of the most powerful Servants. Saber is loved by fans worldwide for good reason: she is kind, valiant, and fierce, all traits that make for one divine heroine. None would mind putting the fate of the world in this blonde beauty's hands.

#4. Mikasa Ackerman (Attack on Titan): Attack on Titan's Mikasa is one of those reserved, stoic characters who doesn't speak very often and seems to be stuck in her own head. After all the trauma she’s experienced living under the looming terror of Titans and the carnage she witnessed while part of the Survey Corps, not to mention the brutal murder of her biological parents by criminals, it would be difficult to come out unscathed. Perhaps it’s endurance that is one of Mikasa’s most relatable traits. Despite her often-cynical comments about the world around her, she manages to retain her humanity. Mikasa herself said, “This world is cruel. And yet... so beautiful.” The stereotypical boy-saves-girl gender roles that play out in media are also very much reversed when it comes to her relationship with Eren, which is a refreshing and welcome change of pace to see, though her protectiveness of him seems a little unhealthy at times. On top of everything mentioned, she’s also totally ripped.

#3. Asuka Langley Soryu (Neon Genesis Evangelion): I just couldn’t leave out Neon Genesis Evangelion’s Asuka Langey Soryu from this list of awesome female protagonists. Asuka is a classic anime heroine and remains beloved by fans of the show to this day. Asuka is an American teenage girl who serves as an Eva pilot for the Evangelion Project and pilots the Evangelion Unit-02. Asuka was raised in Germany and often swears in German. She was a child prodigy with a college degree at only fourteen years old, but definitely has her human flaws. She has a temper and is obsessed with being the best at everything she does. Despite these flaws, Asuka is hilarious in her own way and has the kind of confidence and pride you rarely see in a young girl. She knows she can do her job well and isn't afraid to tell you about it. Asuka is relatable in that she is stubborn and often has a hard time properly expressing her feelings and vulnerability to others. Her eventual nervous breakdown shines a light on her humanity-- she is not a perfect person and she is still a child forced to do a job that no child should be forced to do.

#2. Motoko Kusanagi (Ghost in the Shell): Major Motoko Kusanagi is one of the primary protagonists of the popular Ghost in the Shell franchise of manga, films, and animated series. Motoko is a cyborg who works as a field commander for Public Security Section 9 on the Japanese National Public Safety Commission. Motoko is a very physically strong and incredibly intellectual who that is quick-witted and an excellent hacker. But put a firearm in her hand, and she’s especially deadly. As a child, Motoko was comatose following an airplane accident. After her health began to steadily decline, her consciousness was put into a  "full-body prosthesis,” an augmented-cybernetic human body. Motoko causes us to question exactly what makes us human. She is an emotional, stoic, strong woman who fights for the citizens she protects, yet she lives inside an artificial body. But her greatest use is as a platform to speak on the nature of humanity in a technological age. She's a human mind that has been stuck in an artificial body since childhood, and her life and trials bring up the age-old question, "What does it mean to be human?"

#1. Usagi Tsukino (Sailor Moon): You really can’t have a list of awesome female protagonists without including everyone’s favorite schoolgirl superhero: Usagi Tsukino from Sailor Moon. Usagi is the embodiment of an empowering female in anime in her fearless display of conventional femininity without any implied weakness. Usagi is your typical teenage girl who is all about her friends, food, and cute things, while simultaneously being a badass heroine who cleanses the streets of evil. In the original manga and anime, Usagi was portrayed as reluctant to be a superhero and would often run away from fights and be a crybaby. However, through her careful character development, Usagi becomes a brave, reliable, and confident person who cares deeply for her friends. She becomes a better version of herself without stereotypically “shedding” her girliness. Instead, her femininity becomes a defining feature of hers, deconstructing the idea that being girly makes you weak. On the contrary, Usagi’s girliness makes her funny, relatable, and a good role model for young girls. Usagi set the template for a generation of female heroines for generations to come, and it’s for that reason why she’s well-deserving of my #1 ranking on my list.

So that's my updated list, what did you guys think about it? Love it, hated it? Go on and tell me what you think and let me know who your favorite anime heroines are. See you soon!

Deviantart: https://www.deviantart.com/darkchild316

[doomarchives]

David Annandale’s The Harrowing Of Doom: An In-Depth Review

So, I was kindly offered an advance reviewer’s copy of The Harrowing of Doom by David Annandale for the Marvel Untold series, a new prose line revolving around Marvel’s villains. Although I’m not personally familiar, the author’s prior written work and academic scholarship indicated a strong background in fantasy, science fiction, as well as horror film and literature - all essential elements of Doom himself honestly, whether in his character, design, or formative influences. A promising start from the outset! 

To no one’s surprise, I was especially excited for this one. Doctor Doom is both my favorite Marvel character and area of nerdy comics expertise, and Annandale sounded like the perfect candidate to tackle him. 

The Harrowing of Doom centers around a conflict familiar to those who know the character. Taking place fifteen years after his ascension to the throne, Victor von Doom is still hellbent on rescuing the soul of his mother, Cynthia, trapped in hell by the demon Mephisto. His yearly attempts to save her have been fruitless thus far, but he believes he can really do it this time, enlisting the help of a new character, Maria von Helm, and some of his lesser known subjects (also new characters) to accomplish the task, by building a machine called The Harrower. The noble scheme is further complicated by the reappearance of Prince Rudolfo Fortunov, son of the monarch deposed and murdered by Doom years prior, who is equally determined to take back what he believes is his birthright by any means necessary. The novel is a relatively dense and detailed one, and as a true blue Doom enthusiast, I have a dense and detailed review to match.

The first thing that I personally take note of in any material involving Doom is the author’s perspective on the truth of Latveria’s “benevolent dictatorship.” It immediately speaks volumes about a writer’s perception of Doom’s accountability and sense of morality; it kind of ends up coloring his entire characterization. That being said, I was really pleased by the evenhandedness with which Annandale treats Doom’s Latveria and his influence upon his subjects. It slots in neatly with some of the greats, Lee & Kirby, Jonathan Hickman, Roger Stern, etc with the acknowledgement that Doom is indeed a despot with an iron fist and a will absolute, but one who cares for the wellbeing of his country. Through dialogue from his subjects like the skittish Father Grigori Zargo and diehard loyal Captain Kariana Verlak, the reader gets the sense that Doom’s rule may be the best leadership Latveria has ever known. (A brief aside: another great strength of The Harrowing of Doom that has to be mentioned is the fleshing out of these different original characters. Maria von Helm was a particularly welcome addition, as a close friend of Doom’s mother and a far more empathetic magic user compared to him.)

Verlak is openly married to Dr. Elsa Orloff, a trans woman and neurosurgeon of international renown. Both of them had experienced the Fortunov rule that predated Doom’s, with Orloff even having fled Fortunov’s Latveria when she first come out as transgender, in fear of his tyrannical rule and the dangerously transphobic legislature he enforced called “The Laws of the Person.” It is apparent that Doom exists in obvious juxtaposition to the prior ruler’s bigotry. Beyond the total erasure of all previous discrimination and state-enforced bigotry, he has Verlak appointed in a role of great prominence, gave Orloff the tools she needed to succeed in her field, and even shares an exchange with her where he remarks that he knows her from her publications in the Lancet Neurology and that he appreciates them for their “speculative” approach. In an excellent exchange between Father Zargo and the rebel Prince Fortunov, the priest, who is by far Doom’s number one fan, explains Doom’s mesmerizing hold on the populace and the benefits they reap from his rule, despite it being a despotic one:

“I’ll be explicit, all the same,” said Zargo. “Doom is a sun king, even more fully than Louis XIV ever was. Latveria is a world power. How? Because of Doom and only because of Doom. Latveria’s strength and its wealth come from his inventions. And the beams of his sun touch every citizen. Universal basic income, free healthcare, free schooling, free universities, free training to the highest level of your calling - all of these things flow from Doom.”

“Free?” Fortunov snarled.

“The price is obedience, yes,” said Zargo, “And yes, Doom is feared.” Zargo stopped himself from saying Vladimir was feared and hated. [...] “Even though Doom is feared, he also is Latveria in every sense that matters.”

What I really appreciated was the author’s ability to walk the tightrope of acknowledging how beneficial Doom is for the country and his protectiveness over his domain, whilst also acknowledging Doom’s intense paternalism that ultimately favors his own goals. Doom, as well-read comic fans would know, is heralded as one of Marvel’s master manipulators. It’s a great strength of this novel to see him exerting his willpower and the strength of his personality to manipulate and sometimes, fully overpower that of his subjects. Father Zargo is definitely the most profound victim of this, a man with ties to both the church and the occult. Through the novel, Doom insistently pushes him towards the latter, his priorities made clear in one sentence: “The work was what mattered. Zargo’s soul was not Doom’s concern.” An especially interesting scene occurs later in the novel. Without too much elaboration, Doom performs an experiment where he uses the old Latverian nobility as guinea pigs.  This was something I immensely liked, corroborating one of my own personal perceptions of Doom. It’s always made sense to me that Doom would continue to hold a certain amount of disdain for Latverian high society, even after he went from low class Romani boy to monarch himself. 

(“The Fantastic Origin of Doctor Doom,” Fantastic Four Annual #2.)

Afterwards his partner, Maria von Helm, muses aloud that she always wondered why Doom let vestiges of the old regime remain, to which Doom responds: “Now you know. The aristocracy has its uses, and the advantages of being disposable.” It’s maybe my favorite example in the book of the exceptions to Doom’s purported benevolence. He does want the country to flourish and for his subjects to prosper, but this intent can be superseded by his innately ambitious nature and his own personal biases. It’s clear at several points in the book that Annandale is obviously well-read on Doom himself, but it was especially in the capturing of this nuance that it really stuck out to me in a big way. (As well as the fun reference to Doom’s brief jaunt in the French Riviera in Supervillain Team-Up!)

Outside of this core aspect of his characterization, I really enjoyed how the novel not only built up Doom’s cult of personality, but emphasized the sheer magnetism of Doom himself, in person. Constantly, characters find themselves buffeted by strength of his will, craving his approval or cowering and scrambling to avoid his displeasure. It’s a great true-to-character depiction of interactions between Doom and Latverian citizens, dynamics that were only touched upon briefly in the periphery of most comics involving Doom. I think, ironically, this is also perhaps the source of one of the novel’s few weaknesses. By keeping the book very Latveria-focused, Annandale does an excellent job of adding world-building on every level, from expounding on Latverian national holidays to the layouts of Doomstadt to the country’s storied history with witches predating Doom and his mother. But the fact that Doom mostly interacts with those beneath him or those who work for him gives the reader a bit of a myopic, overtly flattering perspective of him as almost too certain, too powerful, too unfeeling. I suppose it serves the scope of the novel for Doom to be more an obelisk of a man than fully well-rounded, but I contest that one of the best things about his character is that his indomitable exterior hides a deep well of pain and uncertainty. 

(“In The Clutches of Doctor Doom,” Fantastic Four #17.)

(“Oath of Fealty,” Doctor Doom #7.)

The novel obviously perceives Doom as Byronic, there’s even excerpts from Manfred interspersed between chapters that I greatly enjoyed, but I did find the heart of the Byronic character a little lacking here. Where Manfred bares his soul alone in monologue or to others, Doom, for the most part, does not. There are definitely brief allusions to the trials he’s faced, but he seems rarely prone to doubt or vulnerability until the very end. (For example, the central task is the attempt to rescue Cynthia von Doom’s soul, but little time is spent dwelling on this very human connection between mother and son.) Or even self-admitted imperfection! Interestingly, I only ever caught one mention of his scars in the entire novel. 

The Harrowing of Doom seems to prescribe to the line of thought that the mask is the only true face of Doom’s that matters, but I think with that philosophy, it stays firmly within the character’s own comfort zone. And his psyche never feels truly challenged, because there’s no worthy challenger. Doom knows without a doubt that he is Fortunov’s superior, so there’s no real interpersonal friction there. It left me keenly interested in seeing how the author would write Doom in the presence of someone like Reed Richards, an opponent who has historically brought out Doom’s baser instincts and invoked his self-doubt, drawing out his flaws and humanity in the process. Hopefully Marvel approves a sequel!

Doubtlessly, it’s still a strong entry into Marvel’s Doom canon and an excellent read for anyone who enjoys the character and is familiar with his history. The novel gives a sprawling, detailed look at Latveria and fleshes out both country and countrymen with aplomb. I took real delight at the indirect peeks at Doom’s personality through other characters’s observations or simple exposition. Some notable examples include Doom’s occult librarian wondering if he had been appointed out of spite of his witch-hunter ancestry, Zargo noting the west wing of Werner Academy was dedicated to clinical research in a nod to Werner von Doom’s work as a healer, and my favorite: the paintings within Castle Doom being impressionistic depictions of Doom’s ancestors, “people long buried, long forgotten, and in their lifetimes ignored or worse.”  

The conflict also moves at an engaging, brisk pace and smartly takes advantage of the widely known fact that Doom is preoccupied every Midsummer Night and turns that into an opening to be exploited by Fortunov, who also is well characterized throughout the novel and even experiences his own personal growth.

(“Though Some Call It Magic!”, Astonishing Tales #8)

Essentially, the product is a great novel about Doctor Doom influenced by strong comic lore knowledge, Gothic and Romance literature, horror cinema (According to the author, Doom’s lab is modeled after the lab from The Bride of Frankenstein!), and fantasy. If that sounds like something up your alley, definitely check it out. It gets a wholehearted recommendation from me. 

About Marvel Entertainment

Marvel Entertainment, LLC, a wholly-owned subsidiary of The Walt Disney Company, is one of the world’s most prominent character-based entertainment companies, built on a proven library of more than 8,000 characters featured in a variety of media for over eighty years. Marvel utilizes its character franchises in entertainment, licensing, publishing, games, and digital media.

For more information visit marvel.com. © 2020 MARVEL

[sirenprincess15]

Please Don't Leave Me Chapter 7

Title: Please Don’t Leave Me

Author: SirenPrincess

Description: What if Aleksander hadn’t answered the door when Ivan interrupted the war room kissing? What if Aleksander and Alina had a bit more time to get to know each other before Baghra told her his true identity? Alina is the only one who can comfort Aleksander through his nightmares. Will she leave once she knows who he is?

This story is based on the show version and features a soft on the inside, hard on the outside Aleksander with an emphasis on emotional hurt/comfort and angst. If you are looking for lots of hurt!Aleksander thoughts, then this story is for you. Mal exists but pretty much solely to cause Aleksander some angst. Don’t worry. It will be a Darklina ending.

Chapter 1 is a missing scene at the end of Ep 4, and Chapter 2 takes place alongside Ep 5 and then diverges from canon there.

Pairings: Aleksander Morozova/Alina Starkov, bits of Ivan/Fedyor

Rating: PG-13

Warnings: Grisha are oppressed in this universe, and I don’t shy away from showing the horrors of that. There may eventually be mentions of canon-typical torture (Fjerdan pyres), death of family members, and cruelty to Grisha children. It’s not the focus, but that backdrop is definitely there and comes up as characters discuss their past.

In this chapter: Aleksander struggles to find normality after his panic attack in front of Alina.

Chapter 7

Aleksander didn’t know how long he held Alina in his arms while focused only on her breathing. Every time he thought of saying something to explain why the nightmares had nearly caused the shadows to overtake them both, he was so flooded with shame that he nearly lost control again. With regret, he was going to have to tell her that she was going to have to start sleeping in the Vezda suite again. Being around his nightmares was just too dangerous for her, but he found he couldn’t bear the thought of losing her to the lonely nights. He couldn’t bring himself to say it. He tried to think of the future, of how they would someday bring safety to all Grisha, but there seemed to be so many obstacles in the way. Every time he thought of how to deal with Zlatan, the nightmare threatened to resurface. It was best to stay in the now, to focus on nothing but her breathing, on their simply being. And that made it better. She made it better.

Eventually, he tired of fighting off his thoughts. “Let’s have breakfast with the other Grisha,” he suggested. It would feel good to see the others intimidated by him after letting Alina see how weak he really was inside.

“That sounds good,” she agreed. She was worried about him; he could feel it, but she seemed willing not to push and to let him have what he needed to feel better for now.

Taking a deep breath to hopefully clear off the remaining shivers of the night, he stood to dress. The kefta was his mask, his shield. It made him look strong. He turned and saw Alina dressing in her black and gold, not the formal one of the demonstration, a soft velvet one. She looked breathtaking in it. Even after seeing his vulnerabilities, she was still choosing to align herself with him. The blue ones were in the back of the closet now, and he would be happy to never see them again.

“Shall we?” he asked, offering her his arm.

“We shall,” she smiled at him, that smile that could somehow bring joy back to his chest.

“If you would prefer to sit with Nadia, I would understand,” he whispered softly.

“No,” she said, shaking her head. “I’d very much prefer to stay by your side.” And, with that, he knew she wasn’t abandoning him. Maybe she should. There would always be darkness and pain in him, but she wasn’t going to, and he couldn’t be more relieved.

“Why don’t we ask Nadia to join us? Nadia, you, me, Ivan, and Fedyor.” That would certainly cause a stir, but Nadia had lost Marie, her best friend, whether she quite realized the how or not, and Aleksander found he did truly care if the girl was suffering from that loss. There was nothing worse than the pain of grief accompanied by abject loneliness. If Ivan joined him, that would let Alina and Nadia feel more free to talk. Ivan could fill him with some details of something in the war that needed to be solved. It would feel good to feel in control again. Of course, he would not separate Ivan and Fedyor for breakfast. There was something about the lighthearted way Fedyor got his stoic Ivan to smile that gave Aleksander hope that old hearts could still be touched.

Every voice immediately cut off the moment he strode into the dining hall. People had been mingling around talking, waiting for the food to arrive, but now all eyes were on them. Deep down, he had to admit that he enjoyed that power over them. He took Alina’s hand and led her to the special chair he so rarely ever used. She would need a matching one, he decided, but for now, he seated her to his left. He flicked his fingers up towards his palm to gesture for Ivan to come to his side. His heartrender’s response was instantaneous, and that sense of control returned to him. Aleksander gestured with his chin towards Fedyor to indicate he should come as well. The smile on Ivan’s face was subtle, just the twitch up of his lips, but it was enough to make Aleksander glad he had made that decision. He had the power to give happiness to his Grisha. “Nadia,” he called. “Please join us.”

“Me?” Nadia asked in shock, and the room exploded with whispers.

He stopped them all with his hand. Oh, yes, he did love that power. “Come,” he commanded her, then turned his attention to Ivan. He was confident enough that Alina could get Nadia settled.

As he had hoped, Ivan was able to keep his mind occupied with updates of things that, in the end, probably didn’t matter, but it was enough to keep him distracted from thoughts of the night. Giving commands, even over mundane things, let him feel himself again. He was an ancient, and the most powerful creature in any room. He would do well to remember that just because he had allowed his wrists to be bound once, did not leave him that helpless fool. He would not repeat the same mistakes again. That meant making locating the Stag priority number one.

“Updates from the hunting party?”

“Not yet, sir. I’d expect another couple of days before we hear from them. The snow does move further South this time of year, which will likely slow their movement.”

He was about to say something else when Zoya walked into the dining hall. She made straight for him, but Aleksander gave the slightest shake of his head to discourage her. She was a good soldier, and he had permitted her back in the Little Palace for her skills, but he would not have her upsetting Alina. Her face showed her frustration, and for some reason, that amused him. He nodded his head towards Ivan for her to report to, and then turned his attention to Alina and Nadia.

“Nadia, I never got the chance to thank you for making Alina feel so welcome here. I know what it’s like to feel like an outsider. It means a great deal to me that you would offer her friendship.” He would be sure to keep her assigned to the Little Palace or in Alina’s guard as the squaller reached the end of her training.

Ivan leaned over and whispered in his ear. “Zoya found someone trying to sneak into the Little Palace.”

“Someone picked the wrong day to irritate me.” He would never hurt someone who didn’t deserve it. He tried to spare people when he could, but there was no chance someone was accidentally breaking into the Little Palace. When consequences were due, he did rather enjoy the way using his power made him feel. There was nothing like holding a man’s life in the subtlest movement of his fingers to banish the haunted memories of being helpless.

“I’m sorry, my dear, something has come up that requires my personal attention. Please, enjoy your breakfast with Nadia.” Well aware all eyes were on them, he gently kissed her. Let them see her marked as his.

He stood and motioned for Ivan to accompany him and Zoya. As he past Fedyor’s chair, he leaned in and whispered, “Stay right with Alina today. Have Inessa assist you. Do not let her go out on the grounds. There may be a second attempt. Do not leave her alone for anything. I am trusting you with her life.”

“I would die for her, sir,” Fedyor said without hesitation. “She will not be harmed on my watch.”

“As would we all.” He wasn’t sure Fedyor heard his response, but he would give everything to keep her alive and safe.

[uponrightful]

You brought this on yourself 🤣 I love how you give Crosshairs point of view so often, but I gotta admit, I was wondering what Dutch was thinking here…it’s all about the spicy longing for me… so

Carefully he wrapped his arms around her, and covered her hands with his own; Caging in her upper body to stabilize the little shake of the gun by taking some of the weight off her arms.

“Confident?” He asked with a hint of mockery to hide his weakening resolve.

She settled back against him tighter, and with a resolved breath she answered;

“With you…? Definitely.”

Such a good fucking girl. He sprawled over her hips with his own, and pulled himself tight against her. Steadying his breathing just long enough to make sure she could follow it easily enough.

“Then take your shot.” He ground out heavily against the shell of her ear.

Crosshair watched the shot leave his rifle, and could already tell she’d made a direct hit. It was actually perfect, and he couldn’t help but loose his concentration from the sensation of her body jolting back against him. She’d handled it flawlessly, but he didn’t miss the little whimper that escaped her when the gun rocked back into her shoulder once again. He wanted her to take one more shot, begging for another just one more excuse to feel her underneath him. To Cross’ utter shock, Duchess began laughing happily at the mere sight of finally hitting her target.

Commentary Track for Coriolis Effect

Copy 500 words -or more- of any of my fics and I'll give you my thoughts/rambles on what was going through my head -or the character's- when I wrote it!

* send one in here *

*cracks my knuckles* "Ask and you shall recieve my loveley" I say as I chuckle deviously. In no way does my fianceé send a worried look in my direction as I start typing furiously.

***

To begin, Dutch chose to lay prone for a reason. It's actually not the best position for herself -fundementally- and she chooses to ignore that because it's how she pictures Crosshair doing it. That mental image of his shooting like this is ingrained in her mind, and Dutch has too much interest in him to try and position herself any differently. His rilfe is longer than standard, weighs at least six pounds more, his trigger is softer, and the scope sits a little too high to see from it clearly at this angle. All of that comes within seconds of holding it, but Duchess ignores all of that against her better judgement. It's a taunt, as much as it is an impulse to put herself in his preverbial shoes. She can literally feel Crosshair watching her, and althought that's a very distracting thought, Dutch is set on impressing him.

Note: This choice -of positioning- was made not just for logistics, but also because it fits her personality. Duchess isn't shy, and she is certainly not inexpereinced. I thought about this being a "standing" scene but Dutch wouldn't let me. 😅 Although she is extremely independent, her character's biggest weakness is a strong desire to impress -or be accepted. This stems not only from her time with Phantom Squad, but also from the lack of times in her life that someone has told her "good job". When she chooses to lay down, she's literally opting out of the security she would have of making an accurate shot, just to take a chance on impressing Crosshair. That's a risk/guess... But Duchess isn't afraid to try anyways.

The whole time she's actually a lot more concerned with making her shots than anything else. Constantly checking her form and doing anything she's learned in the past to prove that her size isn't a limiting factor like Crosshair says it is. Her shoulder hurts, and although it would otherwise be enough to make her stop -she has her own career effectiveness to worry about- Dutch isn't leaving until dominates this gun. It's not until she hears Crosshair's sigh that it clicks in her mind that he's still watching her struggle, but not taken the oppertunity to stop her from continuing.

Note: Weapons mirror their users. And when I created Duchess, I made the serious decision that a lot of her ability to characterize others would come from their armor and weapons. That's just who she is, and what she knows best. So, in this scene... Dutch is literally equating Crosshair's rilfe, as to a part of him. If it's harsh, that means he is as well... If it's a sensitive model, that says something about Cross. If she can't control it easily, that's an indicator of the man who wields it. Really pay attetion to the way I compare Crosshair to his 'Puncher throughout the fic. I do it with extreme purpose, and although it's not always easy to spot, there are many times I allude to their symbiotic nature.

The moment Crosshair is close enough to touch, all of that subtle teasing about his weapon from earlier is gone. Ultimatley, Duchess can have a smart mouth, and know how exactly how to use it. But Cross presents a whole new kind of intimidation that she doesn't know how to handle. For Duchess, power only comes in two ways: Physical Prowess, or Rank -wheather that by government facilitated, or sibling rank due to the Phantoms. She's never experienced the way Crosshair acts twoards her. Duchess knows he respects her -because of he he listens to her seriously- but he also challenges her to do things she'd be otherwise criticized for with a hint of disbelief. (Like mouthing off, or betting that she couldn't shoot his rifle, despite that being against regulation.)

The moment he puts his leg between hers, Dutch is a ball of nervousness. Sex is nothing new to her, but that kind of confidence in particular, is completely foreign. Normally she's the one who initiates things like physical dominance in personal space. Dutch is so caught off guard, and her whole body freezes up, because she's realising that she likes Crosshair doing that. It's a release of power that she's constantly holding up, and that kind of vulnerability is hard to let go of after making such a habit of about being the strong one. After all, since Phantom Squad, she's had to depend on herself alone.

It's when he grabs ahold of her jaw and tells her to relax that she's really down bad. 🥵 She knows it should be nothing but a technical comment on her form, but he's commanding about it . Literally ordering her to let go, and release that tension. That feels fucking amazing to hear and feel, coming from a stoic guy like Crosshair. She knows his rifle is harsh, and occasionally he is as well; But that's becoming all the more desirable the more he directs her. Pushing her down against the floor, guiding her back against him... Doing simple things, but silently demanding she follow his orders. Duchess doesn't have to do anything -or think about anything- other than letting him take the lead, and she's daydreaming about if he's like that in other areas.

Note: Duchess takes a fully submissive role here. She's fully receptive to Crosshair's leadership, and it's because she enjoys being thought of as weak -or little- on occasion. Her background is full of war accolades, and confidential missions she knows to be successful. All of it culminating in this unspoken war register of a badass woman who fights like a clone trooper. But that's not realistic to uphold all of the time. Everyone likes to be taken care of sometimes, and Duchess just happens to really like someone taking control every once and a while. And with Crosshair, she feels safe enough to let that happen, and also enjoy the sexual aspect she's been thinking about all this time as well.

Duchess admits to feeling confident with him here for two reasons. Number one, she's still trying to be a little teasing. It's natural to have a little fight in her all the time, and with Crosshair, she thinks that flusters him. (She's right by the way...) But secondly, it's her desire to show trust. Crosshair might be fit right up against her, whispering sexual innuendos in her ear, but Dutch ultimately feels safe like this . The rifle isn't going to hurt as bad, she's going to hit the target, and Crosshair's weight is emotionally grounding. They might be attempting to do some target practice, but Duchess is literally getting the equivalent of a weighted blanket and reassurance that her true self isn't unworthy of attention. Plus, it's coming from a man who otherwise appears completely disregarding of anything with a noticable flaw... That's something Dutch will never forget. The best sniper in the GAR is helping her... And he's happy to do so, by getting as up-close and personal as a man could get.

His hands cover her own, rough and calloused, but they're unbelievably gentle. Cross is almost hesitant, and Duchess can tell he's actively trying to ease her tension. The way he speaks is soft, and quiet... Making her feel like jelly. Being asked to follow his breathing pattern, his arms tight around her, legs somewhat twisted into hers, his thigh tight against her core... It's all seductive, and essentially surrounding her body with him. And Dutch can't help but eat it up. She wants more. No one has ever done something so simple, but effective in drawing out her desire to think of herself as something worth coddling -in a sense.

Duchess might hit that target in the end... But the only reason she did was because Crosshair had relaxed her enough so he could aim . (She didn't make that shot. Crosshair did all the work, she just pulled the trigger.) It was the first time Duchess felt like she was being tended to fully, and that's that had her acting so lighthearted at the end.

***

I fucking love writing these. Please don't ever stop sending them in!😅🤍

[aboveallarescuer]

Daenerys Targaryen in A Storm of Swords vs Game of Thrones - Episodes 3.7 & 3.8: The Bear and the Maiden Fair & Second Sons

In this series of posts, I intend to analyze precisely how the show writers downplayed or erased several key aspects of Daenerys Targaryen’s characterization, even when they had the books to help them write her as the compelling, intelligent, compassionate, frugal, open-minded and self-critical character that GRRM created.

I want to make it clear that these posts are not primarily meant to offer a better alternative to what the show writers gave us. I understand that they had many constraints (e.g. other storylines to handle, a limited amount of time to write the scripts, budget, actors who may have asked for a certain number of lines, etc) working against them. However, considering how disrespectful the show’s ending was to Daenerys Targaryen and how the book material that they left out makes it even more ludicrous to think that she will also become a villain in A Song of Ice and Fire, I believe that these reviews are more than warranted. They are meant to dissect everything about Dany’s characterization that was lost in translation, with a lot of book evidence to corroborate my statements.

Since these reviews will dissect scene by scene, I recommend taking a look at this post because I will use its sequence to order Dany’s scenes.

This post is relevant in case you want to know which chapters were adapted in which GoT episodes (however, I didn’t make the list myself, all the information comes from the GoT Wiki, so I can’t guarantee that it’s 100% reliable).

In general, I will call the Dany from the books “Dany” and the Dany from the TV series “show!Dany”.

Episode 3.7, "The Bear and the Maiden Fair", was written by George R. R. Martin himself and is one of the two scripts that he wrote and that show!Dany appears in (the other is episode 1.8, "The Pointy End"). Because the quality of show!Dany's screentime is obviously improved thanks to the influence of her creator, I decided to talk about episodes 3.7 and 3.8 (which was written by David Benioff and D. B. Weiss) in a single post in order to highlight the former's strengths and the latter's weaknesses.

Episode 3.7: The Bear and the Maiden Fair

Scene 6

JORAH: Your Grace. Yunkai. The Yellow City.

BARRISTAN: The Yunkish train bed slaves, not soldiers. We can defeat them.

JORAH: On the field, with ease. But they won't meet us on the field. They have provisions, patience, and strong walls. If they're wise, they'll hide behind those walls and chip away at us, man by man.

DAENERYS: I don't want half my army killed before I've crossed the Narrow Sea.

Dany's initial conflict in the books is different from that of her show counterpart:

“Are those slave soldiers they lead?”

“In large part. But not the equal of Unsullied. Yunkai is known for training bed slaves, not warriors.”

“What say you? Can we defeat this army?”

“Easily,” Ser Jorah said. “But not bloodlessly.” Blood aplenty had soaked into the bricks of Astapor the day that city fell, though little of it belonged to her or hers.

“We might win a battle here, but at such cost we cannot take the city.”

“That is ever a risk, Khaleesi. Astapor was complacent and vulnerable. Yunkai is forewarned.”

Dany considered. The slaver host seemed small compared to her own numbers, but the sellswords were ahorse. She’d ridden too long with Dothraki not to have a healthy respect for what mounted warriors could do to foot. The Unsullied could withstand their charge, but my freedmen will be slaughtered. (ASOS Daenerys IV)

As the quote shows, in the books, Dany's victory against Yunkai is quite likely, but it comes at the expense of the Astapori freedmen's lives, which Dany isn't willing to risk. Unfortunately, as I mentioned before in previous reviews, the Astapori who decided to follow Dany in the books are not introduced in the show, so this conflict can't exist for show!Dany.

Instead, the show focuses on the possibility of the Yunkish refusing to surrender by staying inside the city and letting show!Dany's army starve. I'm not a fan of this change because it's uninspired; it's too much like Dany's initial problem in Meereen:

“...Perhaps we can starve the city out.”

Ser Jorah looked unhappy. “We’ll starve long before they do, Your Grace. There’s no
food here, nor fodder for our mules and horses. I do not like this river water either. Meereen shits into the Skahazadhan but draws its drinking water from deep wells. Already we’ve had reports of sickness in the camps, fever and brownleg and three cases of the bloody flux. There will be more if we remain. The slaves are weak from the march.”

“Freedmen,” Dany corrected. “They are slaves no longer.”

“Slave or free, they are hungry and they’ll soon be sick. The city is better provisioned than we are, and can be resupplied by water. Your three ships are not enough to deny them access to both the river and the sea.” (ASOS Daenerys V)

It seems that this change was made not just because the Astapori freedmen were not included in show!Dany's story, but also because the events of ASOS Daenerys IV are being stretched out for four episodes (from this one until the season finale). This would explain why the show writers ultimately decided to introduce the sellswords in the next episode instead of in this one, which is another departure from the books, where they're introduced right away:

“Those are sellswords on the flanks. Lances and mounted bowmen, with swords and axes for the close work. The Second Sons on the left wing, the Stormcrows to the right. About five hundred men apiece. See the banners?” (ASOS Daenerys IV)

In the books, Yunkai is already prepared to wage war against Dany if it's necessary. The possibility of a siege is never brought up.

In the show, we'll have two scenes with Dany and her counsellors assessing the enemy forces (one in this episode and another in episode 3.8, which I'll discuss below), unlike the books (which only has one). Each is quite similar to one another, with the second more closely (though not entirely, since, again, the Astapori freedmen are nowhere to be seen) resembling the conflict in the books for actually introducing the sellswords.

Also, it's disappointing that we don't get to see onscreen quite a few moments from the books that showcase Dany's intelligence. The first is that she eagerly wants to apply her lessons with Barristan about how to assess her enemy forces, so she goes with Jorah to see them and then makes a reasonable guess about their strength:

Her Dothraki scouts had told her how it was, but Dany wanted to see for herself. Ser Jorah Mormont rode with her through a birchwood forest and up a slanting sandstone ridge. “Near enough,” he warned her at the crest.

Dany reined in her mare and looked across the fields, to where the Yunkish host lay athwart her path. Whitebeard had been teaching her how best to count the numbers of a foe. “Five thousand,” she said after a moment.

“I’d say so.” (ASOS Daenerys IV)

What's also missing from the show is Dany applying the knowledge she acquired from the Dothraki to contextualize the danger that her Astapori freedmen are going to face against the sellswords:

Dany considered. The slaver host seemed small compared to her own numbers, but the sellswords were ahorse. She’d ridden too long with Dothraki not to have a healthy respect for what mounted warriors could do to foot. The Unsullied could withstand their charge, but my freedmen will be slaughtered. (ASOS Daenerys IV)

Finally, unlike in the books, we don't have a scene on HBO displaying that show!Dany learned important lessons with both the Qartheen and the Astapori. Such lessons inform why she's certain that both Yunkai and the sellswords will at least come and listen to her offer:

“But if they do not come—”

“They’ll come. They will be curious to see the dragons and hear what I might have to say, and the clever ones will see it for a chance to gauge my strength.” (ASOS Daenerys IV)

That being said, there is good in this scene too: 

JORAH: We don't need Yunkai, khaleesi. Taking this city will not bring you any closer to Westeros or the Iron Throne.

DAENERYS: How many slaves are there in Yunkai?

JORAH: 200,000, if not more.

DAENERYS: Then we have 200,000 reasons to take the city.

ASOS Daenerys IV doesn't have a scene where Dany explicitly states that she is in Yunkai because she wants to free the slaves (though her thoughts and actions speak for themselves, making it obvious that she is). The show, on the other hand, makes that fact loud and clear for anyone to grasp it. Dany's selflessness is probably the most important aspect of her characterization, so it's no wonder that this scene (which draws attention to it) was written by GRRM himself. (Benioff, in contrast, focuses on Dany's supposed "Littlefinger style ambition" or on her "divine mission", but never on her moral principles)

*

Before I talk about this show scene in relation to the books, I want to reiterate that yes, it is racist at its core; it employs North African extras as slaves who will be freed by a character played by a British actress, after all. There's no excuse for this and I don't blame any person of color who dislikes show!Dany for this.

That being said, as @yendany​ already laid out in this post, the slaves of the books are of multiple ethnicities; they range from "pale Qartheen" to "ebon-faced Summer Islanders". This stems from the fact that GRRM never meant for the slavery that Dany is battling against to be race-based; he was, instead, inspired by the slavery in the ancient world. Parallels between Dany's storyline and US slavery, on the other hand, are non-racial in nature. Furthermore, it's crucial to notice that Dany is the only major character of ASOIAF interacting with people of color and caring about their struggles in the first place.

All of this is to say that yes, there is racism in this scene (and the books aren't exempt from it), but this is the fault of the show's production. Neither show!Dany nor Dany are white saviors because of it and their storylines still have thematic significance despite GRRM's and D&D's shortcomings. 

In the books, this is not the mode of transportation that the Yunkish envoy chooses to get to Dany:

The envoys from Yunkai arrived as the sun was going down; fifty men on magnificent black horses and one on a great white camel. Their helms were twice as tall as their heads, so as not to crush the bizarre twists and towers and shapes of their oiled hair beneath. They dyed their linen skirts and tunics a deep yellow, and sewed copper disks to their cloaks.

The man on the white camel named himself Grazdan mo Eraz. (ASOS Daenerys IV)

That being said, I would argue that this was a good change because it illustrates the oppression of the Yunkish slaves (who, let's remember, come from lots of different societies and cultures in the books) and reinforces the necessity of show!Dany's revolution.

Meereenese seldom rode within their city walls. They preferred palanquins, litters, and sedan chairs, borne upon the shoulders of their slaves. "Horses befoul the streets," one man of Zakh had told her, "slaves do not." Dany had freed the slaves, yet palanquins, litters, and sedan chairs still choked the streets as before, and none of them floated magically through the air. (ADWD Daenerys VII)

~

The Brazen Beasts did as they were bid. Dany watched them at their work. “Those bearers were slaves before I came. I made them free. Yet that palanquin is no lighter.”

“True,” said Hizdahr, “but those men are paid to bear its weight now. Before you came, that man who fell would have an overseer standing over him, stripping the skin off his back with a whip. Instead he is being given aid.” (ADWD Daenerys IX)

Considering that the palanquins (along with the whip and the tokar) were used to call attention to the mistreatment and the oppression of the unprivileged in the books, it's not surprising that they were also added in the show in an episode written by GRRM to convey the same point.

*

MISSANDEI: Now comes the noble Razdal mo Eraz of that ancient and honorable house, master of men and speaker to savages, to offer terms of peace. Noble lord, you are in the presence of Daenerys Stormborn of House Targaryen, Queen of the Andals and the First Men, Khaleesi of the Great Grass Sea, Breaker of Chains, and Mother of Dragons.

Again, thanks to GRRM's influence, Dany's and the envoy's titles are both announced as a formality, not as comic relief (at best) or as a sign of Dany's arrogance (at worst) like, for example, in her first scene with Jon Snow in season seven.

Also, this is not a key detail, but the Yunkish envoy's name was changed from Grazdan mo Eraz in the books to Razdal mo Eraz in the show. I don't see any reason why GRRM would change his name, which makes me question to which extent the show writers altered certain parts of GRRM's script to their convenience (and they certainly did, as I will show below).

*

RAZDAL: Ancient and glorious is Yunkai. Our empire was old before dragons stirred in old Valyria. Many an army has broken against our walls. You shall find no easy conquest here, khaleesi.

In the books, the Yunkish envoy speaks Valyrian like the Astapori did:

“Missandei, what language will these Yunkai’i speak, Valyrian?”

“Yes, Your Grace,” the child said. “A different dialect than Astapor’s, yet close enough to understand. The slavers name themselves the Wise Masters.” (ASOS Daenerys IV)

And yet, we are seeing the actors talk to each other in English, which is used in the show to indicate that the characters are speaking the Common Tongue. On its own, this is a superfluous change. Still, it's irritating that the show writers allow show!Dany and the Yunkish envoy talk to each other in English here and then will later prevent her from speaking to the freedmen in the same language (which she does in the books, because they also speak Valyrian) at court in episode 4.6. The implications that she's too removed from reality (and her subjects, as seasons five and six will imply), that she is actually quite similar to a master and that she should abide to the Meereenese traditions are all distasteful and completely out of line with what happens in the books. Unfortunately, it could be argued that the seeds of these negative implications are in this episode (though they only become negative in retrospect because of later events and not because of GRRM's writing).

*

Unsurprisingly, the Yunkish envoy's words are almost copied word by word from the books:

RAZDAL: Ancient and glorious is Yunkai. Our empire was old before dragons stirred in old Valyria. Many an army has broken against our walls. You shall find no easy conquest here, khaleesi.

~

“Ancient and glorious is Yunkai, the queen of cities,” he said when Dany welcomed him to her tent. “Our walls are strong, our nobles proud and fierce, our common folk without fear. Ours is the blood of ancient Ghis, whose empire was old when Valyria was yet a squalling child. You were wise to sit and speak, Khaleesi. You shall find no easy conquest here.”

Small changes are made in show!Dany's response to his statement, however:

DAENERYS: Good. My Unsullied need practice. I was told to blood them early.

~

“Good. My Unsullied will relish a bit of a fight.” She looked to Grey Worm, who nodded. (ASOS Daenerys IV)

In the books, this is a subtle but affectionate moment between Dany and Grey Worm. Dany is alluding to Grey Worm having previously told her that the Unsullied "thirst[ed] for blood" and that he hoped to show her that "the Unsullied learn the way of the three spears" (in stark contrast to the Yunkish bed slaves).

In the show, while the context surrounding show!Dany's mention of the Unsullied was changed from the books, I would argue that the scene is no less effective for it. It displays show!Dany's intelligence by having her recall Kraznys's advice and be intent on following it.

*

In both versions, the Yunkish envoy attempts to bribe Dany into leaving the city:

“And yet, why should we speak thus harshly to one another? It is true that you committed savageries in Astapor, but we Yunkai’i are a most forgiving people. Your quarrel is not with us, Your Grace. Why squander your strength against our mighty walls when you will need every man to regain your father’s throne in far Westeros? Yunkai wishes you only well in that endeavor. And to prove the truth of that, I have brought you a gift.” He clapped his hands, and two of his escort came forward bearing a heavy cedar chest bound in bronze and gold. They set it at her feet. “Fifty thousand golden marks,” Grazdan said smoothly. “Yours, as a gesture of friendship from the Wise Masters of Yunkai. Gold given freely is better than plunder bought with blood, surely? So I say to you, Daenerys Targaryen, take this chest, and go.”

Dany pushed open the lid of the chest with a small slippered foot. It was full of gold coins, just as the envoy said. She grabbed a handful and let them run through her fingers. They shone brightly as they tumbled and fell; new minted, most of them, stamped with a stepped pyramid on one face and the harpy of Ghis on the other. (ASOS Daenerys IV)

~

RAZDAL: If blood is your desire, blood shall flow. But why? 'Tis true you have committed savageries in Astapor. But the Yunkai are a forgiving and generous people. The wise masters of Yunkai have sent a gift for the silver queen. There is far more than this awaiting you on the deck of your ship.

DAENERYS: My ship?

RAZDAL: Yes, khaleesi. As I said, we are a generous people. You shall have as many ships as you require.

DAENERYS: And what do you ask in return?

RAZDAL: All we ask is that you make use of these ships. Sail them back to Westeros where you belong and leave us to conduct our affairs in peace.

In the show, the envoy offers her even more rewards than he had in the books; while the Dany of the books was offered "fifty thousand golden marks", show!Dany was offered an unspecified amount of gold that fills the deck of a ship and "as many ships as [she] require[s]".

In both versions, Dany declines the offer. Show!Dany is explicitly shown refusing it because of her moral duty towards the slaves (who, let's remember, come from lots of different societies and cultures in the books), which is a callback to episode 3.3:

Even if we don't have show!Dany attempting to spare the Astapori freedmen's lives like she does in the books, GRRM still hammers home that her ultimate goal is selfless - to free the Yunkish slaves and end slavery in the region.

*

Dany's "gift" to the Yunkish envoy was altered from book to show, but her sole request was largely kept the same:  

DAENERYS: I have a gift for you as well. Your life.

RAZDAL: My life?

DAENERYS: And the lives of your wise masters. But I also want something in return. You will release every slave in Yunkai. Every man, woman, and child shall be given as much food, clothing, and property as they can carry as payment for their years of servitude. Reject this gift, and I shall show you no mercy.

~

“I have a gift for you as well.” She slammed the chest shut. “Three days. On the morning of the third day, send out your slaves. All of them. Every man, woman, and child shall be given a weapon, and as much food, clothing, coin, and goods as he or she can carry. These they shall be allowed to choose freely from among their masters’ possessions, as payment for their years of servitude. When all the slaves have departed, you will open your gates and allow my Unsullied to enter and search your city, to make certain none remain in bondage. If you do this, Yunkai will not be burned or plundered, and none of your people shall be molested. The Wise Masters will have the peace they desire, and will have proved themselves wise indeed. What say you?” (ASOS Daenerys IV)

I would say that these scenes have the same spirit, though there are some differences between them as well.

In the books, Dany tells the envoy that she'll give him three days to free the slaves only to deceive the Yunkish and attack them when they least expect it. This, as I've argued before, is no proof of Dany's "tyranny", but rather her prioritization of the freedmen's lives (who would have been slaughtered against mounted warriors if not in a surprise attack) over the nobility's, which is an attitude that she should have maintained throughout the rest of ASOS and the entirety of ADWD.

On HBO, show!Dany will not attack Yunkai in the same night, so having her give the master three days to decide what to do wouldn't have the same significance. One could argue that show!Dany is being more explicitly threatening than Dany ("Reject this gift, and I shall show you no mercy") during her interaction with the envoy, but this line is certainly not out of character for Dany, who tells Barristan that "Yunkai will have war" in the same chapter where her talk with Grazdan takes place.

There are key things in common between the books' depiction of the scene versus the show's as well: Dany promises that "Yunkai will not be burned or plundered, and none of your people shall be molested"; show!Dany's gift is the envoy's life "and the lives of [his] wise masters". Dany asks for as much "food, clothing, coin and goods" as the former slaves can carry "for their years of servitude" after three days; show!Dany asks for "every man, woman and child" to "be given as much food, clothing and property as they can carry for their years of servitude". These show lines exhibit that, ultimately, show!Dany is also primarily focused on freeing the slaves and on attempting to be as conciliatory as possible.

*

One small detail is altered from books to show regarding the envoy's answer to Dany's offer:

RAZDAL: You are mad. We are not Astapor or Qarth.

~

“I say, you are mad.” (ASOS Daenerys IV)

In both versions, the envoy calls Dany mad, but Qarth is never brought up as an example of Dany's "treacherous" nature, only Astapor:

“You took Astapor by treachery, but Yunkai shall not fall so easily.” (ASOS Daenerys IV)

~

“And yet, why should we speak thus harshly to one another? It is true that you committed savageries in Astapor, but we Yunkai’i are a most forgiving people.[”] (ASOS Daenerys IV)

This addition was most likely made because, on HBO, show!Dany locked show!Xaro and show!Doreah inside the former's vault to die. I suppose that it makes sense for the show writers to pay attention to their own continuity, though that makes me question why Kraznys and the other Astapori slavers weren't also aware that show!Dany was not (in their perspective) trustworthy by the time she arrived to negotiate with them. It wasn't convenient to pay attention to the continuity in the beginning of season three, I guess. I also doubt that GRRM wrote this bit of his own volition (unless he was told to do so).

*

Now we get to what some people tend to see as the most controversial parts of Dany's exchange with the envoy. On HBO, it's show!Dany's decision to take the envoy's gold; in the books, it's Dany's burning of the envoy's tokar:

RAZDAL: You are mad. We are not Astapor or Qarth. We are Yunkai and we have powerful friends. Friends who would take great pleasure in destroying you. Those who survive, we shall enslave once more. Perhaps we'll make a slave of you as well.

REZNAK: You swore me safe conduct.

DAENERYS: I did, but my dragons made no promises. And you threatened their mother.

~

“I say, you are mad.”

“Am I?” Dany shrugged, and said, “Dracarys.”

The dragons answered. Rhaegal hissed and smoked, Viserion snapped, and Drogon spat swirling red-black flame. It touched the drape of Grazdan’s tokar, and the silk caught in half a heartbeat. Golden marks spilled across the carpets as the envoy stumbled over the chest, shouting curses and beating at his arm until Whitebeard flung a flagon of water over him to douse the flames. “You swore I should have safe conduct!” the Yunkish envoy wailed.

“Do all the Yunkai’i whine so over a singed tokar? I shall buy you a new one ... if you deliver up your slaves within three days. Elsewise, Drogon shall give you a warmer kiss.” (ASOS Daenerys IV)

People who think that the Dany of the books is more morally grey than show!Dany tend to use the event above as an example that supposedly "proves" their point, since Dany's burning of the envoy's tokar in the books doesn't happen in the show. Not only this conveniently ignores that the show cut so many of Dany's moments of compassion and self-deprecation and that it gave show!Dany many scenes that complicate her character's morality more than any from the books (e.g. her decision to feed one master to her two dragons arbitrarily), it also overlooks the fact that Dany uses her dragons to intimidate the envoy (rather than to punish him in any way). By making sure that he takes her seriously, Dany's threat of a "warmer kiss" becomes much more alarming, which is only necessary in a world where men think that it's normal to underestimate her and dismiss her as a "whore". More importantly, it must be remembered that Dany's threat to the envoy (who was never actually hurt) was made because she wants to free the slaves of Yunkai. All in all, considering a) the level of damage she caused (none), b) her selfless intentions and c) that we're talking about a book series/TV show full of rapists and murderers from a pseudomedieval world, this is not a morally grey action.

It must be noted, however, that GRRM himself observed that show!Dany's burning of the envoy's tokar was a moment cut from his original script and that he wishes that it had been included. I suppose I can understand why the author is frustrated by this particular change, since this has ramifications later when Yunkai remembers what happened to Grazdan and then refuses to accept any peace agreement until Dany marries another slaver.

Still, I think that the exclusion of this moment is compensated by this show change:

RAZDAL: Take the gold.

DAENERYS: My gold. You gave it to me, remember? And I shall put it to good use. You'd be wise to do the same with my gift to you. Now get out.

~

“You’ve soiled yourself. Take your gold and go, and see that the Wise Masters hear my message.” (ASOS Daenerys IV)

In the books, Dany doesn't take the envoy's gold. In the show, however, she does.

Like with Dany's burning of the envoy's tokar, show!Dany's decision to take his gold is not really a morally grey action because it's motivated by (and will finance) her anti-slavery campaign.

Like with Dany's burning of the envoy's tokar, this decision leads many fans to judge show!Dany much more harshly than they should, as this stupid gifset shows. @yendany​ has already exhaustively laid out why neither Dany nor show!Dany (whose actions, albeit often undermined in comparison to her book counterpart, are still in keeping with Dany's motivations) are imperialists, so check out her metas about this issue.

By comparing these two scenes, my intent is to argue that the omission of Dany's burning of the envoy's tokar isn't that detrimental in the grand scheme of things. Its purpose was not to make Dany more morally grey as some people think, it was meant to complicate the negotiations of a peace agreement between Dany and Yunkai (which never occurs in the show). If they wanted something to complicate the peace agreement (which, again, was never added into season five), they could have brought up show!Dany taking Razdal's gold (which, while also not a morally grey action, would certainly piss the Yunkish slavers off), but they would have to have cared about adapting Dany's ADWD storyline well to think about that.

*

BARRISTAN: The Yunkish are a proud people. They will not bend.

DAENERYS: And what happens to things that don't bend?

This response from show!Dany portrays her as more unyielding than the books do. This is not necessarily a bad thing (and it's not as if Dany didn't struggle with accepting the slavers' actions, opinions and customs in the books as well), but it goes against how the books have Dany still developing her political values along the way based on her experiences. Also, while this original line is fine on its own, in light of the show's ending, it may have helped to portray show!Dany as inflexible enough to become a Well-Intentioned Extremist in the eyes of the show writers and some fans (we know, however, that this ending is OOC for show!Dany as well and that it carries many, many horrible implications).

*

DAENERYS: He said he had powerful friends. Who was he talking about?

JORAH: I don't know.

DAENERYS: Find out.

Again, is this from GRRM or the show writers? In the books, as I already said, Dany knows who the Yunkish's "powerful friends" are right away:

“Those are sellswords on the flanks. Lances and mounted bowmen, with swords and axes for the close work. The Second Sons on the left wing, the Stormcrows to the right. About five hundred men apiece. See the banners?” (ASOS Daenerys IV)

This was changed because, again, they want to make the events of ASOS Daenerys IV last for multiple episodes. Still, I wonder if GRRM cared enough to respect the show's continuity or if the show writers made changes to what he wrote.

Episode 3.8: Second Sons

We get back to D&D's writing of show!Dany with "Second Sons".

Scene 7

Remember when I said that we would get two scenes of Dany and her advisors assessing the enemy forces in the show (this only happens once in the books)? Well, we have reached the second one.

BARRISTAN:  Men who fight for gold have neither honour nor loyalty. They cannot be trusted.

JORAH: They can be trusted to kill you if they’re well paid. The Yunkish are paying them well.

Show!Barristan's and show!Jorah's counsels above are show only.

It's not out of character for Barristan to distrust sellswords and men who don't behave in a way that is socially perceived as honorable in general. The problem is that the show writers have him express his feelings only for show!Jorah to question and refute them without show!Barristan being allowed to give any response, which undermines the latter (like they did in episodes 3.3 and 3.5 as well) in the eyes of the audience in favor of show!Jorah's perspective.

In the books, both Jorah and Barristan are shown distrusting sellswords, especially Mero:

But when Mero was gone, Arstan Whitebeard said, “That one has an evil reputation, even in Westeros. Do not be misled by his manner, Your Grace. He will drink three toasts to your health tonight, and rape you on the morrow.”

“The old man’s right for once,” Ser Jorah said. “The Second Sons are an old company, and not without valor, but under Mero they’ve turned near as bad as the Brave Companions. The man is as dangerous to his employers as to his foes. That’s why you find him out here. None of the Free Cities will hire him any longer.” (ASOS Daenerys IV)

What's irritating about this change in show!Jorah's character is that Jorah's attempts to isolate Dany from other men are a key aspect of their relationship in the books. Having show!Jorah trust the sellswords if they're well-paid overlooks this side of their dynamic and portrays him as reasonable rather than often motivated by jealousy like he is in the books. It also helps to popularize stupid takes like this one.

I would also like to call attention to Dany's response to their advice in the books:

“It is not his reputation that I want, it’s his five hundred horse.[”] (ASOS Daenerys IV)

As I said before, I find it interesting that Dany isn't really concerned about the sellswords' lack of morals. Moments like this and the one later in ADWD Daenerys VIII when she finds that being “dishonorable and greedy” can be advantageous if she wants the sellswords to turn to her side show that Dany is actually quite down-to-earth and flexible and doesn’t suffer from moral righteousness like the show writers seem to think.

Show!Dany expresses a similar view by thinking that the Second Sons might turn to her side because she has a larger strength (more on that below). That being said, she is mostly shown listening and making questions:

DAENERYS: You know these men?

~

DAENERYS: Is he more titan or bastard?

~

DAENERYS: How many?

~

DAENERYS: Enough to make a difference?

The books don't show Dany being as dependent on her advisors' feedback as show!Dany is. I don't want to be overly judgmental of show!Dany, but this is something that irks me because Bryan Cogman has said in an interview that he thinks that Dany relies too much on Jorah to obtain information about Essosi culture. It's not untrue that he gives her knowledge that she doesn't have, but this statement ignores the fact that Dany applies that knowledge and has her own (because she's lived in Essos for longer than Jorah) and that she has her own opinions and makes many decisions on her own as well. The show often overlooks these nuances because the writers are intent on making her more ignorant and ineffective than in the books to "compensate" for her strengths and achievements (more on this later).

*

JORAH: Only by the broken swords on their banners. They’re called the Second Sons. A company led by a Braavosi named Mero, the Titan’s Bastard.

DAENERYS: Is he more titan or bastard?

JORAH: He’s a dangerous man, Khaleesi. They all are.

A rare occasion where show!Dany is allowed to have a sense of humor (which her book counterpart displays much more often). What's a shame is that the show writers only know how to write offensive jokes for her (see also this one) and for most of the other characters in general.

I also dislike the implication that show!Dany's joke indicates that she is underestimating the threat that the Second Sons pose. It's certainly not out of character for Jorah to be condescending towards Dany, but I don't think that's how the show writers intended his response to come across; as I've talked about exhaustively by now, the show writers have a much more positive view of Jorah than GRRM does.

*

Another change is that the show writers increased the size of the Second Sons. In the books, the Stormcrows (which was condensed into the Second Sons in the show) have five hundred men and the Second Sons five hundred as well, making them one thousand rather than two thousand men:

“Those are sellswords on the flanks. Lances and mounted bowmen, with swords and axes for the close work. The Second Sons on the left wing, the Stormcrows to the right. About five hundred men apiece.[”]

~

DAENERYS: How many?

BARRISTAN: Two thousand, Your Grace. Armoured and mounted.

As I will show later, this goes in line with the show writers' tendency to undermine Dany against the sellswords in comparison to the books. It also goes in line with how they previously undermined the value of show!Dany's possessions compared to what she has in the books to undermine to extent of her sacrifice.

*

DAENERYS: How many?

BARRISTAN: Two thousand, Your Grace. Armoured and mounted.

DAENERYS: Enough to make a difference? (after Barristan nods "yes") It’s hard to collect wages from a corpse. I’m sure the sellswords prefer to fight for the winning side.

JORAH: I imagine you’re right.

DAENERYS: I’d like to talk to the Titan’s Bastard about winning.

Like in the books, show!Dany is also aware that her military strength vastly surpasses that of the Yunkish's and that this might persuade the sellswords to turn to her side.

My gripe with the show (which I'll talk about below) is that it'll challenge the fact that show!Dany would indeed triumph in a battle against Yunkai more than the books ever did. There, the conflict for Dany was not about whether she would win or not (she certainly would), but rather that winning would have meant allowing more freedmen to die as collateral damage than she's willing to do. Once again, the show writers are going to miss the point, which makes show!Dany seem less effective than her book counterpart.

*

DAENERYS: I’d like to talk to the Titan’s Bastard about winning.

BARRISTAN: He may not agree to meet.

DAENERYS: He will. A man who fights for gold can’t afford to lose to a girl.

In the books, Jorah is the one who questions if the sellswords will meet with Dany:

“The slavers like to talk,” she said. “Send word that I will hear them this evening in my tent. And invite the captains of the sellsword companies to call on me as well. But not together. The Stormcrows at midday, the Second Sons two hours later.”

“As you wish,” Ser Jorah said. “But if they do not come—” (ASOS Daenerys IV)

Which is in line with his tendency to question her authority (though, to be fair, this is one of the least offensive examples). Meanwhile, Barristan is the one who respects Dany as his liege.

Dany's answer to her advisor is also different:

“They’ll come. They will be curious to see the dragons and hear what I might have to say, and the clever ones will see it for a chance to gauge my strength.” She wheeled her silver mare about. “I’ll await them in my pavilion.” (ASOS Daenerys IV)

As I had already mentioned in my review of episode 3.7, this moment indicates that Dany learned important lessons with both the Qartheen and the Astapori, which is why she is sure that they will agree to meet with her.

On HBO, show!Dany brings up the fact that sellswords "can't afford to lose to a girl", which is true, but why would that be a reason for them to agree to meet with her? Isn't it more likely that, because she is a girl and, therefore, not perceived as a threat, they don't even bother going to meet with her because they (think they) know that she will lose? I don't really understand her point, which seems more like a typical moment of faux empowerment from this show.

*

BARRISTAN: Your Grace, allow me to present the captains of the Second Sons, Mero of Braavos, Prendahl na Ghezn, and, um…

DAARIO: Daario Naharis.

Much has been said about how none of the two show versions of Daario resemble his book counterpart in physical appearance (check out his description in the books here), so I'm only making a brief acknowledgement of that (admittedly radical) change in this review and leaving it at that. It's not really relevant to what I want to focus on (i.e., the changes in Dany's characterization and storyline from book to show) and I dislike how some people keep overfocusing on his looks to point out that Dany supposedly has a ~bad taste~ in men. It's much more important to acknowledge that Daario (both versions) gives Dany the chance to have sexual autonomy for the first time in her life.

*

MERO: You are the Mother of Dragons? I swear I fucked you once in a pleasure house in Lys. JORAH: Mind your tongue.

In the books, it's not Jorah who answers this asshole, it's Dany herself:

“I believe I fucked your twin sister in a pleasure house back home. Or was it you?”

“I think not. I would remember a man of such magnificence, I have no doubt.”
 (ASOS Daenerys IV)

His next insult is also adapted word by word from the books, which hints at the show writers' priorities:

MERO: You’ll all be slaves after the battle, unless I save you. Take your clothes off and come and sit on Mero’s lap, and I may give you my Second Sons.

DAENERYS: Give me your Second Sons and I may not have you gelded.

~

“What say you take those clothes off and come sit on my lap? If you please me, I might bring the Second Sons over to your side.”

“If you bring the Second Sons over to my side, I might not have you gelded.” (ASOS Daenerys IV)

Heck, the amount of profanity in the books is already problematic and the show makes it worse by adding even more:

MERO: Why? I didn’t mind hers. She licked my ass like she was born to do it.

~

MERO: Show me your cunt. I want to see if it’s worth fighting for.

~

MERO: After the battle, maybe we’ll all share you. I’ll come looking for you when this is over.

And that's not even considering that the sellswords get one scene for themselves in this episode (more on that later), ugh.

To top this all off, many of Dany's excellent comebacks to the sellswords' remarks in the books are erased in the show:

“Woman?” She chuckled. “Is that meant to insult me? I would return the slap, if I took you for a man.” Dany met his stare. “I am Daenerys Stormborn of House Targaryen, the Unburnt, Mother of Dragons, khaleesi to Drogo’s riders, and queen of the Seven Kingdoms of Westeros.”

~

“No need. After my eunuchs cut it off, I can examine it at my leisure.”

~

“So it is from you they get their courage?” Dany turned to Ser Jorah. “When the battle is joined, kill this one first.”

The last remark is included, but is also decontextualized in a way that prevents it from displaying Dany's competence like it does in the books. I'll get to it later.

*

DAENERYS: Give me your Second Sons and I may not have you gelded. Ser Barristan, how many men fight for the Second Sons?

BARRISTAN: Under two thousand, Your Grace.

DAENERYS: We have more, don’t we?

BARRISTAN: Ten thousand, Unsullied.

DAENERYS: I’m only a young girl, new to the ways of war, but perhaps a seasoned captain like yourself can explain to me how you propose to defeat us.

DAARIO: I hope the old man is better with a sword than he is with a lie. You have eight thousand Unsullied.

Like in the books, Dany inflates her number of Unsullied:

“Five hundred of your Stormcrows against ten thousand of my Unsullied,” said Dany. “I am only a young girl and do not understand the ways of war, yet these odds seem poor to me.” (ASOS Daenerys IV)

~

“It is true that I am only a young girl, and do not know the ways of war. Explain to me how you propose to defeat ten thousand Unsullied with your five hundred. Innocent as I am, these odds seem poor to me.” (ASOS Daenerys IV)

However, the show writers have show!Daario find out that show!Dany was lying about her military strength when this never happens in the books. Indeed, they seem hellbent on undermining show!Dany, since they even decreased her actual number of soldiers from eight thousand and six hundred in the books to eight thousand in the show.

This change heavily implies to me that the show writers believe that show!Dany is indeed "only a young girl, new to the ways of war" and that they want the audience to perceive her as one. (see also David Benioff saying that show!Dany goes "back to being a really frightened little girl" when her dragons are stolen in season two or Bryan Cogman's comment on her supposed ignorance of Essosi culture)

And this is just so wrong because this is the opposite of what GRRM is doing in the books.

As I already analyzed in this meta, in the books, Dany is the one who correctly guesses the enemy's military strength (yes, she is the one who gets to do that in the books, not Daario). Dany is the one who is shown applying her knowledge of the Dothraki forces to understand (on her own) that her freedmen are vulnerable against the sellswords. Dany is the one who applies her historical knowledge of the Second Sons to intimidate Mero. Dany is the one who gets to outline the tactical plan to take Yunkai (which the show writers will frustratingly have show!Daario concoct in the next episode). Dany is the one who stayed in the room and listened as her military commanders worked out the details to implement her plan. The latter case is particularly noticeable because GRRM cared to show Dany exposing her plan onpage, but he didn't care to write about how her advisors fleshed it out: that's because he prioritizes the development of his female lead character over his supporting male characters'. Despite certain flaws in his writing, GRRM goes out of his way to portray Dany as more than just a "young girl, new to the ways of war". It's a shame that the show writers can't do the same with her show counterpart.

The thing with Dany (both versions) is that she is a power fantasy in so many ways; she is the female protagonist of ASOIAF, she is genuinely kind and selfless, she is mother to three dragons and to thousands of people, she is a dragonrider and will become an action heroine, she is the only monarch with a claim to the Iron Throne who gets her own POV chapters, she is from a family renowned for their godlike beauty, she is a messianic hero, she fulfills so many prophecies, she has so many titles (and all of them were hard-won), she is the Fire of the song of ice and fire...

To many fans (including the show writers), she just can't be that big of a deal! There must be something wrong with her! If she is holding so much power, there must also be the risk of her becoming a tyrant. If she is a successful conqueror, she must also be ignorant (sometimes she is, sometimes she isn't, like a normal person) and arrogant (she isn't) and not think far enough ahead (she does). If she is a revolutionary who gets to enact her idealism (and deal with the negative results of her mistakes) onpage, she can't be the embodiment of hope for the future at the same time.

What I'm saying is that the show writers' tendency to undermine Dany's positive qualities and overstate her flaws (or create new ones or judge her by unfair double standards) mirror the ASOIAF fandom's and that the underlying assumption behind these attempts (i.e. that Dany can't be as great as she seems to be) is misogynistic at its core.

*

PRENDAHL: Our contract is our bond. If we break our bond, no one will hire the Second Sons again.

This is not a very important change in the grand scheme of things, but, in the books, Mero is the one who says something along those lines:

“You are worth fighting for, it is true,” the Braavosi said, “and I would gladly let you kiss my sword, if I were free. But I have taken Yunkai’s coin and pledged my holy word.” (ASOS Daenerys IV)

Prendahl, on the other hand, brings up that the Stormcrows (which is his company in the books) has the support of Yunkish forces and predictably dismisses Dany as a "whore" in order to explain why he won't join her side:

“The Stormcrows do not stand alone [...] We fight beside the stalwart men of Yunkai.” (ASOS Daenerys IV)

~

“What you are,” said Prendahl na Ghezn, “is a horselord’s whore. When we break you, I will breed you to my stallion.” (ASOS Daenerys IV)

His anger at Dany stems from both his misogyny and the fact that Dany's sack of Astapor led to the deaths of some of his relatives:

“That Prendahl is Ghiscari by blood. Likely he had kin in Astapor.” (ASOS Daenerys IV)

While these changes are not the most significant ones, it's noteworthy that Prendahl only appears in one scene seen through Dany's perspective in the books and receives more detailed motivations than in the show, where he gets a scene of his own (more on that later).

*

DAARIO: You have no ships. You have no siege weapons. You have no cavalry.

DAENERYS: A fortnight ago, I had no army. A year ago, I had no dragons.  

While I like that show!Dany is at least allowed to offer a response to show!Daario's remark, this wasn't supposed to have happened in the first place. Neither Daario nor any of the men that Dany interacts with are shown questioning her in this way in the books. It's another infuriating attempt to undermine show!Dany. Moreover, she is the one who is shown to be conscious of her own limitations in the books, not Daario:

Dany considered. The slaver host seemed small compared to her own numbers, but the sellswords were ahorse. She’d ridden too long with Dothraki not to have a healthy respect for what mounted warriors could do to foot. (ASOS Daenerys IV)

Why was this changed? I'm not sure. Because the show writers are deliberately trying to make show!Dany look worse than her book counterpart? Because they are unaware of the sexism underlying their writing choices? Because this makes show!Daario seem "more interesting" in his introduction (to the detriment of show!Dany's characterization)? All of these reasons or something else entirely?

Also, while I enjoy show!Dany's assertion on its own, I also know that it's probably informed by Benioff's false belief that Dany "feels like she has this almost divine mission and nothing is gonna prevent her from achieving it". The Dany of the books is neither prophecy-driven nor aware of her heroic destiny and, while it wouldn't be a problem if she were, it is a problem in the show because its writers constantly undermine, look down upon and villainize her character for her ambition, her drive and her self-awareness.

*

MERO: Show me your cunt. I want to see if it’s worth fighting for.

GREY WORM: My Queen, shall I slice out his tongue for you?

DAENERYS: These men are our guests.

In the books, as I've already mentioned in my review of episode 3.7 above, Grey Worm and Dany's brief interaction is different. I like how their show interaction displays his protectiveness of her, though it was unnecessary to add more sexual harassment to do so. Also, in the books, Jorah is the one outraged at Mero's treatment of Dany, though not primarily because she doesn't deserve to be treated like this, but rather because he wants to keep her to himself:

“I will like the taste of your tongue, I think.”

She could sense Ser Jorah’s anger. My black bear does not like this talk of kissing. (ASOS Daenerys IV)

*

DAENERYS: You seem to be enjoying my wine. Perhaps you’d like a flagon to help you ponder.

MERO: Only a flagon? And what are my brothers in arms to drink?

DAENERYS: A barrel, then.

MERO: Good. The Titan’s Bastard does not drink alone. In the Second Sons, we share everything.

In the books, Dany gives Mero a wagon of wine too, but there is a strategic reason behind why she does so - it makes them easier targets to attack at night:

“An hour past midnight should be time enough.”

“Yes, Khaleesi,” said Rakharo. “Time for what?”


“To mount our attack.”


Ser Jorah Mormont scowled. “You told the sellswords—”

“—that I wanted their answers on the morrow. I made no promises about tonight. The Stormcrows will be arguing about my offer. The Second Sons will be drunk on the wine I gave Mero. And the Yunkai’i believe they have three days. We will take them under cover of this darkness.” (ASOS Daenerys IV)

In the show, there's no purpose behind her favor, which is ultimately just what it seems to be. Unfortunately, this goes in line with the show writers' tendency to diminish Dany's skills and agency, which I've already criticized above.

*

MERO: In the Second Sons, we share everything. After the battle, maybe we’ll all share you. I’ll come looking for you when this is over. DAENERYS: Ser Barristan, if it comes to battle, kill that one first. BARRISTAN: Gladly, Your Grace.

I've said above that Dany's order to kill Mero first in battle was decontextualized from the books to the show in a way that prevents it from showcasing her competence. Here's why:

“The Second Sons have faced worse odds and run. At Qohor, when the Three Thousand made their stand. Or do you deny it?”

“That was many and more years ago, before the Second Sons were led by the Titan’s Bastard.”

“So it is from you they get their courage?” Dany turned to Ser Jorah. “When the battle is joined, kill this one first.”

The exile knight smiled. “Gladly, Your Grace.” (ASOS Daenerys IV)

As we can see from the quote, in the books, Dany orders Jorah to kill Mero first in battle to Mero's face in response to his poor attempt of self-aggrandizement. By doing so, she aptly manages to undermine him, which makes this a noteworthy display of her rhetoric skills and her self-composure.

On HBO, show!Dany tells show!Barristan (instead of Jorah) to kill Mero first as an emotional response to him slapping show!Missandei's butt. This change is both gratuitous (since it's more harassment that was never in the books to begin with) and superfluous (since we already knew that show!Dany has admirable moral principles, but we didn't get to know more about her capabilities like we do in the books).

Scene 8

This scene is pointless (for being about minor characters who were never meant to have scenes of their own and taking up time that could have been invested on show!Dany's development and storyline), redundant (for not telling us anything about them that we didn't already know) and offensive (for giving us more unnecessary profanity and female sexualization).

First, the scene doesn't even spend that much time on these commanders' decision-making, it's mostly about being gratuitous for its own sake:

MERO: She won’t talk so much when she’s choking on my cock. DAARIO: Eight thousand Unsullied stand between her and your cock. MERO: My cock will find a way. Tell him. Is there any place that my cock can’t reach? DAARIO: She’ll tell me whatever you pay her to tell me.

What does this say about Mero other than the fact that he's a misogynistic prick (which was already abundantly clear)? Why are we getting a scene featuring him that isn't seen through show!Dany's eyes?

PRENDAHL: That dragon bitch. She talks too much. DAARIO: You talk too much.

Like I said above, the show gives us more time with Prendahl and still manages to give him less detailed motivations than in the books (where he's not just driven by misogyny, but also by resentment for the deaths of his relatives during Dany's sack of Astapor).

MERO: Daario Naharis, the whore who doesn’t like whores.

DAARIO: I like them very much. I just refuse to pay them. And I’m no whore, my friend.

MERO: She sells her sheath, and you sell your blade. What’s the difference?

DAARIO: I fight for beauty.

PRENDAHL: For beauty?

MERO: We fight for gold.

DAARIO: The Gods gave men two gifts to entertain ourselves before we die, the thrill of fucking a woman who wants to be fucked and the thrill of killing a man who wants to kill you.

MERO: You’ll die young.

I'm gonna talk more about this when show!Daario meets with show!Dany in the next scene, but I really dislike the implication that he is only motivated to fight for show!Dany because of her beauty rather than because she has more chances to come off as the upcoming battle's winner. In the books, Dany's victory against Yunkai was certain (her main struggle, as I already said, was that she didn't want so many of her freedmen to die in battle).

Show!Daario's hedonistic nature is arguably in character with his book counterpart:

“...I count no day as lived unless I have loved a woman, slain a foeman, and eaten a fine meal ... and the days that I have lived are as numberless as the stars in the sky. I make of slaughter a thing of beauty, and many a tumbler and fire dancer has wept to the gods that they might be half so quick, a quarter so graceful. I would tell you the names of all the men I have slain, but before I could finish your dragons would grow large as castles, the walls of Yunkai would crumble into yellow dust, and winter would come and go and come again.” (ASOS Daenerys IV)

But this is beside the point. Again, why are we spending time with him and these men when they were only meant to service Dany's development and storyline in the books?

Their strategic concerns are only briefly addressed and their plan to solve them is ridiculous and nonsensical:

PRENDAHL: What do we do about the dragon girl? We can’t beat eight thousand Unsullied on the battlefield.

MERO: There won’t be a battle, and we don’t have to deal with her eunuchs. We only have to deal with her.

PRENDAHL: She’s wellguarded.

MERO: Tonight’s a new moon. One of us slips into her camp past her Unsullied and her knights.

What's even stupider than the plan itself is the fact that it works in the show. Yes, the show validated Mero's plan, because it would rather show off his abilities rather than those of its female protagonist. To validate anything that Mero says or does reinforces how tone-deaf the show writers are to the unfortunate implications in their writing.

In the books, Dany's guards are actually competent and catch Daario when he attempts to meet with her, so this plan obviously wouldn't have worked there:

“The Unsullied caught one of the sellswords trying to sneak into the camp.”

“A spy?” That frightened her. If they’d caught one, how many others might have gotten away?

“He claims to come bearing gifts. It’s the yellow fool with the blue hair.”

Daario Naharis. “That one. I’ll hear him, then.” (ASOS Daenerys IV)

To top it all off, their moronic plan is worked out while another woman is being sexualized just for the sake of it:

DAARIO: Which one of us?

MERO: Close your eyes, love. Three coins. A coin from Meereen, a coin from Volantis, and a coin from Braavos. The Braavosi does the deed. One for each of us, darling. No peeking. 

DAARIO: Do you hear me? Follow my voice. I’m right here. You have something for me? Valar Morghulis.

I'm not trying to say that the books are free from gratuitous sexualization and misogyny; they are definitely not. That being said, the military commanders' and the envoy's slut-shaming of Dany stands in contrast with how Dany becomes a mother and a cult figure to the Yunkish freedmen by the end of the same chapter. This contrast could be interpreted as social commentary about how Dany falls prey to a Madonna-whore dichotomy based on whether she's loved or hated by the people of this patriarchal world. The moments where Dany interacts with these men in the books (and the show) add to such social commentary; this show only scene where these men interact with each other without show!Dany's presence don't have anything meaningful to say. It manages to be both pointless and offensive at the same time.

Scene 9

DAENERYS: Nineteen?

MISSANDEI: Yes, Your Grace.

DAENERYS: How can anyone speak languages?

MISSANDEI: It only took Your Grace a year to learn Dothraki reasonably well.

DAENERYS: Yes, well, it was either learn Dothraki or grunt at my husband and hope… What do you mean, “reasonably well”?

MISSANDEI: Dothraki is difficult for the mouth to master. So guttural and harsh.

DAENERYS: Drogo said I spoke Dothraki like one born to it. It gave him great pride.

MISSANDEI: Athjahakar.

DAENERYS: Athjahaka.

MISSANDEI: Athjahakar.

DAENERYS: Athjahakar. Well, I suppose I’m a bit out of practice.

MISSANDEI: Your High Valyrian is very good, Your Grace. The Gods could not devise a more perfect tongue. It is the only proper language for poetry.

I love show!Dany and show!Missandei's relationship and am up for any scene where the two get to interact with each other just for the sake of it. That being said, why does their first bonding moment have to be about how show!Dany's Dothraki language skills aren't as developed as she thought they were? Ugh, she is so lacking in self-awareness because she's too arrogant, amirite? Only a man who's sexually interested in her would praise her skills, amirite (more on this later)? The underlying implications in these show only additions are annoying and unintended at best and offensive and malicious at worst.

Besides, why couldn't they have had show!Dany and show!Missandei talk to each other about their difficult past experiences and how they empathize with one another? Why couldn't the scene have focused on showing that they are growing fond of each other or explored the interesting aspects of their book dynamic (With the necessary adjustments to fit show!Missandei's age, of course)? So much wasted potential.

Also, I hate that they have show!Dany say that her Dothraki is rusty, since it implies that she hasn't been interacting with her khalasar at all (unlike in the books, where she constantly talks to them and/or thinks of them and/or is shown to be in the same room with them).

*

I've already talked about how Daario never successfully invades Dany's camp in the books because her guards are actually qualified there and how this is another way to undermine her character's competence. I'm going to address other things now.

For starters, the setup of show!Dany and show!Daario's second meeting is changed from the books. There, she was fully clothed in the company of her retinue. On HBO, show!Dany is much more vulnerable: she is naked, taking a bath, with only with Missandei by her side and at the mercy of show!Daario's willingness to spare her. It's an unnecessary and offensive change made solely for the sake of hyping up show!Daario's character (at the expense of the female lead character's effectiveness).

I also want to focus on this part of their interaction:

DAENERYS: You were sent here to kill me? So why haven’t you?

DAARIO: I don’t want to.

DAENERYS: What do your captains have to say about that?

DAARIO: You should ask them.

DAENERYS: Why?

DAARIO: We had philosophical differences.

DAENERYS: Over what?

DAARIO: Your beauty. It meant more to me than it did to them.

DAENERYS: You’re a strange man.

DAARIO: I’m the simplest man you’ll ever meet. I only do what I want to do.

DAENERYS: And this is supposed to impress me?

DAARIO: Yes.

It's true that the Daario of the books also brings up Dany's beauty as a reason why he decided to join her, but we shouldn't take his word for granted. Unlike in the show, the books never question that Dany's odds of winning a battle against Yunkai are indeed very high, so it stands to reason that Daario turned to her side primarily because he's opportunistic and, as Dany puts it, "would sooner sup on gold and glory than on death".

Meanwhile, on HBO, because of the writers' numerous attempts to undermine show!Dany's military strength, skills, possessions and accomplishments, show!Daario's statement that he decided to join show!Dany because of her beauty seems like something that we're supposed to take at face value. This is gross and, in light of how they tried to imply that her subjects followed her primarily because of her beauty in the final season, predictable.

*

In the books, Dany is suspicious of Daario for a few reasons: she is initially afraid that he's spying for the sellswords and Yunkai (and that that would lead to her surprise attack backfiring) and considers the possibility that he's not really turning to her side, but rather that he simply wants to save his own skin. She accepts his service because she knows that he would have nothing to gain by betraying her (especially after he had already betrayed his fellow captains and after her dragons themselves failed to convey any hostile reaction against him), that his five hundred men would guarantee a victory against Yunkai and that she must be open-minded and trust other people, in spite of the prophecies about the upcoming treasons.

On HBO, show!Dany is also initially wary of show!Daario:

DAENERYS: You were sent here to kill me? So why haven’t you?

DAARIO: I don’t want to.

DAENERYS: What do your captains have to say about that?

~

DAENERYS: And this is supposed to impress me?

DAARIO: Yes.

DAENERYS: Why would I trust a man who murders his comrades?

However, as we can see, her questions are not the same. Unlike in the books, show!Dany is at show!Daario's mercy, so she questions why he didn't kill her right away (which signals, to her, that he might be trustworthy). Unlike in the books, show!Dany is (rightly) more doubtful of the killings of his fellow captains as indication of his reliability, especially since he could eventually do the same to her (though, again, he never does so when he has the perfect opportunity here) and since, unlike in the books, her dragons are not present in the scene (and, therefore, are not shown to lack any suspicion of him). It's certainly reasonable of show!Dany to accept show!Daario's service, though I wish she had more agency like she does in the books. It's irritating to see show!Dany being threatened (just for the sake of making a male supporting character seem more interesting to the audience) when she never had to be.

*

As a final note, Mero's early death is another change (along with Barristan's early identity reveal) that prevents Jorah's betrayal from being revealed the way it was in the books.

Main differences in GRRM's writing versus D&D's writing

GRRM's episode reinforces show!Dany's selflessness by showing her explicitly put her fight for the Iron Throne aside to focus on freeing thousands of Yunkish slaves and by having the Yunkish envoy offer her even more rewards than in the books (which highlights the extent of the sacrifices she's making for the Ghiscari slaves). D&D have undermined the extent of show!Dany's sacrifice in comparison to the books before and don't care about highlighting this aspect of show!Dany's character in episode 3.8.

GRRM's episode portrays show!Dany as competent and poised in her interactions with the Yunkish envoy. D&D's episode goes out of its way to undermine her and make the sellswords look better.

GRRM's episode features a new scene from the viewpoint of a minor character that adds to the storyline (because it highlights the oppression of the slaves). D&D's episode features a new scene from the viewpoint of minor characters that doesn't add add anything to the storyline (because it's focused on being gratuitous for its own sake).

With crucial differences like these, one can tell that show!Dany's portrayal would have improved if GRRM had been more influential in the show's writing choices. This is not to say that he's flawless or that the medium of a TV series doesn't have its own inherent limitations, only that he cares about her characterization, development and storyline in a way that D&D never did.

My comments on the Inside the Episode 3.7

Weiss: Daenerys is coming into her own in a powerful way in the season. She's always been very negatively predisposed towards slavery because she knows what it feels like to be property, I mean, she was a very fancy slave for all intents and purposes, she was somebody who was sold to another man, taken against her will and I think that her feelings about slavery have started to really inform her reasons for wanting the Iron Throne, it's finally started to occur to her that, if I want to take on this responsibility, it's almost - it's incumbent upon me to do something with it, and she sees this great wrong, probably the greatest possible wrong surrounding her, and she's decided that she's not just going to take back the Iron Throne because it's her right, she's gonna take back the Iron Throne because she is the person to make the world a better place than it is. She is going to not just take it, she's gonna use it for something greater than herself.

This is actually quite an insightful comment from Weiss's part; it's certainly much better than most comments (from him and especially from Benioff) that came before or that will come afterwards. I especially like that he acknowledges show!Dany's past as a sex slave and that he associates these past experiences with her decision to become an abolitionist.

I would only add three things: first, in the books, Dany is always aware that "it's incumbent upon [her] to do something with [power]", it's not something that only occurs to her after she becomes an abolitionist. Second, while show!Dany (and her book counterpart) imposes higher moral standards on herself than most characters of this series do, this doesn't mean that we should do the same. In other words, we shouldn't judge her too harshly if she ever decided to abandon her anti-slavery crusade, for she would simply be doing what any other feudal lord would do: focus on her individual goals. Third, to view show!Dany's attempts to do good (and her reflections about whether she's doing good) as something that anyone could or would do is dismissive of her character's individual principles and experiences and creates a lot of double standards against other characters.

Show!Dany's clothes

A Storm of Swords doesn't give us any description of Dany's outfits during the moments that the show is adapting in these two episodes, so I don't have much to comment. Here's a mosaic of all the outfits show!Dany wears during these two episodes:

I like that the white dress that show!Dany is wearing has a slave collar in homage to her freedmen, for what was once a symbol of oppression becomes one of social justice. Also, that dress is quite similar to show!Missandei's, making this another instance where they are seen with matching outfits: 

Also, @slytarg​ has speculated that show!Dany's clothes in season three were a homage to Mother Mary, which is an interesting possibility.

[bowerbirdboy]

A Complete Character Analysis of Sgt. Anacostia Quartermaine

Anacostia Quartermaine. She’s been a giant question mark since day one but is slowly starting to reveal her true intentions. However, my curiosity still remains about her treatment of Raelle and whether or not it’s special. I rewatched all of the episodes with a special focus on her and here’s what I’ve managed to find. This is a long one, I’m sorry. There’s a whole lot to it, I understand if you have to tap out halfway through or skip to the conclusion, but I’d like to think it’s a thorough compilation of everything Anacostia has shown through her actions, words, and body language. 

Intro to Anacostia’s Character:

Anacostia was raised as a fosterling, a military child with no parents, and was looked after by Alder. This caused a strong bond to form between the two of them and made Anacostia the perfect right hand woman. As no-nonsense and professional as she likes to appear, we’ve seen some moments (unrelated to soldiers and training, I’ll get into those later) of humanity from her. 

One of the best examples is when the fosterlings come to visit and she can’t help but smile. I think it’s clear that she enjoyed her upbringing and they give her both a nostalgic joy and excitement for the future. 

We also see her reminiscing about Beltane with Berryessa, another hint that she remembers her childhood fondly. 

She even has her hair down, completely freed from her strict drill sergeant duties.

Anacostia and Punishment:

The first time we see her have a one on one interaction is with Raelle, when she finds out about her first demerit. Immediately we see the epitome of the “I’m not mad, just disappointed” look. 

She wipes away the demerit first thing without bothering to ask questions about it or punish Raelle. We only see her begin to get angry when Raelle says “I’m sorry” and she snaps back “are you?”. Instead of being angry that she broke the rules, Anacostia seems upset that Raelle doesn’t care about training or putting in effort to improve her work. She almost starts to yell when talking about how Raelle’s actions negatively impact those around her but takes a breath and calms down. Instead, she sits down next to Raelle which makes the scene feel much more like a pep talk from a big sister than a lecture from a superior officer. 

She brings herself down to Raelle’s level and softens her tone, not wanting to seem too much like an authority figure. Keep this in mind, it’s important for later.

She also personally hand delivers Raelle’s mail from her dad, something I would presume is way above her pay grade. 

Then we see strike number two after Raelle uses Salva with Scylla. Anacostia’s main priority is making sure Raelle gets medical attention (“We need to get you both to the infirmary”). While both girls took the Salva, Scylla has two officers standing guard by her bed and Raelle has none.

I don’t know if this is protocol, but it does seem like a special case. And seeing as how Anacostia dismisses both soldiers with a simple flick of her head, we can presume she gave them the guard duty in the first place.

Anacostia makes sure the guards are gone before threatening Scylla, perhaps because what she’s about to do isn’t quite up to code. 

From the daily ranking list we know it is possible to be punished for improper treatment of subordinates, or lower ranking soldiers. 

When her threats don’t seem to make an impact and Scylla is still making eyes at Raelle, Anacostia decides to get her point across by bringing Scylla to the brink of death. That might qualify as an abuse of power. 

There’s no regret on her face either, she seems to be enjoying making her point.

In this moment I don’t believe Anacostia knew Scylla was Spree, but when Raelle’s progress was in danger she wasn’t afraid to use fear as a tactic to stop it (“Stay away from her. Far away. As if your life depended on it”). But she only punishes Scylla, not Raelle. 

We see Raelle get in trouble again, this time for sleeping during training. Anacostia kicks Raelle’s foot out from under her to wake her up, to date the most physical punishment we’ve seen Raelle receive from her. Meanwhile, Abigail gets the brunt of Raelle’s failure when Anacostia forces her to hold out a tricky seed for a dangerous amount of time. 

She is unconcerned, even though Abigail is clearly risking her voice and she was the one who told the girls “It is imperative that the entirety of your vocal apparatus... must remain functional and sound producing at all times. Inability to produce sound can leave a soldier powerless.”

This could be a psychological punishment, to get the message across to Raelle that her failures directly harm her team. Raelle cares more about others than herself (even if it was before her and Abigail bonded), so maybe Anacostia knew that it would make Raelle feel guilty. But I think it’s possible she wanted to spare Raelle while still making an example of mistake, so the other girls didn’t get the wrong idea. 

Anacostia and Training: 

We first see this in episode one, when Raelle storms in to confront Abigail. The other officers are concerned and want to break it up immediately, but Anacostia is interested in seeing the extent of what she can/will do.

She lets the storm rage for about as long as it can without becoming harmful to all those in the nearby vicinity and I think she may have also hoped that Raelle would wriggle out of Abigail’s chokehold. When she inevitably doesn’t, Anacostia grabs Abigail and a random official grabs Raelle. That may have been a subtle hint that Anacostia wanted to ensure Raelle’s safety, only trusting herself to remove Abigail in time. 

Anacostia has a strange focus on Raelle in training. This may just be because the Bellweather Unit has the main characters and it makes sense for them to always be the focal point, but I’ll include it anyway. 

Even after rebelling and expressing disinterest in being there, Raelle is trusted with being the leader of the pyramid in a training exercise. 

While in a unit vocal lesson, Anacostia speaks directly to Raelle by saying “Very good Private Collar, that seed is a beast to master. Maintain it.” So was Raelle specifically given harder work than the others? Or was Anacostia only focusing on her?

Tally and Abigail argue back and forth about their moms, but it is only when Raelle says “how about we cool it on the mom talk” that Anacostia takes notice of the unit and encourages them to “use what’ve you got ladies”. They then proceed to produce a strong wind strike and we hear rare words of praise (“Best wind strike all day”). 

Anacostia and Praise: 

That leads me rather nicely into my next little segment, Anacostia’s praise of Raelle. 

When Raelle wakes up in the infirmary after trying to save Porter, Anacostia’s first words are another comment about her wellbeing (“You could’ve died”).

She looks angry but this time Raelle hadn’t done anything wrong. It seems as if Anacostia was worried about Raelle and covered it up with a layer of anger for risking her health without a second thought.

For the second time we see Anacostia sit down next to her, lowering herself to an equal level so it feels like a friendly conversation rather than a conversation with her drill sergeant.

We hear her praise Raelle, saying “We are all incredibly proud of you, that kind of bravery can’t be taught.” While not the first time Anacostia has complimented Raelle, it is a very vulnerable moment where she talks specifically about her character rather than her skills. It mirrors the first demerit scene and shows Raelle’s growth and Anacostia’s investment in it. 

But more importantly, Raelle doesn’t recognize the special treatment she is given. Anacostia is stern and she punishes more than she praises, so you would think Raelle may have started to notice. But in episode five we get two quotes that show she doesn’t.

“Yeah even Anacostia was impressed with our wind strikes.”

When have clearly seen several examples of Anacostia being impressed by their work, including the vocal lesson in the first episode and the wind strike. 

“There’s no way she said that.”

When Scylla tells Raelle that Anacostia praised her skills, which we saw happen, Raelle cannot believe it. We’ve seen moments of Anacostia pushing Raelle and complimenting her skills, but Raelle doesn’t see past her her demanding exterior yet.  

Perhaps Raelle thinks the bad moments outweigh the good, but when you see how Anacostia treats other soldiers it becomes clear how different she is with Raelle.  

Anacostia and Other Soldiers (mainly Tally): 

After the swimming pool Spree attack, everyone is a little shaken up. Particularly a woman named Simms, who can’t even produce sound because she’s crying so much. 

“Simms, buck up. You are in the United States Army, will you cry every time the Spree attack?” She refuses to show any weakness in the moment because she wants to show her soldiers what strength looks like. 

We do eventually see that Anacostia is also shaken up by the attacks and the reactions of her girls, a softer side she doesn’t often show. 

She is clearly struggling as well but wants to train the weakness out the soldiers, to keep them safe. She waits for them to leave before breaking down slightly.

However, this is entirely different from how she handles Raelle’s Scylla meltdown. When Raelle is crying and screaming about the loss of Scylla, she tries not to react. Just like Simms’ feeling of fear and sadness, grief is a common occurrence in war that they need to learn how to deal with.

She maintains eye contact and betrays no emotion. Yet.

Even though Raelle is demanding that Anacostia do her job better and is accusing of her sabotaging the search (which she was but... still), Anacostia holds her ground. But when Raelle starts yelling (“You’re acting like I’m crazy, I’m not crazy”), something softens in her eyes.

I believe here she’s realizing just how much Scylla meant to Raelle and she does not want to see Raelle breakdown like this. She even does a hard swallow, as if forcing down some emotion trying to bubble to the surface. There is a sympathy in her eyes that isn’t in the first picture or her confrontation with Simms. 

The harshest we’ve seen Anacostia act is towards Tally. Tally is bubbly and naive and still a little scared, all traits Anacostia wants to train out of her. While Raelle’s rebellion and disinterest seem like they should also deserve poor treatment, Anacostia appears to save all of her “harsh life lessons” for Tally. 

In episode two, Anacostia singles Tally out and asks her to stab her in the eye, knowing that she would falter and fail. 

The look here is cold and expectant. She knows Tally is terrified and won’t be able to do it, but she’s going make Tally feel the full extent of her failure. 

When Tally falls, Anacostia barely looks at her before asking someone else to pick up her slack. She knew Tally wouldn’t be able to complete the task and wanted to teach her a cruel reality about war. 

Then when Tally find her at the wedding, pale and shaking, to tell Anacostia about the Spree balloon, Anacostia snaps “what is it?” as her first response. While typically we see her holding back her anger and annoyance, Anacostia makes no attempt to hide how she feels about this inconvenience.

And if the message wasn’t clear before, when Tally grips onto her arm Anacostia yanks it away rather unceremoniously.

In episode six when Tally tracks her down to follow up about Scylla, Anacostia doesn’t even bother turning around to acknowledge that someone is talking to her. 

She keeps her eyes and head tilted away from Tally, barely even acknowledging that they’re having a conversation. One could wave this away as her trying to keep the secret of Scylla’s location if not for the previous examples of her behavior towards Tally. 

Anacostia speaks in short sentences, attempting to dismiss Tally as quickly as possible and only addresses her directly when she wants to threaten her to keep her mouth shut. 

Anacostia and Scylla:

This frame about sums up Anacostia’s role in Scylla and Raelle’s relationship and I believe it’s quite purposeful. 

She’s standing between them, a constant obstacle. Not only directly, when she threatens Scylla and when she kidnaps her but also what she represents. She wants Raelle to be a good soldier, to follow the life the military has laid out for her. Scylla wants her to see that there’s more to life than that and wants to get away from the military.

After she walks over, Raelle opens her mouth to speak but Anacostia talks over her and directly to Scylla (“You’re not supposed to be here”). It’s as if she’s trying to leave Raelle out of it, once again protecting her as if she’s a child. 

As soon as Raelle calls Scylla her girlfriend, Anacostia’s glare shifts to Scylla. Throughout the Tally distraction, Anacostia watches her carefully. 

There’s too much to screen shot here, so if you want to follow along, here you go. In her and Scylla’s one on one chat I think here you can see Anacostia’s thinly veiled affection for Raelle and how defensive she is of her, almost like an aunt or mother-figure. She says “you’ve taken advantage of a new recruit” in a tone much angrier than if she really was just a “new recruit”. It seems to be a deliberate choice of words to emotionally distance herself from Raelle in this situation. When Scylla takes credit for some of Raelle’s newfound success in training, Anacostia becomes even more mad and says “Raelle doesn’t need you, she has her own gifts. I suggest you end it sooner than later or I will make life very difficult for you, Ramshorn.” Scylla responds sarcastically and Anacostia responds with a slight head shake as if to say Scylla has no idea who she’s messing with. 

Now last but not least, we have the big bombshell at the end where Anacostia is revealed to be torturing Scylla. 

And I think the lighting says it all, this is a true dark side to Anacostia that we haven’t seen before. Almost completely unlit, leaving a shadowy portrait gives her the scene an eerie feeling and  

Her interrogation starts with “how did you plan the wedding attack?”, meaning she believes Scylla was the force behind the Bellweather death(s) and all of the destruction it caused. The real question is would Anacostia be interrogating her  like this if she didn’t think she was a mass murderer?

Conclusion: 

Anacostia’s treatment of other soldiers is not bad (except for SELECT moments with Tally and Scylla). She is a drill sergeant training them for war, she needs to be tough to keep them alive. It’s not even close to Izadora slitting a girl’s throat in the promo for next week. However she unquestionably gives Raelle tough love, almost as if she’s watching over her. It’s possible Raelle reminds her of a younger her, or Anacostia knew her mom, or she somehow knows Raelle’s strength and is supposed to monitor her. But you can definitely see that she handles Raelle differently from other soldiers and Anacostia has personal interest in her advancement.

I think it also shows that Anacostia will be the first to want to stop torturing Scylla. She really doesn’t seem to be cold or cruel, only when something or someone she cares about is directly affected. When she finds out that Scylla abandoned the Spree for Raelle, I believe Anacostia will no longer want to harm her.

[grandcollections]

by @bonearenaofmyskull 

Summary: 

While isolated from the rest of humanity as they escape the United States on their own sailing vessel, Will grapples with what he wants out of his renewed relationship with Hannibal.

Comments:

God, what a lovely, perfectly measured, somber post-fall fic. This is one out of maybe three perfectly executed post-fall fics that are my personal canon. This one... oh, THIS one!!!.... A somber sailboat fic composed of quiet moments and introspection, surprisingly short considering the amount of emotion and resolution it packs in its small real estate, it's the perfect fic to read the very night after you finish the last episode of Hannibal for a good, cleansing cry and a full heart before you go to bed.

Will had been afraid those few weightless moments: afraid and at peace, warmed by Hannibal’s body in his arms, and it had been so right. Right that they should die there together, right that they had killed together, right that Hannibal had known what was coming and still given himself over to Will as they stood on the eroding edge together. It was right when Hannibal’s arms tightened— desperately, compulsively— around Will. In those moments, Will had loved him more than he could reckon.

But here was Will, only a few feet away from him, his fingers thoughtlessly caressing the silver circle of wheel with just the pads, gripping, releasing. There he was, the toes on one foot curling and pressing into Cetus’s decking, his bare feet peeking out from new linen pants, slightly too long without shoes on. There—impossibly there, undeniably there, inconceivably there. Close enough to touch, if Hannibal reached for him. Hannibal stored him up in his mind, in a room encompassing all the oceans of the world.

“You are so consistently insistent," Will said. Hannibal smiled. "And you so persistently resistant."

TLDR: The writing is exquisite— the tone belongs to the show, pairs perfectly with it. It’s full of restrained sensuality, has an amazing grasp on nautical terminology, a mastery of setting the scene in the loveliest way possible, and a real grasp on Hannibal-esque dialogue that was so, so satisfying. It treats both Hannibal and Will individually with such respect; Hannibal’s yearning and penchant for manipulation and his constant pushing, Will’s reservations and melancholy and frustration. Both of their fears and their pain. Hannibal is allowed to be vulnerable and afraid (while giving us heaps of pining and possessive Hannibal) and Will is allowed to be strong in a way that rings true to both their characters. It highlights the bitterly circular nature of their relationship, the way pain and tenderness seem to always be intertwined. The fic has so much angst and little resolution (just how I like it—  a bitch likes blue balls). What’s unique about this fic is how it refuses to shy away from any facet of the twisted, tremulous place Hannibal and Will would be post-fall — the immense confusion, the yearning and learning and re-learning, the sea of blood and betrayal between them. This fic is not an ending; it’s a beginning, and that’s its true strength.

(much) more detailed review below the cut!

I'll talk about the writing first! (I'm being shockingly coherent here considering how much I incoherently screamed while reading/ in the fic comments). The TONE! is literal perfection. IMMACULATE. Only a few paragraphs in and I felt like I was watching the show, I FELT the bond between the show and the fic. The aesthetics matched — a feat, as the author manages to do that with such tight, contained writing while the aesthetic of the show is outrageously, extraneously beautiful. At no point does this author resort to flowery writing or extraneous detail— every word is measured, purposeful, bare, yet bursting with feeling.

This translates to one of my favorite aspects of the writing: its restrained sensuality. I say “sensuality” instead of “sexuality” because that’s what it is— gentle, but roiling eroticism, barely communicated in the slightest of details: 

He became slowly conscious of Hannibal’s steady gaze on him as he moved. He halted as he came to his door, hand on the latch. Somewhere in the back of his mind those words echoed again—Is Hannibal in love with me?—and Bedelia’s measured tones as she answered... Will turned his head but did not quite look at him. Hannibal’s attention remained steady, intent, curious. “Will?” he asked. Will went inside. Thereafter the association had him and would not let him go. He became aware of Hannibal’s attention in a manner he had never thought about much before.

... but instead he stayed with Hannibal, watching Hannibal’s face just inches from his own. Hannibal licked his lips and continued to apply pressure, watching Will watch him. They remained in this tableau, waiting for deliverance.

Hannibal peeled the shrimp and removed the veins with deft turns of his wrists, his sleeves rolled up halfway to his elbows. “I can help with that,” Will said.

Will could not resist testing his hand’s movement and felt it brush against the seam on the inside of Hannibal’s thigh. “Try to be still,” Hannibal murmured. He ran his warm palm over the muscles of Will’s shoulder again, much the same as he had smoothed the blanket fifteen minutes before, and as he had once drawn a blanket over Will’s chilled form and caressed him, Will thought idly, mere hours after shoving Abigail’s ear down his throat.

Hannibal’s lips were parted, and Will could feel his warm breath. He knew the look without needing to see it clearly: admiration and ache warring equally over his chiseled features. Consuming, as always. Drinking him in. Taking. He wondered what Hannibal saw in his own face.

What’s glorious about this style of muted sensuality is that the power is all left to the implications — which are infinitely more than a scene in which a finite ~thing~ happens—  to what’s unsaid, not done (but yearned for). Yearning (oh, there is so much yearning) takes a front seat. As a huge fan of Hemingway’s iceberg theory and contained writing in general, I loved this style.

The physical descriptions of the boat and the beauty of the sea were always lovely and anchoring. This author has a ridiculous command of the nautical world, and even if I didn’t understand all of it I deeply appreciated the attention to detail —

Hannibal had been a long time indoors and not a molecule of this natural beauty was lost on him. But mostly he watched Will. Will did not see this world of ultraviolet glare and sunblind desaturation as Hannibal did, but rather with the eye of a mariner and a fisherman. In the previous week, Hannibal had coaxed him into voicing some of his observations, and seeing life through Will's eyes had been in its way as fascinating as viewing death. A loon's laughing cry rose and passed on more than one occasion, and Will commented that it was a good sign for the fishery, that there must be a good number of menhaden, a baitfish, in the Bay that year...

A diffuse glow of sunlight illuminated his face from below, as the sun peeked through the skylights and lit up the woodwork and white upholstery in the saloon. It warmed the recesses of Hannibal’s sculpted face and made his eyes glow, more amber than brown.

There was no word on the weather, of the hot and unnatural stillness that held Hannibal and himself in its unrelenting grip.

The quotes at the beginnings of the chapters were also a really nice touch!

Hannibal's voice, his elite brand of dialogue— cyclical, cutting, seemingly random but never actually so— is captured perfectly; a difficult feat. It was so satisfying to read: 

“Moments are all that we need, Will. Enough moments, strung together, make eternity.”

"To feel intensely is not a symptom of weakness, Will. It's the mark of the truly alive."

This makes the hannigram conversations feel so authentic, so classically them, with Hannibal's philosophical overtures, the religious imagery, the refusing to shy away from previous interactions/conflict between them, and prodding and digging into Will as he loves to do, as he can't resist doing. Combined with Will’s insolence and the way he can surprise Hannibal, can (briefly) render hims speechless, the conversations could be scenes pulled from the show. 

I deeply loved and appreciated the instances of Hannibal pushing, of refusing to let things go (more on that later), of behaving instinctually (especially when Will pulls strong emotion from him). It rings so true to the character—  Hannibal’s worst vice (with Will at least) is his inability to control his black impulses when he's overcome with feeling when it comes to Will, especially if it's negative, burning emotion like betrayal, jealousy, or hurt. (See: Mizumono, Dolce). Then Hannibal becomes a viper, lunging and striking without thinking, poisoning the space between them.

Hannibal’s continuous pushing was a product of the author refusing to ignore the latent issues that would lie between our favorite murder husbands post-fall. A lot of fics jump straight into murder-husbands epilogue or Will-is-immediately-as-bloodthirsty-and-happily-cannibalistic-as-Hannibal (and I'm not gonna lie there's a couple of those that are favorites, writing makes all the difference for me) but this fic doesn't do that. I’ll admit that it’s very much not a focus of the fic, there is absolutely no exploration of how Will feels about killing or cannibalism, if he felt powerful, if he wants to chase that feeling, no exploration of “it’s beautiful”. It’s not a weakness of the fic, just very glaringly not a part of it. This fic is severely focused on Hannigram’s complicated feelings about each other, in a dreamlike isolated place. The fic doesn’t bother itself with morality, doesn’t place judgement, positive or negative, on any of those acts. It also doesn’t dismiss them from the future, and any realistic future would involve such acts. As I said before, this fic is a beginning. 

But, yes, back to my point! The fic touches on issues such as Abigail, Molly and Walter, and even the fall off the cliff by having Hannibal push Will again and again (even literally). I’m hesitant to say “explores” rather than “touches on” because it doesn’t do that, doesn’t provide a full resolution— it acknowledges these issues, establishes that they would be part of a continued conversation, and moves on. (Like I said; a beginning). 

Although Will rarely (or may actually never) bring up any of his own issues— he only engages when forced to by Hannibal— he does display strength in typical Will ways, through resistance and insolence. 

What Hannibal wanted was what Will had shared with Molly and Walter... He did not want to give these things to Hannibal. 

A lot of fics will have Will either shy away from any discussion of Molly and Walter, because they’re ugly and difficult to execute well, and so they are erased as if they never existed— or they will simply have Will completely demote and reject Molly and Walter and the life he lived in Maine. But in this fic, Will is still protective of them, even as a memory, even as something that exists completely in the past, even as he moves forward with Hannibal. It’s a display of strength, of non-compliance, that I love.

Will shows strength in other ways, too. While he doesn’t start many of the difficult conversations as Hannibal does (as only insightful Hannibal can do), once engaged he’s present and sharp, sometimes unyielding and even hurtful. Will doesn’t shy away from the bitterness of the walls placed between them, walls that aren’t made of matter but of space— space Will placed between them, space Hannibal took (and continues to try to take) from him.

The result are many (beautiful) references to their past, to the rivers of blood between them: 

The grief of their years apart flooded after, with the weight of what they had done to each other and what they had suffered at each other’s hands. The shadows of pain and stains of blood surrounded them, filling the boat, threatening to sink it and carry them both to the bottom of the sea.

He had been sure, and he was still sure- they had to deal with each other, to grope their way through their shared maze of long-stored griefs and the dead ends of failed trust.

Hannibal had awoken, and Will’s peace fled.

This last gutting quote takes me to another hallmark of this fic for me— a truly beautiful and mature display of their mutual unhappiness, a living example of “be careful what you wish for”. Both men have wished for this (for different lengths of time and in different degrees, yes, but they wished for it)— to be alone together, which is to not be alone, finally (“we are both alone without each other”). But now that they have it, they learn that they have to actually be together, and that perhaps they don’t know to do that, or at least how best to do that. They learn that there’s so much pain and unresolved emotion to contend with, when faced with the nothing but the other and time. 

And so, after the story ends, they don’t leap into happily-ever-after. Instead, they leap into explorations of their unresolved feelings and their own failings. There’s such a deep understanding of both men’s failings, the unique ways in which their hearts are broken — there’s even a beautiful mirror where both men (separately) reflect on the ways in which they’re not enough for the other. 

As then, Hannibal knew he had little with which to fight this enemy. He had no secrets left to reveal, no curiosity to exploit, no monsters to fight, no daughter to share, no one left to save but Will himself. He had only Hannibal Lecter, and that had never been enough.

Will wondered what equally tender and ravenous urge had brought Hannibal forward to watch over him while he slept... He tried to imagine if there might ever be any way he could give Hannibal enough to sate him. Maybe there was, if Hannibal had succeeded in sawing his way into Will’s head and eaten his brain after all. Will could not see it otherwise. The whole of Will’s entire life and being was not enough. It had never been enough.

This whole thing is both gorgeous and tragic, both of them harboring imagined shortcomings and impossible desires. Will wonders if literal consumption, to be eaten or allowing himself to be possessed in every other way, is the only thing that will sate Hannibal. And this Will is, very definitively, not willing to do that. (I’m not averse to fics where Will is— when done well, it’s supremely good). And Hannibal has always used Something Else to hook Will, to keep Will, and so the tragedy is in the hypothetical— what could have happened had he resisted some of his own worst impulses? Did Hannibal behave this way because of Will’s resistance, or would Will not have resisted him, rejected him, had he not been so manipulative, coercive, demanding, taking? *Sigh.* I also love that Hannibal is allowed to acknowledge his own failings and betrayals in this fic; it doesn’t always exists in post-fall fics  (again, it's usually Will apologizing for his false life with Molly, etc). It makes for some delicious angst.

And my god, is the angst good! Striking, painful, gutting, love that for meee!!!! (I genuinely do!) 

Will did not speak, not even to thank Hannibal. It stung. 

BABEYYYY NOOOO why do the SIMPLEST sentences fucking destROYYYY me?!! 

Does that make you feel better?” Will asked in a low voice. “It’s not enough that you take everything else—you have to take even the symbols of anything I had that wasn’t about you?” 

Reaching out, he gripped the fabric of Hannibal’s shirt in his hand, closing his fist around it slowly. “Maybe that should tell you something.” Hannibal twitched slightly—Will had caught some of his chest hair—but he remained passive. It was Will’s weak arm, his right, and so the gesture was just that: a gesture, made for no better reason than emphasis. But it felt good to have Hannibal under him, looking surprised.... “What should it tell me, Will?” “Some things”—Will breathed deeply through his nose, trying to steady himself—“do not belong to you.” His voice came low and quiet. Hannibal’s hand came up and touched his arm, moving up to the recently injured shoulder, running his palm over Will’s shirt, passing his fingers over the roughness of scars beneath. “I only wish to know you.”

literally SCREAMING INCOHERENTLY!!! I haven’t even used the worst (best) angsty bits — gotta save something for the actual fic! so go go go!!! 

This deep understanding of both Will and Hannibal as separate individuals shines throughout the fic, but I’d like to showcase some really strong character lines. On Hannibal:

Hannibal was pleased with his age and the experiences that fueled it: every moment he lived he had snatched from God’s own sticky fingers. 

He knew that Hannibal could and did partition his mind against such associations, that his affection was every bit as real as his violence... He could only find and explore this newly tender and painful place within him, like a man who cannot keep from tonguing an aching tooth.

... the mercurial author of both his pain and his relief. 

He had probably investigated all of Will's belongings at some point. 

Hannibal could believe, but he could never know. 

(^ one of my favorite parts of the fic; the recurring explanation of Hannibal’s desire to possess Will is a product of his fear of not knowing him. This line is so simple and well done, yet full of anguish.) 

Will had seen Hannibal’s heart break enough times to recognize it in his stillness, in the slight thrust of his jaw beneath closed lips, in the shifts between denial and acceptance in his brown eyes, which could find no safe place to rest in the landscape of Will’s face.

(i’m EMO.) Okayokay, Will’s character lines are just as fantastic:

He would be unable to tend his right arm well with his left hand, and Hannibal would insist, and he would be forced to give in. Will wished it did not matter.

(THIS. LINE. So much communicated about Will's mingled frustration and acceptance, about the power imbalance in this relationship, in just six words.?

He was so tired of it-tired of the vulnerability, of dependency, tired of the torture of needing comfort, of wanting comfort from his tormentor. 

Will had adopted his trademark flat affect by the second of these sessions. He would stare ahead, at the pulse at the base of Hannibal’s throat, following Hannibal’s instructions to the letter, but he might as well have been the walking dead for all the emotion he expressed. He spoke when spoken to and offered nothing. (my chest hurts, oh will)

Will was a dark presence near him, slim and sharp as a cutlass.

And then he smiled, gray eyes lifting to Hannibal’s, bringing Hannibal’s heart into his throat. He smiled that sad smile of his, the smile that could contain oceans of sweetness and bitterness all at once. 

✨  and this line, that encompasses both of them: 

It still hurt, to be so vulnerable. It hurt that Hannibal had turned on him and could have drowned him or let him drown, yet again after so many times down this path. It hurt that Hannibal lived day to day and moment to moment, awaiting Will’s next betrayal.

and oh, oh this fic is rife with lovely hannigram passages: 

Hannibal seemed to sense his weariness. “We’re always braver in the face of our own pain than in the face of the pain of those we love,” he said quietly. He turned his attention back to Will’s arm and let the conversation rest.

Is Hannibal in love with me? he had asked... Will had been enormously afraid of either answer. Hannibal continued to cut the bell pepper in to a twisting spiral of red, his face and body still, only his hands working. “I thought of you,” Will said finally. “Often.” Hannibal’s breath released in a slow sigh. Will watched the words fill him up, set him to rest, with no outward change in his demeanor. He wished it were always so easy. Or had it always been?

His movements were slow and deliberate, less like a doctor at work than a supplicant at prayer. 

(^ okokok i'm NOT going feral i'm NOT! supplication/worship/devotee imagery in tender moments between lovers/from a hopeful lover to the object of his/her devotion is my WEAKNESS)

What would you give me?” Will asked finally. “What would you have of me?” “Would you give me”—Will articulated slowly, deliberately—“Bedelia du Maurier?” Hannibal felt a thrill of surprise in his chest. Will was steady, studying. Hannibal watched the gray-blue of his irises. His pupils were constricted in the harsh daylight. “Do you want her?” Hannibal asked curiously. “No.” “I would deny you nothing.”

But, there is resolution. (Some). There is peace to be found. It comes in the form of Will letting go of the desire to ever kill Hannibal:

... dim memory of the thrill he used to get while imagining killing Hannibal came and went, just a phantom—powerless, soon forgotten. There was something freeing in the knowledge that he could not kill Hannibal even if he tried.... Will held himself over Hannibal for several long seconds. He imagined hurting him, pressing a knee to his throat and crushing his voice box, silencing that voice forever. No thrill accompanied the thought now. No pain, either. Nothing. He would never do it, he knew; he had taken his opportunity at the top of the cliff, and it would never return.

and is completed when he lets go:  All of it was lost to the sea. 

There is such tangible relief in Will’s deciding to let go of any illusions of killing Hannibal, and in releasing his pain to the sea. (And remember, the entire premise of this fic is Will deciding what he wants from Hannibal in this new life they find themselves in... and he decides.) With it comes such hard won, painful freedom. I literally felt a surge of relief and a burden dropped; Will’s. He is freed from having to "seek justice" or do the right thing. It's over. He can just, BE (whatever that looks like). 

ps: I haven’t quoted too much from the last two chapters, as that’s where the most “plot” happens and they’re phenomenal and I can’t just copy and paste the whole chapters here. Please, just go read it! And I will link my comments: chapter 13 | chapter 14 

I just... can’t say enough good things about this fic, but I’ve thoughtfully laid out everything major. It’s tremendous, satisfying, lovely. Go give it a read. 

[fuckyeahwarriorwomen]

Copy of article below thge cut, should the original ever go away

Leading up to the 20th anniversary of the March 10, 1997 premiere of Buffy the Vampire Slayer, Yahoo TV is celebrating “Why Genre Shows Matter” and the history of how these shows have tackled universal themes (e.g. how much high school sucks) and broader social issues.

Perhaps because they seek to imagine the world that’s possible rather than the world that is, genre shows have a long tradition of striving to expand the horizons of what’s possible for women on television. Within the realm of space operas alone, there’s a direct line that connects Lieutenant Uhura’s prominent perch amongst the Enterprise‘s largely male bridge crew on the original Star Trek to The Expanse‘s fiercely independent engineer, Naomi Nagata. And each point along this continuum helps inform the next: commanding officers like Babylon 5‘s Susan Ivanova and Voyager‘s Kathryn Janeway are linked by a devotion to duty, if not necessarily temperament, while Killjoys‘ scrappy bounty hunter, Yala, could have been a student of Firefly‘s highly-skilled soldier, Zoë Washburne. On this International Women’s Day, we celebrate the accomplishments of one such influential intergalactic heroine.

Her name is Aeryn. Officer Aeryn Sun if we’re being formal, one of the interstellar outlaws at the center of Farscape, the wildly ambitious Australian/American space serial that ran from 1999 to 2003 on the Sci-Fi Channel. Bred from birth to be a loyal Sebacean soldier in the Peacekeeper army that patrols her section of the galaxy, Officer Sun switches careers after inadvertently ending up aboard a living spaceship named Moya that’s occupied by a motley crew of jailbreakers. These convicts-turned-comrades include towering warrior Ka D’Argo, blue-hued priestess Zhaan, flatulent deposed despot Rygel XVI, and John Crichton, an Earth-born astronaut who is very, very far from home. Created by Rockne S. O’Bannon and produced by The Jim Henson Company, Farscape enjoyed a bumpy four-season stateside run that ended prematurely when the network declined to fund a fifth and final year. (Sci-Fi later aired, but didn’t finance, a wrap-up miniseries, Farscape: The Peacekeeper Wars, in 2004.)

The original cast of ‘Farscape’ (Credit: Everett Collection)

One of the joys of Farscape is that its defining house style is the lack of a defining house style. Episodes can range from standalone homages to body-switching comedies and vintage Loony Tunes cartoons to densely plotted multi-part stories that don’t conclude with conventionally happy endings. The primary constant amidst this narrative and tonal juggling is the turbulent love story between Aeryn Sun and John Crichton. Revisited today, Farscape stands as something of a bridge between eras of space opera, linking the last wave of episodic space adventures like Star Trek: Voyager and Stargate: SG-1 to the intensely emotional serialized narratives that later drove Battlestar Galactica and its ilk. Aeryn is both a traditional and transformational figure as well; raised to be an impersonal enforcer in the Imperial Stormtrooper mold, she comes to live out a promise that John makes to her in the very first episode: “You can be more.”

“Oh, I’ve got chills down my arm,” says Aeryn’s alter ego, Claudia Black, as she reflects on the character and those prophetic words nearly two decades later. “Her evolution as an individual takes off in an extraordinary way [after that].” Over the course of Yahoo TV’s hour-long conversation with the Australian actress, it’s clear that she does regard Aeryn as an individual unto herself, one who took on a life that sometimes superseded the actress’s own. “I was always happy to hand the character off,” Black says. “I would say [to the producers], ‘If I’m going in the wrong direction then please find someone to serve Aeryn, please. Because she deserves to have the full love of a person who can give you what you need.’ She was honestly such a privilege to play, and I never abused that privilege.”

And Black very nearly didn’t get that privilege. The role had already been cast when she first auditioned for Farscape, but the creative team encouraged her to read for Aeryn anyway. That reading later led to a screen test opposite Tennessee-born Ben Browder, who would be playing John Crichton. (Interestingly, Browder’s casting is, in part, what opened the door to Black inheriting the role from the English actress who had originally been chosen as Aeryn. “Because of the Australian co-production agreement, if they brought in a lead actor from America, the second lead had to be Australian,” Black explains. “So thank god for our union!”) Immediately recognizing the crackling onscreen chemistry between them, Browder pushed hard for her to land the role over network skepticism. “I was a controversial choice for sure,” Black says now. “I was just lucky in the end.”

Whatever the circumstances of how she got the role, Black climbed aboard Moya with strong ideas about how to play Aeryn. Superficially, the character is part of the wave of warrior women that swept through genre shows in the ’90s and early ’00s, whose ranks included Xena, Buffy, and even Cleo of Cleopatra 2525 fame. But as conceived by O’Bannon and carried forward by executive producer David Kemper, who became a driving creative force behind the show, Aeryn cuts against that archetype as well. Unlike Xena, she doesn’t necessarily relish battle; it’s something that’s been programmed into her. (Although, as Aeryn memorably remarks in The Peacekeeper Wars: “Shooting makes me feel better!“) She also reverses the arc traversed by Buffy and Cleo, which begins with them in places of perceived weakness — as a cheerleader and exotic dancer, respectively — and leads towards empowerment.

Because of her militaristic upbringing, Aeryn starts from a place of fierce strength. Her journey over the lifespan of the show, then, becomes about softening what Black describes as Aeryn’s “jagged edges” without surrendering her agency. “I’ve always loved science fiction because of the way it affords us an opportunity to look at humanity from an outsider’s perspective,” Black says. “And Aeryn really gets to experience it firsthand the best way that humans can, which is through love, in all of its forms. When I look at humanity, and my own life, we have to break before we can grow. That’s really what happened with Aeryn; she became stronger with softer edges.” (For the record, Aeryn may start out as a superior fighter to Buffy, but Black says that Sarah Michelle Gellar would easily mop the floor with her in real life. “Sarah has a black belt in karate, and I have two left feet! I always felt like a bit of an imposter [as Aeryn] just on the physical front. If I could push the reset button, I’d go back and get good at some form of martial art.”)

But that stronger-to-softer arc is also more treacherous to navigate than a traditional empowerment story, flirting, as it does, with the fanboy-friendly stereotype of the buttoned-up ice queen whose resolve (and inhibitions) melt when love, generally in the form of a strapping male hero, comes her way. The risk of falling headlong into that tired trope is something Farscape had to deal with throughout its run, especially as the core of the show was always the romance between John and Aeryn.

And while that romance takes a number of unexpected twists and turns — most boldly in a Season 3 storyline that saw Aeryn committing herself fully to a cloned version of Crichton, only to see him die and then have to re-learn how to love the original John — it ultimately culminates with two staples of a standard love story: a marriage proposal and a pregnancy. “It seemed pretty clear to me that Rockne’s intention in the pilot was that this was going to be a love story for the ages,” Black says. Not only that, but it was a love story penned by a largely male writing staff who had their own opinions about how to depict Aeryn’s gradual acceptance of Crichton’s love that sometimes ran counter to Black’s feelings. “I recall moments where they wanted me to be more vulnerable with Aeryn, and I didn’t want to be because I didn’t think it was time and I didn’t think she was ready,” she says. “But it wasn’t my place to say.”

Nevertheless, she persistently found ways to make her voice heard, whether it was by talking one-on-one with specific writers or her co-star, who was equally eager to avoid certain genre show clichés. Black recalls one instance early on in the show’s run when Browder actively pushed back against Sci-Fi’s directive that John Crichton demonstrate the same sex drive as James T. Kirk. “They wanted Crichton to have an alien girl of the week. Ben put his foot down and said, ‘No, he’s not that kind of guy. This isn’t the story I want to tell.’ And on my side I was saying, ‘Yeah, what does that say about Aeryn if she’s going to fall in love with a guy [like that]?’ We wanted to investigate and have them experience the more positive aspects of attraction, as well as what’s worth fighting for and what’s worth dying for,” she says. “Maybe the show would have continued longer if we’d been able to please the network! They know what they’re going to need in order to keep [viewers] interested and tuning in. But we’re very proud of what we managed to make regardless, because of those choices.”

The ongoing battle that Black personally waged throughout Farscape‘s run was ensuring that Aeryn maintained control over her own body. In the genre shows of her era, the female leads were stronger and savvier than ever, and that translated into fashion choices that expressed their own body confidence and sexuality. Xena rode into battle in a heaving breastplate, while Buffy fought vampires in halter tops and Relic Hunter‘s Sydney Fox always donned a tight tank top before exploring some ancient tomb. But flashing cleavage, leg, and midriff also made those characters desirable pin-ups for the male audience courted by networks and advertisers. (Farscape added its own version of a pin-up type midway through the first season in the form of Chiana, a grey-skinned con artist with a plunging neckline and a voracious sexual appetite.)

But those fashions didn’t make sense for a soldier fighting in an army where men and women’s bodies were interchangeable. In fact, Black remembers reading a very specific direction to the makeup department in the production notes for the pilot. “When I take my Peacekeeper helmet off [for the first time], the note read in big print, ‘She looks masculine.’ They thickened my eyebrows — which are already thick! — and shaded my face in very minimal makeup. All of the on-set gallery images of me in the first season are with that very masculine makeup.”

Aeryn in her ‘masculine’ Season 1 appearance (Credit: Everett Collection)

By Season 2, though, Aeryn’s appearance underwent a noticeable change; her hair got longer and straighter, and her Peacekeeper uniform gave way to outfits that walked a line between practical and revealing. Black, who describes herself as a feminist, agreed to these cosmetic changes as she felt they were part of a “natural progression” for Aeryn. “I was honoring where she had come from at the same time having to find a way to let her grow into whatever it is she was going to become,” she says. (This clip from Farscape‘s aforementioned Looney Tunes-inspired episode, “Revenging Angel,” neatly summarizes — and satirizes — the female body types commonly featured on genre shows that Aeryn deliberately defies.)

Already objectively beautiful, Aeryn’s sexuality continued to emerge as she grew into her new self. Even so, Black could sense it wasn’t emerging quickly enough to satisfy certain expectations. “I felt that I was being pushed to show more flesh than was necessary,” she admits, pointing to one incident in the show’s fourth season where it was written into the script that Aeryn would sit poolside in a bikini. “I just said, ‘I will get in a bikini for you if it makes sense, but this woman’s world is falling apart.’ It was the last thing I thought Aeryn would do [in that moment]. It felt really frivolous and superficial to me.” (Black had already donned a bikini to play pregnant Aeryn in a hallucinatory scene in the Season 4 premiere. “They not only had me in a bikini, but they gave me a pregnant belly as well, which is really hard to pull off and make it look naturalistic,” she says.)

Black remembers shooting down an even more egregious bit of flesh-flashing in an earlier episode. As an international production, Farscape frequently shot extra scenes for certain ad-free European markets that would fill the time normally allotted for commercials. The cast referred to these filler sequences as “Euro scenes,” and they rarely involved big story or character beats. According to Black, this particular episode dispatched D’Argo and Aeryn on a planetside mission, and the writers cobbled together a Euro scene that she describes as “absurd.” “They said, ‘Let’s have a scene where we cut to them by a lake, and Aeryn turns and sees a bunch of soldiers across the lake. Aeryn takes off her clothes, swims across the lake, and fights these soldiers completely naked, then comes back to D’Argo and off they go.'”

In later seasons, Aeryn naturally progressed towards more revealing fashion choices (Credit: Everett Collection)

“There were so many things about it that were so bizarre,” she continues. “I said, ‘You know what, please explain this to me, how this honestly can fit in.’ In the end, they just said, ‘All right, fine — we won’t do it.’ That’s what I felt I was having to haggle for a lot of the time: my right to keep my clothes on until it was appropriate. I’ve always felt as an actor — and I’m sure other females have felt like this as well — that when you sign on the dotted line and enter the business that somehow you’ve given your body away as a piece of property, and you spend the rest of your career haggling for pieces of it back.” And the actress credits Browder with backing her up in her fight for Aeryn to be in full control of her own femininity and, by extension, her destiny. “Aeryn is really as feminist as I am, but she’s nothing without Crichton, which is an interesting statement to make,” she says. “So as much as we praise Aeryn, we must give full credit to Crichton and to Ben for shaping him the way that he did. It’s the space that he gives her. He’s such an exquisite champion of her growth and development, that it becomes possible for her to grow to her full size.”

In the 13 years since the concluding Peacekeeper Wars miniseries, rumors have occasionally flown about Farscape‘s return. At one point, there was talk of a webisode series following John and Aeryn’s child, D’Ago Sun-Crichton, but funding never came to fruition. (The show did continue in comic book form for a time, but publication ceased circa 2011.) Black, whose recent credits include stints on The CW genre shows Containment and The Originals, has no updates on any future revivals, and jokes that if Aeryn and Crichton ever do return, they’ll be “tired, ornery, and not really wanting another battle.”

Claudia Black as Dahlia on ‘The Originals’ (Credit: Annette Brown/The CW)

In a way, though, Aeryn’s larger battle has already been won. One of the breakout characters on Battlestar Galactica — which premiered in December 2003, nine months after Farscape‘s series finale — was Kara “Starbuck” Thrace, who displays some of the same steely spine, and jagged edges, of Officer Sun. And today’s genre TV landscape is populated with women who, consciously or not, reflect Aeryn’s assertiveness, independence, and refusal to conform to societal (or genre) norms of appearance or attitude, whether it’s Orphan Black‘s Helena, Sense8‘s Nomi, or Jessica Jones.

For this Scaper, she lives on off-screen as well. When my wife and I learned that we’d be having a daughter, we thought about all the things we wanted for her life. To know that she, and she alone, is in control of her body. To be strong in the face of injustice. To be confident in her own power. And to know that when she chooses to give her heart to another person, that person will be her champion, and give her the space to grow to her full size. And so we picked a name that, for us, would embody all of our hopes and dreams for the individual she’s becoming with each passing year.

Her name is Aeryn.