#the old trick I used to use years ago to tag/mention it doesn't seem to work anymore either u-u

[crazy-grrrl-on-the-computer]

Last line tag game!

Rules: In a new post, show the last line you wrote (or drew) and tag as many people as there are words (or however many you like).

Tagged by @auniverseforgotten and @thatlittledandere

I'm back on my Ichiryuu bullshit (as if I ever really left)~ uwu <3

The sound of his classmate’s voice earnestly calling out stopped Ichiban from running and he pivoted just enough to see that Zaou’s hand had reflexively reached out – reaching for him – but froze partway. “I was just… surprised,” Zaou explained carefully like he was thinking about each word before he said it. “I am pretty busy, so I wouldn’t have time every day and sometimes certain things come up last minute, but I guess I could use the help.” Ichiban tried to swallow his nerves, but his heart was in the way. “I understand. When would be a good time for you?” Zaou hummed absentmindedly as he searched for an answer, then suddenly his eyes lit up. “Ah! Give me your phone.” Ichiban obediently fished it out of his pocket and placed it in Zaou’s expectant hand. It wouldn’t occur to him until after the shock had worn off that perhaps he should have asked why first, but the fact that Zaou’s fingers were masterfully navigating his phone screen was doing unexpected things to his brain chemistry that he was sure would accidentally translate into a mortifying collection of words the instant he opened his mouth. This was a bad idea. Possibly the worst idea. Why did he ever think he could— “Here,” Zaou mercifully interrupted his spiraling train of thought and held the phone out to him again. “I’ll have to check my schedule first, so I’ll text you when I work something out.”

Trying to pretend that this is a "last line" game instead of just a "last thing I wrote" game is a fool's errand for me at this point. I truly cannot shut up about the things I love and this is my most wordy contribution to the feedback loop yet. //bricked

Tagging: @auniverseforgotten , @darth-salem-emperor-of-earth , @koolkitty9 , @floweryuu , @lanliingwang

As always, there’s no pressure to share and if I missed someone who wants to be included feel free to consider yourself also tagged~ <3

[drawnaghht]

I saw your tags in my post!!!! AND I'M SO SURE YUI PARENTS ARE DEAD!!! But they died when he was still really young so he doesn't really remember them. I'm so curious on what other people think about his childhood. In my mind he was a chaotic child who performed tricks for his Aunty.

Oh! I'm glad to hear that bc I had a similar thought over the series ^^

The way Auntie says it in the first episode, it really does sound like... she promised his parents a long time ago, and it is something much-mentioned between the two.

I actually have a theory based on Auntie's appearances and what she says, that she decided to make a kind of larger white lie about herself to Usagi, and that she is actually his grandma and for some reason has asked to be called auntie. So many if us assume that she is literally, his aunt, but the way I understand it as a non-native speaker, auntie in english can mean an elderly woman as well, regardless of actual familial connection.

there's also how the japanese dub has translated her as obaa-chan, grandma, which can be used for any older grandma-age lady too. then also how Stan Sakai calls her Usagi's grandma in interviews.

so where I'm getting to with this is that maybe it's a painful topic for her, whether it was her sibling or her own child who died, but it seems she's gone through a lot and maybe omits details about what happened to Yuichi's parents. In any case, she had made a promise to Usagi's parents and we don't know much beyond that. If we go more into headcanon than theory territory, we could expand on what's implied in the show. What if besides looking after the boy, they also asked her to promise to look after him as her own? And so she became Auntie, instead of only Grandma.

Or it could even just be a personal preference! I have an aunt thru marriage who right-off-the-bat requested to be called by name instead of "aunt" or "auntie" because those monikers felt old to her.

Perhaps for Usagi's auntie, it was similar and she felt that because he couldn't experience having parents, at least he could experience having an auntie, and that's what she asked for him to call. Not an older grandma, but an experienced auntie. Altho that's not what those words have to mean, it is just speculation from me based on how she's written. Also, because she seems to be a war veteran (the prosthetics and experienced skill despite her old age), she might have things to hide. so perhaps she prefers something familial and close what a family member would call her, but not her full or real name, as perhaps the boy's parenrs would have called her.

Just some thoughts!

My theories on what actually happened to his parents range depending on what I take as a jumping-off point for the theory. Easiest and most extreme example; Perhaps the wars were recent and they died there? Maybe they even had more kids before Usagi? Because Usagi's name also includes Yuichi tho, with the meaning of "first-born brave son", perhaps not. Another theory I had earlier in s1, is that they went to the city, related to their farm, perhaps they needed investors or were doing business of some kind. What happens next branches off - it could have been a simple mugging or other crime that left them vulnerable or hurt enough that they couldn't get help anymore.

One of the theories I have is that it is related to some gang wars that took place over 10 years before the events of the series and Usagi's 16th birthday in ep 1. I'm going to use this one in my Neo Edo Idol fanstory because it seems to fit the best there ^^ It's implied by how the three main gangs in the series basically exist in a corrupt way where they can both tell the Shogun what to so, but are also sequestered off into their of territories, that probably things weren't so great before, but under the semi-corrupt Lord Kogane, they exist in a standstill. So maybe Usagi's parents found their ends in whatever went on with the gangs 10+ years ago.

If we tie it with the fact that a big criminal was alao going around the city causing problems, mentioned in Gen and Toshiko's flashbacks about their mom's praxis, we can get another interesting connection. Maybe Usagi's parents were victims of this black wolf. There's even the theory that maybe... this could be related to Jei, known from the comics and that this character is a nod to him. Whether a descendant or a random black wolf possessed by Jei, it is an interesting nod. So 2 things could have happened. Or any number of things really! Mainly I am thinking, maybe Usagi's parents got hurt by Okami, and died then and there; Possibly, they could have been hurt by either Okami or anyone or anything else, but then couldn't get help because the city's only working hospital was closed because of him. It's interesting to think about! I hope someone else makes these connections in their Usagi Chronicles fanstories as well :)

Anyway, this became a whole big tangent answrr lol ^^; but thanks for talking about this! lolol I love talking about this sjow and Usagi's parents and what happened to them, any details about them... they are like one of the biggest unknown mysteries to me haha and it would be really cool to get something like a FAQ or some companion piece/comic where we get more fleshed-out lore for them too ^^

Of course, since the series was made inspired by Senso and Space Usagi, it's likely we'll never find out, but it's fun to think that maybe the writers, storyboarders and showrunners all hax some small ideas about his parents, and that these ideas simply weren't used for time reasons...

Thanks and feel free to ask/talk more!

[chrisevansluv]

Here is the 2012 Detail Magazine interview with chris evans:

The Avengers' Chris Evans: Just Your Average Beer-Swilling, Babe-Loving Buddhist

The 30-year-old Bud Light-chugging, Beantown-bred star of The Avengers is widely perceived as the ultimate guy's guy. But beneath the bro persona lies a serious student of Buddhism, an unrepentant song-and-dance man, and a guy who talks to his mom about sex. And farts.

By Adam Sachs,

Photographs by Norman Jean Roy

May 2012 Issue

"Should we just kill him and bury his body?" Chris Evans is stage whispering into the impassive blinking light of my digital recorder.

"Chris!" shouts his mother, her tone a familiar-to-anyone-with-a-mother mix of coddling and concern. "Don't say that! What if something happened?"

We're at Evans' apartment, an expansive but not overly tricked-out bachelor-pad-ish loft in a semi-industrial nowheresville part of Boston, hard by Chinatown, near an area sometimes called the Combat Zone. Evans has a fuzzy, floppy, slept-in-his-clothes aspect that'd be nearly unrecognizable if you knew him only by the upright, spit-polished bearing of the onscreen hero. His dog, East, a sweet and slobbery American bulldog, is spread out on a couch in front of the TV. The shelves of his fridge are neatly stacked with much of the world's supply of Bud Light in cans and little else.

On the counter sit a few buckets of muscle-making whey-protein powder that belong to Evans' roommate, Zach Jarvis, an old pal who sometimes tags along on set as a paid "assistant" and a personal trainer who bulked Evans up for his role as the super-ripped patriot in last summer's blockbuster Captain America: The First Avenger. A giant clock on the exposed-brick wall says it's early evening, but Evans operates on his own sense of time. Between gigs, his schedule's all his, which usually translates into long stretches of alone time during the day and longer social nights for the 30-year-old.

"I could just make this . . . disappear," says Josh Peck, another old pal and occasional on-set assistant, in a deadpan mumble, poking at the voice recorder I'd left on the table while I was in the bathroom.

Evans' mom, Lisa, now speaks directly into the microphone: "Don't listen to them—I'm trying to get them not to say these things!"

But not saying things isn't in the Evans DNA. They're an infectiously gregarious clan. Irish-Italians, proud Bostoners, close-knit, and innately theatrical. "We all act, we sing," Evans says. "It was like the fucking von Trapps." Mom was a dancer and now runs a children's theater. First-born Carly directed the family puppet shows and studied theater at NYU. Younger brother Scott has parts on One Life to Live and Law & Order under his belt and lives in Los Angeles full-time—something Evans stopped doing several years back. Rounding out the circle are baby sister Shanna and a pair of "strays" the family brought into their Sudbury, Massachusetts, home: Josh, who went from mowing the lawn to moving in when his folks relocated during his senior year in high school; and Demery, who was Evans' roommate until recently.

"Our house was like a hotel," Evans says. "It was a loony-tunes household. If you got arrested in high school, everyone knew: 'Call Mrs. Evans, she'll bail you out.'"

Growing up, they had a special floor put in the basement where all the kids practiced tap-dancing. The party-ready rec room also had a Ping-Pong table and a separate entrance. This was the house kids in the neighborhood wanted to hang at, and this was the kind of family you wanted to be adopted by. Spend an afternoon listening to them dish old dirt and talk over each other and it's easy to see why. Now they're worried they've said too much, laid bare the tender soul of the actor behind the star-spangled superhero outfit, so there's talk of offing the interviewer. I can hear all this from the bathroom, which, of course, is the point of a good stage whisper.

To be sure, no one's said too much, and the more you're brought into the embrace of this boisterous, funny, shit-slinging, demonstrably loving extended family, the more likable and enviable the whole dynamic is.

Sample exchange from today's lunch of baked ziti at a family-style Italian restaurant:

Mom: When he was a kid, he asked me, 'Mom, will I ever think farting isn't funny?'

Chris: You're throwing me under the bus, Ma! Thank you.

Mom: Well, if a dog farts you still find it funny.

Then, back at the apartment, where Mrs. Evans tries to give me good-natured dirt on her son without freaking him out:

Mom: You always tell me when you think a girl is attractive. You'll call me up so excited. Is that okay to say?

Chris: Nothing wrong with that.

Mom: And can I say all the girls you've brought to the house have been very sweet and wonderful? Of course, those are the ones that make it to the house. It's been a long time, hasn't it?

Chris: Looooong time.

Mom: The last one at our house? Was it six years ago?

Chris: No names, Ma!

Mom: But she knocked it out of the park.

Chris: She got drunk and puked at Auntie Pam's house! And she puked on the way home and she puked at our place.

Mom: And that's when I fell in love with her. Because she was real.

We're operating under a no-names rule, so I'm not asking if it's Jessica Biel who made this memorable first impression. She and Evans were serious for a couple of years. But I don't want to picture lovely Jessica Biel getting sick at Auntie Pam's or in the car or, really, anywhere.

East the bulldog ambles over to the table, begging for food.

"That dog is the love of his life," Mrs. Evans says. "Which tells me he'll be an unbelievable parent, but I don't want him to get married right now." She turns to Chris. "The way you are, I just don't think you're ready."

Some other things I learn about Evans from his mom: He hates going to the gym; he was so wound-up as a kid she'd let him stand during dinner, his legs shaking like caged greyhounds; he suffered weekly "Sunday-night meltdowns" over schoolwork and the angst of the sensitive middle-schooler; after she and his father split and he was making money from acting, he bought her the Sudbury family homestead rather than let her leave it.

Eventually his mom and Josh depart, and Evans and I go to work depleting his stash of Bud Light. It feels like we drink Bud Light and talk for days, because we basically do. I arrived early Friday evening; it's Saturday night now and it'll be sunup Sunday before I sleeplessly make my way to catch a train back to New York City. Somewhere in between we slip free of the gravitational pull of the bachelor pad and there's bottle service at a club and a long walk with entourage in tow back to Evans' apartment, where there is some earnest-yet-surreal group singing, piano playing, and chitchat. Evans is fun to talk to, partly because he's an open, self-mocking guy with an explosive laugh and no apparent need to sleep, and partly because when you cut just below the surface, it's clear he's not quite the dude's dude he sometimes plays onscreen and in TV appearances.

From a distance, Chris Evans the movie star seems a predictable, nearly inevitable piece of successful Hollywood packaging come to market. There's his major-release debut as the dorkily unaware jock Jake in the guilty pleasure Not Another Teen Movie (in one memorable scene, Evans has whipped cream on his chest and a banana up his ass). The female-friendly hunk appeal—his character in The Nanny Diaries is named simply Harvard Hottie—is balanced by a kind of casual-Friday, I'm-from-Boston regular-dudeness. Following the siren song of comic-book cash, he was the Human Torch in two Fantastic Four films. As with scrawny Steve Rogers, the Captain America suit beefed up his stature as a formidable screen presence, a bankable leading man, all of which leads us to The Avengers, this season's megabudget, megawatt ensemble in which he stars alongside Scarlett Johansson, Mark Ruffalo, Robert Downey Jr., and Chris Hemsworth.

It all feels inevitable—and yet it nearly didn't happen. Evans repeatedly turned down the Captain America role, fearing he'd be locked into what was originally a nine-picture deal. He was shooting Puncture, about a drug-addicted lawyer, at the time. Most actors doing small-budget legal dramas would jump at the chance to play the lead in a Marvel franchise, but Evans saw a decade of his life flash before his eyes.

What he remembers thinking is this: "What if the movie comes out and it's a success and I just reject all of this? What if I want to move to the fucking woods?"

By "the woods," he doesn't mean a quiet life away from the spotlight, some general metaphorical life escape route. He means the actual woods. "For a long time all I wanted for Christmas were books about outdoor survival," he says. "I was convinced that I was going to move to the woods. I camped a lot, I took classes. At 18, I told myself if I don't live in the woods by the time I'm 25, I have failed."

Evans has described his hesitation at signing on for Captain America. Usually he talks about the time commitment, the loss of what remained of his relative anonymity. On the junkets for the movie, he was open about needing therapy after the studio reduced the deal to six movies and he took the leap. What he doesn't usually mention is that he was racked with anxiety before the job came up.

"I get very nervous," Evans explains. "I shit the bed if I have to present something on stage or if I'm doing press. Because it's just you." He's been known to walk out of press conferences, to freeze up and go silent during the kind of relaxed-yet-high-stakes meetings an actor of his stature is expected to attend: "Do you know how badly I audition? Fifty percent of the time I have to walk out of the room. I'm naturally very pale, so I turn red and sweat. And I have to literally walk out. Sometimes mid-audition. You start having these conversations in your brain. 'Chris, don't do this. Chris, take it easy. You're just sitting in a room with a person saying some words, this isn't life. And you're letting this affect you? Shame on you.'"

Shades of "Sunday-night meltdowns." Luckily the nerves never follow him to the set. "You do your neuroses beforehand, so when they yell 'Action' you can be present," he says.

Okay, there was one on-set panic attack—while Evans was shooting Puncture. "We were getting ready to do a court scene in front of a bunch of people, and I don't know what happened," he says. "It's just your brain playing games with you. 'Hey, you know how we sometimes freak out? What if we did it right now?'"

One of the people who advised Evans to take the Captain America role was his eventual Avengers costar Robert Downey Jr. "I'd seen him around," Downey says. "We share an agent. I like to spend a lot of my free time talking to my agent about his other clients—I just had a feeling about him."

What he told Evans was: This puppy is going to be big, and when it is you're going to get to make the movies you want to make. "In the marathon obstacle course of a career," Downey says, "it's just good to have all the stats on paper for why you're not only a team player but also why it makes sense to support you in the projects you want to do—because you've made so much damned money for the studio."

There's also the fact that Evans had a chance to sign on for something likely to be a kind of watershed moment in the comic-book fascination of our time. "I do think The Avengers is the crescendo of this superhero phase in entertainment—except of course for Iron Man 3," Downey says. "It'll take a lot of innovation to keep it alive after this."

Captain America is the only person left who was truly close to Howard Stark, father of Tony Stark (a.k.a. Iron Man), which meant that Evans' and Downey's story lines are closely linked, and in the course of doing a lot of scenes together, they got to be pals. Downey diagnoses his friend with what he terms "low-grade red-carpet anxiety disorder."

"He just hates the game-show aspect of doing PR," Downey says. "Obviously there's pressure for anyone in this transition he's in. But he will easily triple that pressure to make sure he's not being lazy. That's why I respect the guy. I wouldn't necessarily want to be in his skin. But his motives are pure. He just needs to drink some red-carpet chamomile."

"The majority of the world is empty space," Chris Evans says, watching me as if my brain might explode on hearing this news—or like he might have to fight me if I try to contradict him. We're back at his apartment after a cigarette run through the Combat Zone.

"Empty space!" he says again, slapping the table and sort of yelling. Then, in a slow, breathy whisper, he repeats: "Empty space, empty space. All that we see in the world, the life, the animals, plants, people, it's all empty space. That's amazing!" He slaps the table again. "You want another beer? Gotta be Bud Light. Get dirty—you're in Boston. Okay, organize your thoughts. I gotta take a piss . . ."

My thoughts are this: That this guy who is hugging his dog and talking to me about space and mortality and the trouble with Boston girls who believe crazy gossip about him—this is not the guy I expected to meet. I figured he'd be a meatball. Though, truthfully, I'd never called anyone a meatball until Evans turned me on to the put-down. As in: "My sister Shanna dates meatballs." And, more to the point: "When I do interviews, I'd rather just be the beer-drinking dude from Boston and not get into the complex shit, because I don't want every meatball saying, 'So hey, whaddyathink about Buddhism?'"

At 17, Evans came across a copy of Hermann Hesse's Siddhartha and began his spiritual questing. It's a path of study and struggle that, he says, defines his true purpose in life. "I love acting. It's my playground, it lets me explore. But my happiness in this world, my level of peace, is never going to be dictated by acting," he says. "My goal in life is to detach from the egoic mind. Do you know anything about Eastern philosophy?"

I sip some Bud Light and shake my head sheepishly. "They talk about the egoic mind, the part of you that's self-aware, the watcher, the person you think is driving this machine," he says. "And that separation from self and mind is the root of suffering. There are ways of retraining the way you think. This isn't really supported in Western society, which is focused on 'Go get it, earn it, win it, marry it.'"

Scarlett Johansson says that one of the things she appreciates about Evans is how he steers clear of industry chat when they see each other. "Basically every actor," she says, "including myself, when we finish a job we're like, 'Well, that's it for me. Had a good run. Put me out to pasture.' But Chris doesn't strike me as someone who frets about the next job." The two met on the set of The Perfect Score when they were teenagers and have stayed close; The Avengers is their third movie together. "He has this obviously masculine presence—a dude's dude—and we're used to seeing him play heroic characters," Johansson says, "but he's also surprisingly sensitive. He has close female friends, and you can talk to him about anything. Plus there's that secret song-and-dance, jazz-hands side of Chris. I feel like he grew up with the Partridge Family. He'd be just as happy doing Guys and Dolls as he would Captain America 2."

East needs to do his business, so Evans and I take him up to the roof deck. Evans bought this apartment in 2010 when living in L.A. full-time no longer appealed to him. He came back to stay close to his extended family and the intimate circle of Boston pals he's maintained since high school. The move also seems like a pretty clear keep-it-real hedge against the manic ego-stroking distractions of Hollywood.

"I think my daytime person is different than my nighttime person," Evans says. "With my high-school buddies, we drink beer and talk sports and it's great. The kids in my Buddhism class in L.A., they're wildly intelligent, and I love being around them, but they're not talking about the Celtics. And that's part of me. It's a strange dichotomy. I don't mind being a certain way with some people and having this other piece of me that's just for me."

I asked Downey about Evans' outward regular-Joe persona. "It's complete horseshit," Downey says. "There's an inherent street-smart intelligence there. I don't think he tries to hide it. But he's much more evolved and much more culturally aware than he lets on."

Perhaps the meatball and the meditation can coexist. We argue about our egoic brains and the tao of Boston girls. "I love wet hair and sweatpants," he says in their defense. "I like sneakers and ponytails. I like girls who aren't so la-di-da. L.A. is so la-di-da. I like Boston girls who shit on me. Not literally. Girls who give me a hard time, bust my chops a little."

The chief buster of Evans' chops is, of course, Evans himself. "The problem is, the brain I'm using to dissect this world is a brain formed by it," he says. "We're born into confusion, and we get the blessing of letting go of it." Then he adds: "I think this shit by day. And then night comes and it's like, 'Fuck it, let's drink.'"

And so we do. It's getting late. Again. We should have eaten dinner, but Evans sometimes forgets to eat: "If I could just take a pill to make me full forever, I wouldn't think twice."

We talk about his dog and camping with his dog and why he loves being alone more than almost anything except maybe not being alone. "I swear to God, if you saw me when I am by myself in the woods, I'm a lunatic," he says. "I sing, I dance. I do crazy shit."

Evans' unflagging, all-encompassing enthusiasm is impressive, itself a kind of social intelligence. "If you want to have a good conversation with him, don't talk about the fact that he's famous" was the advice I got from Mark Kassen, who codirected Puncture. "He's a blast, a guy who can hang. For quite a long time. Many hours in a row."

I've stopped looking at the clock. We've stopped talking philosophy and moved into more emotional territory. He asks questions about my 9-month-old son, and then Captain America gets teary when I talk about the wonder of his birth. "I weep at everything," he says. "I emote. I love things so much—I just never want to dilute that."

He talks about how close he feels to his family, how open they all are with each other. About everything. All the time. "The first time I had sex," he says, "I raced home and was like, 'Mom, I just had sex! Where's the clit?'"

Wait, I ask—did she ever tell you?

"Still don't know where it is, man," he says, then breaks into a smile composed of equal parts shit-eating grin and inner peace. "I just don't know. Make some movies, you don't have to know…"

Here is the 2012 Detail Magazine interview with chris evans:

The Avengers' Chris Evans: Just Your Average Beer-Swilling, Babe-Loving Buddhist

The 30-year-old Bud Light-chugging, Beantown-bred star of The Avengers is widely perceived as the ultimate guy's guy. But beneath the bro persona lies a serious student of Buddhism, an unrepentant song-and-dance man, and a guy who talks to his mom about sex. And farts.

By Adam Sachs,

Photographs by Norman Jean Roy

May 2012 Issue

"Should we just kill him and bury his body?" Chris Evans is stage whispering into the impassive blinking light of my digital recorder.

"Chris!" shouts his mother, her tone a familiar-to-anyone-with-a-mother mix of coddling and concern. "Don't say that! What if something happened?"

We're at Evans' apartment, an expansive but not overly tricked-out bachelor-pad-ish loft in a semi-industrial nowheresville part of Boston, hard by Chinatown, near an area sometimes called the Combat Zone. Evans has a fuzzy, floppy, slept-in-his-clothes aspect that'd be nearly unrecognizable if you knew him only by the upright, spit-polished bearing of the onscreen hero. His dog, East, a sweet and slobbery American bulldog, is spread out on a couch in front of the TV. The shelves of his fridge are neatly stacked with much of the world's supply of Bud Light in cans and little else.

On the counter sit a few buckets of muscle-making whey-protein powder that belong to Evans' roommate, Zach Jarvis, an old pal who sometimes tags along on set as a paid "assistant" and a personal trainer who bulked Evans up for his role as the super-ripped patriot in last summer's blockbuster Captain America: The First Avenger. A giant clock on the exposed-brick wall says it's early evening, but Evans operates on his own sense of time. Between gigs, his schedule's all his, which usually translates into long stretches of alone time during the day and longer social nights for the 30-year-old.

"I could just make this . . . disappear," says Josh Peck, another old pal and occasional on-set assistant, in a deadpan mumble, poking at the voice recorder I'd left on the table while I was in the bathroom.

Evans' mom, Lisa, now speaks directly into the microphone: "Don't listen to them—I'm trying to get them not to say these things!"

But not saying things isn't in the Evans DNA. They're an infectiously gregarious clan. Irish-Italians, proud Bostoners, close-knit, and innately theatrical. "We all act, we sing," Evans says. "It was like the fucking von Trapps." Mom was a dancer and now runs a children's theater. First-born Carly directed the family puppet shows and studied theater at NYU. Younger brother Scott has parts on One Life to Live and Law & Order under his belt and lives in Los Angeles full-time—something Evans stopped doing several years back. Rounding out the circle are baby sister Shanna and a pair of "strays" the family brought into their Sudbury, Massachusetts, home: Josh, who went from mowing the lawn to moving in when his folks relocated during his senior year in high school; and Demery, who was Evans' roommate until recently.

"Our house was like a hotel," Evans says. "It was a loony-tunes household. If you got arrested in high school, everyone knew: 'Call Mrs. Evans, she'll bail you out.'"

Growing up, they had a special floor put in the basement where all the kids practiced tap-dancing. The party-ready rec room also had a Ping-Pong table and a separate entrance. This was the house kids in the neighborhood wanted to hang at, and this was the kind of family you wanted to be adopted by. Spend an afternoon listening to them dish old dirt and talk over each other and it's easy to see why. Now they're worried they've said too much, laid bare the tender soul of the actor behind the star-spangled superhero outfit, so there's talk of offing the interviewer. I can hear all this from the bathroom, which, of course, is the point of a good stage whisper.

To be sure, no one's said too much, and the more you're brought into the embrace of this boisterous, funny, shit-slinging, demonstrably loving extended family, the more likable and enviable the whole dynamic is.

Sample exchange from today's lunch of baked ziti at a family-style Italian restaurant:

Mom: When he was a kid, he asked me, 'Mom, will I ever think farting isn't funny?'

Chris: You're throwing me under the bus, Ma! Thank you.

Mom: Well, if a dog farts you still find it funny.

Then, back at the apartment, where Mrs. Evans tries to give me good-natured dirt on her son without freaking him out:

Mom: You always tell me when you think a girl is attractive. You'll call me up so excited. Is that okay to say?

Chris: Nothing wrong with that.

Mom: And can I say all the girls you've brought to the house have been very sweet and wonderful? Of course, those are the ones that make it to the house. It's been a long time, hasn't it?

Chris: Looooong time.

Mom: The last one at our house? Was it six years ago?

Chris: No names, Ma!

Mom: But she knocked it out of the park.

Chris: She got drunk and puked at Auntie Pam's house! And she puked on the way home and she puked at our place.

Mom: And that's when I fell in love with her. Because she was real.

We're operating under a no-names rule, so I'm not asking if it's Jessica Biel who made this memorable first impression. She and Evans were serious for a couple of years. But I don't want to picture lovely Jessica Biel getting sick at Auntie Pam's or in the car or, really, anywhere.

East the bulldog ambles over to the table, begging for food.

"That dog is the love of his life," Mrs. Evans says. "Which tells me he'll be an unbelievable parent, but I don't want him to get married right now." She turns to Chris. "The way you are, I just don't think you're ready."

Some other things I learn about Evans from his mom: He hates going to the gym; he was so wound-up as a kid she'd let him stand during dinner, his legs shaking like caged greyhounds; he suffered weekly "Sunday-night meltdowns" over schoolwork and the angst of the sensitive middle-schooler; after she and his father split and he was making money from acting, he bought her the Sudbury family homestead rather than let her leave it.

Eventually his mom and Josh depart, and Evans and I go to work depleting his stash of Bud Light. It feels like we drink Bud Light and talk for days, because we basically do. I arrived early Friday evening; it's Saturday night now and it'll be sunup Sunday before I sleeplessly make my way to catch a train back to New York City. Somewhere in between we slip free of the gravitational pull of the bachelor pad and there's bottle service at a club and a long walk with entourage in tow back to Evans' apartment, where there is some earnest-yet-surreal group singing, piano playing, and chitchat. Evans is fun to talk to, partly because he's an open, self-mocking guy with an explosive laugh and no apparent need to sleep, and partly because when you cut just below the surface, it's clear he's not quite the dude's dude he sometimes plays onscreen and in TV appearances.

From a distance, Chris Evans the movie star seems a predictable, nearly inevitable piece of successful Hollywood packaging come to market. There's his major-release debut as the dorkily unaware jock Jake in the guilty pleasure Not Another Teen Movie (in one memorable scene, Evans has whipped cream on his chest and a banana up his ass). The female-friendly hunk appeal—his character in The Nanny Diaries is named simply Harvard Hottie—is balanced by a kind of casual-Friday, I'm-from-Boston regular-dudeness. Following the siren song of comic-book cash, he was the Human Torch in two Fantastic Four films. As with scrawny Steve Rogers, the Captain America suit beefed up his stature as a formidable screen presence, a bankable leading man, all of which leads us to The Avengers, this season's megabudget, megawatt ensemble in which he stars alongside Scarlett Johansson, Mark Ruffalo, Robert Downey Jr., and Chris Hemsworth.

It all feels inevitable—and yet it nearly didn't happen. Evans repeatedly turned down the Captain America role, fearing he'd be locked into what was originally a nine-picture deal. He was shooting Puncture, about a drug-addicted lawyer, at the time. Most actors doing small-budget legal dramas would jump at the chance to play the lead in a Marvel franchise, but Evans saw a decade of his life flash before his eyes.

What he remembers thinking is this: "What if the movie comes out and it's a success and I just reject all of this? What if I want to move to the fucking woods?"

By "the woods," he doesn't mean a quiet life away from the spotlight, some general metaphorical life escape route. He means the actual woods. "For a long time all I wanted for Christmas were books about outdoor survival," he says. "I was convinced that I was going to move to the woods. I camped a lot, I took classes. At 18, I told myself if I don't live in the woods by the time I'm 25, I have failed."

Evans has described his hesitation at signing on for Captain America. Usually he talks about the time commitment, the loss of what remained of his relative anonymity. On the junkets for the movie, he was open about needing therapy after the studio reduced the deal to six movies and he took the leap. What he doesn't usually mention is that he was racked with anxiety before the job came up.

"I get very nervous," Evans explains. "I shit the bed if I have to present something on stage or if I'm doing press. Because it's just you." He's been known to walk out of press conferences, to freeze up and go silent during the kind of relaxed-yet-high-stakes meetings an actor of his stature is expected to attend: "Do you know how badly I audition? Fifty percent of the time I have to walk out of the room. I'm naturally very pale, so I turn red and sweat. And I have to literally walk out. Sometimes mid-audition. You start having these conversations in your brain. 'Chris, don't do this. Chris, take it easy. You're just sitting in a room with a person saying some words, this isn't life. And you're letting this affect you? Shame on you.'"

Shades of "Sunday-night meltdowns." Luckily the nerves never follow him to the set. "You do your neuroses beforehand, so when they yell 'Action' you can be present," he says.

Okay, there was one on-set panic attack—while Evans was shooting Puncture. "We were getting ready to do a court scene in front of a bunch of people, and I don't know what happened," he says. "It's just your brain playing games with you. 'Hey, you know how we sometimes freak out? What if we did it right now?'"

One of the people who advised Evans to take the Captain America role was his eventual Avengers costar Robert Downey Jr. "I'd seen him around," Downey says. "We share an agent. I like to spend a lot of my free time talking to my agent about his other clients—I just had a feeling about him."

What he told Evans was: This puppy is going to be big, and when it is you're going to get to make the movies you want to make. "In the marathon obstacle course of a career," Downey says, "it's just good to have all the stats on paper for why you're not only a team player but also why it makes sense to support you in the projects you want to do—because you've made so much damned money for the studio."

There's also the fact that Evans had a chance to sign on for something likely to be a kind of watershed moment in the comic-book fascination of our time. "I do think The Avengers is the crescendo of this superhero phase in entertainment—except of course for Iron Man 3," Downey says. "It'll take a lot of innovation to keep it alive after this."

Captain America is the only person left who was truly close to Howard Stark, father of Tony Stark (a.k.a. Iron Man), which meant that Evans' and Downey's story lines are closely linked, and in the course of doing a lot of scenes together, they got to be pals. Downey diagnoses his friend with what he terms "low-grade red-carpet anxiety disorder."

"He just hates the game-show aspect of doing PR," Downey says. "Obviously there's pressure for anyone in this transition he's in. But he will easily triple that pressure to make sure he's not being lazy. That's why I respect the guy. I wouldn't necessarily want to be in his skin. But his motives are pure. He just needs to drink some red-carpet chamomile."

"The majority of the world is empty space," Chris Evans says, watching me as if my brain might explode on hearing this news—or like he might have to fight me if I try to contradict him. We're back at his apartment after a cigarette run through the Combat Zone.

"Empty space!" he says again, slapping the table and sort of yelling. Then, in a slow, breathy whisper, he repeats: "Empty space, empty space. All that we see in the world, the life, the animals, plants, people, it's all empty space. That's amazing!" He slaps the table again. "You want another beer? Gotta be Bud Light. Get dirty—you're in Boston. Okay, organize your thoughts. I gotta take a piss . . ."

My thoughts are this: That this guy who is hugging his dog and talking to me about space and mortality and the trouble with Boston girls who believe crazy gossip about him—this is not the guy I expected to meet. I figured he'd be a meatball. Though, truthfully, I'd never called anyone a meatball until Evans turned me on to the put-down. As in: "My sister Shanna dates meatballs." And, more to the point: "When I do interviews, I'd rather just be the beer-drinking dude from Boston and not get into the complex shit, because I don't want every meatball saying, 'So hey, whaddyathink about Buddhism?'"

At 17, Evans came across a copy of Hermann Hesse's Siddhartha and began his spiritual questing. It's a path of study and struggle that, he says, defines his true purpose in life. "I love acting. It's my playground, it lets me explore. But my happiness in this world, my level of peace, is never going to be dictated by acting," he says. "My goal in life is to detach from the egoic mind. Do you know anything about Eastern philosophy?"

I sip some Bud Light and shake my head sheepishly. "They talk about the egoic mind, the part of you that's self-aware, the watcher, the person you think is driving this machine," he says. "And that separation from self and mind is the root of suffering. There are ways of retraining the way you think. This isn't really supported in Western society, which is focused on 'Go get it, earn it, win it, marry it.'"

Scarlett Johansson says that one of the things she appreciates about Evans is how he steers clear of industry chat when they see each other. "Basically every actor," she says, "including myself, when we finish a job we're like, 'Well, that's it for me. Had a good run. Put me out to pasture.' But Chris doesn't strike me as someone who frets about the next job." The two met on the set of The Perfect Score when they were teenagers and have stayed close; The Avengers is their third movie together. "He has this obviously masculine presence—a dude's dude—and we're used to seeing him play heroic characters," Johansson says, "but he's also surprisingly sensitive. He has close female friends, and you can talk to him about anything. Plus there's that secret song-and-dance, jazz-hands side of Chris. I feel like he grew up with the Partridge Family. He'd be just as happy doing Guys and Dolls as he would Captain America 2."

East needs to do his business, so Evans and I take him up to the roof deck. Evans bought this apartment in 2010 when living in L.A. full-time no longer appealed to him. He came back to stay close to his extended family and the intimate circle of Boston pals he's maintained since high school. The move also seems like a pretty clear keep-it-real hedge against the manic ego-stroking distractions of Hollywood.

"I think my daytime person is different than my nighttime person," Evans says. "With my high-school buddies, we drink beer and talk sports and it's great. The kids in my Buddhism class in L.A., they're wildly intelligent, and I love being around them, but they're not talking about the Celtics. And that's part of me. It's a strange dichotomy. I don't mind being a certain way with some people and having this other piece of me that's just for me."

I asked Downey about Evans' outward regular-Joe persona. "It's complete horseshit," Downey says. "There's an inherent street-smart intelligence there. I don't think he tries to hide it. But he's much more evolved and much more culturally aware than he lets on."

Perhaps the meatball and the meditation can coexist. We argue about our egoic brains and the tao of Boston girls. "I love wet hair and sweatpants," he says in their defense. "I like sneakers and ponytails. I like girls who aren't so la-di-da. L.A. is so la-di-da. I like Boston girls who shit on me. Not literally. Girls who give me a hard time, bust my chops a little."

The chief buster of Evans' chops is, of course, Evans himself. "The problem is, the brain I'm using to dissect this world is a brain formed by it," he says. "We're born into confusion, and we get the blessing of letting go of it." Then he adds: "I think this shit by day. And then night comes and it's like, 'Fuck it, let's drink.'"

And so we do. It's getting late. Again. We should have eaten dinner, but Evans sometimes forgets to eat: "If I could just take a pill to make me full forever, I wouldn't think twice."

We talk about his dog and camping with his dog and why he loves being alone more than almost anything except maybe not being alone. "I swear to God, if you saw me when I am by myself in the woods, I'm a lunatic," he says. "I sing, I dance. I do crazy shit."

Evans' unflagging, all-encompassing enthusiasm is impressive, itself a kind of social intelligence. "If you want to have a good conversation with him, don't talk about the fact that he's famous" was the advice I got from Mark Kassen, who codirected Puncture. "He's a blast, a guy who can hang. For quite a long time. Many hours in a row."

I've stopped looking at the clock. We've stopped talking philosophy and moved into more emotional territory. He asks questions about my 9-month-old son, and then Captain America gets teary when I talk about the wonder of his birth. "I weep at everything," he says. "I emote. I love things so much—I just never want to dilute that."

He talks about how close he feels to his family, how open they all are with each other. About everything. All the time. "The first time I had sex," he says, "I raced home and was like, 'Mom, I just had sex! Where's the clit?'"

Wait, I ask—did she ever tell you?

"Still don't know where it is, man," he says, then breaks into a smile composed of equal parts shit-eating grin and inner peace. "I just don't know. Make some movies, you don't have to know…"

If someone doesn't want to check the link, the anon sent the full interview!

[conaionaru]

Honor and Blood (Ivar the Boneless)

I'll run to you

Synopsis: 

Warnings: Ivar, Silas, toxic family, mentions of murder, angst

Tags:

@xbellaxcarolinax​ @shannygoatgruff​ @didiintheblog​ @lol-haha-joke​ @youbloodymadgenius​ @heavenly1927​ @queenbeeta​ @astridbaby​ @chynagirl13​ @thereareendlessopportunities

P.S. I did some edits of Ivar x Vanya. And I found the perfect song for them (where the title of this chapter comes from) and made an edit of that as well.

I don’t own the gifs. Also, thank you for your support. I really appreciate it. If you want to be tagged please write me<3

When Vanya was a little girl, she dreamt of marrying a noble Prince and becoming his Queen. She imagined a huge castle and her father visiting her as often as possible. Even her mother was proud of her for being a good Christian wife.

Never did she dream of being here, drifting on a boat with a sore shoulder, woozy from mead with her sleeping heathen son in her lap. Why must dreams always be so wrong?

But truth to be told, she loved the life she lived now. Well, not right now, but the last year. Her experience in Kattegat was perfect. Despite his short temper, Ivar was a good man. He loved her unconditionally, protected her, and listened to her. His brothers were kind to her, and she trusted them with her life. Even Sigurd, with who she sometimes butted heads. She had a friend and found a mother in Aslaug and Helga.

She missed them so much. Two days on the water made her want to cry. She cried nowadays more than the babe she gave birth to. He seemed content; he loved watching the ravens fly over their heads and played with her hair when she held him.

How funny it seemed to her that she loved sailing when she came here. Now she yearned to stand on dry land and sleep in a warm bed wrapped in Ivar's arms.

Whenever Vanya didn't think of home, she thought of Silas, especially what she would do to him. She had been meek and peaceful for so long, forgave him everything he did to her. But that changes now; he didn't just hurt her or degrade her. He tried to kill her and her son. His knights murdered an innocent woman. He would pay the blood price for it.  

The raven made a sound and left their usual circling spot. Vanya watched them go and perked up. Land. It meant land was near. She put her child into the nets and rowed towards the direction the birds flew.

Her shoulder screamed in protest, and she felt it reopen as her dress got wet with blood. She ignored it and kept on rowing. She was out of food, and the mead wouldn't last more than two cups. They needed to find water and food.

Ivar laid in his bed, sweat dripping from his forehead, the whites of his eyes blue. His legs hurt too much today; he had to stay in bed but couldn't sleep at all. All he could do was lay there in pain and think of all the ways he will torture Vanya's attacker. He prayed to the Gods that she was still alive. Two days ago, she went missing, and everyone was losing hope.

Aslaug had no visions, and Hoenir was no help. He dragged himself to the Seer yesterday, but all he got was vague answers. "You know the answer, Boneless." He knew Vanya had grown stronger and that she promised to protect their son. But so did he and now, he doesn't know where she is or if she is even alive.

He promised her that no one would ever lay a hand on her again, and he failed. If he ever saw her again, he wouldn't let her out of his sight.

"Drink the tea, Ivar. It will help." Ubbe ordered, walking into the room, looking at the untouched cup on Ivar's bedside. Right next to the tea was the carved figure of Fenrir and Vanya's serpent necklace.

"Did you find her? Anything?" Ivar begged as his brother wiped his damp forehead.

Ubbe shook his head and put the rag down. "A fisherman's boat went missing two days ago. Mother thinks Vanya might have taken it. So we sent some boats out to look for her. But if she drifted out into the open..."

He didn't have to finish the sentence for Ivar to understand. If Vanya drifted away, the storm that was gathering would sink her ship and drown them both. Hoenir saw her drown, what if he was right and she would? No amount of sacrifices would bring her back then. He would be alone again, with Aslaug the only one to love him. Ubbe might love him, but there are moments he must wish his brother wasn't alive.

The times he had to carry him or stay at home because Ivar was in pain. Having to check on his legs and eyes all the time. In everybody's eyes, Ivar was a burden; he was aware of it. Vanya was the only one who didn't care or look down on him. In her eyes, Ivar was perfect despite his shortcomings. Over time, she grew used to his temper and pain. She comforted him, held him, whispered sweet words into his ear as he fell asleep.

She loved him, and he left her alone after she bore him a son. He didn't even get to hold him. His perfect son, who had his eyes and hair. His healthy boy. Ivar hated himself, but he hated the world more.

"How long we have to keep looking? It's been two days now. The corpses must show up soon." Pæga complained, pulling off his boots and sinking his feet into the bowl with water.

Silas glared at the knight and stabbed his dagger into the table. "Boats were sent out to search for her, a fisherman's boat went missing, they think Vanya is in it. If she survived and they find her... My sister saw your faces. She isn't so stupid to fall for a few farmers in your clothes. If you get caught, then it means my death as well." He spat at his knights while Stithulf sat in the corner, sharpening his sword.

"I doubt she is alive. She doesn't strike me as a survivor. Vanya was sent here to wither and die, to brake and suffer. She might have charmed her way around Kattegat. But smiles and gifts aren't going to save her from death. She was hit with an arrow; I saw her sink. All they will find is a dead child in the boat. Vanya is dead, and you are the only possible ruler of Slegia."

Stithulf stood up after his rant and walked towards his King. He lifted the crown from the table and put it on his head. "A crown for a King. The one true King. Vanya will never wear this thing; neither will her children; I made sure of it."

Silas nodded and proudly pushed his chest out. The knight was right; he was the King, and Vanya was dead. First, he dealt with her; next is his mother and her new husband. Then his uncle and Wrosan will be his. The victory was certain.

Vanya hauled herself from the boat and pulled it on land so the tide wouldn't wash it away. Her son stirred in his little bed while Vanya collapsed on the ground, exhausted.

The ravens left them alone, and she had no idea where to go. This part of Kattegat was unfamiliar to her. So as she laid there, she prayed to the Gods to show her a way to get home. But no sign or help came.

So she wrapped herself tighter in her cloak and took her child with her heading west, the other way than she drifted off. She needed to get to a familiar location: the hunting hut, Floki's house, or even the forest before Kattegat.

Vanya walked with her son in her arms, without a pause. She managed to find some berries Helga taught her were edible and a stream of water. After she ate, she fed her son and carried on in her way. Her feet were sore, and her son was becoming too heavy for her weak arms.

Other than wilderness and silence, there was nothing around her. Every tree looked the same, and the shade they gave her made navigating with the sun harder. She shivered as the winds grew colder.

When her son whimpered in her arms, she froze. Her being cold wasn't that bad. But to him, it meant death. So she carefully put him on the ground and took off her cloak and swaddled him in it. Her thinned down frame shook in the cold winds while her son burrowed himself into the new warmth.

Vanya looked down at his little content face and smiled. All of this hardship was worth it if he was healthy and alive. This life she created and carries inside her, that she spent hours bringing into the world. It meant everything to her; it hurt to admit that her mother was right. A mother has no choice but to love her child; only a monster would ignore her own blood like that. But the thing Siflaed was wrong about was that Vanya did love Ivar. Despite everything she heard about him and his people, she grew to love him no, her people. Kattegat was her home now; she was born to live here; she knew it.

And when she returned, she would never leave again; she would remain and raise her son. She would see all the other sons of Ragnar start their own families and see Aslaug grow old. Hold Bjorn's adorable children and gossip with Torvi and Brynja. She would sit on the bench in front of the Great Hall, sewing a dress together, with Ivar by her side with their son in his arms. Vanya would come to visit Helga and Floki more often like she promised she would and try to make Margrethe less afraid of Ivar. He wasn't the monster; everyone made him out to be; her husband had a lonely heart with high walls made of anger.

She remembered the story of Eve and the Devil. The way the serpent tricked Eve into eating the apple and be banished from Eden for it. She also remembered the story one of Siflaed's lovers told her of the Greek goddess Persephone and the pomegranate. How Hades offered the fruit to her, and she stayed with him as his wife.

But Vanya didn't feel like Eve; her husband was no evil serpent leading her on. He was Hades, the god known for his dark demeanor, but a good husband. She wasn't a meek Christian like Eve, Vanya was Persephone. A good heart with love for nature, married to a man of shadowed behavior who everyone feared. But they both held darkness and light, she wasn't just a maiden who plucked blooming flowers, and Ivar wasn't just an angry heathen with a quick tongue. Her tongue was as equally sharp as his and his love as real as hers. They were King and Queen of the Underworld, Prince and Princess of Kattegat.

With determination, Vanya strode on, thankful for the shoes she managed to put on before her escape. Walking barefoot on top of lightly dressed would have meant her death. She could hear an owl hoot somewhere behind her until it flew past her and landed on a branch. "Frigga." She whispered as the bird stared at her with yellow eyes, it's white feathers standing out in the treetops.

"Have you come to take me home, All-Mother? Odin's ravens looked over my son and me on the boat, and now you have come for us. Goddess of mothers and queens, of war, wisdom, and strategy. I beg you, take me home." She begged the hooting white owl that took off and landed on another branch, waiting for the ginger to follow.

Vanya chuckled at the sight and followed after the frequently stopping bird. "This better be Frigga, or I will die. That's your descendant on the line, Odin. Don't let me die, All-father, All-mother."

Everyone stood gathered in the Great Hall in the evening, waiting for what Aslaug had to say. Silas stood in the corner of the room, surrounded by his armed knights. "My brother Ivar was graced with a son three days ago. But his son and wife were ripped away by a murderer, who sneaked into their hut and killed the wet nurse." Bjorn announced watching the faces of everyone present.

Floki and Helga leaned a support beam, both looking grim, while the boatbuilder glared at Silas. Ivar sat next to his mother, with Hoenir standing behind them. Brynja and Margrethe watched the whole ordeal from their place with the other servants and slaves. The other brothers stood behind Bjorn, who towered over the room, reminding all of their father. He carried the same authority even without a crown on his head.

Aslaug lifted her head higher and wrapped his fingers around the armrests of her throne. "The one responsible will answer to the Gods. The more blood they have on their hands, the more dire their demise will be. This person is charged with treason and murder..."

Ubbe left his mother's side while she talked and walked with Floki and Hoenir towards the exits. They barricaded the door while no one was watching. The only way to open them now would be from the outside, where Floki stood watch.

"The return of my daughter in law Vanya is becoming unlikely. A funeral will be held soon to honor her death, Floki has agreed to build a boat to bury her. If she is not found until the ship is done, we shall burn some of her possessions instead."

Stithulf observed the heathens around him; they seemed on edge, ready to pounce at any moment. Of course, Silas was obvious to all this, too distracted by the Queen's speech to notice.

"But, we do know the one responsible for this tragedy." The knights head snapped towards the throne. Everyone grew silent, waiting for Aslaug to continue. "We questioned people and gathered that there is only one possible suspect behind all this. Someone willing to murder a mother and child int heir sleep."

The room was tense as if a war would erupt at any moment. Ivar clenched his jaw before smirking at Silas, who froze in his spot.

"How do you answer these charges... King Silas?" The Saxon's breaths hitched in fear as the knights wrapped their hands around their swords' handles, ready to draw them and kill everyone. But they were outnumbered and locked in with bloodthirsty heathens.

"This is outrageous! I loved my sister. And you are claiming me as a murderer only because you failed to find the real one. My sister is dead because of you!" He roared at the remaining sons of Ragnar and his wife. But they didn't even flinch all the Queen did, was push her shoulders back and raise an eyebrow at his outburst.

"So you claim, but there is no proof. All we saw were spiteful words and tantrums. You bribed farmers to change clothes with your knights; then, you ordered them to kill Vanya and her son. But Margrethe remembered their faces, and it wasn't the faces we see here today." Sigurd called out as the said thrall covered behind Brynja. She confessed this to Sigurd last night, and since then, the Ragnarsson and Aslaug had been plotting.

Silas frowned and shook his head, chuckling. "And do tell me... What would my reason be? Sibling rivalry? Don't be ridiculous. I may not have been overly fond of my sister, I admit. But I wouldn't murder her. And the baby? Son or not, I hold no ill will against either."

"Vanya and her son possessed a threat to you, childless, unfit to rule. But Vanya is loved here, and I am sure she was the same in England. You ordered her death and will die for it. An eye for an eye."  Bjorn threatened as Silas gulped and gave an uneasy smile.

He shrugged and spread his arms wide to show he was unarmed and possessed no threat to them, other than his knights who drew their swords. "Let's spare ourselves these dramatics. Vanya is dead, and I am not the culprit. Let's not have a ghost of a disobedient whore get between our agreement."

Ivar slammed his fist against his chair and glared at the daring King. He would have leaped out of his seat and strangled the bastard if it wasn't for Bjorn, Sigurd, and Hvitserk holding him back. "How dare you?" The Ragnarsson roared his nostrils flaring in rage.

Silas pointed to Ivar's legs with a smirk.  "Your... Affliction. Do you really think the child was yours? My darling sister would do anything to please you as a proper wife should. And giving you a child, even one that's not truly yours. It would please you. Wouldn't it? To think that you are a real man, able to produce an heir." The blonde Christian taunted as everyone glared at what he was suggesting.

"I did you a favor before things escalated, and you would believe other idiotic lies my sister would have fed you to keep herself alive a little longer. I saved you from further embarrassment and grief. Vanya is dead, and there is nothing to change that." He sounded at peace with his oncoming death. Silas knows he and his knights will die, but might as well anger the heathens some more. Die a horrid death and go down in history as a martyr: Saint Silas, The tortured King.

Stithulf, on the other hand, looked distressed, all the whispering he did, all for nothing. All his hard work wasted on a foolish king with a big ego and greedy heart. His chance at fame and ruling, all gone, because of a ginger Princess who just couldn't stay meek and timid like she was meant to be.

The sound of something shattering broke the tense atmosphere. Everyone looked st the redheaded servant that let her jug of water, fall to the floor. "Vanya." She whispered, her face pale and eyes wide. They followed her gaze and gazed at the open door in shock.

"Why do you think I am dead, Brother?" Vanya's voice rasped out as the ginger leaned against the door frame, a shield pierced with many arrows in one hand. Her hair was frizzy, her skin pale, and her eyes sunken in. Her white dress was stained with bloody some on her shoulder, the rest on her lap, from childbirth.

She took a shaky step forward and shifted her arms slightly. Helga runs to her side, and Floki stood behind her in case she fell. The Ragnarssons run to her while Ivar stared at her in shock. Standing up, Aslaug observed the presumably dead Princess in wonder.

"Helga, you need to look after my son. I tried to keep him warm and fed. Please check him."  Vanya pleaded with the blonde woman, letting the shield riddled with arrows fall to the floor. Hidden behind the protection was a bundle of furs and cloak, squirming at the new warm place they entered.

Helga shakily took the babe out of Vanya's trembling embrace to see the child alive and well despite the ordeals he went through. She ushered the child away as Ubbe reached his sister in law, laying a hand on her shoulder to steady her. But she shook it off and slowly advanced towards Silas, who took a few steps towards her as well.

"How? You should be dead." He whispered, still in denial that his plan didn't work.

"I forgave you so much, Silas. So many wounds. I forgave them all, ignored them, and asked my family to ignore them as well. But that ends today. You killed an innocent woman! You tried to kill my son!"

Silas shook his head, refusing to admit defeat against his little sister. His foolish sister, who was born weak and was meant to abide by him. The one who defied him and survived. "You won't hurt me, Vanya. You are weak. Remember your place, and we can forget this. Beg me for forgiveness, and I shall grant it to you. All I want in return is save passage back home. Kill my knights instead."

"You think I will beg? I did nothing to ask forgiveness for! You are a monster, Silas. Just like father and mother said you were. Do you think I will cower before you? Just because you are my brother?" She seethed stalking towards him as Silas drew a dagger and pointed it at her, shaking, fearful of this side of Vanya.

The ginger keeps on advancing, not caring for the weapon pointed at her. The adrenaline running through her veins made her forget what fear feels like at all. All she could see was the man who made her life a living hell and tried to kill her son! "Blessed are the meek, Vanya." He reminded her, hoping that the sentence that their mother used to drill into her head would calm her down, but his sister didn't even blink.

"Yes. Blessed are the meek, for they will inherit the earth. For theirs is the kingdom of heaven." She spat back a part of the Beatitudes, laughing at his poor attempt at containing her rage. "Do you think the words of Jesus or God will stop me? Do you honestly believe that you will be forgiven? I am past forgiveness and meekness! I want you to pay for my and my son's suffering in blood!"

Silas took a few steps back, his hand shaking like crazy. Vanya was nearly in front of him now, her hand grasped his dagger around the sharp edge, no fear in her eyes. They looked like frozen over fjord's, determination and anger swirling around. She tugged his knife from his grasp and threw it behind her, surprising everyone. Blood dripped from the cut on her palm, trailing down her slender fingers and hitting the floorboards.

"I would burn cities and kingdom's to the ground and make him King of the Ashes if they dared to threaten him!" She screamed at her brother, getting into his face and glaring up at him as he shook in his spot.

"Vanya, please, have mercy. I am your brother. I did it to protect my claim. You must understand. I was born to rule; I deserve to sit on the throne for eternity. Please have mercy." The two siblings stared into each other's eyes, the frozen fjords meeting the tearful sky.

She softly shook her head and softened her angry expression. Ivar crawled towards them, observing the blood-stained dagger and her bleeding hand clenched by her side. "Mercy is a Christian value, and I am not Christian anymore." She hissed backhanding him with her bleeding left hand so hard that he hit the floor.

Silas cradled his aching cheek and stared at Vanya in shock. The ginger glared down at him with disdain obvious in her expression. "That's why I wish you the most painful death instead." She spat at him before two men dragged him away as he cried and cursed at them, begging them to let him go as other Vikings killed his knights when they dared to attack.

Ivar crawled to Vanya's left and took her cold bleeding hand in his, startling her from her trance. She looked down at him tenderly as he looked over her tired body. "I missed you." He whispered, staring up at her with adoration as she returned his tender look, softly smiling.

"I missed you too." Ubbe supported her swaying frame and carried her towards the awaiting healers, thanking the gods for her return, alive and well. Ivar watched her get carried away and spared a glance at the dead bodies of the Saxon knights before he followed his brother and wife.