#summarized opera

[opera-ghost]

[abyssalmermaiden]

Febhyurary 14 - Date

An attempt for some normalcy as the end looms nearer- Medusa arranged a double date for herself and Scylla, with Amon and Viola.

(Medusa and Scylla clone 7 (Sophia) : @yloiseconeillants )

extra: view of the table with my cute little improvised allagan lamp that you can't really see in the rest of the shots

[roadtophantom]

the adlibs for the poto korea finale show are golden 😭😭

[infinitelytheheartexpands]

PLS I’M DYING

[asilosmagdalena]

Memory~June~ by Nakai Masahiro

[ice-cream-writes-stuff]

The Nightmare Before Christmas Lost in The Book: Over The Spiral Hill

{1} {2}

-

“ “Doubt thou the stars are fire; Doubt that the sun doth move;Doubt truth to be a liar; But never doubt I love.” “ You quote as Jack sang opera to your group, the earlier events of discussing music and dances for the festivities. 

Riddle comments at the words, “I never thought’d you’d be imitating Rook on this… Event.” The dorm head mumbles. You grin at the red-head. “He wishes, the song reminded me of a playwright in our world.” You gesture to Yuu. 

“ “Just because I can’t see it, doesn’t mean I don’t believe it.” “ You say the phrase easily, recalling it for this occasion. “That wasn’t from the playwright though… Still a good quote though, you think?” You ask your group, turning away from them. 

…

You felt your face become warm at the line, embarrassed.

-

“Yuu! Grim, Skully!” You happily show off the different details your outfit held. Reminding you of home, hints of Ramshackle hinted in a few stitches.

“Oh yeah, I didn’t realize your’s was a bit stranger than ours.” Grim says, circling around you curiously. 

“It looks good!” Yuu replied, keeping close to you, you laugh.

“It’s very beautiful!” Skully compliments as you blink. An idea forming into your head..

“Hmm, Yuu, I wanted to ask. Do you remember any holidays from ‘Home’?” You ask carefully, knowing the answer. You pick up Grim, watching the other human ponder.

Yuu eyes you back, eyes glazed over thoughtfully. “No, not as much as you.”

“Oh? What do you mean?” Skully joins in, listening attentively.

“They’re not from Twisted Wonderland!” Grim pipes up. “Grim, shush!” Yuu scolds, while you hand the fur-ball to them. Skully’s lips part slightly, shocked a bit.

“T-Then.. Where is it are you two from?”

Yuu shrugs, clearly not as comfortable as you were about ‘Home’.

“Uh- Let’s say, very far.”

“Worlds away-” Grim is interrupted by Yuu shoving their face his fluffy neck. “OI! Yuu! Quit it!” Grim swats at their hair as you take Skully’s attention away. Linking hands with his as the four of you walk.

“I wanted to say before, that our holidays are sorta the same and different. A few don’t even exist here.”

“Don’t bring up Chr- ACK! AGAIN?! Stop!” Grim whines at Yuu’s affectionate gesture.

“What is “Chr”?” 

“Oh- That’s a holiday from where from and it’s called-”

You pause. “Let’s say, it’s kinda like… “The opposite”, or more of.. Colorful, cold. Instead of pumpkins and autumn leaves. We have snow, depending on the region, along with carols instead of spooky-sweet melodies!” You wink.

“Instead of a “Pumpkin King” we have this guy called S-.”

Interrupted once more by Grim’s whines, you roll your eyes playfully. “There’s another one too, where we celebrate those who are…” You summarize the best you can. Smiling sadly, “it’s paying tribute to those we miss. To keep them remembered.”

You go on to another holiday, something along the lines of a rabbit and marshmallow birds…

Skully remains quiet, intaking all the knowledge you gave to him. The memories held within your mind, wishing to be shared. Just as precious as Halloween was to him.

Resolved settled within him as they walked further down the path to Jack’s house.

-

After the fiasco with Skully and the Oogie-Boogie squad, Jack had awoken from his slumber while Skully apologized. 

Halloween was back on!

Music played all around town, joining in on the merriment without a care.

Dancing with everyone, you twirl around with different dance partners. Grim, the fluffy beast, tried his best with taking lead with the waltz.

Settling down, you find one of the stray flowers beside you. Plucking it without much thought, pinching at the petals as you stop at a familiar voice.

Tossing the flower away, you readily take Skully’s hand. 

-

Flowers in hand, you walk back to Ramshackle. The graves greeting you as the wind slowly becomes small wisps. A book held tightly in hand, purchased immediately before everyone left Foothill Town. A melody humming on your lips, adorn in a familiar costume you commissioned Vil and Crewel for earlier. Vil even looked… Pleased at the flimsy sketch, seeing the vision easily. As it reminded him of something lost to him. Yuu and Grim follow a few steps away.

Grim held a can of tuna while Yuu carried a  small basket of candies. 

Ramshackle, alight with decorations of purple and green tinsel, along with Diasomnia’s own decor. 

Kneeling by a few unnamed graves, the three of you place the items down. Heading back inside for the rest of the Halloween party.

The ghosts greet you three excitedly, as your guests a few doormates chatter and relax. 

Letting your frown fade, you smile, hands craving over the edges of the portrait that laid above the unlit fireplace. The mantle covered in small decorations of colored skulls, candles and candies. The familiar pumpkin-colored eyes roaming down from above you and your guests.

-

[YALL IM SO PISSED THAT SKULL IS WRITTEN OFF! Im HOPPING TWST decides to put him in the game and give him a card.I’LL SAVE UP FOR IT! HANDS DOWN. I’ll probably be trying to cope a bit with small one-shot drabbles based around him. YALL I CANT!!! If anyone got my references at all let me know, Im so… AUGHHHHHHH! Anyway, thanks for reading!]

[darklinaforever]

“If you loved me, you would have let me go by now.”

“It is because I love you that I won’t.”

I love these dialogues from Addies and Luc in the invisible life of addie larue. It totally represents two different perspectives on love.

Addie, like many people, thinks that love is purely selfless and good. (While she herself can have selfish actions or thoughts) Luc thinks that love is selfish, or at least can be. (Because to say that Luc is purely selfish would be quite hypocritical given all the events of the books and what he does there. Luc is much more complicated than that)

But I like that these two sentences summarize these two visions of love.

Love is selfless. Love is selfish. When in fact... it can be both, separately or together. Love can be something uniquely good and positive. Just as it can be negative. And sometimes it's both together. They are simply different forms of the same feeling.

All this to say that I hate when people try to say that love must be pure, good and selfless. It's bullshit. Whether in fiction or reality. The difference is that in fiction you can explore relationships with toxic connotations without risk, unlike real life or if there are red flags, you obviously have to just run to protect yourself.

Justice for romances like Luc & Addie, Jane Eyre & Rochester, Heathcliff & Catherine (Wuthering Heights), Coriolanus Snow & Lucy Gray Bird (The Ballad of Songbirds & Snakes), Christine & Erik (The Phantom of the Opera), Thomas & Edith (Crimson Peak), Hannibal & Will (Hannibal), Hannibal & Clarice (Hannibal), Raistlin & Crysania (Dragonlance), Sarah & Jareth (Labyrinth), Qu Xiao Feng & Li Cheng Yi (Goodbye My Princess), The Darkling & Alina (Grisha), Mare & Maven (Red Queen), Julian & Jenny (The Forbidden Game), and so so many others...

Not without kidding, there are so many examples in general, but also that I know and love that it is impossible to cite them all !

[literary-illuminati]

An Arbitrary Collection of Book Recommendations

(put together for a friend out of SFF I've read over the last couple of years)

Cli-Fi

Tusks of Extinction and/or The Mountain in the Sea by Ray Nayler. They’re pretty different books in a lot of ways – one is a novel about discovering a certain species of squid in the Pacific might have developed symbolic language and writing, the other a novella about a de-extinction initiative to restore mammoths to the Siberian taiga – but they share a pretty huge overlap in setting, tone and themes. Specifically, a deep and passionate preoccupation with animal conservation (and a rather despairing perspective on it), as well as a fascination with transhumanism and how technology can affect the nature of consciousness. Mountain is his first work, and far more substantial, but I’d call it a bit of a noble failure in achieving what it tries for. Tusks is much more limited and contained, but manages what it’s going for.

A Half-Built Garden by Ruthanna Emrys. In a post-post-apocalyptic world that’s just about figured out how to rebuild itself from the climate disasters of the 21st century (but that’s still very much a work in progress), aliens descend from the sky and make First Contact. They’re a symbiotic civilization, and they’re overjoyed at the chance to welcome a third species into their little interstellar community – and consider it a mission of mercy besides, since every other species they’ve ever encountered destroyed themselves and their planet before escaping it. Awkwardly, our heroine and her whole society are actually pretty invested in Earth and the restoration thereof – and worried that a) the alien’s rescue effort might not care about their opinions and b) that other interest groups on earth might be more willing to give the hyper-advanced space-dwelling aliens the answers they want to hear. Basically 100% sociological worldbuilding and political intrigue, so take that as you will.

Throwback Sci Fi

Elder Race by Adrian Tchaikovsky is possibly the only thing I’ve read published in decades to take the old cliche of ‘this generic-seeming fantasy world is actually the wreckage of a ruined space age civilization, and ‘magic’ and ‘monsters’ are the remnants of the technology’ and play it entirely straight. Specifically, it’s a two-POV novella, where half the story is told from the perspective of a runaway princess beseeching the ancient wizard who helped found her dynasty for help against a magical threat, and half is from the perspective form the last surviving member of a xeno-anthropology mission woken out of stasis by the consequences of the last time he broke the Prime Directive knocking on his ship tower door and asking for help. Generally just incredible fun.

Downbelow Station by C. J. Cherryh is, I think, the only thing on this list written before the turn of the millennium. It’s proper space opera, about a habitat orbiting an immensely valuable living world that’s the lynchpin of logistics for the functionally rogue Earth Fleet’s attempt to hold off or defeat rebelling and somewhat alien colonies further out. The plot is honestly hard to summarize, except that it captures the feel of being history better than very nearly any other spec fic I’ve ever read – a massive cast, none of them with a clear idea of what’s going on, clashing and contradictory agendas, random chance and communications delays playing key roles, lots of messy ending, not a single world-shaking heroes or satanic masterminds deforming the shape of things with their narrative gravity to be seen. Somewhat dated, but it all very impressively well done.

Pulpy Gay Urban Fantasy Period Piece Detective Stories Where Angels Play a Prominent Role

A Master of Djinn by P. Djèlí Clark stars Fatma el-Sha’arawi, the youngest woman working for the Ministry of Alchemy, Enchantments and Supernatural Entities in Cairo, a couple of decades after magic returned to the world and entirely derailed the course of Victorian imperialism. There’s djinn and angels and crocodile gods, and also an impossible murder that needs solving! The mystery isn’t exactly intellectually taxing, but this is a very fun tropey whodunnit whose finale involves a giant robot.

Even Though I Knew The End by C. L. Polk is significantly more restrained and grounded in its urban fantasy. It’s early 20th century Chicago, and a PI is doing one last job to top off the nest egg she’s leaving her girlfriend before the debt on her deal with the devil comes due. By what may or may not be coincidence, she stumbles across a particularly gruesome crime scene – and is offered a deal to earn back her soul by solving the mystery behind it. Very noir detective, with a setting that just oozes care and research and a satisfyingly tight plot.

High Concept Stuff That Loves Playing around With Format and the Idea of Narratives

Radiance by Catherynne M. Valente is a story about a famous documentarian vanishing on shoot amid mysterious and suspicious circumstances, as told by the recovered scraps of the footage she was filming, and different drafts of her (famous director) father’s attempt to dramatize the events as a memorial to her. It’s set in a solar system where every planet is habitable and most were colonized in the 19th century, and culturally humanity coasts on in an eternal Belle Epoque and (more importantly) Golden Age of Hollywood. Something like half the book is written as scripts and transcripts. This description should by now either have sold you or put you off entirely.

The Spear Cuts Through Water by Simon Jimenez is the only classic-style epic fantasy on this list, I believe? The emperor and his three demigod sons hold subjugated in terror, but things are changing. The emperor, terrified of death, has ordered a great fleet assembled to carry him across the sea in pursuit of immortality. The day before he sets out on his grand pilgrimage to the coast, a guilt-ridden guard helps the goddess of the moon escape her binding beneath the palace. From there, things spiral rapidly out of anyone’s control. The story’s told through two or three (depending( different layers of narrative framing devices, and has immense amounts of fun playing with perspective and format and ideas about storytelling and legacy.

I Couldn’t Think of Any Categories That Included More Than One of These

All The Names They Used For God by Anjali Sachdeva is a collection of short stories, and probably the most literary thing on this list? The stories range wildly across setting and genre, but are each more or less about the intrusion of the numinous or transcendent or divine into a world that cracks and breaks trying to contain it. It is very easily the most artistically coherent short story collection I’ve ever read, which I found pretty fascinating to read – but honestly I’m mostly just including this on the strength of Killer of Kings, a story about an angel sent down to be John Milton’s muse as he writes Paradise Lost which is probably one of the best things I read last year period.

Last Exit by Max Gladstone – the Three Parts Dead and How You Lose the Time War guy – could be described as a deconstruction of ‘a bunch of teenagers/college kids discover magic and quest to save the world!’ stories, but honestly I’d say that obscures more than it reveals. Still, the story is set with that having happened a decade in the past, and the kids in question have thoroughly fucked up. Zelda, the protagonist, is kept from suicide by survivor’s guilt as much as anything, and now travels across America working poverty jobs and sleeping in her car as she hunts the monsters leaking in through the edges of a country rotting at the seams. Then there’s a monster growing in the cracks of the liberty bell, an in putting it down she gets a vision of someone she thought was dead is just trapped – or maybe changed. So it’s time to get the gang together again and save the world! This one’s hard to rec without spoiling a lot, but the prose and characterization are all just sublime. Oddly in conversation with the whole Delta Green cosmic horror monster hunting subgenre for a story with nothing to do with Lovecraft.

Some Desperate Glory by Emily Tesh is a story about aliens destroying the earth, and growing up in the pseudo-fascist asteroid survivalist compound of the last bits of the human military that never surrendered. It stars a heroine whose genuinely indoctrinated for the first chunk of the book and just deeply endearing terrible and awful to interact with, and also has a plot that’s effectively impossible to describe without spoiling the big twist at the end of the first act. Possibly the only book I read last year which I actively wish was longer – which is both compliment and genuine complaint, for the record, the ending’s a bit messy. Still, genuinely meaty Big Ideas space opera with very well-done characterization and a plot that does hold together. 

[too-antigonish]

The Great S7 Rewrite

An attempt at summarizing the rocky ground on which we some of us stand following this rather epic post yesterday: Prophetic words from Morse in Oracle?

People had so many interesting things to say that I though it would be nice to keep this discussion public for now.

On the most basic level, Season 7 has two overarching storylines: 

Opera Storyline: The one with Morse, Violetta, Ludo,  and the mysterious accidental deaths

Towpath Murders: The one with Morse and Thursday fighting mainly over whether or not Carl Sturgis did it.

Then you have the episodic murders for each episode: 

Oracle: The math TV program, Dept. of Latent Potential, women’s lib conference, and  misogynist professors in Oracle

Raga: The Indian restaurant, restaurant critic, gay wrestlers, racist poker game organizing politicians in Raga

Zenana: The coming together of the opera storyline and the towpath murder storyline in Zenana.

If, theoretically, you wanted a do-over for S7, what would you need to consider? Below are some of the issues raised in discussion yesterday:

Bone of Contention #1: Opera Rules

S7 may or may not have been asking us to view its world according to “opera rules.” If it wasn’t, then the storylines were just outrageous. If it was, then they didn’t do an adequate job of either:

Signaling that we needed to see this world through that filter

Making the story robust enough that you didn’t *need* to see the opera references to “get” the storylines. (As Durian pointed out: Ride works even if you don’t realize that it’s Gatsby, but S7 doesn’t work if you don’t realize it’s opera. It doesn’t stand on its own.)

I think actual S7 tried to signal that we were in Opera World (#1) by: 

Using theatrical techniques (voiceovers, mise en scene/ tableaux, etc.) to signal that we were in opera world (i.e. heightened reality)

Using opera tropes

Using role reversal with the characters. I think that’s a big reason why the season feels so unsettling overall. Normally Morse is the one doggedly pursuing a hunch based on an obscure clue. This time it’s Thursday. Normally it is Thursday finding out that Morse didn’t check someone’s alibi. This time it’s Morse. Normally Morse and Thursday are calling the shots at the crime scene. This time DeBryn and Strange are having to put them in their place like squabbling children. Etc., etc.

Things in the show are “out of place” as well. (e.g. Thursday is at the early morning crime scene in Oracle instead of Morse. Morse is in Venice instead of Oxford.)

So the questions about Opera Rules are:

Do you keep the idea of Opera Rules for S7?

If you keep Opera Rules, how do you do a better job of signaling them?

If you keep Opera Rules, how do you make the story strong enough that people who don’t understand opera rules will know what’s happening? 

Do you just out-and-out tell people about Opera Rules?

Bone of Contention #2: Ludo and Violetta?

I have yet to hear from anyone who really likes Ludo and Violetta. If someone reading this does, I’d be fascinated to hear why. To say that I find them off-putting is being kind. Why is Morse attracted to two such unpleasant people? And not only attracted, but taken in by both of them? Normally Morse is attracted to girl-next-door types (Monica, Joan). Normally Morse has no time for snobs who name-drop and talk about themselves non-stop (Oxford Don stereotype). 

For me the disconnect lies not in the fact that he could be taken in. I think Astrid and Fanfic are very right about both Morse’s lack of wisdom when it comes to friendship and love, and well as his “secret” desire to have friends who perhaps share more of his interests. The leap I can’t make is that it would happen with these two specific people. Even taking into account that Morse is behaving “the opposite” of his usual way, I can’t see him being attracted to either of these two personalities. 

In the end, like Astrid, I like the *idea* of the Ludo and Violetta storyline but found the way it was played out too incongruous. So what to do? It seems like you can either retool Ludo and Violetta or replace them entirely. Which you choose I think depends on how you want to remake the story and how loyal you are to canon.

My first instinct is to replace them. I find both of them so repugnant, but I do find myself returning repeatedly to an idea that I had when I first watched Oracle, which was that Violetta might actually be more directly based on the Violetta from La Traviata.

She would be a woman from the “other side of the tracks” so-to-speak, but genuinely in love with Morse. You could also use Traviata’s bit where Violetta’s “betrayal” of Alfredo is actually self-sacrifice, etc. I’m not sure about Ludo, but it would definitely need to be someone that Morse would *actually* want to befriend and not someone as obvious as Ludo.

So the questions about Ludo and Violetta are:

Do you keep Ludo and Violetta?

If you keep them, how do you retool them? 

If you throw them out, what do you replace them with? 

Either way (new or retooled), how do you make Morse’s attraction to them believable?

Either way (new or retooled), do you use existing opera tropes/storylines as a basis for their story?

Bone of Contention #3: Towpath Storyline

It seems that there is pretty much universal agreement on keeping the Towpath Murders as a storyline. Also, there is pretty much unanimous approval for the idea of an earlier and more prominent role for Dorothea in the case. Durian points out that this could also have the side effect of reducing some of the tension between Morse and Thursday. 

Disagreement arises over two main elements:

Too many things going on in the storyline

How the conflict between Thursday and Morse is handled.

I’m in agreement on both of these things. In terms of the number of things going on in the storyline you have the whole is it or isn’t it a serial killer, the ESP angle, the flasher thing, the copycat killer, all of the animal imagery and later wolf imagery, the blood drinking, and much, much more. It could work if it all tied together coherently, but it doesn’t—at least for me. It feels like I can sort of see what they were going for, but that they definitely didn’t get there. There needs to be a unifying theme.

With the conflict between Thursday and Morse, my problem is not so much that they have the conflict, but that it comes seemingly out of nowhere. We jump from the reconciliation of Degüello to the petty arguments of Oracle with nothing in-between to explain the change. It’s not that I didn’t find the conflict between these two characters interesting or believable. It’s simply that there was nothing to explain it. Yes, you can say that Morse was becoming more of his own man, but that doesn’t seem adequate to me.

So the questions about the Towpath Storyline are: 

What elements would you throw out and what would you keep?

What would make a good unifying theme for the Towpath case?

What is the source of the conflict between Morse and Thursday? What sets it off?

How do we have Ms. Frazil on the case sooner rather than later?

How does Dorothea diminish tension between Thursday and Morse. 

Of the arguments between Morse and Thursday, what would you keep and what would you throw out?

Bone of Contention #3: The Episodic Storylines

I find it pretty telling that except for one brief mention, no one has strong feelings about the episodic mystery in Oracle. It definitely had less substance that the one in Raga, in part because it had to leave room for the establishment of the two big overarching stories. Personally, I found the sexism angle (the Women’s Lib Conference and Prof. Blish beating out the others for the spot on the tv show) more compelling than the ESP studies angle.

Durian mentioned that Raga, like the Towpath Murders, has way too much going on (Indian restaurant, Oberon Prince and his ex-wife, the gay wrestlers, the racist poker game, the return of the evil beautician, two stabbed teenagers, etc.) Fanfic raised the interesting idea of making the conflict in Raga more of a family conflict, using the political situation with East and West Pakistan (Bangladesh) as a focus.

So the questions about the Episodic Storylines are: 

What elements would you throw out of Oracle and what would you keep?

What elements of Oracle would you change entirely?

What elements would you throw out of Raga and what would you keep?

What elements of Raga would you change entirely? (e.g. changing to internal family conflict)

OK. I'd love to hear thoughts on all of this!

[edutainer2022]

I made it to Vienna for the week-long Digital Humanism event and I've been meaning to place Earth and Sky in Vienna for ages. This is an absolutely indulgent, decadent, undiluted fluff, full of bosom headcanons, informed by the first Sunday of fall here, drenched in sunlight, late summer flowers and classic German poetry. That's it, that's the story - Scott in Virgil go to Vienna and absolutely nothing hurts.

Thank you always to @janetm74 for putting up with my ramblings.

SUNLIGHT AND POETRY

He could smell the eye-wateringly expensive coffee first. Then the steps, muffled by luscious grass, were followed by a nondescript grunt that probably summarized the general state of the joint World Council, World Bank and GDF committee. An equally obscenely expensive suit jacket was thrown on the lawn unceremoniously to dub as a picnic blanket and, finally, the full length of Scott flopped and stretched beside him, wiggling to get comfortable. A goody bag with a tell-tale Zacher Hotel crest landed in Virgil's lap and he put aside the sketchbook, wasting no time to dig in. Coffee and the most luxurious chocolate cake in the world certainly worked the magic to improve Scott's mood and soon he was grinning up to the sky, although Virgil knew to look for signs of weariness in the corners of blue eyes. He was tempted to return to sketching, though - Scott's relaxed smiles, although in a far more ample supply after Dad's return, were still a rare treat.

Usually, it would be Virgil dragging biggest brother along to Vienna, when Opera was in season or an art exhibition Virgil didn't want to miss - a feat frequently accomplished with toddler-wrangling worthy bribery in form of copious amounts of Austrian finest street food and baked goods or the deployment of most deadly puppy eyes. The exasperated groan signaled that the odorous Wienerwurst from a digny kiosk on the corner of Bristol Hotel was still in the cards that day, much to the hotel staff's (and finest chefs') incessant bewilderment. The Tracies rented the penthouse floor at the historic Bristol, facing Vienna State Opera, for years, the place deemed secure enough by Kyrano Sr. all those years ago. That time, however, it was Virgil who tagged along whole Scott had a week of sessions set up with the Joint Committee of Global Services on the update of interoperable search and rescue policies. Trust Scott to spend his hard carved downtime on redrafting global policies and making the world a better and safer place.

That was just it, Dad having put his foot down (two, actually, and a fist) on IR rota expansion and rearranging operations with A LOT more of their habitual toll outsourced to GDF and local response services, they had more time to pursue their interests and develop their personal strengths. To have a life in an unironic way. But that also meant spending less time together on rescues, even on the island. Scott of course up and found himself the next all-consuming cause, so Virgil was kinda... missing him. Missing his best friend in the way he hadn't since Scott left for Yale, then for AirForce. Maybe it was the ever present thrum of dread over Scott involved in any thing GDF since... That Place... that got Virgil wistful and a bit clingy. Scott, naturally, didn't mind. They were having a great time, actually, reconvening in the afternoons for leisurely strolls, good food and uninterrupted talks about everything and nothing. Virgil treated himself to revising his favorite exhibits at Albertina and Kunst Museum, then took to camping out on sundrenched lawns of Burggarten, sketching statues or people around. He never felt as at home in Vienna as Scott did. Much as their ginger spaceman could fit right in on any red brick Gothic campus, Scott, all towering height and blue eyes, and slim athletic built, and structured suits just MATCHED the stately grandor of old imperial capitals. Virgil always felt too big and too rural American among the understated regal splendor of Vienna. But here, in the landscape informed by art, and the shade of Mozart's monument, and calm, and familial bonding, he was in his element.

Scott was stretching in the evening sun, like a giant cat, and blinking his eyes slowly at Virgil - that definitely called for a sketch.

Chocolate treats were, apparently, Scott not only loot that afternoon. He shifted to the side, wiggled a hand into the suit pocket and produced a small tattered volume. Faded gilded embossing and yellowed pages belied the treasure only found in antique bookshops. Virgil wasn't surprised when Scott started reading. One of the Tracy family best kept secrets was Scott's affinity for classic reading. Passionate, well-spoken and charismatic - Scott was the darling of every AP English class teacher, the Speech and Oratory Team captain and persistently courted for a graduate degree in French Modernism through his Lit Elective at Yale. In a different life Scott would have been an inspirational military leader, a kickass defense attorney or an Office-track politician and public speaker. But a different life had not been in the cards for Jeff Tracy's eldest Son and Heir.

What DID surprise Virgil was Scott settling up to read out loud. In German.

"Wem der große Wurf gelungen

Eines Freundes Freund zu sein;

Wer ein holdes Weib errungen

Mische seinen Jubel ein!"*

And raven brow shot up quizzically and in perfect synchrony the shit-eating grin erupted:

"What?! I'm his brother too!"

"To the point of speaking German?"

The grin faded a shade. Damn.

"To the point of speaking World Bank finance and AirForce parade drills with the old European Uninion Anthem. Schiller's statue is right OVER THERE, I was in the mood."

The returned smile was muted, but mellow. Virgil thought back to an old comedy, "what? like it's HARD?" almost audible in big brother's nonchalant shrug.

Only Scott Tracy would make a point to swing by a rare books shop and get himself a 1820s copy when he felt like reciting Schiller's poetry on a sunny afternoon in the old royal palace park. Virgil certainly hoped that indulgence streak broadened and became a habit.

----

* A stanza from Ode to Joy, Friedrich Schieller

[momoguido]

Presenting the results of my latest hyperfixation

Tam Lin is a Scottish folktale, usually presented in ballad form, dating back to at least the 16th Century. It has been summarized and re-told by different people over the years, including Overly Sarcastic Productions. It is the subject of a one-act opera, and was the inspiration for a 1970 movie that updated the story to the present day.

The fairy queen yells at Tam Lin in every version analyzed except for the Anais Mitchell version. Her version is an outlier in many respects, since the entire parade is left out, Janet simply grabs hold of Tam Lin mid-conversation.

Another oddity is Pentangle's version, which was written for the movie and consists of a jumble of images meant to complement scenes from the film, without a coherent narrative.

The biggest surprise to me is how few versions mention Janet seeking an abortion, something that I had always thought of as a central part of the story.

One thing I wish I could have looked at in more depth is the balance between versions that describe Tam Lin's transformations before he goes through them, and versions that describe them as they happen. As they happen is more common, but some songs will do the entire sequence twice.

Going into this, I had two versions prominent in my mind: Anais Mitchell's pop-folk version that leaves out much of the story, and Anne Briggs' very traditional (and very long) version. Because of this, I thought perhaps we would see a decrease in the complexity of the story over the years, but that's not the case, it's basically flat. I think a better comparison might be to separate into traditional and revised versions, although that is something of a judgment call.

There were so many minor discrepancies I couldn't even keep track of them all, but these four stood out because they are so oddly specific. Even the main character's name and the setting aren't consistent across versions, if they're even mentioned at all. Some versions don't even give the main character a name!

My data collection process leaves a lot to be desired, as well as the way in which I decided which events were major or minor, and which things to leave out altogether. This was mainly just a fun way to explore different versions of my favorite folktale, listen to a lot of different people sing different versions of the ballad, and rotate the whole thing in my brain.

[cedarxwing]

Faust allusions in Hannibal

"I believe that Hannibal Lecter is as close as you can come to the devil, to Satan. He's the fallen angel. His motives are not banal reasons, like childhood abuse or junkie parents. It's in his genes. He finds life is most beautiful on the threshold to death, and that is something that is much closer to the fallen angel than it is to a psychopath." - Mads Mikkelsen on Hannibal as the Devil

I'm not a Faust expert or anything, but I've been balls deep in Wikipedia for the last week and here are my findings:

Super Short Summary of Faust:

Faust is an old scholar dissatisfied with life. One day Mephistopheles (the Devil) shows up and offers him a deal including unlimited knowledge and worldly pleasures. The particulars of the deal vary by version:

Original Faustbuch: Mephisto offers 24 years of service, and then Faust must serve him forever in hell.

Goethe: Mephisto will serve Faust until he experiences a moment of perfect satisfaction, after which he'll be dragged to hell. (Mephisto also makes a secondary bet with God that he can tempt Faust away from righteousness and into damnation.)

Gounod's opera: Mephisto turns Faust young again and wins him the beautiful Marguerite's heart. He also offers knowledge and power, but the story is more about Marguerite.

In most versions, Faust is damned to Hell at the end. In Goethe's version, Faust finds his moment of perfect satisfaction, but Mephisto doesn't succeed in tempting Faust into sin, so Faust ends up going to Heaven.

Explicit References

I won't list all the times the script refers to Hannibal as the Devil, but they're fun to look for. :)

The first explicit reference to Faust is in Sorbet (1x07), when Gounod's Le veau d'or plays while Hannibal gathers meat for his dinner party. This aria is Mephisto's manifesto on human nature:

"The calf of gold is the victor over the gods! In its derisory (absurde) glory, The abject monster insults heaven! It contemplates, oh weird frenzy! At his feet the human race, Hurling itself about, iron in hand, In blood and in the mire, Where gleams the burning metal, And satan leads the dance"

People are slaves to greed and easily tempted away from their morals--a nice description of Hannibal's perspective on humanity and his favorite pastime. I also like the implication that the rude people in his Rolodex are damned souls that he's come to reap.

This is a quote from Hannibal Rising when Hannibal watches Faust at the Opera Garnier with Lady Murasaki and the Paris Police Commissioner (which, wow, this chapter is practically Phantom of the Opera fanfiction). It's funny, because at that point in the novel, Hannibal is more Faust than Mephisto, so he's contemptuous of himself. Later, once he's undergone some, ahem, character development, the book quotes Goethe:

"I'd yield myself to the Devil instantly, Did it not happen that myself am he!"

This is probably the origin of the "Hannibal is the Devil" interpretation.

Also, I just want to point out that it's not particularly unique to be contemptuous of Gounod's Faust. He's a skeevy old man who fucks up his own life and everyone else's out of boredom, which is very human and relatable, but not very likable! We're all Fausts who are contemptuous of Faust, just like we're all rooting for Hannibal and contemptuous of Chilton.

Another quote from Goethe. Faust says this line while complaining that he has to choose between a simple/familiar/earthly life and a life unbound by earthly limitations (x). The double meaning of this line perfectly sums up Dolarhyde's predicament. He gave up a normal life to experience something otherworldly, and now he's fighting against the Red Dragon to save Reba.

This line also summarizes the temptation Hannibal dangles in front of Will. "Don't you crave change, Will?" A moment of perfect satisfaction, after which his soul will forever belong to Hannibal. This moment comes to pass when they kill Dolarhyde and go off the cliff, a metaphorical fall from Heaven (better explained here: x).

Not to get too lost in the weeds, but I would argue that killing Dolarhyde wasn't really a sin (maybe it was a sin to let those prison guards die, but killing Dolarhyde was self-defense and he was a serial killer for Pete's sake), so Hannibal lost his bet with God (Jack), and Will (Faust) is going to heaven after all, just like in Goethe's version. Maybe this idea would've been explored in Season 4, who knows.

Faustian Bargains

Once you strike a bargain with Hannibal, your soul belongs to him, and he can collect it at any time. The whole show is a series of people falling for this trap (except for Will, to Hannibal's never-ending frustration).

Some characters go to Hannibal seeking "otherworldly knowledge" while others are motivated by material greed. Gideon wants to know the Ripper and pays the price. Chilton and Sutcliffe commiserate with Hannibal in their medical malpractice and are punished accordingly. In Digestivo, Alana/Margot accept Hannibal's offer to take the fall for Mason's murder (and also get Mason's sperm) so they can inherit the Verger fortune.

The Faustian bargain motif is most apparent in Season 3, when Hannibal starts making characters explicitly ask for his help:

And, of course, the bargain Hannibal waited three seasons to strike:

Bedelia is the purest manifestation of this. She makes not one but two deals with Hannibal. The first was to help her get away with murder. The second was to take her "behind the veil" in Florence, where she acquires otherworldly knowledge and experiences. This is framed as "lucid greed" on her part, and maybe not just greed for knowledge, depending on how much she made off her lectures about being Lydia Fell! Hannibal spends Season 3a trying to get her to "participate" and makes some headway before his plans are derailed. She gets her come-uppance in the post-credits scene.

Finally, the most heartbreaking deal Hannibal makes:

Abigail's soul belongs to Hannibal as soon as she accepts this offer. In Mizumono, she willingly goes to her fate. :(

(Again, I'm not an expert, so if I got anything wrong please correct me!!)

[sofipitch]

I can't stop thinking about how well they portrayed Louis in the show. I think the change in race also really helped solidify the "vampire with a human soul" part of his character. Bare with me for what I mean by this; a lot of readers of the book tend to "not get Louis" and this was especially true of the movie, even AR said where it just seems like Louis is being annoying and whiny, go be a fun vampire. But Louis main conflict is that becoming a vampire changed nothing about him internally. The issues he has, primarily a concern with consumption and damnation don't go away. Louis is afraid of sin and also his own desires for indulgence. To some readers this may seem abstract, but they are often clear metaphors for being gay or alcoholism, Louis is very concerned with regulation, and not because he has any issues with drinking blood but more with how he is judged. He is very concerned about being seen as a monster (see Babette and portrait painter scenes). His big fight with Paul is also about Paul telling Louis that their family wasn't being holy enough. You can quickly see how Paul saying that they need to change their entire lifestyle is a judgement on Louis, the head of the household. Louis also said that he didn't want to believe his brother could have been visited by saints, bc it would be proof his brother is somehow a better person than him. Louis's internal conflict is often easily summarized by his Catholic guilt, which again can be abstract to audiences who have never experienced internalized homophobia or just a large sense of shame/feeling you are being watched

Anyways, why is the change in race smart, it's another way we can see Louis continues to be human governed by human rules, despite being a vampire. We can see it very clearly in how he is treated by society in the show, he is still treated as "lesser". Lestat thinks Louis should be above such things because he is a vampire, and while being gay and being an alcoholic are to some degree things you can hide, Louis's race is not. The opera being the last scene in Ep 2 where the schism between Louis and Lestat begins to get worse, is also where Louis has to act like Lestat's valet in public. If they were both gay white men they could at least act as equals, friends business partners, whatever. But even Lestat "we are above society" has to go through with this act but is notably not upset by it while Louis is. So to audiences that didn't get his issues, Louis desire to basically just be "normal", not an alcoholic, not of a sexuality that would be remarked upon, (while both real these two in the books are not shown overtly and exist in Louis's fear of damnation, which is still fear of judgement by others, but it isn't something that has a scene of a random accosting him in the street, it's more a persistent fear in his head, in the show they showed both these more overtly in the confession scene and the police officers in their home) not of a race treated as inferior, not having to act up his masculinity, by mixing all of those together at least one should make you GET it. I think even Jacob Anderson said it in the podcast that Louis really just wants to have a domestic family life like anyone else, and in the book while it is glossed over Louis says the time he spent being happy was that domestic family life. He just wants to be loved and not judged

In a lot of ways vampirism should suit Louis, and the book IWTV often romanticizes Louis pouncing on his prey from dark corners of the street. And that is what fits Louis the best, the desire to be left alone to be himself

[etoilesombre]

Hey, do you guys want to hear a story? Let me tell you about the romance between Lancelot and Guinevere, as recounted in Sir Thomas Malory's Le Morte d'Arthur.

So, I thought I knew the basics. I grew up reading modern versions of Arthurian legend that focused on other aspects, but had a general knowledge of the Arthur-Guinever-Lancelot love triangle. It didn't show up too much, but I assumed it was subtext in some other versions. What I picked up was that it was sort of pure, almost an ot3, and not the cause of a lot of problems. 

My friends. In this version it is NOT SUBTEXT, it DEFINITELY CAUSED PROBLEMS, and it is WILD. It is a true will-they-won't-they drama fest soap opera romance, and I need to share. So please, come on this journey with me.

[I’m looking at you, Black Sails fandom people. I need you to know that Flint canonically would have read this. He would almost certainly have also grown up hearing these stories. I’m not saying he’s Lancelot coded, but I am saying it's interesting that he would have been aware that was something it was possible to be.]

A couple notes, before we dive in. I am very much just summarizing what happened in the book. The thing is, the book is a million pages long and also in Middle English, and this is just one of many plots, which I think is why it's not more widely known. I will show some excerpts so you can get a feel for the text, but you don’t need to read them to understand the story. I'm referring to a version that is as close to the manuscript as I can find, though with spelling regularized. For real fun, see what the original looked like. Malory purports to be translating part of the French Vulgate cycle, which likely is where the character of Lancelot originates, but in fact he is doing much more than translating, and compiles other stories as well. Point being, when he says “so the French book sayeth” etc, that is the “book” to which he is referring. Because of my lack of knowledge about the language and cultural context, this lecture series from Mythgard Academy was absolutely invaluable to my understanding. I cannot recommend it highly enough. Inevitably, some of the opinions of the prof are reflected here. I do not have it in me to compare the scholarship of various medievalists right now, I just want to tell you about this DRAMA. 

Let’s start with a prophecy. When Arthur decides he wishes to marry Guinevere, Merlin advises him to take someone else, because if he takes her, she will betray him with Lancelot and it will destroy his kingdom. All of this is foretold, not only to us, but to Arthur himself. Of course he takes her anyway, and all is doomed from the start.

As we begin the main arc of this story (several books after the prophecy), Lancelot is widely acknowledged to be the best and most renowned knight of Arthur’s court. He is plainly and hopelessly in love with Guinevere, and she loves him in return. Arthur doesn’t have a problem with this - who wouldn’t love Guinevere? This sort of love is socially acceptable, so long as they do not sleep together, which would be treason. Arthur in fact seems to support their love, because it means that Lancelot will be Guinevere’s champion should she need one. This is a role Arthur himself legally cannot fill because he is the king, and so would have to be the judge. Lancelot is indeed a good champion for her, and fights for her when she is wrongly accused of murder. 

Lancelot is deeply chivalrous, in a way that seems sincere. This is a great place for a first excerpt, a conversation with a Random Damsel Lancelot has been helping:

‘Now, damosel,’ said Sir Lancelot, ‘will ye any more service of me?’ ‘Nay, sir,’ she said, ‘at this time, but almighty Jesu preserve you wheresoever ye ride or go, for the most courteous knight thou art and meekest unto all ladies and gentlewomen that now liveth. But one thing, sir knight, me thinks ye lack, ye that are a knight wifeless, that ye will not love some maiden or gentlewoman. For I could never hear say that ever ye loved any of no manner of degree, and that is great pity. But it is noised that ye love Queen Guenivere, and that she hath ordained by enchantment that ye shall never love no other but her, nor no other damosel nor lady shall rejoice you; wherefore there be many in this land of high estate and low that make great sorrow.’ ‘Fair damosel,’ said Sir Lancelot, ‘I may not warn* people to speak of me what it pleaseth them; but for to be a wedded man, I think it not; for then I must couch with her, and leave arms and tournaments, battles and adventures. And as for to say to take my pleasance with paramours, that will I refuse, in principal for dread of God. For knights that be adventurous should not be adulterers nor lecherous, for then they be not happy nor fortunate unto the wars; for either they shall be overcome with a simpler knight than they be themselves, or else they shall slay by unhap and their cursedness better men than they be themselves. And so who that useth paramours shall be unhappy, and all thing unhappy that is about them.’ 

So after doing his Knightly Deeds for this damsel, Lancelot asks if she needs anything else. She says no, but you are lacking one thing, which is the love of a woman. It is rumored that is because Guinevere has through sorcery made you love only her, and that causes all of the women great sorrow. In reply Lancelot makes this speech about how he cannot have a wife or paramour and be a good knight, but everyone thinks it is at least in part because his love is reserved for Guinevere.

Now, throughout the book his chastity DOES notably cause all of the women great sorrow. Everyone wants to sleep with Lancelot. Literally he is kidnapped by the four most beautiful queens other than Guinevere, and they say he has to choose one of them as a lover (not even a wife, a lover) or else die. He says he would rather die, though in the end he escapes. This is just an example, truly it is a recurring problem for him. He is, at one point, tricked into sleeping with a woman with whom he conceives his son Galahad (as was prophesied, it's a long story and the romance is only part of it. It is worth mentioning that something similar happens to Arthur, which is how Mordred is sired.) When Guinevere learns that Lancelot has been with someone else, she is angry and banishes him from the court. They still love each other and eventually reconcile. 

So, Lancelot goes on the quest for the holy grail. But he fails, specifically because while he is outwardly dedicated to God, in his private heart he is still dedicated to Guinevere. And so he makes a vow to renounce his love for her, acknowledging that it is beyond measure (beyond what is right, even if they have not technically done anything wrong.) However when he returns to Camelot, he cannot keep this vow, as we see. 

Then, as the book saith, Sir Lancelot began to resort unto Queen Guenivere again, and forgot the promise and the perfection that he made in the quest. For, as the book saith, had not Sir Lancelot been in his privy thoughts and in his mind so set inwardly to the Queen as he was in seeming outward to God, there had no knight passed him in the quest of the Sangrail, but ever his thoughts were privily on the Queen. And so they loved together more hotter than they did beforehand, and had many such privy draughts together that many in the court spoke of it, and in especial Sir Agravain, Sir Gawain’s brother, for he was ever open-mouthed. So it befell that Sir Lancelot had many resorts of ladies and damosels that daily resorted unto him to be their champion: in all such matters of right Sir Lancelot applied him daily to do for the pleasure of Our Lord Jesu Christ. And ever as much as he might he withdrew him from the company of Queen Guenivere for to eschew the slander and noise, wherefore the Queen waxed wroth with Sir Lancelot.

He and Guinevere start spending a lot of time alone together, and so there are rumors circulating about them in court. In order to put a stop to the rumors, Lancelot starts paying other women attention and doing more good knightly deeds for them. Guinevere is terribly jealous, but he tells her it's for their own good, and also tells her about the vow he made, and his concern that their love is beyond what is appropriate. She is devastated, and weeping banishes him from the court (again). 

Lancelot then rides in a tournament, disguised. (Why? Because this is simply a thing knights do.) To make it an effective disguise he takes the token of a woman, the sleeve of the fair maid of Astolat to wear on his helm. When she discovers that he was only using it for the disguise, and he does not indeed love her, she is so heartbroken that she says if he will not marry her or be her lover, she will die. He refuses, on the grounds that love must not be constrained and should arise from the heart, and offers her a thousand pounds a year instead if she marries anyone else. Properly insulted by this, she does indeed die. She has her body sent in a boat to Camelot, with a letter in her hand, saying that she died of her love for him, that he would not return. 

Seeing this, Guinevere reconciles with Lancelot, presumably reassured by the fact that he would let this very beautiful much younger woman die of her love rather than being with her. She insists that from now on he will not fight in disguise, and will openly bear her token. 

Then Queen Guenivere sent for Sir Lancelot, and said thus: ‘I warn you that ye ride no more in no jousts nor tournaments but that your kinsmen may know you; and at these jousts that shall be ye shall have of me a sleeve of gold. And I pray you for my sake to force* yourself there, that men may speak you worship. But I charge you as ye will have my love, that ye warn your kinsmen that ye will bear that day the sleeve of gold upon your helmet.’ ‘Madam,’ said Sir Lancelot, ‘it shall be done.’ And either made great joy of other.

It is important to keep in mind that, to this point, there is no textual evidence that they were sleeping together, and a great deal of evidence that it was important to Lancelot that they not cross that line. There is much less evidence that this is important to Guinevere.

So then one fateful day in May, Guinevere goes picnicing with an entourage of knights. They are captured by someone else who is in love with Guinevere, and taken back to his castle, but she manages to send a message to Lancelot. At the castle, she insists that her knights sleep in her bedchamber on the grounds that they were wounded in the battle when she was captured and need tending, but truly she wants them there to keep her captor from raping her. 

Lancelot arrives to rescue her, and the person who kidnapped her agrees to give her back in the morning. She tells Lancelot to visit her room in the night. He climbs up to her window, which is barred. They have a heartfelt reunion and she says she wishes he could come in to her. He acquiesces and breaks the bars to get into her room, cutting his hand to the bone to do so. Despite the profusely bleeding wound and the ten other men sleeping in the room, they at last do sleep together, in this passionate blood covered consummation. He sneaks back out and replaces the bars.

In the morning, the man who kidnapped Guinevere comes in and sees blood all over the bed. He accuses her of being unfaithful to the king, saying she lay with one of the knights who had been sleeping in her room. She denies it, but it is very clear that she did sleep with someone who was bleeding. 

Lancelot says he will fight to defend her from this accusation, which is right and proper because he is her champion. In this story people take trial by combat and oaths before God very seriously, especially Lancelot. He really does try. So he swears an oath that he will prove with his life that Guinevere did not sleep with one of the wounded knights who lay in her room. This of course is TRUE, but only on a technicality. Lancelot, having slept with her himself the night before, is also the one who defends her honor after. I love this story so much. 

Instead of fighting him, the kidnapper takes Lancelot captive. In captivity he encounters ANOTHER damsel who insists that sleep with her in order for her to help him. He refuses, still faithful in his heart to Guinevere. Eventually she settles for him holding and kissing her, which is not across the line of appropriateness apparently, giving us some idea of where that line is drawn. Anyway, Lancelot gets out, fights for Guinevere and wins. There are indications that he feels like he barely dodged a devine bullet. 

Guinevere and Lancelot return to Camelot. Finally the rumors about them are true, the deed has been done, but of course nothing appears particularly different as there were already rumors about them. Two knights, Mordred and Agravaine, who have been intriguing against Arthur already, go and tell Arthur that Guinevere is being untrue to him. Here is his response: 

‘If it be so,’ said the King, ‘wit you well, he is none other; but I would be loath to begin such a thing but I might have proofs of it. For Sir Lancelot is a hardy knight, and all ye know that he is the best knight among us all; and but if he be taken with the deed he will fight with him that bringeth up the noise, and I know no knight that is able to match him. Therefore, and it be sooth as ye say, I would that he were taken with the deed.’ For as the French book saith, the King was full loath that such a noise should be upon Sir Lancelot and his queen. For the King had a deeming of it; but he would not hear thereof, for Sir Lancelot had done so much for him and for the Queen so many times that, wit you well, the King loved him passingly well.

Arthur says he will not hear of this without proof, because if Lancelot is accused and allowed to fight he would beat anyone. And, it is said that Arthur had some idea of the affair, but would not credit it because Lancelot had done so much for him and Guinevere, and he loved Lancelot greatly. 

So, one night when the king is away hunting, the two accusers contrive to catch them in the act, with a group of twelve armed knights. They do find Lancelot in Guinevere’s chamber, but the text is notably, pointedly vague about whether they are actually in bed. In any case, Lancelot asks for a trial. The knights say no, they have caught him and so may kill him. He is Lancelot, so he kills all of them instead, save one (Mordred) whom he leaves wounded. Lancelot flees, intending to return to rescue Guinevere and take her to his own castle to protect her from Arthur’s wrath. He maintains her innocence, and still intends that they will all reconcile.

Guinevere is to be burned at the stake (normal in this situation). Lancelot rescues her from the burning at the last moment, killing a number of knights of the round table. Arthur seems to blame the accusers more than Guinevere and Lancelot (for good reason; keep in mind that the romance is a subplot, there is a great deal of political intrigue going on.) Now a war will begin, whether anyone wants it or not, because of the people Lancelot killed. Lancelot takes Guinevere to his own castle. Battle lines are drawn, and Lancelot and Arthur confront each other in the fighting:

And ever was King Arthur about Sir Lancelot to have slain him, and ever Sir Lancelot suffered him and would not strike again. So Sir Bors encountered with King Arthur; and Sir Bors smote him, and so he alit and drew his sword and said to Sir Lancelot, ‘Sir, shall I make an end of this war?’—for he meant to have slain him. ‘Not so hardy,’ said Sir Lancelot, ‘upon pain of thy head, that thou touch him no more! For I will never see that most noble king that made me knight neither slain nor shamed.’ And therewith Sir Lancelot alit off his horse and took up the King and horsed him again, and said thus: ‘My lord the king, for God’s love, stint this strife, for ye get here no worship and I would do my utterance. But always I forbear you, and ye nor none of yours forbear not me. And therefore, my lord, I pray you remember what I have done in many places, and now am I evil rewarded.’ So when King Arthur was on horseback he looked on Sir Lancelot; then the tears burst out of his eyes, thinking of the great courtesy that was in Sir Lancelot more than in any other man. And therewith the King rode his way and might no longer behold him, saying to himself, ‘Alas, alas, that yet this war began!’

So Arthur tries to slay Lancelot, but Lancelot, the better fighter, refuses to slay him and indeed when Arthur is unhorsed Lancelot forbids that he be slain, and gives him his own horse. Arthur weeps for the honor that is in Lancelot, and laments that the war began. 

The pope intervenes and tries to negotiate an end. Lancelot confirms that he is willing to return Guinevere to Arthur, and says he has always been willing to do this and will still defend her honor, but that he does not feel he can do so because Arthur has listened to liars and been misled, and he had more reason to take her away than the accusation of adultery - he does not trust she can be safe in that court, with things as they are. 

Eventually they do make a deal, with some assurances, and he surrenders Guinevere to the king. He kisses her openly, says that he will leave, but should she be in danger or ever again accused of being untrue, he will fight for her as he always has. He departs the court forever, to much great sorrow, and returns to his own lands. 

The war continues - eventually Mordred seizes the throne, Arthur kills him in battle but is mortally wounded himself and passes to Avalon. Following the king’s death, although her love would no longer be adulterous, Guinevere retires to a convent rather than reuniting with Lancelot. He seeks her out, and this is her reaction: 

Sir Lancelot was brought before her; then the Queen said to all those ladies, ‘Through this same man and me hath all this war been wrought, and the death of the most noblest knights of the world; for through our love that we have loved together is my most noble lord slain. Therefore, Sir Lancelot, wit thou well I am set in such a plight to get my soul health; and yet I trust through God’s grace and through His Passion of His wounds wide, that after my death I may have a sight of the blessed face of Christ Jesu, and at Doomsday to sit on His right side;* for as sinful as ever I was, now are saints in heaven. And therefore, Sir Lancelot, I require thee and beseech thee heartily, for all the love that ever was betwixt us, that thou never see me no more in the visage. And I command thee, on God’s behalf, that thou forsake my company; and to thy kingdom look thou turn again, and keep well thy realm from war and wrack. For as well as I have loved thee heretofore, my heart will not serve now to see thee, for through thee and me is the flower of kings and knights destroyed. And therefore go thou to thy realm, and there take ye a wife and live with her with joy and bliss. And I pray thee heartily to pray for me to the everlasting Lord that I may amend my misliving.’ ‘Now, my sweet madam,’ said Sir Lancelot, ‘would ye that I should turn again unto my country, and there to wed a lady? Nay, madam, wit you well, that shall I never do, for I shall never be so false unto you of that I have promised. But the self* destiny that ye have taken you to, I will take me to, for the pleasure of Jesu; and ever for you I cast me specially to pray.

Rather than rejoicing in Lancelot’s presence, Guinevere laments that their love brought about the downfall of the Arthurian court, and the deaths of the knights of the round table and King Arthur. She calls upon Lancelot, by all the love that was ever between them to leave her presence, telling him to marry someone else if he wishes and see her no more. Lancelot replies that he wants no one else, and that he will respect her wishes, but will also renounce the world and join a religious order. He asks Guinevere for a final parting kiss, which she denies him. 

When Guinevere lies dying of illness, Lancelot sets out to go to her, having had a vision. She knows of his coming, and prays to die before she sees him, because she cannot bear it. She dies a half hour before he arrives, leaving instruction that he is to tend to her body, and then lay it to rest beside that of her lord King Arthur. Lancelot does this with great sorrow, and after ceases to eat or drink, and within weeks is dead himself. 

And there you have it, the love affair that doomed Camelot.

HUGE DISCLAIMER: Any and all mistakes or misinterpretations are my own. This is what I gathered, but I am not a medievalist. I am barely an interested layperson. I’m just a random fic writer who got obsessed with research for a story, and had to share this tragic mess. 

[mysticstarlightduck]

OC Picrew Tag!

I found this really cool Picrew and decided to make some of my OCs using it! I think you guys might like giving it a try as well, so I'm tagging a few people in this post (:

Here we go!

Rules: Use the provided Picrew to make one of your WIPs OCs, then provide a quick description of the character, and (optionally) a "funny/bad" version of a summary

SUPERNOVA INITIATIVE

Deimos Soll

About: An infamously silver-tongued assassin, sniper, and mercenary known for being unpredictable and always having hidden intentions, Deimos is Jack and Cassie's former crewmate and first childhood friend, turned rival, turned begrudging-friend-again. Deimos is the most successful and deadly sniper in the whole galaxy, feared even by the Junction at his full potential.

Badly/Funny Summarization: Essentially a young, alien, 'space opera' version of John Wick with extra angst and a very questionable moral compass

Lyorna Alyrii

About: A young and optimistic freedom fighter from a water folk of a faraway planet in the Khosmonian galaxies who believes in a freer future for her people and an end to the oppressive regime of the Junction. Focused and brilliant, Lyorna wants to uphold her father's legacy and bring peace to the galaxy. She becomes friends with Jack Tithus during his crew's mission on the Khosmonian galaxy and later on they become each other's love interest.

Bad Summarization: An overly optimistic, too-precious young adult who should be protected at all costs and has almost no plan for anything at any given moment in time and should not be left unsupervised.

Noctus

About: Though his full name is classified and unknown to the cast, his reputation precedes him. He is the single most successful special forces secret agent currently in the employ of the Junction - he has never failed a mission, never missed a target. And he always follows orders, always obeys the rules. However, is everything about him what it seems? A forgotten and suppressed part of his memory may prove that the system he fought so dearly to uphold may have actually made him into their perfect living weapon, and there may be many other lies yet to be uncovered

Bad Summarization: Twenty-something secret agent done with everything and everyone who only wanted to have a simple mission and ends up 'adopted' by the gang of misfits he was sent to supervise.

SONG OF THORNS

Tullieh Aerlys

About: The undefeated and steadfast commander of the Guardians, who protect the Mountain Elves' hidden kingdom and keep outsiders from discovering their land. Tullieh is a serious, no-nonsense young man to whom duty and honor mean everything, due to a personal grudge against humans, especially those who hunt mythical beings, he will do anything to honor his vow and keep his people - especially his younger siblings - from being found by outsiders, even if it means being ruthless and unforgiving to a questionable degree.

Bad Summarization: Traumatized ancient teenager who grew up way too fast and should never have been given a gun and a sword under any circumstances, but has both of those things and a lack of self-preservation instincts to make everything worse.

Renn Atrius

About: A foreign noble from beyond the royal lands, he was forced into the lifestyle of a thief from a young age, after being orphaned when his father, a Vampyr, was murdered for refusing to obey their neighboring kingdom's crown. Learning the art of disappearing into the night and taking valuables from the land that took everything from him and colonized his nation, Renn quickly became quite the nuisance for the King. But thankfully to his connection to raw blood magic, his slight vampiric abilities ensure no human soldier ever proves a real threat to him. He starts to fall in love with Roselyn, having become friends with her after trying to steal her coin purse (having mistaken her for a tourist from the capital).

Bad Summarization: Goth dhampyr way too reckless for his own good chooses to be a menace to the System while also refusing to deal with his very much unresolved childhood trauma.

Cadenza Narellie

About: A young faery noble, Cadenza is the only child of a once-powerful, now defamed, High House. After rumors about her father's supposed alliance with their nation's enemies, the human royals from the neighboring kingdom, their reputation came crashing down, and so did the bond they once shared, as her father grew mysteriously distant from her. Realizing something is seriously amiss, Cadenza takes it upon herself to investigate and find out the truth about what is truly happening, even if it gets her accused of treason herself.

Bad Summarization: Local faery with way too much time on her hands and no friends decides to dive into a conspiracy and is surprised when that decision has consequences.

Tagging (gently): @sleepy-night-child, @kaylinalexanderbooks, @smol-feralgremlin, @oh-no-another-idea, @littleladymab,

@winterandwords, @cowboybrunch, @eccaiia, @sarahlizziewrites, @illarian-rambling

@agirlandherquill, @anoelleart

@leave-her-a-tome, @writernopal, @anyablackwood, @unstablewifiaccess, @forthesanityofstorytellers

@i-can-even-burn-salad, @cakeinthevoid

@lassiesandiego, @thepeculiarbird, @clairelsonao3, @memento-morri-writes, @starlit-hopes-and-dreams and OPEN TAG

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Shooting Anakin like Padmé

So I've mentioned this before, but for most of ROTS, Padmé is shown pretty much only in her own apartment, and she's only allowed to leave to (1) go to see Anakin to tell him about the baby, (2) go to the Senate to deliver an (admittedly devastating) line about Palpatine declaring himself Emperor, and then (3) go to Mustafar to find Anakin. Besides those times, the camera only looks at her when Anakin goes to see her in her apartment, or when Obi-Wan goes to her apartment to see her about Anakin.

This relegation of Padmé to the domestic sphere--even if it's less obvious in that it's not a cooking or cleaning domestic space--is strange for a character who is obviously active and present in the previous movies. Why isn't she in the Senate building before the last scene? Why doesn't she have an office? Paperwork to do at least? Why don't we see her preparing to give birth? Hell why can't she and Anakin just talk somewhere else for once?

The answers to these questions are not ones I'm going to bother with right now. Whilst they are probably complex and interesting on some level, ultimately, they largely start and end with and "the narrative stopped being interested in its main female character other than in how she affects its male lead." Instead, I'd like to demonstrate how stupid it is by imagining ROTS scenes if Anakin was shot the same way Padmé is.

Rescuing the Chancellor

Start by cutting the whole space battle and rescue. We open on Anakin, Obi-Wan, and Palpatine returning to the ground and being greeted by the Senators and the press. Padmé pulls Anakin aside as in the movie. Since we didn't get to see Anakin execute Dooku, Anakin summarizes those events to Padmé, during which he tells her that he's not sure he should've killed Dooku and that he's afraid Obi-Wan would be disappointed in him. Padmé avoids confronting/is distracted from this revelation by her own news--she's pregnant. Continue the scene as written, with Anakin dismissing her worries to tell her to be as happy as he is.

Impact

Because it would probably reveal too much plot-wise for Anakin to tell Padmé that Palpatine directly ordered him to execute Dooku, this would deeply minimize how much Palpatine has over Anakin's decision making, as well as obscure how Dooku being executed even happened when Obi-Wan should've been right there to stop him (audience has no idea he was knocked out). Also, the audience would not see Anakin disagree with Palpatine to save Obi-Wan, and would therefore be deprived of the understanding that Obi-Wan is important to Anakin.

Even if all of this information was included in Anakin's summary of events, it would replace all of the showing done in the rescue scenes with telling, thereby destroying all of the emotional weight the audience experiences actually witnessing the events.

Appointment to the Council & The Opera

Instead of seeing Anakin talk to Palpatine and Obi-Wan, and throwing his fit to the Council, we instead get Anakin sitting in his quarters in the temple after the council meeting. He gets angry, standing up and pacing the room, talking to either himself or R2-D2 about how annoyed he is about not being made a master and that Obi-Wan would ask him to spy on Palpatine.

Instead of Anakin sitting with Palpatine in the Opera, we are treated to another scene of him in his quarters, this time we see him in his quarters, reading some texts, maybe muttering about trying to find the story Palpatine told him about.

Impact

Instead of seeing Anakin being manipulated, being inept at politics, his inability to manage his emotions in front of the Council, the tension of his argument with Obi-Wan about spying, and the way he's immediately drawn in by Palpatine's story about darth Plageuis, we just get him pitching a fit in private. Pitching a fit in private is a pretty reasonable thing to do--most people do it at some point--and so on top of doing nothing to show any of his interpersonal relationships with Obi-Wan, the Council, or Palpatine, it also shows very little of the complete breakdown he's headed toward.

Order 66

Instead of seeing Anakin go into the Temple, leading the clones, we are instead shown him getting dressed in his new sith cloak, which matches Palpatine's.

Impact

The audience gets none of the horror of seeing Anakin about to kill people. They only gain the information that he killed the Jedi children when Obi-Wan tells Padmé--there is none of the symbolism of him being shown to kill that one kid who looks just like his younger self. It reduces a horrific act and character decision to less than a news headline, and--especially with Padmé's later denial about it--makes it sound like more of a rumor than anything.

Mustafar

After Anakin puts on his new sith cloak, we cut to him on a ship to Mustafar. Only it's not his fighter, it's a ship large enough to have sleeping quarters, or maybe a kitchen. We see Anakin in one of those two spaces, again pacing, but this time he has set his lightsaber on a table, and keeps glancing at it agitatedly. On arrival, he picks it up and leaves the ship. Cut to him announcing over comm to Palpatine that the Separatist leaders are dead, without showing any of the killing involved. Then he sees Padmé landing and goes to greet her.

Then, keep the strangling Padmé and dueling Obi-Wan the same as the movie.

Impact

Now imagine seeing that final duel after an entire movie in which we have hardly seen Anakin and Obi-Wan interact, never seen them fight together, and only witnessed Anakin draw his saber once, to cut off Mace's hand in one wild swipe. It wouldn't mean nearly as much. We wouldn't know where Anakin suddenly got all these crazy lightsaber skills from--it would be crazy that he can go toe to toe with Obi-Wan who we just saw fight Grevious. We wouldn't know that Obi-wan's death was something Anakin would've died to prevent only days earlier.

Overall Impact

While some of these altered scenes do have potential to communicate some important things about Anakin (staring at lightsaber = guilt, picking it back up = choosing violence), on their own, they fail to tell his story well, and give little depth to his character.

He doesn't really talk to anyone on screen -> seems like a total loner who doesn't talk to anyone but Padmé. What do you mean Obi-Wan is supposed to be his best friend-brother-dad-teacher? (Why does Obi-Wan say he loved Anakin at the end or bother to personally look over Luke?)

Anakin doesn't really do anything for anyone but himself -> what do you mean he's supposed to have been a caring person who was corrupted?

Anakin is called a General and a war hero, but we never see him lead troops or even fight -> was he just given the title to make him seem more important?

Anakin and Palpatine only interact for like two seconds -> why does Anakin believe him about the Sith story or follow his orders to commit atrocities?

Anakin doesn't have any strong feelings about the Jedi, positive or negative (let alone both simultaneously) -> why do we care that he betrayed and killed them? why didn't Palpatine just let the clones do it?

Basically, it makes him seem stupid and inactive, and completely fails to show the audience his ongoing struggle with violence and torn loyalties, unless of course the audience is willing to go to lengths to imagine the depth he might've had if the narrative had prioritized him a little more.

There's lots of fic and meta that does that for Padmé, but the movie itself does not force the average view to see her as anything but Anakin's girlfriend who loves him more than anything, for some reason (he's pretty?) and is a Senator for some reason (she talks about politics for a minute?).

Like, I'm being a bit reductive, but all the scenes I cut of Anakin doing violence? Those are the equivalent of Padmé doing politics. All the interactions with Obi-Wan, Palpatine, and the Council? Those are Padme talking to other senators, her handmaidens, maybe even her parents. Anakin's mounting stress? That's a bit about Padmé seeing a doctor, worrying about her own health.

Padme isn't the main character, but she's not a side character either. The screen time she got could've been better used, even simply by letting her look busy when Anakin talks at her. ROTS makes her seem silly and inactive, and fails to show the audience the full depth of the ongoing conflict between her duty as a political power and her relationship with Anakin.