#there is context here. a lot of it in fact. you'll find out one day lol

[yellowvixen]

two old gay kings

[yesimwriting]

Midway

a/n a small-ish fic of someone comforting aegon bc i feel bad for him 😭

Summary: You did not choose to be Aegon's wife, and yet you seem to be the only one choosing to be there for him during his recovery.

Warnings/info: forced marriage turned to awkward, subtle pining masquerading as uneasy friendship, vague descriptions of life threatening injuries, canon compliant incest (reader is rhaenyra's daughter)

read part 2 here: A Matter of Timing

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Hushed whispers, as stale and sterile as the fresh gauze being stretched and pulled taut against his skin. The rasp of his breathing scrapes at the air that manages to pull itself into your own lungs.

"It is..." Alicent stalls, her gaze never leaving her eldest son, "A lot, I know." Her eyes are wide, glossier than you've ever seen them. An odd sort of empathy presses itself against your chest, making a full breath feel like even more of a fantasy.

Your sympathies and courteously vague expressions of understanding and mutual hurt are things Alicent has no use for. She's tolerated you like an inherited dress that doesn't quite fit, only begrudgingly acknowledging you when surrounded by family.

These days, her barely there tolerance for you has grown even weaker, considering the reports your handmaid had delivered to you of Alicent's attempts to convince the council to lock you away after your mother's retaliation to Aegon's coronation. An imprisonment only prevented by Aegon's command.

She lets out a breath, her attention briefly dropping to the ground before settling on you. "But you are his wife."

A fact she's only come to accept because of your blood. As Rhaenyra's daughter, your marriage had been a compromise, a final attempt at merging a divided family before your grandsire's passing. If your mother had known how quickly Aegon's supporters would have pushed him towards the throne...

You nod your head slowly, dismissing thoughts of yourself. For the first time since your union, the context of your arrangement does not cloud all else. "Yes."

There had been no attempts made to gloss over the extent of Aegon's injuries. For once, the heart of the Red Keep prioritized reality over projecting strength and invulnerability. The maesters had warned you, had detailed the damages left behind by the flames and the fall. An attack strong enough to kill a dragon.

"I um...I tried to visit him earlier, when he first returned." The surprise of your own honesty is an afterthought, a barely there thing attempting to occupy the little space left in your mind. "They said he was not yet stable."

Alicent is silent, some distant quality hollowing her stare as she watches the maester. His movements are succinct, precise as he quietly instructs a maid to bring him a salve left on the table. How many times in these last few days has he gone through this process? How many more times will a maester need to dress Aegon's wounds and rebandage him?

"Stable seems relative." Alicent blinks, her attention returning to what's directly in front of her. She turns to face you. "I trust that you'll sit with him, keep him company after the maester is finished."

Aegon's thoughts on your company have shifted several times throughout the short time you've been married. He often goes through periods of indifference followed by fleeting displays of interest that feel eerily close to companionship. Not quite a friendship or a romance, but something warm and comfortable. Mutual glances shared over supper, peaceful moments in the hall, occasionally crawling into the other's beds at night like children that cannot find sleep on their own.

Some skeptical part of you wonders if Alicent's sudden interest in your wifely responsibilities has more to do with punishing you than caring for Aegon. You doubt she considers you some great source of comfort in her son's life. At least you don't mind the thought of staying here, away from prying eyes and whispers that your privileges within the Red Keep should be restricted until the realm is no longer so divided. "Of course."

She nods once. "There--there is much to be decided upon in Aegon's absence." Alicent lets out a rigid breath. Perhaps Alicent really does want to know that someone's with Aegon. "I should go."

"I will keep him company, your grace."

With that, Alicent spares Aegon a final glance before turning to leave. You remain near the entrance of Aegon's bedchambers, far enough away to not impact the maester and his work.

You watch the process openly. Aegon's burns and other injuries are meticulously cleaned, white cloth stained dark as it is dragged against his skin. Salves and balms are lathered onto his wounds, concoctions meant to promote healing and ward off infection. The final step of the process involves the freshly cleaned wound being rebandaged.

The maester works at an expert pace, treating Aegon's body in sections. Before you know it, he's stepping back to assess the results of his efforts. The maester then looks over at you.

You've never been in a position to be responsible over someone so injured. Are you meant to...dismiss him? Approve his work? Ask something? "Is he..." Well seems like a terrible overstatement. You force yourself to take a few steps forward. "How is he?"

He briefly presses his lips together. "Much more stable than he was previously, your grace. I am afraid that I cannot yet predict much about his recovery. As of now, the priority is preventing infection."

You allow your gaze to fall onto Aegon. There's something about the way he's lying there, immobile and broken and smaller than he should be. "Right. Well, thank you."

The maester nods, "It is my honor, your grace."

He begins to gather his supplies before leaving. At the maester's absence, the maid that had been assisting him turns towards you. "Is there anything you need, your grace?"

You briefly consider sending her out for water or asking her to bring you a book you left in your own apartments. A menial task would ensure her return, which would mean you'd have a temporary reprieve from being alone with Aegon like this. "No, I'm alright. You are free to go."

She nods at the dismissal, "Thank you, my queen."

Queen. The title that belongs to your mother in her own right, not as a position inherited towards marriage.

The girl leaves, her quiet footsteps nearly drowned out by Aegon's unsteady breathing. You watch her until she's disappeared through the doorway, and then for awhile longer. When you can no longer justify your silence, you step forward.

Standing so close to the foot of Aegon's bed tugs at something deep inside of you. He is so still, so without defense. Like this, he does not seem like a man desperate to cement his position, or the person you never wished to be bonded to in this way, or even the only one who you allowed to enter your apartments after news of your brother's death arrived at the Red Keep. Now, he only seems like a boy trapped midway between where he lies and death.

Though bandaged and burned, the entirety of Aegon's features have not been destroyed. The shape of his nose, the part of his lips still familiar. His hair had not been a priority, and while the maester did brush it back to work on him, the disheveled strands have fallen forward again.

You move away from his bed's edge with careful steps. Before you can overthink the act, your hand moves to his forehead. As gently as you can will yourself to, you unplaster the hair stuck to the oily salves on his forehead. Your fingers catch themselves on silvery knots. You begin to pick apart the largest tangles as best as you can without a comb.

It's not an easy task, sweat and product cementing the knots into place. "I'd hate it if no one brushed my hair." The words come out on instinct, the desire to justify your proximity the way you would if he was awake. In all honesty, you're not sure if he can hear you.

The process is slow and clumsy, nails separating strands for you to comb through. Up close like this, you can almost pretend that this is restful for him. He still doesn't look well, but from here you can focus on his shut eyes and parted lips. Your hand drifts away from his hairline, fingertips fluttering over bandages and brushing against unmarred skin.

Something awfully sentimental attempts to claw its way up your throat. "I'll go get a comb." You pull your arm away from him. "I'll--I'll be back, I promise."

You take a single step back before turning your back to him. The maester deemed him stable, which means that he will not spontaneously pass if left alone for a moment. You'll only leave to fetch a comb and maybe a book so that you have something to read aloud. He's never loved your novels, but it's the only way you can think to keep him com--

A soft sound, so gentle and brief you could almost convince yourself you imagined it if it wasn't for the distinctness of the word. Your name.

You stall. Perhaps you misheard something else, maybe a stuttering of his breathing or the room settling. You turn.

He remains unchanged--body in the same position it's been in this entire time and eyes still shut. The supposed whisper should be dismissible.

You step forward, voice fragile as you ask, "Aegon?"

For a moment, pressed between the audible strain between his breaths, a faint optimism pulses through you. Weeks of being a bride, a queen of the realm hated by all those around her, and your only form of protection has, ironically, been the man that's bound you to this place.

The hope fluttering in your stomach quickly morphs into something closer to dread. He is not awake. He is not well enough to call for you or any--a shift, a turn of his outstretched hand so small and inconsequential you likely would not have noticed if it was any less needed.

Ignoring the blurring edges of your vision, you move towards his bedside in quick strides. Without thinking, your hand finds his. "I know that this union is not one you entered willingly. I am also aware of the fact that you know I did not ask for this either." You've not often held Aegon's hand, but now you're glad for his tangibility. "But you--you have not been cruel. You've actually been surprisingly patient, even when I have given you reason not to be."

His palm is warm against yours, the familiarity of it strangely assuring. The few times you've laid together for the sake of duty, the heat of Aegon's skin had been one of the few aspects of the process that you were reluctantly drawn to.

"At times, you have been kind..." You blink in an attempt to dismiss the stinging behind your eyes. "Friendly, even." Your hold on him tightens. "And I miss that. I--I miss our friendship."

The grief in your chest is a hybrid thing, made up just as much out of your empathy and fear as it is by your hurt. It's a sensation so dizzying, you nearly pour your panic out to him. You have to bite your tongue to avoid asking him to not leave you alone here.

Tears are beginning to prick the corner of your eyes when you feel his fingers bend around yours. Aegon squeezes your hand with a barely recognizable force.

He's--he's awake. "Aegon?"

His hold on you does not falter as a faint sigh escapes his lips, a midway of his own.

- - - -

a/n not to offer a part 2 to everything i write but i have an idea for a second fic that’s connected to this so if ur interested lmk :)))

[raven-at-the-writing-desk]

lilia dorm uniform vignettes + book 7 parallels

I was rereading Lilia's Dorm Uniform vignettes recently and honed in on the third part, which reminded me a lot of the events of book 7. I think it's highly likely that part 3 here foreshadows book 7, similar to how Ortho's Precision Gear vignettes foreshadowed the original Ortho's passing, revealed in book 6.

***Lilia Dorm Uniform vignette(s) and Book 7 spoilers!***

Quick recap, these vignettes focus on Lilia looking after a baby bat with an injury. The third and final part involves Malleus chatting with him about the experience. Lilia describes parenting as thus: "There's never a guarantee in life that someone will be there to support you. Once you fly out into the world, there may be days when you go without a proper meal and sleep on an empty stomach. You'll experience failures and setbacks. You may have days where your heart feels like it'll shatter into a thousand pieces. As long as you're alive, there will be moments—many moments, in fact—when you must face adversity entirely on your own. A parent must ensure their child can handle such harshness while the little one is still under their protection."

Knowing what we know now... It sounds as though Lilia is reflecting back on his time traveling the world in hopes of finding a way to hatch Malleus from the egg. Firstly, Lilia (especially in the past) has expressed sentiments about being alone. He was an orphan taken in as a ward by the Draconias, yet he still never felt as though he "fit", not with the way the senate treats him like a lesser being, and not with his two best friends (Maleanor and Raverne) marrying and conceiving a child--starting a family, something Lilia feels he does not have and cannot have himself. There's never a guarantee in life that someone will be there to support you. And that's true of Malleus as well. His father is missing and presumed dead, his mother died in a battle to ensure his safety, and his grandmother is kept busy with royal duties to be there for him all the time. That's why Lilia had to step up as his father figure--because otherwise Malleus would have no guidance, just like Lilia did in his youth, which led him into becoming closed off and unwilling to learn about the world beyond Briarland. He doesn't want Malleus--or any of his "kids"--to perpetuate the hatred and distrust that claimed so many lives and left scars on the survivors.

Once you fly out into the world, there may be days when you go without a proper meal and sleep on an empty stomach. This line is reflective of the experiences Lilia had on his travels. In the beginning, it was particularly difficult due to the prevailing anti-fae sentiments among humans. Lilia was not welcome in their communities; he'd have things and nasty words thrown at him and literally be chased out of towns. True, he's also had to deal with rations and always being alert while serving as a general, but it feels particularly frustrating in this context because 1) none of his men are around to support him in these moments; he is lacking the feeling of being a part of a group, and 2) the harsh treatment is being committed by a group for which he cannot retaliate, so it forces Lilia to stand there and just take it... Both conditions which are also true of Lilia when he is able to safely bring Malleus's egg to Castle Blackscale. The senate gang up on him, isolate him, and deem him unworthy of touching the heir... and Lilia can't do anything about it. He isn't accepted at home and he isn't accepted by the world. This makes it that much more meaningful when, later on his travels, he meets an elderly couple in Harveston that welcome him into their house and home. They offer him a warm bed, food, and, more importantly, they are his company. They want to hear his stories, learn more about him and his life experiences. They’re that light at the end of his tunnel--but those things aren't promised to him, and Lilia knows he can't count on them all the time, especially as he travels to the most remote regions. And don't we all fear that dreadful realization of being out on our own with no net to catch us if we fall?

You'll experience failures and setbacks. You may have days where your heart feels like it'll shatter into a thousand pieces. As long as you're alive, there will be moments—many moments, in fact—when you must face adversity entirely on your own. Again, Lilia is also speaking about himself. He was forced to abandon his princess and flee with her child. He lost his best friends and large sections of his home country to a bloody conflict. He took the senate's verbal abuse and degradation. All of this, he faced alone--even when Baur tries to stand up for him, Lilia silences his ally because, deep in his heart, he thinks he deserves this. The wild bat incapable of love, only able to slaughter, doomed to be alone forever. It's through his forced exposure to the world that Lilia learns to open up, and it's through the connections--after enduring so many hardships, so many trials and tribulations--he makes with others that he comes to learn he is capable of love. As Silver says, this must be why the happiest moment of his father's life is the moment of Malleus hatching. A dragon's egg can only do so with the love of a parent--and Lilia has always been that for him. Diasomnia is Lilia's new family, and he's no longer alone. The problem now is that it's Malleus's turn to learn harsh life lessons, and he isn't exactly prepared for them. A parent must ensure their child can handle such harshness while the little one is still under their protection. I think this line perfectly summarizes Lilia's motivations for leaving in the fashion that he does. When Lilia attempted to depart NRC without so much as a formal farewell to Malleus and Silver, many fans were confused as to why he was acting so callous towards his children. Some theorized that Lilia was lying about losing his magic or had some other ulterior motive for lying--when, really, I think the answer is much simpler than that. Lilia wanted to leave as soon as he could, without facing his kids, because that's just in his nature. As Malleus points out in the vignettes: "Is that why you took the approach you did? [...] I suspect this bat will thrive in the wild." This entire time, Lilia hasn't been the gentlest or the most prudent with the baby bat. He fed it milk from a cup instead of a bottle (which resulted in getting the bat all wet), roughly toweled it off, allowed it to hang in a tree when it may not be ready to fly yet, brushed off the possibility of it being hurt again if it falls out, etc. On a surface-level, it looks like bad caretaking. But Malleus wonders if it's intentional. Because the bat was put through those experiences, it can take care of itself once it has parted from Lilia's care. I suspect Lilia may think the same of how he raises his own children. After all, Silver and Sebek sometimes bring up how hellish Lilia's training sessions with them were. Some of his bad childcare is due to Lilia being disorganized and just winging it in the moment, yeah (something which Malleus comments on at the end of the vignettes)--but a lot of how he raises others is also built on the idea that this should make the kids stronger and able to stand on their own.

When Lilia goes to return the baby bat to its flock, he says, "Go on, little one. You can't cling to my hand forever. Get flying." Then Malleus laughs and remarks, "Heh, it seems rather attached to you. It doesn't want to let go." Lilia continues with, "I'm shaking my arm and it's still not letting go... Goodness gracious. I didn't raise [the baby bat] to be so clingy. There comes a time in every creature's life when they have to take action. This is your time, little one. Don't miss your window." And, at last, when the bat is able to take off, Malleus realizes, "[...] I must say, it was rather harsh of you to forcibly shake off the poor fellow when it clearly liked you. Did you intentionally act detached so that it wouldn't fall too far behind the colony?"

THIS WHOLE SCENE IS AN ANALOGY TO LILIA TRYING TO LEAVE NRC WITHOUT SAYING GOODBYE TO HIS KIDS.

In this analogy, Malleus is that bat that Lilia has reared--and when it comes time for Lilia to leave, Malleus won't allow for it. Malleus is the clingy baby bat gripping onto his caretaker for dear life. I wonder if Lilia knew that his prince would have a hard time with it, so he tries to have one last happy send-off--so he can grant Malleus the happiness of being invited to something, to be included, and to provide him ample opportunities to socialize with his peers from all the dorms and make other connections so they can be there for him when Lilia is no longer able to. Then Malleus was late, and the time for Lilia to depart has already arrived. But maybe it's better this way, Lilia may have reasoned with himself. If Malleus doesn't appear, maybe he can't be hurt. If Lilia acts detached, maybe... just maybe... it will give Malleus the final shove he needs to let him go, to open up to the people who are going to be present around him, so he won't "fall too far behind the colony", like what happened with the actual baby bat he raised. This is especially suspect because Lilia makes the same plea to the first years earlier in the party by asking them to please give Sebek a lil' push if he ever needs it. "Just... If you notice [Sebek is] ever stuck at some point during your time here... I would ask that you card soldiers give him a little nudge."

THE LILIA DORM UNIFORM CARD FIRST CAME OUT ON THE JP SERVER IN FEB 2023 ALONG WITH SOME EARLY BOOK 7 UPDATES 😩 It’s such good foreshadowing for what happens much later in the same book… OTL I just hope that Malleus is able to learn the lessons Lilia wants him to. Then Malleus can finally be the baby bat that’s able to take flight on his own and join a flock without his guardian at his side forever and ever…

[greenerteacups]

Hello GT, I absolutely love Lionheart!

I published my first fic and have been dealing with some criticism; it’s not anythjng super hateful, but it’s not anything meant to make me improve either. I’ve been feeling sort of down because of it. My question is: have you ever dealt with hate or criticism before? What is your attitude towards it?

I find your work and answers on here super insightful and inspiring! I hope you have a nice day ❤️

Fuck em. Like, seriously, just fuck em. There's a time and place for writers to take critique and be strict with themselves; it's necessary for any artist to grow. That place is with a chosen group of creatives whose work you admire and whose judgment you trust. A rando on the Internet, while they may in fact be the next Marcel Proust, probably isn't. And I was raised to believe that while it's appropriate and kind to pay compliments to strangers when they're performing — just as you'd smile at a busker on the sidewalk, and or compliment a chalk artist — it's not appropriate to criticize them when what they do isn't to your tastes. They're providing you with their art for free. No one forced you to read it; no one forced you to listen. If you don't like it, it costs $0 to shut the fuck up.

Also — that thing I said about artists taking critique? That assumes that you're doing this out of a desire to improve your writing, which, while noble, is not actually a thing you need to do if you're a hobby writer. I like trying to improve; it makes me feel good. But at the end of the day, I do this for fun. I do this because in my real job, I am ruthless and self-critical and try really fucking hard to do well, and you need parts of your life that Aren't Like that. You need parts of your life where you're not worrying about whether you're Doing It Right. And living without that anxiety of critique is, paradoxically, the only way you'll find the artistic courage to take risks and develop new skills. Everyone is a little bit rough around the edges to begin with. (Not saying you're a beginner — you merely said "publish," and I certainly wrote a lot of things before I started publishing! But every artist is always trying to develop new skills and techniques; in the grand scope of things, we're all beginners.) Giving someone blunt critique when they're in the beginning phases of their journey as an artist is about as helpful as screaming at your six-year-old kid because he can't swim the butterfly.

And the thing is, these people will bluster and say "well, I'm just being honest, I'm just trying to be helpful," but like: mmmmmmno, you're not! You're not. And it's disingenuous to say so. Because if you were actually trying to be helpful, you would introduce yourself, offer your skills as an editor/beta reader, and start building the relationship of trust that grounds any meaningful co-creative partnership. People do not just accept random critique that comes flying at them from the blue nowhere. And issuing it in that form is the best way to make them hostile, defensive, and unreceptive to it. Delivering harsh feedback without a context of care and support is almost sure to fail as a method of actually changing behavior, and either (1) you know that, and are doing it anyway — presumably because you want people to know how Terribly Clever and Better At Writing you are, or (2) you sincerely have never thought about the effect that context and word choice have on how other people receive your meaning.

Which tells me you are the last fucking person on the planet I want writing advice from.

[blessedarethebinarybreakers]

Wrestling with the Bible's war stories

Spend any solid amount of time with scripture and you'll run into something that perplexes, disturbs, or downright horrifies you. Many of us have walked away from the Bible or from Christianity in general, sometimes temporarily and sometimes permanently, after encountering these stories. So how do we face them, wrestle them, and seek God's presence in (or in spite of) them?

In her book Inspired: Slaying Giants, Walking on Water, and Loving the Bible Again, the late Rachel Held Evans spends a whole chapter on the "war stories" of Joshua, Judges, and the books of Samuel and Kings. She starts with how most teachers in her conservative Christian upbringing shut her down every time she tried to name the horror she felt reading of violence, rape, and ethnic cleansing; I share an excerpt from that part of the chapter over in this post.

That excerpt ends with Evans deciding that she needed to grapple with these stories, or lose her faith entirely.

...But then I ended the excerpt, with the hope that folks would go read all of Inspired for themselves — and I still very much recommend doing so! The whole book is incredibly helpful for relearning how to read scripture in a way that honors its historical context and divine inspiration, and takes seriously how misreadings bring harm to individuals and whole people groups.

But I know not everyone will read the book, for a variety of reasons, and that's okay. So I want to include a long excerpt from the rest of the chapter, where Evans provides cultural context and history that helps us understand why those war stories are in there; and then seeks to find where God's inspiration is among those "human fingerprints."

I know how important it was to Rachel Held Evans that all of us experience healing and liberation, so it is my hope that she'd be okay with me pasting such a huge chunk of the book for reading here. If you find what's in this post meaningful, please do check out the rest of her book! A lot of libraries have it in print, ebook, and/or audiobook form.

[One last comment: the following excerpt focuses on these war stories from the Hebrew scriptures ("Old Testament"), but there are violent and otherwise disturbing stories in the "New Testament" too, from Herod killing babies to all the wild things going on in Revelation. Don't fall for the antisemitic claim that "The Old Testament is violent while the New Testament is all about peace!" All parts of scripture include violent passages, and maintain an overarching theme of justice and love.]

Here's the excerpt showing Rachel's long wrestling with the Bible's war stories, starting with an explanation for why they're in there in the first place:

“By the time many of the Bible’s war stories were written down, several generations had passed, and Israel had evolved from a scrappy band of nomads living in the shadows of Babylon, Egypt, and Assyria to a nation that could hold its own, complete with a monarchy. Scripture embraces that underdog status in order to credit God with Israel’s success and to remind a new generation that “some trust in chariots and some in horses, but we trust in the name of the LORD our God” (Psalm 20:7). The story of David and Goliath, in which a shepherd boy takes down one of those legendary Canaanite giants with just a slingshot and two stones, epitomizes Israel’s self-understanding as a humble people improbably beloved, victorious only by the grace and favor of a God who rescued them from Egypt, walked with them through the desert, brought the walls of Jericho down, and made that shepherd boy a king. To reinforce the miraculous nature of Israel’s victories, the writers of Joshua and Judges describe forces of hundreds defeating armies of thousands with epic totality. These numbers are likely exaggerated and, in keeping literary conventions of the day, rely more on drama and bravado than the straightforward recitation of fact. Those of us troubled by language about the “extermination” of Canaanite populations may find some comfort in the fact that scholars and archaeologists doubt the early skirmishes of Israel’s history actually resulted in genocide.

It was common for warring tribes in ancient Mesopotamia to refer to decisive victories as “complete annihilation” or “total destruction,” even when their enemies lived to fight another day. (The Moabites, for example, claimed in an extrabiblical text that after their victory in a battle against an Israelite army, the nation of Israel “utterly perished for always,” which obviously isn’t the case. And even in Scripture itself, stories of conflicts with Canaanite tribes persist through the book of Judges and into Israel’s monarchy, which would suggest Joshua’s armies did not in fact wipe them from the face of the earth, at least not in a literal sense.)

Theologian Paul Copan called it “the language of conventional warfare rhetoric,” which “the knowing ancient Near Eastern reader recognized as hyperbole.” Pastor and author of The Skeletons in God’s Closet, Joshua Ryan Butler, dubbed it “ancient trash talk.”

Even Jericho, which twenty-first-century readers like to imagine as a colorful, bustling city with walls that reached the sky, was in actuality a small, six-acre military outpost, unlikely to support many civilians but, as was common, included a prostitute and her family. Most of the “cities” described in the book of Joshua were likely the same. So, like every culture before and after, Israel told its war stories with flourish, using the language and literary conventions that best advanced the agendas of storytellers.

As Peter Enns explained, for the biblical writers, “Writing about the past was never simply about understanding the past for its own sake, but about shaping, molding and creating the past to speak to the present.”

“The Bible looks the way it does,” he concluded, “because God lets his children tell the story.”

You see the children’s fingerprints all over the pages of Scripture, from its origin stories to its deliverance narratives to its tales of land, war, and monarchy.

For example, as the Bible moves from conquest to settlement, we encounter two markedly different accounts of the lives of Kings Saul, David, and Solomon and the friends and enemies who shaped their reigns. The first appears in 1 and 2 Samuel and 1 and 2 Kings. These books include all the unflattering details of kingdom politics, including the account of how King David had a man killed so he could take the man’s wife, Bathsheba, for himself.

On the other hand, 1 and 2 Chronicles omit the story of David and Bathsheba altogether, along with much of the unseemly violence and drama around the transition of power between David and Solomon.

This is because Samuel and Kings were likely written during the Babylonian exile, when the people of Israel were struggling to understand what they had done wrong for God to allow their enemies to overtake them, and 1 and 2 Chronicles were composed much later, after the Jews had returned to the land, eager to pick up the pieces.

While the authors of Samuel and Kings viewed the monarchy as a morality tale to help them understand their present circumstances, the authors of the Chronicles recalled the monarchy with nostalgia, a reminder of their connection to God’s anointed as they sought healing and unity. As a result, you get two noticeably different takes on the very same historic events.

In other words, the authors of Scripture, like the authors of any other work (including this one!), wrote with agendas. They wrote for a specific audience from a specific religious, social, and political context, and thus made creative decisions based on that audience and context.

Of course, this raises some important questions, like: Can war stories be inspired? Can political propaganda be God-breathed? To what degree did the Spirit guide the preservation of these narratives, and is there something sacred to be uncovered beneath all these human fingerprints?

I don’t know the answers to all these questions, but I do know a few things.

The first is that not every character in these violent stories stuck with the script. After Jephthah sacrificed his daughter as a burnt offering in exchange for God’s aid in battle, the young women of Israel engaged in a public act of grief marking the injustice. The text reports, “From this comes the Israelite tradition that each year the young women of Israel go out for four days to commemorate the daughter of Jephthah” (Judges 11:39–40).

While the men moved on to fight another battle, the women stopped to acknowledge that something terrible had happened here, and with what little social and political power they had, they protested—every year for four days. They refused to let the nation forget what it had done in God’s name.

In another story, a woman named Rizpah, one of King Saul’s concubines, suffered the full force of the monarchy’s cruelty when King David agreed to hand over two of her sons to be hanged by the Gibeonites in an effort to settle a long, bloody dispute between the factions believed to be the cause of widespread famine across the land. A sort of biblical Antigone, Rizpah guarded her sons’ bodies from birds and wild beasts for weeks, until at last the rain came and they could be buried. Word of her tragic stand spread across the kingdom and inspired David to pause to grieve the violence his house had wrought (2 Samuel 21).” ...

The point is, if you pay attention to the women, a more complex history of Israel’s conquests emerges. Their stories invite the reader to consider the human cost of violence and patriarchy, and in that sense prove instructive to all who wish to work for a better world. ...

It’s not always clear what we are meant to learn from the Bible’s most troubling stories, but if we simply look away, we learn nothing.

In one of the most moving spiritual exercises of my adult faith, an artist friend and I created a liturgy of lament honoring the victims of the texts of terror. On a chilly December evening, we sat around the coffee table in my living room and lit candles in memory of Hagar, Jephthah’s daughter, the concubine from Judges 19, and Tamar, the daughter of King David who was raped by her half brother. We read their stories, along with poetry and reflections composed by modern-day women who have survived gender-based violence. ...

If the Bible’s texts of terror compel us to face with fresh horror and resolve the ongoing oppression and exploitation of women, then perhaps these stories do not trouble us in vain. Perhaps we can use them for some good.

The second thing I know is that we are not as different from the ancient Israelites as we would like to believe.

“It was a violent and tribal culture,” people like to say of ancient Israel to explain away its actions in Canaan. But, as Joshua Ryan Butler astutely observed, when it comes to civilian casualties, “we tend to hold the ancients to a much higher standard than we hold ourselves.” In the time it took me to write this chapter, nearly one thousand civilians were killed in airstrikes in Iraq and Syria, many of them women and children. The atomic bombs dropped on Hiroshima and Nagasaki took hundreds of thousands of lives in World War II, and far more civilians died in the Korean War and Vietnam War than American soldiers. Even though America is one of the wealthiest countries in the world, it takes in less than half of 1 percent of the world’s refugees, and drone warfare has left many thousands of families across the Middle East terrorized.

This is not to excuse Israel’s violence, because modern-day violence is also bad, nor is it to trivialize debates over just war theory and US involvement in various historical conflicts, which are complex issues far beyond the scope of this book. Rather, it ought to challenge us to engage the Bible’s war stories with a bit more humility and introspection, willing to channel some of our horror over atrocities past into questioning elements of the war machines that still roll on today.

Finally, the last thing I know is this: If the God of the Bible is true, and if God became flesh and blood in the person of Jesus Christ, and if Jesus Christ is—as theologian Greg Boyd put it—“the revelation that culminates and supersedes all others,” then God would rather die by violence than commit it.

The cross makes this plain. On the cross, Christ not only bore the brunt of human cruelty and bloodlust and fear, he remained faithful to the nonviolence he taught and modeled throughout his ministry. Boyd called it “the Crucifixion of the Warrior God,” and in a two-volume work by that name asserted that “on the cross, the diabolic violent warrior god we have all-too-frequently pledged allegiance to has been forever repudiated.” On the cross, Jesus chose to align himself with victims of suffering rather than the inflictors of it.

At the heart of the doctrine of the incarnation is the stunning claim that Jesus is what God is like. “No one has ever seen God,” declared John in his gospel, “but the one and only Son, who is himself God and is in closest relationship with the Father, has made him known” (John 1:18, emphasis added). ...So to whatever extent God owes us an explanation for the Bible’s war stories, Jesus is that explanation. And Christ the King won his kingdom without war.

Jesus turned the war story on its head. Instead of being born to nobility, he was born in a manger, to an oppressed people in occupied territory. Instead of charging into Jerusalem on a warhorse, he arrived on a lumbering donkey. Instead of rallying troops for battle, he washed his disciples’ feet. According to the apostle Paul, these are the tales followers of Jesus should be telling—with our words, with our art, and with our lives.

Of course, this still leaves us to grapple with the competing biblical portraits of God as the instigator of violence and God as the repudiator of violence.

Boyd argued that God serves as a sort of “heavenly missionary” who temporarily accommodates the brutal practices and beliefs of various cultures without condoning them in order to gradually influence God’s people toward justice. Insofar as any divine portrait reflects a character at odds with the cross, he said, it must be considered accommodation. It’s an interesting theory, though I confess I’m only halfway through Boyd’s 1,492 pages, so I’ve yet to fully consider it. (I know I can’t read my way out of this dilemma, but that won’t keep me from trying.)

The truth is, I’ve yet to find an explanation for the Bible’s war stories that I find completely satisfying. If we view this through Occam’s razor and choose the simplest solution to the problem, we might conclude that the ancient Israelites invented a deity to justify their conquests and keep their people in line. As such, then, the Bible isn’t a holy book with human fingerprints; it’s an entirely human construction, responsible for more vice than virtue.

There are days when that’s what I believe, days when I mumble through the hymns and creeds at church because I’m not convinced they say anything true. And then there are days when the Bible pulls me back with a numinous force I can only regard as divine, days when Hagar and Deborah and Rahab reach out from the page, grab me by the face, and say, “Pay attention. This is for you.”

I’m in no rush to patch up these questions. God save me from the day when stories of violence, rape, and ethnic cleansing inspire within me anything other than revulsion. I don’t want to become a person who is unbothered by these texts, and if Jesus is who he says he is, then I don’t think he wants me to be either.

There are parts of the Bible that inspire, parts that perplex, and parts that leave you with an open wound. I’m still wrestling, and like Jacob, I will wrestle until I am blessed. God hasn’t let go of me yet.

War is a dreadful and storied part of the human experience, and Scripture captures many shades of it—from the chest-thumping of the victors to the anguished cries of victims. There is ammunition there for those seeking religious justification for violence, and solidarity for all the mothers like Rizpah who just want an end to it.

For those of us who prefer to keep the realities of war at a safe, sanitized distance, and who enjoy the luxury of that choice, the Bible’s war stories force a confrontation with the darkness.

Maybe that’s not such a bad thing.

[saintsenara]

Hi! I just wanted to ask: what advice would you give someone who wants to start writing fanfiction for the 1st time, without any real writing experience? Have a nice day!

thank you very much for the ask, anon!

i'm always honoured to be identified as someone who might have something meaningful to say about writing - and so i always worry about doing justice to questions like this without coming across as being flippant.

because i don't think its ever worth giving advice on writing style or techniques, because these are so inherently subjective. i am an unabashed plantser - i have a vague idea of how i expect a story to go [and i always skip to the ending first, harry burns style], but i let the muses take me where they will otherwise - and this obviously affects everything else about my writing process: whether i like to stick to a specific posting schedule [no]; where i begin in a scene [dialogue]; whether i prefer short or long pieces [yes]; what sort of themes i want to look at; my attitude towards the source material [i believe in the value of canon coherence, but i'm not drawn towards trying to make my work unclockably canon-compliant]; what i find useful to receive from others during the writing process; and the fact that i like to play with genres, themes, and pairings.

if these things don't apply to you - and there's no reason why they should, even after you've been writing fic for a century - then i don't think i'm qualified to give you any advice on how you should go about putting words on a page.

but i do think i can give you something.

because if you want to start writing fanfiction - as is the case for everything else you will want to start doing in your life - there is only one key principle to bear in mind:

fortune favours the bold

by which i mean, at the most basic level, that the only way to start writing fanfiction is to... start writing fanfiction. the only way that you'll ever know if it's something you enjoy doing - and what it is about it that you like, what you find instinctive, what you don't, what your "voice" is, which characters you find harder than others to bring to life, what techniques you'll use to plan, how your work will be received, how that will make you feel, how your style will change the longer you write, and so on - is to grit your teeth and just take the leap.

but i also think that remembering that fortune favours the bold is a fandom principle which serves us all very well in a context broader than just tapping out fics while hunched over our keyboards.

because boldness is synonymous with courage - and writing something and putting it out into the world does take courage! - but it's a courage which has quite a distinctive style.

boldness is not solemn, quietly-enduring, captain-going-down-with-his-ship bravery. to be bold is to be audacious, daring, cheeky, innovative, and a little bit irreverent. it's not someone saying mournfully over your coffin "she fought bravely to the bitter end" - it's someone looking at you in awe and saying "how the fuck did you pull that off?"

and this matters in fandom. because participating in fandom - whether you end up writing fic or not - takes a hell of a lot of brass neck.

after all, each of us has ended up here because we looked at canon and said "sorry - did you think you were done?"

and then - when canon got flustered and started stammering - each of us has rolled our eyes, rolled up our sleeves, and said "don't worry, hen. you can leave it to me."

to be in fandom is to have the audacity to treat the text as a springboard - rather than something which remains behind glass in a museum. it's deciding to fling the characters we love into genres they don't originally come from and revelling in the chaos which ensues. it's finding missing moments and daring them to be just as important as a canon scene. it's the fun of wildly improbable alternate universes - from dystopian horror to coffee shops. it's cheerfully ignoring that there's a point canon thinks its story ends - whether that's finishing narratives which end unsatisfactorily or just playing with happy-ever-after. it's taking two characters who never interact in canon, winking at the camera, and making them kiss. it's taking two characters who never interact in canon, winking at the camera, and making them fuck. it's having the time of your life becoming a malevolent deity and making a character suffer.

while it might not always feel this way, at its core fandom is fun. and it's fun in a way which is quite unusual in this day-and-age - in that it's something we get to shape for ourselves, rather than having to engage with a product according to the whims of the corporation marketing it. it lets us be indulgent without calling us greedy. it lets us chatter away at each other without calling us unproductive. it lets us be sincere without requiring performative earnestness from us. it lets us engage with the uncomfortable and the lurid without the bland sanitisation of respectability.

and it allows us to be hopeful.

and i have always been struck by just how much about fandom rests on hope.

to believe that the dead can live happily in another universe, to believe that time-travel can fix things, to believe that bad people can get their comeuppance, to believe that good people can be imperfect and it doesn't matter one bit, to believe that those who are hurt can be comforted, to believe that justice can be done, to believe that villains can be redeemed, to believe that an insignificant background character matters just as much as the hero, to believe that things can be better - whether your story is overthrowing a corrupt government or letting two people enjoy themselves uncovering a kink, to believe that the most improbable people can love each other - romantically or not... all of this takes hope.

and hope takes boldness.

so be bold and start writing.

be cheeky. take risks. be your own biggest fan. be irreverent. be cunning. recognise that not taking fandom too seriously is self-protective. be self-indulgent. have some self-awareness. be collegiate. gas up your friends whenever you can. be nice to your commenters and try and give them the benefit of the doubt if they express themselves poorly. be curious. regard disagreement as interesting. be compassionate. be tenacious. be prepared to write stuff that flops. be prepared to write stuff that gets left on the drawing-board. be prepared to write stuff people hate. be prepared to write stuff you hate. be audacious. believe you can do it. be hopeful. be daring. be brave. and be bold.

because i promise you that, even if you've never written a word of fic before, you can write your way into and out of anything - any fic, any trope, any pairing, any characterisation choice, any plot hole, any setting, any premise - and have fun and look good doing it.

if you simply have enough nerve.

[lavenderbexlatte]

day 7: in the club

kard 2.1k words female reader insert Reader x Matthew Kim (BM) x Kim Taehyung (J.Seph) NSFW

🖤 warnings: semi-public sex, penetrative sex (f receiving), getting it on w/ ur homeboy, threesome~ 🖤

kinktober masterlist

connect with me! / masterlist

Eventually, one of them will give up.

It's worked out like that the one or two other times you've been pursued by more than one person in the club. At some point, one of them sees you with another and gives up. Easier than ghosting, less confrontational than trying to explain that you found someone else. Problems take care of themselves, in this context.

So you enjoy the attention of both men, one on each side of the crowded club.

The first man is a playful, solid-built guy with clear features and a pervasive air of shyness, despite how bold he's being with you. His ears and neck drip silver jewelry, and his denim-on-denim is distressed black fabric from his fashion cap to his designer sneakers.

He dances with you, a gracious amount of space between his body and yours even as his fingers sneak into your back pocket, and he doesn't say much. You like him, though, as much as you can like a random guy in the club.

You think you'll be going home with him, until you cross the club to find one of the friends you came here with, and your attention is caught all over again.

The second man is huge, tall and broad and masculine, dressed in loose leather pants and a plaid shirt over a tank top that hides nothing of his chiseled physique. He talks an awful lot, slang and bad jokes and insistence that he buy you a fresh drink - right into your hand from the bartender, safe and respectful - and then hold it so that no one fucks with it.

He's class-clown attractive, fuckboy attractive, but he's so sweet and earnest that you wonder how he was given a Doberman face with a golden retriever soul.

They're both excellent options, so you don't really care which one ends up scaring off the other. It'll take care of itself.

You weave your way back across the packed dancefloor, back to Cap Guy from Tall Guy. Cap Guy is right where you left him, leaning against the wall, sipping from a half-empty beer.

If this next set doesn't have a song that you like, you might just ask him back to your place right away instead of heading back out to dance. You're getting kind of tired, and you could really use a night like this.

But as you reach Cap Guy, a hand on your shoulder lets you know that you've been operating with unfortunate tunnel vision.

You did not notice that Tall Guy has been following you.

And here he is, right behind you, looking clean over your head at Cap Guy.

They're looking at each other with an expression that you can't begin to understand, something like understanding but also a twinge of what you swear is humor. Cap Guy is nearly grinning.

"I..." you start, unsure if talking will help but unable to stop yourself. "I'm-"

But Tall Guy cuts you off. "Dude."

He surged forward and meets Cap Guy's outstretched hand in a high-five so resounding that you can hear the slap of it over the bumping club music.

"Wondered where you'd been all night, bro, this is nuts," says Tall Guy.

"Should've known," Cap Guy replies.

"You two...know each other, then," you say weakly.

Tall Guy leans fully on Cap Guy's shoulder, comfy and relaxed. "Sephy is, like, my best fuckin' friend."

They're best friends.

"You have good taste, no lie," he adds.

They don't seem mad, which is a relief. You wouldn't want two big guys pissed at you for two-timing them. But you're still in for an awkward departure, here. So much for problems fixing themselves.

"Still," you say, forcing as natural a laugh as you can, "Still, a little weird. Sorry."

Tall Guy looks at Cap Guy - Sephy? "Weird? S'it weird?"

"I should be heading home soon, anyway," you excuse.

Hopefully they'll give you the graceful out, and not make a scene about the fact that you've been-

"Home? Already?" asks Cap Guy.

"Yeah, yeah, my friend was looking a little drunk, and-"

"Means you don't wanna have any more fun with us?" Tall Guy asks.

"Us?" you echo, nonplussed.

"Unless you're not down for that," says Cap Guy.

"Us, like..." you point back and forth between the two of them.

Cap Guy nods. Tall Guy is just watching you, tongue poking between his teeth in a dangerous grin.

You're dumbfounded, which means honesty falls right out of your mouth. "I did not think that would be an option."

Tall Guy laughs. "C'mon. I know a place."

He charges off, cutting a clean path through the clubgoers with his significant height. Cap Guy shakes his head, and leans into you, a gentle hand urging you forward after his friend.

"Matt is just like that," he says. "If you're down, though, he does kind of know a place."

"Matt," you repeat.

"Matthew. Or Matt. And you can call me Seph."

They sound like codenames or something, fake names, but you're not about to press them about it.

Matt weaves his way around one of the large circular platforms around the dancefloor, the last one before the dark hallway that leads to the bathrooms and back of house. There are two gorgeous go-go dancers on the platform, young women in complimentary outfits and dark makeup, and as Matt passes, he reaches upward. One of the girls, all shaggy hair and long dagger nails, looks at him, looks at you following behind him, and daps him up.

"Don't make a mess!" she yells, deep voice carrying from her podium.

The other girl, a vision in a tiny skirt, rolls her eyes and waves at Seph as he leads you past.

"Friends of ours," Seph tells you needlessly. "They work here, so no worries about getting...interrupted."

You wonder what you've just gotten yourself into.

'Knowing a place' turns out to be something more like 'being aware of the employee lounge.'

That's what it looks like, at least; a closet-sized room with a mini fridge, a half-broken neon sign with beer logo on it, and a busted couch. Two sets of handbags and cosmetic pouches and spare clothes on a table to one side suggest that maybe those two go-go dancers use this room. It explains the demand not to make a mess, anyway.

"S'okay with you, right?" Matthew checks again, as you tentatively step into the little room.

"What? This?"

"Yeah. We ain't about to pressure you into nothing."

The atmosphere is tense, loaded. This room is right next to the bathroom, right down a very short hall from the dancefloor. The music is still loud in here, thumping bass through the walls and the same kind of hazy air as in the rest of the place. It's dark, it's just slightly too warm, and it's so small that you're already pressed to Seph's side.

It's new. It's exciting.

Not to mention that both of these guys are so incredibly hot, you don't quite understand how you got both of them in here with you.

"Yeah, I'm good," you say.

Matt grins again. "Then what're we waitin' for?"

You expect him to make the first move, considering the difference between his personality and Seph's, but you're mistaken.

No, it's Seph who has the door slammed shut and your back pressed to it in an instant, one of his arms propped over your head and the other holding you by the chin, strong hands but gentle grip. He's completely blocking your view of Matt, which is just as well. A hand sneaks over and takes the cap off Seph's head, revealing messy brown hair that falls into his eyes.

Better for you. Nothing in your way, as Seph tilts your chin up and kisses you, firm and certain but still so gentle.

When he pulls back, you can see Matthew again, looming, wearing the cap backwards over his bright blue hair. He looks far too pleased with the scene in front of him, and suddenly you're self-conscious, ducking forward to hide your face in Seph's collarbone.

Music still shakes the walls, the beat quick and loud. Maybe reggaeton.

"Still good?" Seph asks.

You feel the question in his chest as you hear it, something reassuring to the solidness of him, and despite your nerves, you answer, "Yeah."

"Good."

He turns the two of you around just for more hands to catch you, Matt's grip firm on your waist, guiding you one, two, three steps back before he sits heavily on the couch. You follow him down, and his ridiculous height and musculature means that he has you arranged just right, straddling his lap, before you even know it.

You can't help but consider that their comfort comes from experience.

How often do they do things like this?

You voice that question, tentative under Matt's intense gaze, and he laughs. "'S' happened. Y'know. Whenever it seems like a good time."

Unhelpful.

"What's a broship if you haven't seen each other naked, anyway?" Seph adds, and Matt laughs again.

"Speakin' of..."

A brow quirked, he goes for the hem of your top, and it's with a few words of encouragement and a brief retreat to be able to wrestle buttons and zippers that you find yourself stripped to your underwear and back on his strong lap.

"This isn't seeing each other naked," you point out, when your senses return.

Both of them, the one beneath you and the one hovering within reach, are both still fully clothed, and it makes you a little self-conscious.

Matthew nods. "You're so right."

He takes Seph's denim jacket by the back collar and yanks it down his arms unceremoniously, far cry from the way he's handling you. Seph shrugs the garment off, nonplussed.

It's taken in turns from there. Matt's flannel shirt, the undone belt and popped button on Seph's jeans. Your bra, leaving you still the most exposed by far. Matt's pants, finally, but amusingly, not his tank top. Your panties.

"Still only me," you complain again, when you're fully nude in the thick air of the lounge.

Grinning, jostling you on his lap so that you can feel the shape of his hard-on against your thigh, Matt takes Seph's cap off his own head and puts it on you, instead.

"There."

Maybe it's the sweet, silly gesture, or maybe it's how Seph's expression changes just a little bit into something hungry and fond, but suddenly, you're not nervous anymore. It's your turn.

Back against the door you go, standing, pulling Seph close, and guiding him to press you against the thin wood.

"I wanted you, first, anyway," you tease, loudly enough that Matt protests from back on the couch.

A glance proves that he's not bothered in the slightest, though, lounging just how you'd left him, hand dipping into the waistband of his boxers.

The cap doesn't fit well, but Seph adjusts it on your head anyway as he tugs his jeans down - not off, but down just enough...

As he's sliding home - an easy slide, too, you've been worked up for ages, hours - with one hand holding your thigh up over his hip and the other bracing himself against the door so that his weight pins you there, half-suspended, it happens.

The doorknob turns, fruitlessly, since there's a fair bit in the way of it opening.

The music is still pounding outside, the quick eight-count of what is most definitely reggaeton, but much closer than that, you can hear a woman's voice.

"I wouldn't if I were you," Matt calls.

The doorknob stops moving.

"You're not serious. In my club?" the girl on the other side complains.

"So serious," Seph adds.

There's a noise, maybe a scoff, maybe a gasp, at how close his voice is.

"We're busy, Minny, take your break later," says Matt.

"Busy," she said, venomous, the voice of an exasperated sibling.

All the while, of course, Seph has been pumping into you shallowly. Torturous, in your opinion. Extremely unfair. You'd prefer not to embarrass yourself right now, but he's leaving you without many options.

"Tell her," Seph says, and after a second, you realize he's looking at you, talking to you.

You blink at him.

"Tell her how busy."

It doesn't even cross your mind to say no.

No, instead, you try. "We're a - a little b- ah!"

The last part is a garbled moan, too loud and half-swallowed at the same time. It's Seph's fault, a well-timed, deep-and-dirty grind into you, pelvis against your clit for just a second, and you really can't help it. You hear the girl on the other side of the door sigh, resigned.

"Come to the bar when you're done. Drinks are on the house, for dealing with these two." With the way that Seph is all but holding you up now that your legs threaten to give out, the way that Matt is standing now, watching with unabashed hunger in his face, you think you're definitely going to take her up on that.

[blackjackkent]

Continuing Rakha adventures! We left off on Thursday after meeting Nine-Fingers Keene, who informed Jaheira that things are more than a little complicated regarding finding her old friend Minsc, by which I mean that she is having him killed for "being the Stone Lord" crimes.

Jaheira is not pleased about this and consequently neither is Rakha, and honestly Rakha would have gladly picked a fight right there in Nine-Fingers' office if Jaheira hadn't stopped her. But the plan is, most definitely, to go find Minsc before Keene's people can get to him.

The quest merely says, "We should search the Guildhall for clues." I know of one clue off the top of my head - a letter to be found in Astele's office - but I'm curious if there are other ways to find out where to go next, so we're gonna ask around a little bit more first.

I first tried out talking to Nine-Fingers without Jaheira in the room, just to see if she'd provide any useful guidance. She didn't, but she did have some OTHER interesting bits of conversation - some relating to the Guild, some relating to Jaheira, and some relating to the plot. (The Jaheira bits are of course of interest to me personally, and also because I am reading all of them in the context of what I have in mind for Fault Lines. XD )

-----

"Keep the Harper out of trouble. Just because I don't want to kill her doesn't mean I won't. Beyond that - be welcome, be merry. Is there something you require of a humble guildmaster?"

-----

"What can I do to help you?"

"Keep me from having to kill the Harper. Which means keeping out of the Guild's way - all right? Wonderful."

-----

"Why do I need the Guild? I've been doing well enough without you so far."

"You have. But don't be so quick to bat away a helping hand. You'll find few enough of them in this city. The Flaming Fist can be bought, the Harpers are scattered, and the Parliament of Peers-- well, they're just generally too inbred to be useful. The Absolute's at our gate, and the Guild are the only ones truly standing against it."

-----

"We're not done discussing Minsc. Call off your ambush."

"No begging? Not even a snotty little 'please'? It's almost like you don't know who you're talking to. The order's been given. It's done. So I hope you know another tune, because I'm getting bored of this one."

-----

"You and Jaheira are an odd pairing. How do you know one another?"

"We've crossed paths over the years. Two hands trying to steer the city - just not *always* in the same direction. I can't stand Harpers as a rule, but Jaheira's the exception. She's only really half a Harper at most. The same way I'm not just the lowly thief, vagabond, and murderer the Watch and Peers would paint me as. I happen to be a fine singer too."

(A/N: I love her, haha. Nine-Fingers is such a fun character.

I was a little scared when I saw this dialogue option, worried that I was going to get something that directly contradicted the story I'm telling in Fault Lines, cos I haven't run across this conversation before. However, luckily, Astele is being pretty vague here; it's a little at angles to some stuff I have in mind, but that is easily explained by the fact that Astele is fully capable of being evasive or flat-out lying to this rando who just wandered into her office. And she most certainly is; her opinion of Jaheira is a lot more complex than she is letting on.)

-----

"How's your fight against the Absolute going?"

"Hah. Which part? The Stone Lord's hollowed this place out; half my crews are fled are in hiding. Orin's Faceless try to pierce my ranks every day, while Gortash's tin soldiers control the streets. When the Absolute's army arrives to wage war on the city, our best hope is to make sure they have no leaders in here willing to open the gates for them."

-----

"I noticed the mercenaries in your hall. Since when does the Guild work with the Zhentarim?"

"We don't. The Zhentarim work *for* me. Time was I'd charge the bastards double if I let them into my hall at all, but times change. The Guild is many things, but it's not an army. If the Absolute keeps pushing in on our territory, then I need a little weight to push back."

-----

"I'd like to know more about the Guild."

"Thieves, frauds, and miscreants - if it's just the Watch warrants you're reading. The Guild isn't any one thing. We're *everything* - all the parts of the city the Watch don't want seen, so they push us to the far side of their law. But it's not that Watch that keeps the peace, or gives justice to any Baldurian who asks, whether they can pay for it or not. It's us. If we take a little tribute in return, or tie strings of service to those we help, well, what of it? So long as we're working as one, it all runs quick, quiet, and clean."

"And what is it the Guild wants?"

"Clean water, filthy riches, and everything in between. We're citizens of the city, no more, no less. Right now, I'll settle for taking our city back."

(A/N: *chef's kiss* :D :D :D)

-----

"I ran into some of your thugs - the Rivington Rats?"

(A/N: Had to look this one up. It's the merc who were helping Arfur try to evict the squatters from his house.)

"Oh? Did you enjoy the encounter?"

"I killed them all."

"Am I supposed to swear vengeance? I heard they'd grown a little... indiscreet. The Rats usually kept a lid on their nastier notions, but with the Stone Lord business distracting me... some are starting to test the leash. All the more reason to be rid of the cult quickly, so I can remind my crews it's not a leash round their necks if they cross me. It's a noose."

----

By far, however, the most interesting bit of conversation with Nine-Fingers is this one.

"How is it you know so much about the Absolute and its leaders?"

"Simple enough. After Jaheira warned me - and then disappeared - I went nosing into the cult for myself. I could bore you with the details. How I found evidence of Gortash's 'projects', traced him to Orin the Red, and made a safe bet there was some dried out old necromancer to round out the three. Because it's always the Dead *bloody* Three - has-been half-gods who can't help but make their irrelevance everyone else's problem."

"There's more to it than just the Dead Three."

"Oh? You've got some juicy little tidbit I haven't heard yet?"

Tell her everything. The enslaved Elder Brain, the Astral Prism - you.

(A/N: This is not actually Durge-specific content, even though it sounds like it. And given Keene's response, it seems reasonable to assume that Rakha isn't actually telling her EVERYTHING - just about the tadpole and the illithid element of the Dead Three's plot.)

"Huh." A pause, then, more seriously, "Huh. It seems like my intelligence on you was patchy at best. That's annoying."

"Annoying? That's it?"

"Don't pout. For a brief second, I did weigh the odds on killing you. But if there's a tainted elder brain slopping around below my city, I think we need one another more than ever. So long as you can keep a lid on what's growing inside you, we're allies. Until you can't and we're not. Simple enough, I reckon. Now - war to be fought. You need anything?"

I love her, your honor.

Honestly I think Rakha would be more intrigued/impressed by her if she weren't threatening to kill Jaheira's friend; she has in the past seemed to gravitate to tough women who have confidence in their own worldview and are willing to beat the shit out of her if necessary. So we will see if her opinion evolves once Minsc is safe.

[minsungchronology]

My Personal Opinions on Minsung's Dynamic (2020)

Disclaimer: I am not trying to pass off my opinions as facts. This is my personal interpretation of what is laid out right in front of us. I could be completely off base because I don’t know these guys personally, so take this with a grain of salt and feel free to disagree!

I think it’s more than safe to say Lee Know and Han find each other attractive.

They don’t even try to hide it.

You really start to see it this year, especially from Han’s side (how the turn tables).

2020 was such a good year for them. You can tell that the guys are a lot more confident and vibrant, especially when you compare it to the latter half of 2019. I think Lee Know really starts to come into himself during Gods Menu era (like I mentioned previously), like his confidence here is another level. Compare him to his 2018 self and you'll really notice the difference.

But as I also mentioned before, Han’s attitude really changes this year.

First with the Osen Star Road video: Lee Know talks about working part-time at a restaurant flipping steak and Han blurts out “Flip me!” The members’ reactions to that are priceless if you replay that clip. His intrusive thoughts won that day.

Then there’s the Unlock concerts: the clip of him staring at LK through the giant monitor like he saw the galaxy and LK catching him in the process has me in stitches every time I watch it. (Almost foreshadowing to another instance where he does the same exact thing in 2023, but for a different reason 😉)

The fancam from Music Core during Gods Menu Era where Han literally fans himself right after he stares at LK.

And then casually calling him “Hot” as he films him in one of the SKZ talkers.

Last but not least, the “All in” clip where he goes “You” (Dangshin) after Lee Know asks “What have you been all in?”. Intrusive thoughts win again!!

And the feeling is mutual too.

During the Weekly Idol episode when Han does yet ANOTHER sexy dance, Lee Know tries to create an exaggerated, taken aback reaction much like what the other members are doing. (Some of them are playfully grossed out) But he can’t hold it for that long at all lmfao. Like, his body language completely betrays him. (Man literally says ‘wow’ and bites his lip skjdhaksjhkjashd)

Lee Know also seems to really like Han’s look in the “Easy” MV. (this is one of his best looks imo so I don’t blame him) First, he draws it in one of his vlives and then makes it his mission to mention that was his favorite part (exact time stamp and everything!) before getting all teeheehee shy. Like bro??? How do you even remember that?

Much like last year, it’s not as obvious as it was in 2018. But the occasional "slip up" doesn't ever really go away. Though, they come back in full force around 2022 and 2023 (especially!!).

We get to see a little bit more of their little hangouts. Either that or they just casually mention them in passing. They really do take the time to hang out together outside of work schedules. As much as they’ve mentioned hanging out together, fans have also spotted them out together on many occasions throughout the years. Imagine living with someone, working with them 24/7, and then wanting to spend the very limited amount of spare time you have with them as well, when you…already see them every day.

Oh! and Butt-hunter LK makes his official debut this year. His unique way of showing affection towards the members. Han seems to be his number one victim though (ooooh wow how shocking 🤥).

My personal opinions:

Again, I’m preetty sure they are just friends this year. From what we are shown, I personally don't see anything more (outside of potential feelings) unless you purposefully take moments out of context and ignore how they perceive each other around this time.

Though, they don’t shy away from the mutual playful banter and flirting, as well as being appreciative of each others looks. They seem a lot more comfortable and confident with themselves than they were in previous years, so its not something they refrain from doing. It also seems to carry onto 2021 and future years. But it’s not something you saw as much prior to 2020.

However, I do think Han, for the first time, starts developing feelings that go beyond platonic this year. If I had to pinpoint a year for him, it would probably be 2020. Han’s "Han's Communication Show - Stay 2nd Bday" Vlive gave a lot of insight in such a brief time. He seems like someone who wants to put a distance between himself and any sort of feeling that crosses the platonic/non-platonic boundary with LK. He says he doesn’t want to spend too much time with him, but they always end up together. 🙃 He literally says "Lee Know is annoying" while giggling/laughing like that. (Is he attempting to convince himself or us? I don’t know.)

It kind of goes back to him saying stuff like: “I stared/glared at him b/c he was so handsome...cause i was jealous of his looks." "I ranked him as one of the lowest b/c I don’t like good looking men." "I don’t like when he winks at me it’s so annoying" etc etc.

I honestly don’t think he’s even aware of it. Like sometimes he’ll blurt something out that kind of….gives him away in a sense? Like a Freudian slip or an intrusive thought.

I’ve also noticed he tends to pay extra attention/laugh extra hard at Lee Know’s jokes or little quirks that might go undetected by the others. 

In 2021, the playful back and forth flirting really ramps up between them. I think that year (and onwards) is when they are the most secure with themselves, at least compared to 2020 and the years prior.

[whipplefilter]

Auto Racing Analytics is my new favorite account, because who doesn't love a spider graph?? I love a spider graph:

I initially found this account through a post that had that blue line and was like, "guess whose stats these are." And I was immediately like, that is the most 5-coded blue line. Operating at such a high level! So well-rounded! Except for the giant chomp taken out of it where DNFs and crash avoidance are concerned, hahaha...ha!

Going into Indy, I was talking to @the-kings-tail-fin about how, on any given day, the 5 could not be trusted in the way that the 9 could, and that the 24 was seasonally trustworthy (one of those seasons not being summer). I'd wanted to make a post about my thoughts on Kyle Larson's driving style, but chickened out of it because it's not as though I had any actual data aside from anecdotal evidence of having watched more of his Cup races than I haven't. But look, a spider graph! That affirms my personal impressions!

So let's talk about Kyle Larson and the 5. Kyle Larson is known for being good, which in racing generally means fast. HMS can put together some fast cars. But the fastest car isn't always the winning car. So what've we got? Here are my novice takes:

fast -- yes

loose -- he prefers a loose racecar (as opposed to tight)--understeer in the corners, where the back tends to swing out. If you can control it, you can find speed this way. Con? The if, I guess. And tire management, because a tire that's sliding isn't rolling.

aggressive -- Larson's self-descriptor, which in his context means shoving a car in places it does not seem like a car can fit (and often finding that it does not, in fact, fit there).

Case in point:

That was re: late braking/brake lockup, but when other cars are involved, aggression looks like shoving a car in places that dare the other guy to wreck them both or lift. This is why the "terminal avoidance" and "crash avoidance" stats take such a nosedive--because sometimes when you're playing with fire like that, you mess up. Or the other guy doesn't lift. But it makes for fantastic spectating, especially when coupled with the daring required to pass and come up the field (when you have the speed to do so). That kind of run can also be hard on tires, as well as fuel, though fuel is not typically as big a storyline as it has been in 2024. And I will say that KL has gotten a lot better at tire management than he has been in the past.

creative -- Adaptability to an ever-changing track and, again, the daring to try new lines and search around for whatever works, which Jeff Gordon describes as a dirt race thing, in that it's the bread and butter of that form of racing, given that a dirt track is different every lap.

clean -- It doesn't seem like "clean" and "aggressive" would go hand in hand, since being aggressive can result in wrecks and also means you're a pain in the bum to anyone you're racing, but there's lots of flavors to "aggressive" and KL is not a "rattle his cage" kind of guy. Which isn't to say the racing won't get phyisical--it just probably won't be retaliatory.

For example, my biggest kink is Kyle Larson getting eaten alive by JGR, and KyBu and Denny Hamlin have, historically, done this a lot, because their form of aggression is a lot more toothy, if you will. But KL's bit back sometimes, too. (MTJ has gotten in on this action by beating KL on restarts for years straight. But as you'll see in the graph, restarts have improved!)

I'll also note that I've definitely seen KL punt a backrunner out of his way, so he's not above such things entirely. But he's a terrible person to pick a fight with outside of the car, because he won't fight back.

--

He's just great to watch, on TV and live. Even if this style of racing is exceptionally make-or-break in a playoffs format, because when it's good it's so, so good and when it's bad it's real bad. But such are the tradeoffs, and it's really cool to look back and recognize the level of excellence that's happening in the car.

I'll caveat that by saying that I've watched Kyle Larson miss pit road in an Xfinity race because he... forgot?? to pay attention??? and have seen him wheel hop his way around a road course and tear the tires of a racecar overdriving it and push extremely badly in the draft and whiff a restart to the point of no return, and that realistically I've probably also seen him do... most of those things... in 2024, too... I saw someone say once that for someone so talented KL sure does a lot of things that are incredibly, gobsmackingly dumb, and I probably wouldn't argue against that.

[eisforeidolon]

Hey there, I hope you don't mind me dropping in here on a topic from a few days ago and harping on about it (I'm not very well-versed on ask boxes so I'm a bit unsure of the etiquette. If I commit a major faux-pas, forgive me). Apologies if this ends up a little long and a lot sarcastic - I have opinions about this. It's given me a fair bit of grief over the years.

Y'know, I see these 'abusive Dean' takes float across my dash a fair bit (apparently not being into Destiel or Wincest means I must be a Bitter Sam-girl instead and hate Dean, according to Tumblr). The oh-so-delightful 'abusive husband Dean and beaten wife Sam' takes. People calling Sam 'beaten wife coded' in general. One based on a grand total of two instances where he flinched cause Dean made a loud violent noise near him (who the hell wouldn't, you don't need to be 'beaten wife coded' to flinch when someone chucks a chair at a wall, it's almost like Sam has some kind of trauma about various other things and might be generally jumpy...). Or taking the end of S10 out of context and choosing to forget that Dean was nearly fully taken over by a mark of fratricide (which he still managed to overcome, they conveniently fail to mention that). And I just... ugh.

What I never understood about these takes is like... why? There's trying to paint your fave in a good light and a character you hate in a bad one, but then there's making the heart and soul of the show itself into something so ugly it ruins it for other people, like your Anon, and honestly this happened to me too a while ago before I forced myself to stop listening to the greater fandom and find a few I trusted (like you). Even still, it gets all up in my head sometimes. Why are these people finding such glee in making the central relationship so awful? What are you getting out of this show if you think that about it?

Like, imagine looking at the finale through this lens. Congratulations, you turned something sad but ultimately bittersweet into something horrible, the 'beaten wife' dedicating the rest of their life to their 'abuser' then being forced to be with them for eternity, and this is portrayed as a good thing. Why would you ever want to view it that way? Plus, it's rather forced if you take it as a whole - the few times Sam stood there looking contrite while Dean did something stupid pale in comparison to the number of times he calls him out on it, even in the later seasons (14x12 Prophet and Loss, anyone? 15x17 Unity?).

I guess people can take from media what they want, it's obviously not my place to police people's enjoyment, but I just never got the appeal. It seems so counter to what the show was clearly actually trying to do, yet they tout it as fact (now where have I seen that before). Like it's somehow a bad thing to enjoy the show on its own terms. Coming across these takes still kinda bums me out. This goes for people insisting it's the other way around too - I can't stand any brother vs. brother stuff either, it's never anything but bad faith, and honestly kinda misses the point. Some of these people boggle my mind with their lack of empathy.

If there's one thing this fandom is good for, it's honing your ability to roll your eyes and move along. It's full of so much absolute batshit insanity that you'll never survive if you listen to every take. Trust me, I've tried. Do you know which tags to block to avoid this kinda stuff? Cause I never seem to be able to.

Sorry if this was a bit of a rant dump, heh. I'm usually a chronic lurker, but this discourse in particular bothers me immensely.

You're absolutely fine, I mind neither bringing up previous topics nor excessive length (be a bit of a hypocrite if I did, tbh). And yeah, it's one of my least favorite SPN fandom discourses, too.

It does feel like it's pretty hard to find any corner of the fandom where you won't at least occasionally see one side or the other's worst faith not!fave-brother-is-terrible takes. And oh, do I hate the 'beaten wife Sam' half of the 'Dean is an abuser' discourse equation just as much. Like, supposedly they like Sam, so why on earth would they want to pretend this stubborn competent badass of a character is actually a helpless pathetic marshmallow?! Same with Dean on the opposite side of the fandom - it's not just the character they're constantly maligning I can't recognize, the character they "like" similarly bears very little resemblance to the one I'm a fan of!

So far as I can tell, some people just desperately need their favorite character to be the best one who is always in the right. Whether it's over-identification or what, I don't know. They seem to think they achieve it by reframing large portions of the canon as justifying, unfairly attacking, or insulting that character as necessary. Except they don't see how from the outside it very often looks entirely absurd, regardless of if they're doing it in favor of Sam, Dean, or Castiel. Which is not to say there aren't parts of canon which treat all of those characters ridiculously in one way or another? But it's the total fixation on it only being the case with their favorite character in every possible situation where it gets weird.

Every great once in a while, I do manage to come across a take that really annoys me. But for the most part? The extreme ones are just so absurd, so divorced from what anyone even vaguely trying to understand the other characters' motivations and what the show quite obviously intended? I just can't take it at all seriously. Especially when they (as they so often do) get canon details wrong or pointedly "forget" all the canon points that blatantly don't fit their narrative.

Unfortunately, like with a certain ship, when it comes to tagging? You're kind of at the mercy of the self-awareness of the poster about how much other people may not want to see their hot takes.

[chirpsythismorning]

You can't expect people to take you seriously if you're not providing any proof? If Will and El are twins and Joyce and Hopper are their bio parents, why don't any of them know about it and why haven't there been any hints about it? I'm not even trying to be rude here I just haven't seen any evidence. Let alone strong evidence

I've gotten a few confused asks about this theory and how it just doesn't make any sense..?

I'm not saying that I completely understand the ins and outs of how it works, in fact I'm still completely immersed in theorizing and not being certain of anything! Quite frankly, I don't understand it (how time works/the rules of the game), though I think that's necessary because otherwise everyone and their mother would have guessed this surprise by now if it was any more obvious than it already is.

I also just feel kind of bad about spoiling what could possibly be going down, especially bc this would clearly be a series long surprise.

I've been theorizing for months now with @shippingfangirl013 about this. It started with us sharing thoughts about Twelvegate and just sort of piecing together s4 lab scenes and then eventually going back to the beginning to see what we might have missed from this new lens, that being the possibility that Will is Twelve. And that's when we realized A LOT of stuff has been overlooked from the very beginning, which provides not only answers to certain questions we had, but also brings forth even more questions that we wouldn't have come up with, had we not looked back further into the details in the first place.

She has a bunch of posts that are severely underrated in regards to this whole theory, so I urge you all to check those out:

Twelvegate Theory: Drowning in the Quarry and Will & El (Part 1)

Twelve Actor Resemblance to Young Will Byers

Stranger Things S5 Conglomerate Twelvegate Theory (Part 1)

Conglomerate ST S5 Theory Parallels

Also be sure to keep an eye out because she has some really big brain analysis in the works that you dont want to miss. I can honestly say she plays a big role in why I feel fairly confident about this theory, because I myself didn't really believe it at first. But now, after everything I've seen, it's kind of hard not to.

Even if you don't like this the idea of this theory or just simply don't believe the evidence presented that you've seen thus far, at the very least looking at this could expand your ability to look further at other details on the show and even pick up on evidence of your own. I find that more often than not, knowing about the existence of certain overlooked details allows you to find even more overlooked details that others missed.

For the sake of your doubtful ask, and for anyone else who isn't even considering this theory because it seems too far fetched, I'm going to share some of my favorite unhinged evidence for whatever the hell gate we're calling this...

But first, here is some basic context for the chaos that follows.

Something important to note, is that we don't meet Hopper, El or the Byers the night that Will went missing. We only met Will and the party. Instead they saved the rest of the main character's introductions (his family, mind you) for the following day, after Will had gone missing. This also means they saved their introductions for AFTER the big power outage that happened that night right before he disappeared.

I find this interesting because this choice allowed them to make those introductions feel arguably 'starting point'/reset-like (like in a video game).

You'll also note there is a 'Pizza One' box in that first scene when the party is in Mike's basement playing their campaign, moments before that power outage. This could have been a hint that the very start of the pilot episode at the Wheelers may very well be the OG timeline, that we've been straying from ever since. And so let's say hypothetically, if we had met Hopper, El and the Byers BEFORE that power outage, whose to say their lives wouldn't have looked slightly different...?

The first time we are introduced to Hopper is in the scene directly after the opening credits, which was right after the scene of Will disappearing in the shed. Hopper is sleeping on the couch in his trailer, wearing both his daughter's blue bracelet and his watch. We also get 3 references to keys in this scene (a 2 ft long key decal in the literal opening shot). And if that's not enough, what follows is Hopper getting ready for work, putting a yellow pen in his pocket near a painting of an owl, before grabbing his keys and walking out the door.

The first time we are introduced to Joyce (the Byers), follows directly after the scene with Hopper, where Joyce just so happens to be looking everywhere for her keys, Where the hell are they?, followed by finding them on the couch, despite already looking there previously with no luck (interesting Hopper was sleeping on the couch with Willel symbols on his wrists only moments before this hmm). We then get a shot of Joyce showing concern over Will not eating breakfast, followed by scolding Jonathan for forgetting to wake Will up, adding I've told you this a thousand times, before she walks past an owl on the wall in the hallway and opens the door to another owl on the wall in Will's (unoccupied) room...

Let me just say, for the sake of this fictional family, I hope to god they haven't been through this thousands of times. Though I fear they might have. At least more than once...

There are a lot, A LOT of scenes that go down like this. As the show progresses, we get a lot of references to time passing and confusion and impatience and it almost feels like they themselves know deep down this isn't their first rodeo, and yet they're still playing along bc how exactly can one question their reality?.

The problem right now for me, is that I don't understand the rules of the game. How does time work? What even is the goal of the game (to win, I presume?)? Maybe Vecna's having to keep reseting the time loop, to get the results he wants, and over time he's getting closer and closer to the results he wants, but it will ultimately (predictably) lead to him failing once and for all in the final season, when all is inevitably revealed?

Hypothetically, if this is all some game/pocket universe Vecna has thrown our core characters into, essentially surrounding them with 'fakers', then how do we know what is/isn't real? Or I guess whether or not we're in a timeline/loop either closest to, or furthest away from the original timeline? That's why it's hard for me to go further in terms of definitively piecing everything together time wise. Not only that, but we also don't even know for sure what Vecna wants from Will and El, truly.

But I do think that a lot of the answers to the truth are hidden in plain sight.

If you're genuinely curious, I encourage you to rewatch the show for yourself to see if you can pick up on things! Be sure to keep an eye out for keys and owls in particular. Also, El's flashbacks of Mama/the rainbow room might prove to be important... like, literally slowing down and pausing and screenshooting every single frame level important...

Who knows, you might even stumble upon a completely different undiscovered theory in the process!

On that note, here is just a slice of my favorite evidence in regards to this theory, that will hopefully open your mind to the possibility:

When Hopper asks about Lonnie's whereabouts, Joyce insists TRUST ME HE HAS NOTHING TO DO WITH THIS. They made sure to keep the keys on the wall OUT of the frame in those shots referencing Lonnie by name specifically. However, when the conversation circles back to Will, and then follows after with Joyce telling Hopper to find her son, the keys are once again visible in both of their shots.

This scene right here is pretty epic. We all interpret Hopper's investigative skills throughout the series as him just being good at his job. But I would argue this scene in particular gives off very intense deja vu. It's as if Hopper knows where to look, because he's done this before. It's as if he's getting a gut feeling in certain areas that actually could be close to the truth, because this is his thousandth time doing this (Jesus, for their sake, I hope that's not the case).

Still, Hopper showcases a lot of unbelievable detective work throughout the show, and I think it could very well be hinting at him drifting in and out of awareness over the fact that he has done this before, which allows him to make such incredible guesses that lead him to the answer sooner than he would have in any normal situation (and yet, never too close...)

Has this always been here? That's what Hopper asks about a dent in the wall. We interpret it as maybe Hopper trying to figure out if this could be connected to Will's disappearance. But what if it's more than that? What if it hasn't always been there? What if this is a glitch in the matrix of sorts, and he noticed that glitch, bc this isn't his first time doing this? (Also peep the owl that shows up at the very last second in the shot directly below, with Joyce and Hopper in the frame, just as he gets the urge to check the backyard...)

This scene... This fucking scene ya'll. It just doesn't make any sense. This is one of several scenes throughout the show that have so many unanswered questions. I think it's because something else is going on that weren't not supposed to understand yet. That shot with Hopper encased in a rainbow is cool and probably means something... Hopper intensely walking into the frame as he steps towards the shed, with the upside down horseshoe above the door also probably means something...

Hopper literally walks up straight to where Will was in the shed the night previous, bc he's just that good of a detective. Yeah, okay... Suddenly the light overhead is blinking dramatically, only to switch off completely, which leads Hopper's eyes to catch this makeshift fort in the corner of the shed. Before he even gets a good look at what he's seeing, he's interrupted by Callahan, pulling him out of his deja vu state, followed by the light switching back on instantly, as if the occurrence was all in his head.

This also happens a lot, where our main characters are being interrupted by other characters, only seconds before they were close to solving something. And I just find that interesting...

This one is kind of peak comedy because, all it's doing on the surface is implying that Joyce and Hopper have a romantic history, but it also sneakily involves Will in the joke, as evidence that they have been intimate... The Chief and her, they've screwed before huh? ...WILL! That a 'yeah' or did they...

To be honest, I was really doubtful about Joyce and Hopper being El and Will's biological parents at first, even despite believing twelvegate and the possibility of them being twins. And this doubt mostly came from the scenes we get with Terry aka El's 'Mama'.

Initially, I had convinced myself it would be too sad, considering how much backstory we got about Terry. But @shippingfangirl013 made me realize that there is something very off about these scenes with Terry, that I think kind of went over all of our heads.

First of all, Mama is essentially the equivalent to the name Papa, and so we should start by unpacking that. Why didn't the writers have El distance herself from that exact association she links to Brenner, by just having her call Terry 'mom' like most kids call their mother? It doesn't seem that serious on the surface, but again this is a choice the writers made... Maybe it's because they wanted the audience to subconsciously associate those two with each other (Papa/Mama)? Also peep Jim giving Will Byers vibes, all lit up by the sun like Jesus (or I guess... God?) below!

The main thing I want to talk about though, is that despite Terry's vegetative state, she's still managing to give us hints about how she feels and what she thinks, with very subtle micro-expressions.

When she meets Hopper and Joyce in s1, Terry looks completely unsurprised. You could say she looks the same all of the time, because of her vegetative state, and while I mostly agree, there are some outliers in the mix.

When Joyce mentions El being her daughter, what we get is a reaction shot of Terry dramatically closing her eyes for an extended period of time, almost like she's experiencing frustration over them woefully misunderstanding the truth behind what's going on.

And I think that's kind of the whole point of the vegetative state here, that perhaps if Terry could say what she wanted to say, it would give away the truth that has been hidden all along, AKA Joyce and Hopper are El and Will's true parents. When Joyce then mentions her missing son, showing Terry a picture of him, this woman LITERALLY turns her head to the right, looking straight up annoyed... Why? Why would she do that unless this is her ?/? time meeting them, hearing this same old silly charade?..

But then here... THIS moment when Hopper asks about Brenner and Terry's relationship with him, that's when it gets interesting. Terry doesn't look exhausted over their ignorance anymore like she seemed to be in the moments previous. Now, she's back to her stare of nothing, and yet seeing this in contrast to her micro-expressions, almost adds a new layer to what this could possibly mean... Perhaps this could be hinting that Hopper is a lot closer to the truth than he realizes, warranting a knowing look from Terry, with her almost impressed, thinking Damn Jim, maybe you'll figure it out this time and I can finally be released from this hell...

This might seem like a reach to assume Brenner and Terry had any sort of relation beyond her being a lab volunteer, but something I think you might be interested in knowing, is that Terry has a little collection of Bonsai tree books beside her chair... Bonsai... does that remind you of anyone...? (If you check out those posts by @shippingfangirl013, you might know what i'm referring to...)

The fact that Hopper even mentions Brenner and Terry's presumed connection to him is just one other example of Hopper subconsciously picking up on things he discovered in previous loops that are close to the TRUE truth, allowing him to narrow things down quicker this time around, without needing to take all the steps to get to that point.

An owl behind both Joyce and Hopper here, while they talk about what allegedly happened to Terry and her daughter Jane.

And there you have it folks, the acknowledgment that the truth could have been covered up, the moment Hopper stands in front of the owl artwork (literally covering it up). Owls, which have been tied more than anyone else to Hopper, Joyce, Will and El (tying them together?).? Also the crib between them... Nothing to see here.

This one is pretty self explanatory. We even get a parallel to this in s4 with El AND Will, though next time they'll confirm Hopper's role in the equation. So, be ready for that...

These scenes are so important to this theory because despite them all being separated (who knows how many times now), they have this epic finale of coming together. We get these really heartfelt scenes with El and Joyce and Hopper, Will and El, and then Will and Joyce and Hopper, and it's all very emotional and just so much deeper knowing that the truth could be that they're all tied to each other more than we (or even them) realize.

11 & 12 between the two hands on the clock, in a moment that parallels X-Men and also the lab massacre (which presumably had both 11 and 12 in attendance...). Mike calling out to El emotionally the moment that Joyce and Hopper are reunited with Will. My heart can't take it!!!

Someone actually noticed this shot of Hopper recently, I can't remember who! But it made me want to go back to see what shot is right before it. And low and behold, it follows directly after a shot of the Byers family reuniting. Kind of interesting they made the choice to have this shot right afterwards, of Hopper sitting next to Ted (aka a dad), while looking lost in thought as he stressfully bites his nails, with his arm sporting his daughter's blue bracelet...

Not suspicious at all. That creepy shadow behind Owens as he makes an almost knowing comment about Joyce and Hopper being 'Mom and Pop', followed by Hopper looking like he's missing something...

And for this scene to follow shortly after? Hopper literally acknowledging Owens whose waving at him politely, and yet choosing to not wave back at him?... He KNOWS something is off, but he just can't quite put his finger on it...

As you probably know, most of the scenes with the birthday mug in Mike's basement involve either El (in s1) or Will (in s2-3), which is interesting considering the other few notable birthday references we get in the show, including this really cryptic sequence above, involve Joyce and Hopper...

Now, if you still didn't believe me about Terry's behavior being off, I think this piece of evidence might help support our claims a little bit more for you to consider. Because, why, WHY when El approaches Terry in the void and says I'm home, is Terry's response No..? Why would that even make any sense? Why would El's biological mom say No to her missing daughter implying that she is her family? Unless, she's not of course...?

Something interesting about the flashbacks that Terry shows El, is that they're very sporadic and hard to understand. Not only that, but we STILL get callbacks to these memories heavily even in s4, which tells me there is still something there that has yet to be picked up on, by both the audience and El herself, which is why they keep resurfacing in different forms. My favorite moment out of the s2 flashbacks though is probably this moment where it looks like a baby is born, only for Brenner to look back, like there's more to come (another baby?? TWINS?). But this type of twin imagery, only gets stronger in s3-4...

After 2 seasons of building up this meeting of these two characters who have been mirroring each other since the very beginning, here we are... Also, why even hold back for so long in introducing them? Maybe because them finally interacting properly is going to cause some things to resurface... And you definitely don't want to overlook these shots of Hopper and Joyce in Melvald's with two baby's in between them, followed by a shot of keys... Hmmmm.

Remember when I said to pay attention to the Terry/Lab flashbacks El experiences over the seasons?

Well this particular flashback below comes from 3x06: E Plurbius Unum aka the episode that was originally titled The Birthday, might prove to be important...

Jonathan and Will in a scene prior to El's flashback, has them situated interestingly between this Lucky Charms box and this Spill & Spell game, which is then followed by this scene with El experiencing flashbacks... And...

Rainbow? Lucky (Upside down horse shoe...) Enter flashback

I'm not going to be able to show each frame of this flashback, because in total there are over 30 different quick images shown and repeated...

And so, If you want to find out why this is the strongest piece of evidence for Willel twins in my opinion (brought to you by @shippingfangirl013's big brain), go back and rewatch to see how many times they show the image of baby El and young El in the rainbow room... Also take note of how shots of Kali (008) are interspersed consistently within this flashback, aka a character that is known for having powers to make people invisible, and to also make people see things that aren't actually happening...

Here's that parallel I mentioned earlier making a return, but instead tying El (and arguably Will) to Hopper being their biological father. Also peep El's bracelet and Will's watch being prominent in a lot of their shots together throughout s4, now that they share the screen a lot more.

The Wright Bros...

No, but seriously, Willel's bracelet and watch mirroring each other often in their scenes together, and by association also paralleling Hopper wearing one of each, dramatically showcased in his introduction to the series, can be something so personal to me...

THEY'RE TWINS YOUR HONOR!

This one really goes off. A car passes by a couple times during this flashback El has (IN S4), causing a shadow to cast behind Will, almost creating this duplicate-like effect... This is literally happening while El is having a flashback to her 'birth mother', while staring at a family (with their faces warn out/blurred) on a billboard, with an arrow pointing towards where Will, aka her twin, is standing to the right of her...

This one below has gotta be my favorite though. And it's because I literally remember watching this scene the first time and being confused?

Tbh, that's when you know something is more complex than it appears. Whenever something feels off within the context provided in the moment, it's probably because there's something deeper going on and there are multiple meanings at play. This means they're using this small moment as an opportunity to provide dual meaning in plain sight, that we wont understand the dual meaning of until later on down the line.

Are you ready..

Hmmm. I wonder what this could possibly be alluding to? Could it perhaps be the writers hinting at Hopper unintentionally projecting his own situation onto Dmitri? Is it possible who Hopper believes to be his child (daughter... son(s?)?) and his (ex)wife, are not actually who he and everyone thinks they are...?

Well. There you have it! These are just some of the many, many hints hiding in the details that point to the possibility of the Byers actually all being, Hoppers...?

For now, this is just a theory! So even though it's cool and there is a serious amount of evidence pointing to it, it will most definitely continue to transform and look different over time, the more we look deeper and discover more. Nothing is set in stone, for now it's all just theories and speculation.

Again, if you're curious about what else there is out there in regards to this theory and other possibilities surrounding it, please follow and check out @shippingfangirl013 posts! She was way more on board with this theory than me in the beginning and arguably still is, because I do still experience occasional doubt about it, for sure.! And so without her I would not have come to half of these conclusions! I look forward to you guys seeing other stuff she's discovered bc seriously... Her poor storage ya'll.

And also, if you're interested in the time-loop aspect specifically in regards to this, I encourage you to check out two recent posts I did about this. Part I actually starts with those first scenes introducing Hopper and the Byers and how other scenes later in the show parallel it. VERY VERY cool stuff, and tbh if you've made it this far, I think you'll be intrigued...

Time Loop Fuckery in Stranger Things Part I

Time Loop Fuckery in Stranger Things Part II

[tobiasdrake]

Final farewells. T_T So long to everyone. Until we meet again one day.

And by one day, I mean "On sale now!"

Of course she is. She's the obligatory love interest for a romance arc that didn't even manage to dip its toe in the water before the end credits rolled. She's going to need several more games of development before anything gets started for her.

Poor girl didn't even manage to get a climactic last-minute kiss, either right before Yuma went off into the final confrontation or just before the end-credits rolled. The game was having too much fun shipping Yuma with Fubuki (gross) and Shinigami (SO GROSS) instead. Kodaka owes her at least one date to a coffee shop or something.

Go get him, girl. Maybe next time, you'll be allowed to have a relationship with him that is actually romantic in some way.

That must have been such an awkward conversation. Can you imagine having to talk to your crush's clone to try and get permission to go look for his human counterpart?

I remind everyone that Kurumi was able to navigate a Peacekeeper-infested Dohya District when even Yuma needed timey-wimey powers to pull that off. I have the utmost faith in her abilities.

...all due respect to everyone here but I cannot in good conscience vote for any of them. Halara's too capitalist, Fubuki lacks worldly experience, Vivia's unmotivated, and Desuhiko has a lot of personal growth he needs to do before he'll be ready for any kind of authority.

I hope there are more well-adjusted Master Detectives in the organization who will do a better job of it. But if you twisted my arm... Fubuki, with Desuhiko as running mate.

Halara is far too valuable in the field and would most certainly convert the WDO into a for-profit corporation immediately after assuming control, so that's a hard pass. Vivia, absolutely not. Why would you do that to the poor guy? He just wants to rest.

Fubuki lacks a lot of wordly knowledge but she has a boundless curiosity and love for the act of discovery itself. I have faith in her judgment. I do not have faith in her ability to fully understand context, which is why Desuhiko would make a good partner for her.

Desuhiko's head is too far up his own ass to make sound judgment decisions with authority. He has a lot that he needs to figure out about himself and the way he engages with the world. But he's attentive and follows along with information well.

The two of them could make for an effective tag-team, with Desuhiko laying out the context and Fubuki calling the shots. That could work.

But if there's someone, anyone better, that would be... better.

T_T This is the true reason that Yuma went into hiding.

See you around, Halara. It was awesome knowing you. I have the utmost faith that you're going to excel, no matter where you go or what you do.

Oh, of course! In fact, I have these three friends who I'm sure are just dying to meet you. I can take you to them right now, if you'd like!

I kid. We know now that he's only doing this to try and look cool. Nonetheless, as uncomfortable as I was interacting with him as a boy, I am twice as uncomfortable interacting with him as a girl. But, c'est la vie. This is what every day is like for women.

So long, Desuhiko. I wish you the best of luck in figuring yourself out and finding your way to a place where you can be satisfied with the man you've become. Or woman or person, if you wind up down one of those roads. Whatever the case, may you one day find yourself in a place where you can be happy.

Spinoff game starring Fubuki and Kurumi. I want it now. They can call it Ultra Truth Girls or some shit. I don't care what.

Farewell, bestie. I trust that wherever your adventures take you next, you'll have the awesomeness to weather it. And get the hell away from your shitty family, while you're at it! If you wind up becoming President of the WDO, that's my fault, I'm sorry for that.

Yeah, I'm mad at Desuhiko too. I told him that was his job. Though he might not have skedaddled so quickly if I hadn't threatened to get him eaten by ferals. So I guess that's on me. Sorry, Vivia.

In any case. Vivia? I hope you get to take a nap. A long, long nap. The longest nap of your career. And when you wake up from that, you get to take another nap. You deserve all the rest in the world.

So. That. Means. We have dibs on the submarine, right? Let's take this sucker out of port and get to globetrotting!

Y'know, a sub wouldn't be a bad place for a homunculus to live, in fact. No fear of sunlight in here. None whatsoever. Plus, Yakou's still feral for the time being so it's not like he needs it.

No? Going to leave it here to rot forever? Okay. Fine. What's even the fucking point of having the office in a sub if nobody ever uses its vehicular capabilities for anything. Angry fish noises!

Sure. I guess we can take the train, if we want to be boring about it. Watch out for murderers, Kurumi.

Yuma left Kurumi a note telling her that he left and offering little information as to where. Aww, that was sweet of him.

HE ALSO LEFT HER THE BOOK OF DEATH

OKAY

Kodaka, you realize that this is a promise for Kurumi to be the protagonist of the next game, right? You're clear on that?

I want to be sure because you might think that this means "Kurumi is going to find Yuma at the start of the next game and hand him back the book, so he can connect with Shinigami again."

But that is not what this promise means. This promise means, "Our next adventure will star Kurumi as she makes a pact with Shinigami and they go on adventures while trying to find Yuma together."

I'm gonna be mad if Kurumi isn't the protag for Master Detective Archives 2.

Again. This is promising a Kurumi-centric adventure. Just so we're clear. I expect you to deliver on that.

Post-credits scene showing what Yuma's up to?

The closeup here implies she's going to be important for the next game. Fuck, we're not getting a Kurumi-centric adventure, are we? She's going to show up in the prologue and be like, "Here you go, Yuma. I brought your book!" and then resume the same role she had in the first game.

Fine, but at the very least, I demand a badass scene where she exposes herself unfiltered to the sun and lets herself turn temporarily feral on purpose to fuck up the bad guy.

[grapehyasynth]

young royals fic rec, 23/?

i’m (slowly) working my way through the wilmon tag on ao3 and thought that as i go i might shout out some fics i enjoy along the way! i've tagged authors where i knew their tumblr url, but please feel free to tag folks or dm me if you know ones i've missed!

see all my rec lists here

bet you'll see stars by @gh0sthugs - In which nine-year-olds are not good at keeping secrets, Simon has a lot of feelings about family, and Wille is oblivious.

thread counts & intoxication by @fishscalesky - Boys will be boys.

All kinds of ways to be by SkuldTheNorn - When Wille is thinking, he is overthinking. Currently, he's thinking a lot about the fact that he said the words "I'm a giant fucking homophobe", didn't give enough context, and now, apparently, Simon is gay? Yeah, it's a lot. So of course overthinking leads to panic. But at least he can call Erik to gently make fun of him until he can breathe again.

you weren’t down for forever, and it's fine (i’m right where you left me) by Namgitrash - There’s nothing that drowns out the pain, no amount of screaming into the starless night sky above the football field or crying into his mom’s arms after he spends another day at school ignoring the defeated curve of Wille’s shoulders and the ache in his chest at the glow of his dirty blonde hair under the crappy gym lights.

Kaggeholm Cabins by RBlythe08 - It’s been a stressful week and after finding out that Stella’s family has cabins that aren’t too far from school – it’s time for a weekend getaway.

sweater weather by peaceoutofthepieces - Wilhelm had already said I’m yours louder than he ever allowed himself to say anything, and nothing should have been able to make Simon feel that affected ever again, and yet.

Don't Suppose You're Out Driving? by @capricious-soldes - Simon and Wille drive around like normal teenagers on a date.

always on the tip of my tongue by @royalwilmon - Friends. A decade ago, they could have been more, but that's not what happened. They remained friends. Best friends. Benefits. Because having a best friend who knows you inside and out can have its perks.

[thawthebeez]

hey guys. tumblr user thawthebeez back at it again with yet another haikyuu essay B) the topic of today is one that i see NOBODY talking about which is crazy because this motif is (in my opinion) one of the main foundations of the kagehina community.

now may someone please explain to me why the HELL nobody ever talks about how whenever Tobio expresses an insecurity of ANY KIND, Hinata is ALWAYS the first one to swoop in and tell him not to worry about it?

yes, we've all established that Hinata Shouyou is the #1 Kageyama Tobio understander. we get that. BUT THIS IS ONE OF THE MAIN DISPLAYS OF THAT AND I'VE SEEN LITERALLY NOBODY SPEAK OF IT EVER.

i'm pretty sure there's an instance of it in season 2 (either that or my brain just made it up) when Tobio is a little worried about his and Hinata's quick attack not really working out but Hinata tells him "nah you'll figure it out eventually" or something along those lines. i'm not going to lose my shit over it because i can't find it but if you know YOU KNOW.

a part that i COULD find from season 2, however, was this:

here we have Tobio explaining how talented of a setter Oikawa is- how he's so much better than him- and it's clear that this is something he's insecure about given his facial expression.

THEN we have Hinata's INSTANT response:

and it blows Tobio away because WHAT

because, to paraphrase a little, Tobio basically just said "yeah oikawa can make any spiker look good no matter what team he's on" to which Hinata replied "yeah but that team wouldn't be Karasuno" which is essentially "Karasuno is strong enough as it is" BUT- if ur crazy- " dw he wouldn't take your spot babe" (<- which probably isn't how it's meant to be interpreted because they just finished talking about The Team That's Stronger As Six thing so like... context clues. it's probably not the insane interpretation).

ANYWAYS boom there it is. Tobio expresses insecurity, Shouyou swoops in and goes "Ermmmm Actuallyyyyy🤓" WHICH IS SO FUCKING ENDEARING ON IT'S OWN BUT THE FACT THAT IT HAPPENS MORE THAN ONCE AND AT SUCH A CRITICAL POINT TOO

the critical point in question being:

(context: Tobio just came back from his training camp in Tokyo and is a little frustrated because he's gotten so used to playing with other prodigies like himself so to go back to talented-but-not-prodigious players is a bit of a switch for him. don't get him wrong tho he loves this team to DEATH it's just a little different that's all. hashtag number one Tobio apologist right here)

SO THERE'S THIS! and it goes without saying that Tobio is DEEPLY insecure about his late middle-school days and being referred to as a king. Tsukishima adds a little salt to the wound and while I didn't take a screenshot of it Tobio makes this look of absolute HORROR after he says what he says

(which, side note, shows a lot of a character development within Tobio. especially since I've been flipping between season 2 and 4 a lot looking for these clips. Tobio didn't even notice when he was acting kingly before but he realizes it INSTANTLY now which is so so so good for him yayyyy character development!)

this also leads fantastically into my next tangent which is

TOBIO FUCKING APOLOGIZES!

now, admittedly this isn't entirely related to my thesis but i absolutely ADORE talking about this scene and i genuinely think it is one of the most prevalent displays of character development within Tobio because i feel like he tends to get overshadowed by all the other characters (especially Hinata, which i'm not upset about in the slightest like it makes perfect sense and if Tobio got all the attention all the time the show would be soooo unbalanced)

but I feel like a lot of people skip over Tobio's overall development over the course of the show. I mean compare s1 Tobio to s4 Tobio THAT IS NOT SAME PERSON ANYMORE. he grows so much over such a short period of time (which is another essay I could write. something along the lines of "Explaining Why Tobio And Shouyou Need To Be On Separate Teams Actually Because Character Development Purposes" because the amount of people i've seen on tiktok complaining about kghn being on separate teams and how they should just be on the same team forever makes my blood boil violently) and it's so refreshing to see Tobio's growth especially as a big Tobio enjoyer.

ANYWAYS back to the main thesis.

So Hinata steps in IMMEDIATELY here. literally cuts Tobio's apology off because HE HAS NOTHING TO APOLOGIZE FOR. he was expressing his thoughts whatever that's fine he could have done it in a nicer way SURE but listen the guy still has a LOOOONNNGGGG way to go but still, nothing to apologize for. it's just growing pains, y'know?

now the quote "What's wrong with him being the King again?" appearing here isn't the first time we're seeing this. Hinata has ALWAYS been confused as to why calling Tobio a "King" is a bad thing. literally from day fucking one Hinata was like "nah dude I think that title is cool" WHICH, AGAIN, TOBIO BEING INSECURE ABOUT SOMETHING AND SHOUYOU REASSURING HIM THAT IT'S TOTALLY CHILL HELLO?????

LITERALLY FROM DAY ONE SHOUYOU HAS BEEN DOING THIS. THAT MAN MAY THINK TOBIO'S AN ASSHOLE SOMETIMES (and he kinda is) BUT NEVER WILL HINATA INHERENTLY HATE A PART OF HIM. and i don't think they realize it here nor do i think the realization comes soon after but at some point there will be the realization that they love each other. every single part. fucking Tobio probably realized it way back in junior high but that's a tangent for another time.

now this line.... this one right here...... oh my god i can be SO NORMAL ABOUT IT.

the main reason why Tobio had this look of HORROR on his face after he yelled at everyone was BECAUSE HE KNEW THE ENDING. he knew that yelling at them would have consequences (if it weren't for Hinata stepping in thank god). HE'S SEEN IT ALL BEFORE. in his final year of junior high he yelled at his teammates to run faster and jump higher and be better AND THEY LEFT HIM!!!

so Tobio yelling like this instantly makes him afraid that he's just ruined the entire balance of the team. he thinks he's going to be left behind again because he yelled and everyone is going to leave him BUT!!!!!

BUT SHOUYOU IMMEDIATELY JUMPS IN AND SAYS "idc what u say honestly if i don't like i'm just not gonna listen" OR, TO TRANSLATE "i'm not going anywhere regardless of what you say"

Tobio's biggest fear is losing this team. I literally do not need to explain why. that man would fucking DIE for this team (if you really need an explanation just to go the end of the Kamomedai match when Tobio admits that he's upset they lost because he wanted to play with that specific team more).

and for Hinata to essentially say "you could literally be as kingly as u want and i simply would not care, pal, i promise you i am NOT going ANYWHERE!!!" which has got to be SO FUCKING RELIEVING FOR TOBIO.

(also something something "nobody was there" / "i'm here" something something "doesn't matter what kind of toss goes up if you send it my way i'm hitting it" something something they're soulmates or whatever they are literally bound together by the universe they were destined to be together and it's a crime that universe kept them apart for so long and now that they're together they will always BE together two peas in a pod literally inseparable they are hot glued and duct taped together.)

and then there's this. i mean at this point you already know what i'm going to say like you get it by now but again IT MUST BE SO RELIEVING TO TOBIO to know that shouyou thinks his biggest insecurity is cool. that shouyou thinks that it's not something to be concerned about. that no matter what, no matter how much a King he is, they're not going anywhere.

SOMETHING SOMETHING "you drew stars around my scars" IF YOU EVEN CARE

and just the fact that it's always ALWAYS shouyou to do this. the fact that there was dead silence before shouyou spoke up. the fact that it's ALWAYS HIM there to understand Tobio (someone who has been misunderstood for as long as he can remember) GOD THEY DRIVE ME INSANE.

anyways thank you for being a witness to this madness👍

[fioras-resolve]

What Is Fire Emblem About: an explainer for the uninitiated

this is gonna be a bit of a weird one. i feel like fire emblem fans are gonna get angry at me for mostly sidelining the story, so i'm just gonna say: i'm a game designer, and a very ludocentric person. this is just how i'm going to talk about things. but also, you can't talk about FE story without the contexts of what the games Are mechanically. with that out of the way...

Fire Emblem started as one of the earliest examples of a Simulation RPG (or Strategy RPG in the west, but, you know). it was trying to take a wargame framework and apply that to a fantasy rpg. so unlike most wargames, every unit has a name, personality, and unique attributes. but unlike most rpg's, you're moving across a battlefield. units are defined by wargame functions, like "ranged," "high movement," "flying," etc. and if one of your allies dies, they're gone for good. it creates an emotional heft, one found in most games with permadeath. to quote jon bois, talking about xcom,

in a way, fire emblem simulates war in a way that a lot of wargames don't. it makes you care about each of your units, not just because they're unique characters with lives, but because losing them means losing what they did for the army. you only get so many healers in fire emblem, so many thieves who can open a chest, and if you trained someone up for ages just to see them die to a random critical hit, it hurts.

"it immerses you via accountability. if your ranger dies, you are left with a feeling that ultimately, they counted on you to lead them, and that even in a game that is often decided by chance, it was all your fault"

or at least, that's how it works in theory. in reality, most players will just restart the chapter if they lose someone important. strict "ironman" rules have never been implemented in fire emblem, so while theoretically this is a game about living with your mistakes, in practice it's about constantly redoing a fight until you get the right results. modern fire emblem has even made rewinding to specific moments an actual game mechanic, a design choice i call "embracing the bastards." (i say this with affection, i am one of those bastards)

to make up for the fact that you can lose characters, you get a lot of them over the course of the game. a lot of these characters, especially in early FE, are just kind of there. like, you get so many characters of the same class who are clearly just backup if the other ones die. some of these units are great, with amazing stats or the ability to use some cool weapon, and others suck. if you talk to fans of "classic" FE, you'll find that a lot of people's favorite characters are decided by gameplay. as the series progressed, characters grew to be more fleshed out narratively and more balanced mechanically depending on who you ask, so a lot of modern fans are more into a character because of their personality or character arc.

which does lead us into talking about how the series has shifted over time. because when people think of "fire emblem" now, they're not thinking about the games from the 90s. they're probably not even thinking about the games from the 2000s. so let's talk about the changing identity of fire emblem. i like to split this into four "eras," broken up by major mechanical changes and shifts in who's leading the charge. i'm sure some fe fans will disagree on on this, but this is the framing the works the best for me. so!

The Kaga Era: This was an era of fire emblem led by a single guy, Shouzou Kaga. this is, i feel, where the essence of Simulation RPG is felt the most strongly. the games are hard to get into these days if you don't already play fire emblem, but there's a real artistic commitment here to trying to capture ideas through mechanics. aside from FE1, we also got Gaiden, which leaned way harder into the RPG angle with grinding, magic, and dragon-questy towns. we got Mystery of the Emblem, a direct sequel to the first game that put familiar characters in new contexts. we got Genealogy of the Holy War, an incredibly ambitious game that plays out a story of war on a massive scale. we got Archanea Saga, a very short game consisting of four incredibly potent one-shot chapters. And we got Thracia 776, an intensely challenging game left so up to randomness that even healing can miss. some oldheads view Thracia as the height of the series.

The Renaissance: After Kaga left due to a squabble with Nintendo (which is its own story), the dev team had to pick up the pieces without its auteur director. This period is arguably when Fire Emblem was most "itself." The Kaga era was foundational, but too experimental to have a consistent identity. The Renaissance was when the idea of what A Fire Emblem Game was solidified, to the point where if you ask most older fans what they think of when they imagine Fire Emblem, you'll probably get something from the Renaissance. Probably the biggest innovation from this era was the Support Conversation. Basically, if you put two characters next to each other for long enough, they might strike up a conversation with each other. You can usually do this two more times. This fleshed out the characters beyond their first impression, and made personality more of a sticking point. Later games would expand on this further.

You could maybe argue that this period was intensely safe, but I'd say after Kaga's departure, safe was probably necessary. Binding Blade was essentially a rehash of FE1, for better and worse. Blazing Blade, a prequel to Binding, was the first FE game to be released outside of Japan, so it has an extensive tutorial, and is generally a lot easier to accommodate. But also, it features some really solid and creative level design which makes it worth playing to this day. Sacred Stones did similar to Gaiden with its skill system, world map, and grinding. Path of Radiance and Radiant Dawn... I actually haven't really played those or heard much about them but a lot of people view them as the height of the series. And Shadow Dragon was a remake of FE1, that actually tried very hard to encourage you to ironman it. Like, you can reclass freely, you get replacement units if you're running low, and the prologue ends by forcing you to pick a sacrifice. Unfortunately, people didn't really get the message. It was my first FE game, and I still reset whenever someone died. Caeda, my beloved.

The Maeda Era: This starts, oddly enough, with a remake of the third game, called New Mystery of the Emblem. It adds a player avatar that you can customize, support conversations, a new plotline about assassins, and crucially, a Casual Mode. Yes, you can now start the game choosing either Classic Mode, which has permadeath, and Casual Mode, which doesn't. This fundamentally changes the experience, as you can imagine, and it's still a pretty contentious topic within the FE community. A lot of new players struggle to get into classic Fire Emblem because the forced permadeath is just too punishing for them. But it's also core to the identity of the series. It was contentious within the dev team, too, with people fighting over whether or not to include it. Ultimately, it was decided that if the FE series was going to survive, it would need to be more playable to a casual audience.

This leads us into Fire Emblem: Awakening, which was a massive success compared to anything else before then. It featured the player avatar and casual mode, it featured a world map and grinding, and it also really leaned into the support system. It even combined this with the marriage and children system of Genealogy, adding a fourth support level which got characters to marry and have a child, who would then join your party by time traveling from the future. You could even marry someone with your player avatar. This did make Awakening more dating sim than tactics game in some people's eyes, but it really helped give the game a fandom that exceeded the existing FE fandom by a longshot. This kind of design was continued with Fire Emblem Fates, a game that was actually three different games you could choose between. Birthright was basically more Awakening, but Conquest took that paradigm and made it into a focused, polished, and tightly designed tactical experience. (Arguably too tight, I don't like it that much but I get why people do.) And the Maeda era ends with FE Heroes, a mobile gacha game with as much creativity as power creep. And honestly, how else could this end?

The Modern Era: Since Maeda is mostly working on Heroes now, we're in a similar situation to the Renaissance, where the series has to pick up where its leader left off. But instead of playing it safe, the new directors have experimented with it in a way we haven't seen since Kaga. It started, of course, with a remake of Gaiden, called Echoes: Shadows of Valentia. I have a soft spot for this game, but what's important for you to know is that it introduced 1) full voice acting, 2) special moves, and 3) turn rewinds, which finally just makes resetting a deliberate game design tool.

From this point on we have Three Houses, which did a similar split-path thing to Fates, but letting you choose based on preference for characters rather than gameplay. I think its mechanics are a really nice synthesis of a lot of different games, but that's not really why people care about Three Houses. People care about Three Houses because it features a hot girlboss voiced by Tara Platt, a school setting that's easy to project onto, multiple queer characters with subtext for each other, and a morally grey set of factions that people can argue passionately about for years. It is THE fandom-ready Fire Emblem game. After that is our most recent game, Engage. Now, this is structured like a traditional Fire Emblem, but it plays pretty substantially different. Now your units can summon past FE protagonists to give massive buffs and execute super moves. My favorite is the one that lets you rush through enemies in a straight line. It's also incredibly anime, like bright colors, power of friendship, character designs a bit too outlandish. It's great if that's your shit.

so, I've been talking a lot about how these games play. and if you're a big fan of these games, especially of the modern ones, that might frustrate you. you don't play rpg's for the combat, you play them for the story, which i have avoided talking about for the most part. and first of all, that's a very reductive way of looking at rpg's, and games generally. second, these things are intertwined, you cannot disconnect story from play. but third, i'm of the mind that what a game is About is decided by what happens when you interact with it. talking solely about what happens in cutscenes and dialogue is treating a game as something to watch or read, not as something to play. and i think we owe it to ourselves, and the medium, to do better than that.

but, last few notes before i finish the post. first off, there are a few games i missed, particularly spinoffs, like the Warriors spinoffs or that weird MegaTen crossover that isn't much FE or MegaTen at all. second, the setting, characters, and lore shifts with each entry. sometimes you get games in the same universe, like Awakening's continent is just the FE1 continent but a thousand years in the future. but you don't particularly need to worry about playing the other ones if you want to get into a specific game. third, there's a fair bit of Weird Anime Shit. particularly the consistent use of the thousand-year-old loli trope which has been around since the first game. Fates lets you marry and have children with your siblings, and it's really funny how each of their S-Supports have the other character pull up a letter from their mom saying you're not actually related. Break Glass In Case Of Incest. the games are almost always about royalty finding sacred weapons to kill a problems dragon, and i'm honestly not big on stories that valorize nobility, but it's a fairy tale, so whatever. i have in the backburner a game i've been working on that does this kind of story from the perspective of civilians, so keep an eye out for that in the next few years. also for the love of fuck, if you're a fire emblem fan please play other tactics games. the fe series is good, but there's a whole slue of games out there if you want to expand your horizons. i recommend triangle strategy, xcom 2, into the breach, my own catalogue, and walk with the living.

-Angie Nyx