#this goes without saying but these are suggestions for theme and character option

[floorpancakes]

oh btw!!! I posted this on my art twitter too but since this months project sekai outfit contest theme is 'anything goes' and I have other stuff to finish first if anyone has a concept they rly want to see in game lmk ok!! i might be able to do it! ill be thinking of ideas myself obviously but i think it'd be a nice opportunity in case anyone has a vibe or concept they want to see in game like super badly

[milksuu]

❀. │GIRL DINNER (O2)│. ❀

❥ prompt: You're hungry. You want food. You want a snack. You just want SOMETHING. You send your HEARTSTEEL boyfriend(s) on a food-run adventure. Let's see what each boy brings back. ❥ content/warnings: sexually suggestive themes, fluff ❥ characters/pairings: v!Heartsteel (sett, yone, k'sante) / f!reader

SETT

foot-long sub and gatorade

When it comes to feeding you, Sett isn’t willing to compromise. He goes big, or he goes home. And he’s not going home empty handed. 

He Facetime’s you when he’s at the Deli counter of the local grocer, where the sub-meat selection is divine, options are abundant, and the portions are unbeatable. 

When you say you want double amounts of meat, you’re getting it. When you tell him you want more toppings, it’s done. Oh, you want your bread extra toasted and slathered in condiments? Baby, it’s yours. No problem—he’s got you.

When he comes home, you get a running head start, and jump into his arms without warning. The man has no trouble catching you, ever. 

As he greets your neck with a kiss, you lean and whisper into his soft ears about wanting to ‘share some’ with him. Since Sett has an uncontrollably tendency to go over-board with anything portion related, he’s more than willing to help you out. He understands you can't finish most things by yourself. Especially if he's the one serving you.

You huff with an embarrassed whine, shaking your head. You weren't talking about the food! 

Sett finally catches on by the squeezing of your legs around him, the flush of your cheeks, and the hot puffs you tow against his twitching ears. He hums a low and warm grumble at the insinuation. That large hand cradling your bottom squeezes in all the right places. It's enough to elicit a satisfied cry from your lips.

Sett really didn’t come home empty handed. In more ways than one.

YONE

home cooked meal and water

Yone was an expert and perfectionist—especially in the kitchen. Why would he buy you anything processed and unhealthy when he could make anything you desired? He wasn’t going to tolerate you poisoning yourself. Not on his watch. 

Insisting on cooking for you, you watched at how meticulous he was in the kitchen. His expertise with a knife was incomparable. You never realized chopping vegetables could be a discipline and an art form.

When he finished garnishing the plate, he served you. If you didn’t know any better, you would think the dish came straight from a Michelin five-star restaurant!

Not allowing it cool, you burned your tongue on your first bite. Yone chastised you (one of his ways of showing affection) before taking the next helping, and blowing away the steam. He raised the fork to your lips.

Yone was always cool, calm, and collected—but would then do things that were heart-pounding, sweet and seductive. You felt silly with embarrassment. You shook your head, declining his help.

Unacceptable. Yone took your chin without a word, pressed his lips against yours, and slipped a tongue to open your mouth. When you gasped a moan, he abandoned your mouth, and placed the food inside. He encouraged you to chew thoroughly, but all you wanted to do was collapse.

Yone was definitely an expert and perfectionist—at driving you absolutely mad about him.

K'SANTE

take-out and bottle of wine

K’Sante was never about the ‘Netflix and chill’ thing. More like the ‘Netflix and serve my Queen’ scene. And that’s exactly what he planned to do.

Knowing your favorite restaurant, he orders express delivery and pops the cork off of a pricey bottle of wine.

K’Sante has everything ready for the night. Lights dimmed, scented candles lit, and Netflix show ready to go at the press of a button. 

Like the Casanova he is, he serves you everything first. All the while showering you with compliments about how beautiful you are. K’Sante isn’t ashamed of expressing himself to what he likes—which is obviously you. 

After eating and having your fill of wine, you relax further into the couch with him. All the while, watching your shared guilty-pleasure reality TV-show; 'Too Hot To Handle'

The wine seems to get the better of you two. Spooning you from behind, you turn over a cheek expecting to see K’Sante watching the TV. Far from it—his lustrous gaze is on you. He graciously takes your mouth. Slow and passionate. And you can taste the spice of the wine. 

With eyes closed, you feel his trained hand slide across your waist, and slip between your thighs.

K’Sante wasn’t done serving his Queen. And that’s exactly what he planned to do.

[duckblr-secret-santa]

Welcome to Duckblr Secret Santa 2024!

Edit: signups are officially closed!

Guidelines and instructions so far!

This isn't just for DT17, it can be for any part of the duckverse! Gifts can be anything as well- art, writing, podfics, AMVs/edits, GIFs, whatever you'd like to make.

Send us an ask saying you want to participate!! In your ask give us a little of what you would like in a gift! Favorite character? Favorite episode or comic? A trope you like? You don't have to (and when making a gift you don't have to adhere to what the giftee likes), but it helps to give some pointers! I'll add a template under the readmore to give you some ideas. Gifters/Giftees will be randomly assigned.

Your gift does not have to be Christmas-themed at all! And please know that this should all be done anonymously, so please don't give it away! The mystery is a big part of this event! You will know who you're making a gift for, but you won't know who is making your gift. Once you know who you're making a gift for, you're encouraged to check out their blog to get a feel of what they might like!

Applications to join will be closing December 1st, and preferably, gifts should be finished by Christmas, though this is not a hard-set deadline. We understand that life happens and that the end of the year is particularly busy, and we'll still be here to reblog your gift whenever you finish it! Feel free to post your gift anytime in December. Between now and December 1st we will be assigning people as we go, so when you sign up as soon as there's someone to assign you to we'll let you know! Please let us know at the very least a week before Christmas if you have to back out. If you miss the sign-up deadline we may have to open them up again for makeups if someone simply has to back out, so don't give up!

tag us @duckblr-secret-santa and tag your gift as #duckblrsecretsanta and #duckblrsecretsanta-2024 so we can find it and reblog it!

Further Rules- No suggestive/NSFW/gore gifts When filling out a favorite character, please no OCs! As said before, don't reveal who's gift you are making No toxicity/negativity, I can and will boot you :3 Have fun!

Feel free to reach out and message us!

We will be dm'ing you to let you know who you're assigned to, so please make sure your dms are open!

Template under the cut! Again you don't have to fill it out or fill out all of the questions, but it can be helpful! (this goes without saying but just in case- please don't send your ask on anon because then we don't know who you are!)

Username: (if you would like the gift tagged for a different blog than the one you're using to sign up, let us know here!) Favorite Character(s) and/or ship(s): Favorite episode/comic/movie: Genre/Trope: (e.g.: fluff, hurt/comfort, angst, etc) Characters/episodes you do not like: (this one in particular is very optional)

[hochsleep]

This'll be the day that I live (series masterlist)

• Plot: The world is in chaos. Humanity's past is forever erased. The future is now like a thin thread that is about to break. Death has triumphed and now the living are in the minority. You wish things were different. Maybe not for yourself, but for your little sister. The reality is that now you both have to survive in this world on each other and chance. But there's a silver lining, right?

• Pairing: Daryl Dixon x Reader

• Reader's pronouns: She/Her (female anatomy)

• Era: Season 1-11

• Rating: 18+

• Warning: profanity, typical TWD violence, obscenity, character deaths, themes involving psychological abuse.

• A/N: I started something...

I don't know what will come of it, but I really wanted to write something for the reader. Something big. All those of you who saw in the introductory post that I wasn't going to write something big for Tumblr, please let's all pretend together that I didn't. I just acted spontaneously when I finished my favorite Daryl Dixon x Reader fanfic. And I felt like I actually had a story to tell too.

This is my first experience writing a Y/N fanfic and I'm going to have to learn as I go, but I'm going to really try. As for this Y/N, that is, you as the reader: I won't use a detailed description of appearance, use first and last name (obviously), so you can imagine absolutely any appearance you want. But there are a few things that suggest things already in place regarding the reader. Here's what you need to know: the reader's age is spelled out, there's a backstory and it's assumed that the reader was born and raised in America, the character and growth as a character is spelled out. Also, the reader will have blood relatives appear, and I'll give them names, but I'll also refrain from sagging on appearance details. I'll leave that to you. We'll try to mold it into something together.

I would encourage you to read the post pinned to my profile to get more information about me as an author and to understand how my writing works. It's optional, but if you have any questions while reading it, you'll probably find them there.

We will move smoothly through the story from season 1 to the end (season 11). I can only see this way of telling a great story in this fandom. That way I can really bring out the plot and characters to their fullest potential. It's also how I like it. And the first seasons are really special. So it's up to you and I to recap the entire plot of the series, but with my plot inserts. But I'm sure it will be exciting!

That's pretty much all I wanted to say. I really want to share this work with the Tumblr world and I hope you enjoy reading it.

P.S. as time goes on, there will be useful links to additional fanfic material here. You know, like a playlist and a board on Pinterest.

Enjoy reading!

DISCLAIMER: The rights to the original plot and characters belong to the creators of The Walking Dead. I only own my fictional plot twists, my characters, and my vision of the original characters. This work is protected by copyright. You may not distribute the text of this work to outside resources without consulting me. If you use any materials from this work, please credit the author. CONTENT IS FOR ADULTS ONLY.

SEASON 1

Chapter 1: Just survive somehow

Chapter 2: First day in the quarry

[seeingteacupsindragons]

Critique Partner Basics

What Is a Critique Partner?

A critique partner (CP) is another writer with whom you exchange writing to get feedback from each other on your drafts so you can get better. A partner for critiques!

Do I Need One?

You should really probably have one if:

You’re trying for professional publication/marketing/selling your writing

Getting better writing skills is something you aim for

Otherwise, no, not really.

Do They Cost Money?

No, they cost time and effort and mutual support.

Can’t I Just Hire an Editor Instead?

Sure, but honestly, they don’t work as well. Critiquing other people and trying to see how their story works and articulate it to help them is half of the skilling up having a CP provides.

What Does a Critique Partner Do?

This depends on the people involved and what they’re good at critiquing for and what they want help with. In general, I expect these two things from CPs:

My story document back marked up with live-reading comments from track changes or Google Docs or a PDF with annotations or whatever.

An edit letter of 1-2 pages of overall thoughts to edit towards.

The in-line edits help if something small isn’t adding up, two details don’t match, and gives me a good idea at what point something repetitive became a serious issue, so I know how much patience my CP had with a flaw before they started losing it. It’s also usually fun—this is where I get CP comments laughing at my jokes or yelling about how much they love characters or snarking at them.

In-line comments tend to look something like this:

A mix of pointing out problem spots and bits they love. Often they will fix your typos, but that's generally not what you're getting a CP for.

Edit letters are often broken into sections of things they CP wants to talk about: what they thought of the characters, the stakes, the plot, the pacing, the structure, or any other element they want to specifically call out. A lot of it will be reflective of the line edits, but since it’s written later, it tends to be more cohesive and thoughtful of how things feel by the end of the story after seeing where the entire story goes instead of the experience of puzzling it out as they read it.

Sometimes they will offer suggestions, some more specific than others. They will tell you the things that are working and the things they aren’t, ideally.

I like to also have a back-and-forth with my CP after getting notes to answer questions and brainstorm ideas. This is optional; not everyone likes this.

What Should I Look For in a Critique Partner?

Someone who likes your writing, respects your abilities as a writer, and provides feedback you find useful.

A lot of writers, especially without strong community ties, often find themselves willing to accept basically anyone who is going to read their thing and give them some notes on it. That’s a pretty surefire path to unhappiness and dissatisfaction.

I get it. I’ve done it a lot myself. But I’m going to advise you not to do it. If someone doesn’t get your writing or your story and wants to change it to something more like what they would like, that’s not helpful.

Here’s a few examples to illustrate the difference:

If your CP points out a few sentences that sound a little award or a paragraph is flat, that’s probably helpful! If they try to completely rewrite sections to better look more like their writing style, that’s probably not.

If your CP thinks maybe the story you have has themes or characters that sound more adult than YA and have you considered aging them up, that’s probably helpful! If they  suggest you age up the characters because adult books can tackle a concept that interests them and it wasn’t in your story, that’s probably not.

If your CP says the ending of your story left a lot of loose threads from subplots or other questions that were raised in the story and it feels unfinished, that’s probably helpful! If they say the ending of your story wasn’t satisfying to them because they didn’t like the message it sent to watch a character win, that’s probably not.

Basically, is your CP giving you feedback that will help you write the story you want to write? Do you both even want the same story out of the draft? Do they respect what you bring to the table?

How Do I Find One of These?

Ah, the million-dollar question.

Most writers find them through friends or writing communities they’re in. My best CPs have always been writer friends first, and then we start sending each other pages to test how well our vibes work. Make them on forums, on discord, on social media, in person writer’s groups, writing workshops and classes; whatever. You know a friend who is writing and whose writing you like and you’re both looking for someone to help edit? Great!

There are also sometimes events like CPMatch on Twitter, which are hashtag events to pitch your book and yourself as an editor to see if anyone is interested in reading it and swapping feedback with you.

Some people will run CP matchmaking. Sometimes this costs money. Personally, I don’t think I would bite for one of those, because if I didn’t get a useful CP out of it, I’d feel like it’s wasted money and time and not just time. But it is work for the matchmaker and some people are satisfied with matchmaking options, so having someone try to hook you up, for free or not, is also an option.

Websites like Critique Match also exist for the purposes of finding a CP. I don’t know how popular it is, but it’s also an option.

Most writing discords will have a “seeking feedback” channel and you can reach out there.

[grayintogreen]

ROSEVERSE OST VOLUME ONE

Contains the inspo tracks for the first three fics in Roseverse. Also has liner notes under the cut because I have to explain some of these.

One Good Reason- Eric Stuart Band This is basically the song that inspired the things you hold most dear may not survive another day and kinda remains the main theme for Huskerdust in this first part of the series.

The River Won’t Flow- Songs for a New World So some of the songs on this playlist are not necessarily here because they fit moments, but because in my undying dedication to canon accuracy as close as I can manage, there’s moments where I’m like “SONG GOES HERE.” And in lieu of writing my own (because I can’t), I just flailed around until I found a song that fit the “vibe.” In this instance, this specific vibe this song offers suits a song about Lucifer reacting to the suggestion of sealing his powers and how this will showcase his humility (while hinting that he is EXTREMELY HUMBLED BY EVERYTHING).

Nobody’s Side- Scott Coulter I have so many covers of “Nobody’s Side” and not a damn one of them really fit the vibe I wanted here, so I just dropped the least offensive option. In an ideal world, a technoswing version of “Nobody’s Side” would be sung when Husk confronts Alastor about being Angel’s bodyguard.

Brave Face- Delta Goodrem Just a cute little song for the Chaggie moment in Chapter One.

Lithium- Nirvana I was going through a playlist of songs with sick guitar riffs and just was like “Yeah, Adam in the middle of a rage depression playing Nirvana on his guitar is fully what I wanted from that scene.”

Comfort Eagle- Cake This is simultaneously the perfect song to be playing in the background for the Adam and the Vees confrontation, but also god I want a musical number between Adam and Vox that is basically Comfort Eagle But Broadway.

The Fool- Ryn Carver Angel and Husk’s conversation as they leave the hotel in Chapter Two.

Kiss Quick- Matt Nathanson More Huskerdust pining, but now they’re at the porn studio.

VBS- Lucy Dacus Vaggie and Lucifer’s conversation in Chapter Two.

A Good Man Is Hard To Find- Bessie Smith Alastor at the end of Chapter Two in Eve’s domain.

Bottom of the River- Delta Rae Alastor’s flashback.

Hell on Heels- Pistol Annies Meet Eve! She’s awful!

The Lamb- Dessa Husk and Alastor’s conversation in the radio tower.

The Judgment- Elvis Costello Husk stands up for Angel.

Don’t Say Yes Until I Finish Talking- Christian Borle and the cast of Smash Another one of the “I just want a song here and can’t write one.” This song is actually specifically invoked in the prose even. In an ideal world, a song with this exact rhythm and sentiment would be performed by Vox (and occasionally Val trying to get a word in edgewise) during the confrontation at the studio. Bonus points for being sung by Vox’s VA.

Doing the Best That I Can (Escape From Berlin)- Stevie Nicks Husk and Angel’s “not-a-date.”

You Are the Problem Here- First Aid Kit Eve and Adam at the end of Chapter Three

The Rhythm of Life- Sweet Charity ONCE MORE WITH FEELING. This song does not fit the moment, but it’s the specific energy I want from a Vaggie and Angel number about her training him to take charge in the escape room.

We Both Reached For the Gun- Chicago Honest to God, the Radio Duel between Lucifer and Alastor is supposed to be this, but I could not write it out in the way I wanted without being obnoxious, but trust me that is what it’s supposed to look like.

Secondary Characters- title of show Bonus track of Chance and Diana realizing they’re the main characters while Husk and Angel are trapped in the closet.

Work Your Way Out- Ani DiFranco If you want to give yourself heart palpitations, listen to this song while reading the scene of Husk and Angel in the closet. It’s great.

All For Believing- Missy Higgins More Husk and Angel pining at the end of Chapter Four.

Feeling Good- Nina Simone Casino Demon theme.

A Tisket, a Tasket- Ella Fitzgerald On the Sunny Side of the Street- Ted Lewis Wishing (Will Make It So)- Vera Lynn

These are the three songs playing when Husk visits Al in his room, chosen for specific reasons. The first is for dissonance since it’s a silly little song that starts us off on something that is meant to be intimidating and creepy. The second- also for dissonance- is a friendly, cheerful song to play over the tension of Husk and Al’s conversation. The final song is indicative of Husk’s mental state.

Shape of My Heart- Josh Groban, Leslie Odom, Jr. In my head the Huskerdust sex scene would turn into a more reserved fantasy as the two of them distance themselves from the fact that they are, you know, on camera by singing a duet. Honestly, this song works almost perfectly for it with the card motifs without having to just hold it up for vibes.

Gunning Down Romance- Savage Garden SONGS FOR HUSK RUINING EVERYTHING.

Two Evils- Bastille My DM once played me this song at a pivotal moment in the narrative we were running and it’s stayed with me ever since. It’s got the perfect ambiance for Alastor and Husk’s conversation at the diner.

This is Gonna Hurt- Sixx AM Angel in the limo at the end of Chapter Five.

End of the World News- Tom McRae I imagine this song playing over a montage of scenes at the top of Chapter Six in the aftermath of Angel’s defection.

Capital G- Nine Inch Nails Adam’s broadcast.

Don’t Scare Me Papa (Axeman’s Rag)- Squirrel Nut Zippers Song specifically invoked by Alastor because he’s a nerd.

Holding Out For a Hero- Bonnie Tyler SIEGE OF VEE TOWER LET’S GO.

Wreck- Mieka Pauley Eve at the end of Chapter Six.

Candleburn- Dishwalla Lucifer at the top of Chapter Seven. Everyone cry.

Someone to Fall Back On- Jason Robert Brown Husk and Angel, the morning after.

Eat Them Apples- Suzi Wu Jez, who is absolutely NOT Eve, even though her theme seems to have so much Eve related imagery. Cannot imagine that’s relevant.

bury a friend- Pomplamoose Alastor gets his shit dragged out in front of everyone and Charlie gets her feelings hurt. (Thanks Eve.)

Secret- Denmark + Winter Vaggie and the gang at the diner learning all the Unfortunate Things.

Sabbath Incantation- Thom Yorke Charlie and Jez and the seal.

Case of the Ex- Mya Eve’s ascension and Adam’s death.

Walk Through the Fire- BtVS Cast This is my “Charlie drags herself out of the ruins of her dream” song as the gang prepares to face Eve. Obviously it’s not beat for beat perfect, BUT IT’S THE VIBE.

Nothing Left to Lose- Jeremy Jordan, Eden Espinosa This on the other hand… Listen, I wrote that conversation between Lucifer and Eve with this song in mind. In my heart, it’s being sung between them in that moment, only with slightly different lyrics.

I Didn’t Know I’d Love You So Much- Repo! The Genetic Opera See above. Literally wrote Charlie and Lucifer after Lucifer gets STABBED with this song in mind.

No Return- Craig Wedron, Aanna Waronker EVE FIGHT TO THE TUNE OF THE TOXIC FEMININITY THEME.

Wings- Birdy Charlie’s ascension + the power of love.

Forget About the Blame (Moon Version)- Trans-Siberian Orchestra, Lzzy Hale Lilith returns.

Last Exit to Eden- Amanda Marshall Aftermath, which does include Alastor eating Eve so that’s fun.

You’ll Never Leave Harlan Alive- Kathy Mattea Six months later. I went through so many damn covers of this song for one that fit.

We’ll Meet Again- Vera Lynn And here we are in red, red roses and dead things. This is the Vera Lynn song Al plays for Charlie as he’s giving her the tour.

Weeping (w/ Ladysmith Black Mamba)- Josh Groban Lucifer trying to help and FAILING.

I Never Promised You a Rose Garden- Lynn Anderson Or “lyrical dissonance my beloved.”

Fingerbreaker- Jelly Roll Morton The Chicago Strut- Jelly Roll Morton, Gregory Hines, Keith David The two songs that Husk and Al perform while getting sloshed. I don’t think the second one has a sax in it at all but I’m Bad At Music. It does have Keith David though!

[watchingthewatchervn]

After a traumatizing, tragic event in your teenage years, causing years of paranoia, you've decided to abandon your old life! Leaving behind who you used to be and starting anew!

It's hard to find your bearings, having no transportation, no job, no money, and no home. You're almost tempted to go back and face whatever fate awaits you at home, but you stand strong! Eventually your determination pays off!

You manage to find an apartment and a job, finally able to stand on your feet. You've made this city your home and you couldn't be happier!

But no one can escape the past forever!

Choose your own sex, gender, and pronouns!

5 Different characters to romance, befriend, or hate! Including a character with an optional (M/F) gender!

Choose to continue living your new life or throw it all away to face your old one!

Customize parts of your backstory!

Diner order memorization minigames!

Try to survive your past catching up to your present!

Possessive characters

Unhealthy depictions of romance

Stalking

Kidnapping

Violence

Murder

Death

Depictions of child abuse

Suggestive themes, 18+ options

Maxine "Maxie" Day is the daughter of your boss! Her mother offered you a job to pay your rent! Maxie is your playful coworker who quickly claimed you as her bestfriend!

Stephen Hale is your neighbor next door! He's always been the intimidating man who worked late and always looked irritated, but he always seemed to be looking out for you, causing a blossoming friendship!

[REDACTED] "Juniper" [REDACTED] is a force you don't want to reckon with! He's always making jokes and saying the most bizarre things to throw you for a loop! Despite their laid back attitude, you always feel like a prey being hunted when his gaze meets yours!

[REDACTED] "Violet" [REDACTED] is a kindhearted caretaker! He goes out of his way to make sure you are healthy and comfortable within the limits of what he can provide! He always seems to be there whenever you need him!

[REDACTED] "Scarlet" [REDACTED] is someone you recognize from your past! Their scowling and silence is enough to make your blood run cold, especially since you have seen what they are capable of! They haven't made a move yet though, so maybe you still have a chance!

Anon asks are allowed, but any NSFW asks sent by anon's or someone without an age in their bio will be ignored!

I will be ignoring any asks that have detailed triggering topics!

I will try my best to answer any asks I get! If it's not answered within a week it's either been asked before, wasn't within the ask rules, or got eaten by tumblr!

A masterlist and a taglist will be added and updated as more asks get sent!

[whumptober]

Whumptober 2020 - Updated

Welcome to Whumptober 2020! We’re doing things a little differently this year so please make sure to read the Event Info carefully. We are also excited to announce the addition of an AO3 Collection, which can be found here.

We hope you’re as excited as us to watch the Whump Community come together once again for a month of bone-crunching creativity and collaboration!

(All 31 Themes + Prompts, Event Information, and FAQs are posted below the cut!)

No 1. LET'S HANG OUT SOMETIME Waking Up Restrained | Shackled | Hanging

No 2. IN THE HANDS OF THE ENEMY  "Pick Who Dies" | Collars | Kidnapped

No 3. MY WAY OR THE HIGHWAY Manhandled | Forced to their Knees | Held at Gunpoint

No 4. RUNNING OUT OF TIME Caged | Buried Alive | Collapsed Building

No 5. WHERE DO YOU THINK YOU'RE GOING? On the Run | Failed Escape | Rescue

No 6. PLEASE.... "Get it Out" | No More | "Stop, please"

No 7. I'VE GOT YOU Support | Carrying | Enemy to Caretaker

No 8. WHERE DID EVERYBODY GO? "Don't Say Goodbye" | Abandoned | Isolation

No 9. FOR THE GREATER GOOD "Take Me Instead" | "Run!” | Ritual Sacrifice

No 10. THEY LOOK SO PRETTY WHEN THEY BLEED Blood Loss | Internal Bleeding | Trail of Blood

No 11. PSYCH 101 Defiance | Struggling | Crying

No 12. I THINK I'VE BROKEN SOMETHING Broken Down | Broken Bones | Broken Trust

No 13. BREATHE IN BREATHE OUT Delayed Drowning | Chemical Pneumonia | Oxygen Mask

No 14. IS SOMETHING BURNING? Branding | Heat Exhaustion | Fire

No 15. INTO THE UNKNOWN Possession | Magical Healing | Science Gone Wrong

No 16. A TERRIBLE, HORRIBLE, NO GOOD, VERY BAD DAY Forced to Beg | Hallucinations | Shoot the Hostage

No 17. I DID NOT SEE THAT COMING Blackmail | Dirty Secret | Wrongfully Accused

No 18. PANIC! AT THE DISCO Panic Attacks | Phobias | Paranoia

No 19. BROKEN HEARTS Grief | Mourning Loved One | Survivor's Guilt

No 20. TOTO, I HAVE A FEELING WE'RE NOT IN KANSAS ANYMORE Lost | Field Medicine | Medieval

No 21. I DON'T FEEL SO WELL Chronic Pain | Hypothermia | Infection

No 22. DO THESE TACOS TASTE FUNNY TO YOU? Poisoned | Drugged | Withdrawal

No 23. WHAT’S A WHUMPEE GOTTA DO TO GET SOME SLEEP AROUND HERE? Exhaustion | Narcolepsy | Sleep Deprivation

No 24. YOU’RE NOT MAKING ANY SENSE Forced Mutism | Blindfolded | Sensory Deprivation

No 25. I THINK I’LL JUST COLLAPSE RIGHT HERE, THANKS Disorientation | Blurred Vision | Ringing Ears

No 26. IF YOU THOUGHT THE HEAD TRAUMA WAS BAD... Migraine | Concussion | Blindness

No 27. OK, WHO HAD NATURAL DISASTERS ON THEIR 2020 BINGO CARD? Earthquake | Extreme Weather | Power Outage

No 28. SUCH WOW. MANY NORMAL. VERY OOPS. Accidents | Hunting Season | Mugged

No 29. I THINK I NEED A DOCTOR Intubation | Emergency Room | Reluctant Bedrest

No 30. NOW WHERE DID THAT COME FROM? Wound Reveal | Ignoring an Injury | Internal Organ Injury

No 31. TODAY’S SPECIAL: TORTURE Experiment | Whipped | Left for Dead

Alternate Prompt List

Alt 1. Punctured

Alt 2. Falling

Alt 3. Comfort

Alt 4. Stitches

Alt 5. Stoic Whumpees

Alt 6. Altered States

Alt 7. Found Family

Alt 8. Adverse Reactions

Alt 9. Memory Loss

Alt 10. Nightmares

Alt 11. Presumed Dead

Alt. 12. Water

Alt. 13 Accidents

Alt. 14 Shot

Alt. 15 Carry/Support

Event Info

WHUMPTOBER is a month-long, prompt-based creation challenge (think: Inktober, but whumpier). There are 31 Official themes this year - one for each day of the month - which can be used, skipped, or combined in any way you’d like. They are meant to serve as inspiration without being taken literally (e.g. you don't have to include the exact wording into your work). Additionally, there are 3 prompts for each theme.  These are optional suggestions and can be used in conjunction with the theme, or as options/alternatives.  We want to give everyone as much creative freedom as possible, as well as increase event accessibility for folks with triggers and squicks.

Creators can PRODUCE work in any media they choose, including but not limited to: writing, visual artwork, and photo/video/audio edits. Creators can PARTICIPATE as much or as little as they want (i.e. you don’t have to do ALL the prompts if you don’t want to) and prompts can be used in any order. They are also free to use even after the event ends.

When uploading Whumptober content to your blog, be sure to tag the with:

#whumptober2020 …..(the event tag)

#no.1, #no.2, #no.3, …..(theme number)

#bruised, #stabbed,  …..(the theme or specific prompt you chose)

#fandom or #OC

#medium …..(gifs, fic, podcast, art, etc.)

#teeth, #etc …..(trigger warnings & any additional tags. Keep in mind not to add “tw” in front but only use the word/trigger itself, because tumblr sucks)

#nsfw, #nsfwhump …..(only for nsfw content)

PLEASE BE DILIGENT WITH YOUR TAGGING. Only properly tagged posts are considered for archiving on the official @whumptober2020​ blog. They must be tagged in the order above.

Unfortunately, due to the sheer number of participants in recent years, we cannot guarantee your work will be archived. A random selection of properly tagged posts from all genres will be reblogged each day.

Whumpers who produce content for 31 total theme days are considered event completionists and will be tagged in a masterpost at the end of the month.

Questions not addressed below can be directed to this blog as well.

Thanks for reading, and happy whumping!

Frequently Asked Questions

Q. What kind of content can I make? Can it be NSFW?

This is a MIXED MEDIA event! You can write fic, post meta, doodle or paint, create a gif set or photo edit, link a song, or get crafty with video - anything goes. As for NSFW, make what you like, we just hope that you’ll tag your work accordingly so that others participating in the event can stay safe :)

Q. Do I have to do all 31 Days? Can I post early/late?

Participate as much or little as you like, and post whenever! Just be sure to tag your posts properly (ex. #no.11, #psych101). Combining prompts into one piece of work is okay, and posting late is as well so as long as it’s in October.

Q. What if I don’t understand a theme?

Send us an ask! We’re happy to help clarify. That said, the themes are entirely up for interpretation :)

Q. Can I combine Whumptober with other creation challenges?

Absolutely! That’s like shooting two whumpees with one bullet :)

Q. Can I upload/repost my whumptober content to other social media platforms?

Of course! We’ve created an AO3 Collection to archive any fics posted there. The archive can be accessed here. The blog is the official archive, so please respect the boundaries of any closeted whumpers in your social circle :)

Q. Can I use prompts to write a new chapter for an existing fic?

Yes

Q. An existing fic I am currently writing contains many of the Whumptober prompts, can I use it?

If you are actively writing this fic at the moment with the whumptober prompts in mind, yes. If it just conveniently checks the boxes, then please don’t. You can, however, add new chapters answering one or more of the prompts.

Q. What kind of characters can I write for?

Fandom characters, OC characters, human, furry, alien, cyborg, whoever you like.

Q. Can I use a prompt multiple times?

Yes,  but it only counts once

Q. If I’m not comfortable with one day's prompts can I use a prompt of a different day as a substitute and still be a completionist?

Yes, but please do not use a specific prompt twice. We have also created an alternate prompts list that you can draw from [here].

Q. Where can I post my work?

Post where and how you want. You don’t even have to (cross)post it to Tumblr. Just keep in mind if it’s not on Tumblr we will not be able to add it to the blog archive.

Q. Can I start posting early?

You can, but this is an October event and wouldn’t it be more fun with everyone doing it at the same time? That being said, you can post early, but we won’t be reblogging any work predating October 1st.

Q. Do I have to finish a fic I started/can I post WIP’s.?

Yes you can post WIPs. And you’re not obligated to finish it in October for it to count towards being a completionist.  

Q. Is co-writing allowed?

Yes, absolutely, and it would count towards being a completionist for both/all of you :)

Q. Do I have to create 31 standalone pieces to be considered a completionist or can I write one continuous story?

One continuous story is fine.  The challenge is to write something for 31 prompts. If that’s spread over 31 fics or just one, you are still considered a completionist. (The same goes for every other media you choose.)

Q. Is there a min/max limit on word count?

There is no limit

Q. Can I combine prompts? Is there a limit on how many?

No limit and combine as many as you’d like.

Q. Is a hc/angst focus ok?

Of course!

Q. What’s considered nsfw?

See this post

Q. What's whump?

See this post

Q. My interpretation of the prompt isn't whumpy at all, does that count?

No, sorry, but keep in mind that whump [see definition] is something very nuanced and different for everyone and emotional whump/angst is just as much part of it, as is physical whump and torture. So before you dismiss your idea, think about this.

Q. Can I start working on the prompts before October?

Absolutely! That’s why we posted the prompts a month in advance. We recognise how difficult it can be creating for 31 days in “real time”.

Q. How do I tag triggers?

tw at the end of the word, ex. emeto tw

Q. Do I have to use your tags?

Yes, if you want your work archived on the blog. If not, feel free to use whatever tags you want.  

Q. Does combining prompts count towards completion?

Yes

Q. Can we @ you?

Yes but we mostly rely on the whumptober2020 tag

Q. Is there anything we are absolutely not allowed to write?

There are no rules, just be sure to properly tag your trigger warnings. And keep in mind Tumblr’s policies if you are posting it here (or the policies of whatever site you use).

Q. Where can I go for brainstorming help?

Here on Discord

Q. My characters are minors, is that ok?

Yes, but as with everything else, tags are your best friend.

Q. Can I cross post on other blogs?

Yes, multiple platforms and blogs are perfectly acceptable. You can also post different works to different accounts under different names, without posting them everywhere at once.

Note: This is a creation challenge, please don’t repost your old work under our tags (unless it’s been changed or edited for the event).

[magicalgirlmascot]

[ID: a series of 10 square images, all with pink backgrounds and white text. They're arranged in rows, with the top having 1 picture, the next line having 3, and the next 3 lines having 2 each. Full IDs are both in alt text and under readmore.]

Heyyyy so here's the thing. My tablet works. Most of the time it works fine! Certainly well enough to draw commission work and stuff for fun or things for my YouTube channel. But it's been having more and more problems lately (which I can only fix by restarting my whole computer) and the time has come to finally replace the dang thing before it goes kaput for real. Please consider commissioning me to help me cover the costs! I would really appreciate it.

Check out my Google Doc for more options (like multiple characters, backgrounds, and more!) and my Terms of Service. If you can't commission me, that's okay! I'd still really appreciate a signal boost by reblogging this post, or you could even help me out by buying me a coffee.

Send me a DM here or an email at magicalgirlartist @ gmail . com (without spaces) to get started!

Thank you very much and I hope to draw for you soon!

1: a small rag doll in a blue dress waves and smiles at the viewer. At the top is a small white circle with a big blue bow and the word "Rags" in cursive font. Text: Magical Girl Mascot's "I NEED A NEW TABLET" COMMISSIONS 2: says BUST at the top. In the middle are 2 bust pictures, one of a young woman with brown skin and blonde hair looking up and to the side in awe as a necklace falls towards her, the other of Mew Ichigo from Tokyo Mew Mew in a pink heart frame smiling and winking at the viewer. Text at the bottom: Flat colours: $15, Fully shaded: $20, Coloured lines: +$5 3: says HIPS UP at the top. In the middle are 2 hips up pictures, one of Sky-Scraper from Sentinels of the Multiverse winking and flexing at the viewer, the other of Cure Precious from Delicious Party PreCure smiling and waving at the viewer. Text at the bottom: Flat colours: $20, Fully Shaded: $25, Coloured lines: +$5 4: says FULL BODY at the top. In the middle are 2 full body pictures, one of a light skinned elf with a green undercut and green and yellow martial arts gi sitting and looking at a bo staff in their right hand, the other of Frankie Stein from Monster High G3 holding up a nonbinary flag. Text: Flat colours: $30, Fully shaded $40, Coloured lines +$10 5: says MORE EXAMPLES at the top. Images of dwarf woman with light skin, red braided pigtails, and huge battleaxe grinning and winking at the viewer, and of a brown robot with rainbow LEDs doing the Saturday Night Fever pose. 6: says MORE EXAMPLES at the top. Image of teen girl with green hair, one as a regular girl and one as a hummingbird-themed magical girl. Between them are 4 busts showing different expressions, 2 per design. 7: says MORE EXAMPLES at the top. Images of a tiefling woman in black gothic lolita clothes falling backwards into flames with a woman in pink armor falling towards her reaching for her, and an orc woman in a revealing black dress with brightly coloured tattoos. 8: says MORE EXAMPLES at the top. Images of Cure Peach from Fresh PreCure holding her hands in a heart, a young woman in a green jumpsuit and sun hat squished within a blue square, and Mew Pudding from Tokyo Mew Mew winking with her tongue out in a yellow heart frame. 9: only text. I LOVE TO DRAW: -magical girls -cute/fancy/frilly outfits -anime style -simple armor -fantasy characters I WON'T DRAW: -NSFW/suggestive/sexual content -excessive gore -incest/pedophilia -furries/mecha/complex armor (not my specialty) 10: only text. CONTACT ME Email me at magicalgirlartist@gmail.com to get started! PLEASE NOTE: all prices are in CAD and I accept payment via PayPal Invoice only. Thank you for your interest and I hope to draw for you soon! Please remember to follow all my Terms of Service outlined in the document linked below!

[tavvattales]

Tales of Royalty: Choose your King

The Kreideprinz Arc, part 2(option 1)

GENSHIN IMPACT DATING SIM SERIES Prince!Character x Royalty! GN Reader

Characters: Prince!Albedo

Pairings: Prince!Albedo x Royalty! GN Reader

Warnings: 16+ content for suggestive themes, mild swearing

Click below to see how your choice plays out!

Link to prologue

Link to Ch 1

TAGLIST: @noshitmyfriend @akira-rattan

YOU CHOSE: SIP YOUR TEA SHYLY

➺ YOUR AFFECTION METER GOES UP BY 2 POINTS, CONGRATS!

AFFECTION METER: ♥ ♥ ♡ ♡ ♡ ♡ ♡ ♡

Sipping your tea shyly as you feel a warmth dusting your cheeks, you clink your teacup back down gently, clearing your throat, "The tea not only has a wonderful aroma, but a robust flavor," you say, changing the subject, "Thank you kindly for indulging me."

"You're most welcome," Albedo says, his soft teal stare catching yours in a curious gaze. Studying your movements and manner, there was a brief moment of silence as you began finishing up your tea. With a smile playing on his lips, he folds his gloved hands underneath his chin, tilting his head to the side before saying, "I'll cut to the matter at hand. . .our marriage prospects. I'll be candid. I have no intention of getting married," Albedo states.

"Is that so?" You say, raising your eyebrow at him, "Then why are you here?" You also begin folding your hands beneath your chin, eyeing him with inquisitiveness.

ATTENTION: IMPORTANT DECISION AHEAD

Without pause and with sweetness in his voice, Albedo states, "That's a secret, but I can assure you that it's nothing for you to be concerned about."

There is something irresistible in his voice that you can't help but be drawn to, like a gentle pull of the ocean waves, carrying you further than ever before. You aren't afraid of drowning. Rather, you are awaiting him to catch you. Divulging his words with ease may seem absurd to anyone else, but there was nothing malicious about him, just a shroud of ambivalence that you long to reveal. Taking in a deep breath after studying his eyes for some semblance of fallacy, you couldn't find any; ultimately, after a long pause, you grant him his desire, "Do as you please then."

Albedo, standing up, bows to you elegantly, his ashen blonde hair cascading down his delicate cheeks, his aquamarine eyes fluttering from beneath his bangs, catching your gaze affectionately, "You have my deepest gratitude, Your Highness. I do hope we can meet again soon," he says, not noticing his forgotten silk handkerchief left behind. Kneeling downwards briefly, he kisses your hand once more before taking his leave, leaving you in wondering curiosity.

WHAT DO YOU DO?

➺ TAKE HIS HANDKERCHIEF TO GIVE HIM LATER

➺ HAVE A GUARD FOLLOW HIM CLOSELY

[redwinterroses]

I’m doing my very best not to format this as a literary analysis paper but that’s basically what this is so forgive me if I slip back into those old habits at all. And I'm going to tag @betweenlands and @fluffy-papaya in this because guys look what your fic made me brainrot. XD

(This is a long one, y'all. We're talking 2k words. Sorry.)

That said:

Hey, let’s talk about the bead curtain in Dog at the Door.

That dang bead curtain, and why I’m currently fixating on it, and how I think it has symbolism that may or may not be intentional.

(At this point, I’m assuming it’s intentional. Everything about this fic is intentional. Including the pain. Heh. “The only difference between a running gag and a recurring theme is how seriously you take it,” says Solar. Cool. I’m taking it seriously.)

The curtain first shows up in chapter one. It’s one of the first things we see in the van, and the first thing we know about it is that Doc finds it obnoxious. Ugly. Revolting. Renbob loves it, obviously, but Renbob has odd tastes. Doc, on the other hand, literally uses his hatred of the curtain to motivate him to get out of bed in the morning.

The Red King, when he shows up, also has similar dislike of the thing, but his reaction is a little more measured, a little less extreme. More distaste, less disgust. He finds it “distasteful” and compares it to wearing a labcoat without a shirt (lol). But he doesn’t loath it like Doc does, and when Doc suggests (in chapter 13) that they take it down and use it for friendship bracelets, he’s as displeased with that idea as Renbob is. He has an ambivalent opinion, overall.

And then Ren. Ren actually reacts the least to the curtain—but ends up with the most dramatic interaction with it, which we’ll come back to in a second. He simply says (chapter 24) that normally he’d find the beads hideous, but that the light of Doc’s eye reflecting off it into the shadows makes it oddly peaceful.

There’s exactly one other use of the word “curtain” in this fic, and it’s this line right here:

“I haven’t done anything but possess him and lead his soul back to the controls.” RK throws his hands up in the air. “He’s put himself behind the curtain because he thinks I’m out to get him. My only crime is the original contract I made with him, doctor.”

In this instance, RK is talking about their “imperfect metaphor” of Ren being behind the curtain that separates the “driver’s seat” from the rest of the van that is Ren’s mind/soul. He’s saying that Ren has deliberately put himself in a position of defeat and surrender because he (Ren) doesn’t think there are any other options.

M’kay. Right about now, any sane person is going, “Red. Why are you so fixated on this bead curtain. It’s a running joke at best.”

And... I mean, sure. Kinda. But also definitely not.

This is the part where I really step out on a potentially-shaky limb with all the confidence in the world, because here’s what I'm seeing: the dividing line between life and death is often portrayed in literature as a curtain.

(And it’s interesting to note that the curtain is a barrier, a separation, but it’s only a curtain, and this one is made of beads at that. It’s a flimsy and fluid barrier, easy to pass through. Back and forth. Surrender and control, life and death.)

In fact, even in this fic it’s used that way: RK may be referring to the metaphorical bead curtain in their van of an explanation for how his and Ren’s relationship works, but in the story at that point Ren is convinced that he’s dead. Or is supposed to be dead. And by putting himself “behind the curtain,” he’s surrendering to that. Almost insisting on it, because that’s the truth of how he sees the world right then and he can’t process any other possibilities. He’s basically saying “I’m supposed to be dead, and this side of the curtain is death, so that’s where I’ll stay.”

So if the curtain in the metaphor represents the two sides of that, it’s really interesting to look at the various characters’ reactions to the literal bead curtain and see how it reflects their attitudes toward death—and specifically Ren’s death.

Renbob is... chill. He has an entirely comfortable relationship with the bead curtain, with life and death, with his own emotions—even with dealing with the emotions of the others he’s chauffeuring across the universe. While he isn’t immune to the grief of losing (or thinking he’s lost) Ren, he deals with it in a relatively healthy way—at least as much as we see. I think there was a possibly-canon ask at some point that said he was journaling and meditating so... yeah. Renbob’s got this. And 50 other bead curtains in storage. He’s the only character in the fic who passes in and out of the curtain regularly and without it being a big deal.

To put it simply: Renbob is on good terms with whatever happens in life, up to and including the end of it. (Renbob is arguably the equal and opposite of Grimdog. Two sides of the same coin in more ways than one.)

Contrast that now with Doc. Doc is... not a fan of the bead curtain. It represents a loss of control to him, (“freakin’ hippies”) and a separation from what he loves. In the past, he and Ren were on opposite sides of that conflict, and the beads still somewhat represent that tension (though in a mostly nostalgic, and not actively-antagonistic way.) But the language Doc’s narration uses to describe the beads is strong. “Obnoxious.” “Accursed.” “Horrendously evil.”

Nearly as scary as his best friend trying to kill him.

It’s played for laughs, obviously, and it is funny. But if we project the symbolism of “the curtain represents death” onto Doc’s reactions, it gets a bit less amusing. And it really fits with Doc’s attitude toward Ren’s death in the whole fic. It’s the worst thing he’s ever faced—to the extent that until RK’s seemingly-permanent presence forces him to, Doc doesn’t even try to process it. He goes right to work on the prosthetics, growls at anyone who tries to make him do anything he doesn't want to do, accepts RK as “New Ren,” and pretends that he’s going on with life.

He refuses to look at how weird the whole situation is, because if he does that he has to deal with Ren being gone forever. He ignores the thing that’s right under his nose and pretends it’s not there until a moment of quiet or actually having to interact with it brings it back to his attention, and then his reaction is vitriolic.

Doc hates that curtain, and he hates the concept of death, the concept of losing control. Even in his nightmares, he holds tight to what little control he can take, even if it’s just taking the initiative to sit in the snow and let it kill him faster. Hold onto that thought, because I’ve got more to it, but we have to talk about RK and Ren first.

RK holds both distaste and acceptance of the curtain. He doesn’t like it, but he doesn’t want it destroyed either. The distaste, notably, is when he’s with Doc, and the acceptance comes from being around Renbob. The Red King, as a blood god, is not exactly unfamiliar with death. It’s literally in his job description, but that doesn’t mean he has to like it. A necessary evil, if you will.

It doesn’t hurt either that, at least up until Ren, RK has always been the one on the other side of the curtain, completely in control of the situation. He goes back and forth on his attitudes, but in the past he has been the one in control and the bringer of death. His reaction is negative, but not emphatic—the way someone who has plenty of indoor plans might react to a rainstorm.

Ren... now, Ren. Ren has, like I said, the least recorded reaction to the actual, physical bead curtain. But. But. While he normally would call it hideous, “there’s something oddly peaceful about watching light fractals spin off the walls, cutting off into the shadows.” The shadows, it’s worth noticing, are specifically implied to be RK/hiding RK in this moment. Doc’s light and RK’s shadows interacting with the curtain bring peace to Ren. He passes through it easily to find Renbob.

Ren has already accepted his death—he accepted it long before the fic even started—to an extent that he’s actively insisting on it for a large portion of the story. It’s only when he realizes that Doc is in potential danger that he starts fighting RK for control of the situation again. (“Stay away from Doc, you bastard. He wasn’t part of our bargain. Leave him alone.”)

He dislikes the bead curtain, but he doesn’t hate it, and when seen in the (literal) light of Doc’s protective, watching eye—even if he is asleep at the moment, bless—even the shadows of RK’s presence are suddenly beautiful and peaceful to him in a way that, without the “reflecting fractals” of the beads, wouldn’t be possible. Again: this is the chapter where Renbob’s influence is felt, and his peace with life and death directly affects Ren and his reactions. (“It’ll all sort itself out, eventually, and I’ll be here for you while it does.”)

And then...

And then Ren rips down the curtain altogether.

The separation is gone. For better or for worse, that divide between control and surrender, between RK and Ren, between life and death... it’s gone. It’s scattered across the floor of the van, glittering in Ren’s hair, and in the carpet. Ren has broken through that barrier, and now we just have to wait to see what the consequences of that are for him.

But... we can already see at least one consequence for Doc. Because now there is no more illusion of control and surrender for him to maintain. That division is no longer there, and we see Doc’s first real surrender in the whole story. Even in his nightmares, he was still in control: he knew it was a nightmare, and he fought against it until he “gave up”—in a way that still put him in control. He chooses to sit in the snow so it’ll kill dream-him faster.

He acts like he doesn’t care, but it’s still not that: he takes control in the only way he knows, aware that everything is only a dream and no matter what how it treats him, he’ll still wake up in the end. He looks at the nightmare and says basically “Do your worst, I dare you, but you won’t get what you want from me.”

But now—now he surrenders to Ren. He gives up. His core truth (“I’ll do anything to protect those I love,” which I talked about in this post) looks like it’s not going to be enough to save them. He can’t save Ren—from RK or from Ren himself—and that means he’s lost in the worst way possible. In this moment, it looks like Ren doesn’t even trust that Doc’s core truth—that he will do anything to save his friends—is true.

This is Doc’s lowest point: that Ren seems to think Doc’s loyalty and love have failed. And to Doc... that’s a fate worse than death.

So he gives up. He tells Ren to kill him, and he fully expects him to do so. Doc doesn’t want to die, but at this point he has completely let go of any control of his own fate. Even when facing down Ren with the Skizz blade, he held tightly to his control of the situation. He literally takes the sword in his own hand and removes it as a threat. But now—now the curtain is gone. The illusion of control is gone.

Ren is the one in control of the situation—for possibly the first time in the fic—and he chooses to remember that Doc is his friend, that he’s missed him. But Doc leaves it all to him. Even when Ren backs off, Doc stays in that surrendered state (“I can’t do anything right, unlike [Martyn.]”). He realizes that he's been in the passenger seat the whole time, and he’s now where Ren was before: no longer even trying to take back the driver’s seat.

The curtain is gone. Now we just have to wait and see who ends up on which side of it at the end.

[darlingofdots]

Which is a list of reasons that I believe Harrow and Gideon will get a Happy For Now, at least:

it’s thematically set up this way. GtN was about the two of them figuring out how not to hate each other, HtN is Harrow rejecting a world without Gideon with every fibre of her being and starting to learn that love is not acquisitive, as Ianthe says, and that sacrificing herself for Gideon the way Gideon did for her isn’t the right way, either. HtN was not Harrow’s journey through the stages of grief, culminating in acceptance, it is Harrow refusing to accept that the choice presented to them at the end of GtN – the choice of Lyctorhood or death – was the only choice available. HtN is all about choices, from the false one God gives her when he says she can be his Saint or return to the Ninth despite the latter being impossible, the choice to lock her memory of Gideon away to protect her soul, to the final decision whether to stay in the River and fade or return to her body and complete the Lyctoral process. In her letter to herself, pre-homebrew lobotomy Harrow says ‘Look upon me as a Harrowhark who was handed the first genuine choice of our lives’. Gideon didn’t think she had a choice when she died for Harrow and Harrow didn’t think she had a choice when she consumed Gideon’s soul, because the universe/God/the narrative did not present an option other than Death. Everything in GtN said ‘this is how it has to be’ and HtN is Harrow saying ‘not if I get a say’. Thematically, the only way this story can be concluded is by the two of them getting to decide what the options are, and I don’t see either of them not choosing to be with the other.

The bubble sequences in HtN allow characters who were wronged in GtN to make their voice heard. The reader comes out of GtN sad, and frustrated, and probably finding it all quite unfair, and then we get to see some of the characters who were unfairly killed again and this time, they have agency and power over their situation. I’d say Dulcie is the strongest example of this: she was killed off without a thought, off-screen, but in HtN she gets to be a person who gets to actively participates in her own narrative. I choose to read this as a continuation of the theme about choices and inevitability; just because the narrative/the universe/God treated you unfairly before doesn’t mean you won’t get to have your say.  

The pieces are all there. I would say at this point it’s established that there is a way to achieve perfect Lyctorhood in which the cavalier doesn’t have to be consumed, namely because:

a) in chapter 33 of HtN, Camilla’s previously dark brown eyes are ‘neither grey nor brown but both’, a mixture of her own and Palamedes’ eye colours, which we have established is a ‘symptom’ of the bond between souls that occurs in Lyctorhood, and Palamedes’ reaction to Harrow showing up in his bubble suggests he’d figured out how to do it, made provisions for him and Camilla to do it, and fully expected Harrow to do the same

b) the whole Gideon Prime/Pyrrha situation which suggests an albeit imperfect version of the Lyctoral process can occur in which both souls survive (this is most like what Harrow ended up doing to herself, I’d say)

c) Augustine and Mercy’s theories about God’s connection with Alecto, including the eye switcheroo, sounds very plausible to me, and God pretty much admitted that the reason he killed Samael was that Anastasia was too close to achieving perfect Lyctorhood and he couldn’t risk the others either finding out that it would have been an option and resenting him for the deaths of their cavaliers (fair) or figuring out where he actually got his power from

So here’s a way for Harrow and Gideon to both be alive, fuelling each other’s power (I’d say for the final showdown against God but that’s mostly unfounded). It has also been established that Gideon’s really hard to kill: she didn’t die of the nerve gas on the Ninth and the siphoning challenge, which Palamedes calculated would leave most cavs who weren’t bred to be human batteries with brain damage at least, just knocked her out for a couple of hours. And on top of that, we know for a fact that Blood of Eden took Gideon’s body from Canaan House because it wasn’t there when the Cohort arrived and Mercy saw it. If you put all these pieces together, that looks to me like it’s setting up Gideon returning to her own body and achieving perfect Lyctorhood (which I would say symbolises perfect cooperation, perfect togetherness, perfect partnership) with Harrow. Camilla’s actions in HtN also indicate to me that she is confident she can somehow restore Palamedes in some capacity, as long as the bone she restored has his soul attached to it, and the fact that Harrow transforms the bit of skull into a hand because ‘he specifically requested movement’ suggests that there’s something to it. Admittedly Palamedes is a revenant at this point and we’ve been told they don’t really tend to stick around for too long and usually lose cohesion of spirit eventually, but I’m willing to discard that in this instance because Harrow also said he’d be mad already after eight months in the river, and she was clearly impressed by the way he’d ‘preserved’ himself in the bubble on the Riverbank. The parallels to Gideon’s soul being stored away in a kind of bubble in Harrow’s memory are, in my opinion, too strong to ignore.

Tamsyn Muir does not strike me as the kind of person who writer spend two books setting up the bond, the relationship between two characters the way Gideon and Harrow have been set up only to go ‘lol no’ at the end of it.

Bringing all of this together – obviously most of what I’ve said is ‘just’ foreshadowing and doesn’t mean it’ll actually happen this way. But there’s an awful lot of foreshadowing in both GtN and HtN, ranging from subtle to fiendishly subtle, and it’s the kind where the reader gets to a big reveal and either goes ‘oooh I was right, I knew x would happen because of y and z’ or, alternatively, spends their first reread gleefully pointing at bits of dialogue and cackling ‘Tamsyn Muir, you legend, I should have known’. It is not the kind of foreshadowing that leads the reader down one path only to go ‘ha, idiot, you really thought you knew where this was going’. Of course, sometimes you don’t know where she’s going (especially if you’re like me and just accept the wildest shit on face value the first time around), but it’s still all there if you know where to look. I think when people say they’re scared of Gideon and Harrow not being endgame or the whole trilogy just leading up to tragedy, it’s because the ‘ha, gotcha’ attitude to foreshadowing has become more prevalent in the last couple of years despite being really frustrating for audiences and, in my own opinion, not really Good Writing. Yes, the ending of GtN was a punch in the stomach, and I understand that people might not be so ready to trust the series after that. But you can’t really read HtN, which, again, is a complete and utter rejection of the ending of GtN and instead sees Harrow accepting help and care and advice from others and starting to grow into a more whole person who does not try to do everything by herself because that’s the only life she knows, and not see that bleak tragedy is not where this is going.

[thegreaterlink]

Reviewing Star Trek TNG - S3E16 "The Offspring"

Sorry, I would've posted this yesterday, but I felt like absolute shit and couldn't finish it in time.

THE PREMISE

Data surprises the Enterprise's crew by revealing that he has created a humanoid android named Lal based on recent advances in Federation cybernetics technology and his own design. He describes the android as his child, and encourages them to choose their own identity. Lal chooses a female form (Hallie Todd) and begins to learn about humanity from her interactions with the crew.

Picard is less than pleased that Data conducted Lal's creation without informing him, and is forced by general orders to report Lal's existence to Starfleet. The news prompts Admiral Haftel to travel to the Enterprise to personally evaluate Lal.

MY REVIEW

This episode feels like an attempt to ape the brilliance of "The Measure of a Man" with a similar theme but without the necessary talent. Though that's not to say it's completely without merit.

For example, Picard summons Data to his ready room, understandably concerned over Data casually creating a fully functional artificial life form without even letting him know, to which Data counters that Picard wouldn't be bringing it up if he wasn't an android, and Picard has no answer. Picard also objects to having Lal deactivated, since she's still a life form. The argument boils down to all of Picard's arguments against Lal - creating life, taking on the responsibility of raising said life - only being relevant because he's an android, leading to a rare Picard double facepalm.

So right away we can understand both points of view. Good scene.

Meanwhile, Data continues to tutor Lal on the various aspects of human existence such as senses and means of self-expression like art. While it's interesting to see Data help another being through his own experiences, Lal quickly begins to ask more advanced questions:

"Father? What is my purpose?"

"Purpose?"

"My function. My reason for being."

"...our function is to contribute in a positive way to the world in which we live."

Sure. Works for me. It's a much better answer than 42, anyway.

But when Data is overwhelmed by her questions, he just shuts her off. Y'know, it's like if your five-year-old wouldn't stop asking questions and you punched them out.

Lal's first day at school goes poorly as well. Lieutenant Ballard (yes, this random side character who never appears outside of this scene in this episode has a canonical name) says the other children are intimidated by her, but the way it's staged makes it look more like she's unwilling to interact with them.

Data explains to Lal that people are often intimidated by things that are new and different, and Lal shows maybe a hint of frustration at the circumstances of her existence beyond her control, an interesting idea which sadly doesn't get much development aside from this scene.

Clearly out of his depth, Data turns to Dr Crusher for advice on being a successful parent. Though some might say he's going to the wrong place, he doesn't have a lot of other options, unless you count Troi. Long scene short, she suggests that Data lets his daughter know that he isn't alone and that he understands her confusion.

"I can give her attention, Doctor. But I am incapable of giving her love."

Yet another interesting idea thrown into the ring.

Data realises that he's not the best person for the job, and leaves Lal in the care of Guinan, who begins to teach her the fundamentals of human interaction and behaviour. Lal even uses the contraction "I've," much to the others' surprise.

Sure, when Data uses a contraction, he's an impostor, but when Lal uses one she's congratulated. That doesn't seem fair.

Speaking of which, this episode makes several references to Data being one of a kind, seemingly forgetting that Lore is probably still floating around in space somewhere.

Guinan is probably the best influence for Lal, teaching her about more advanced human dynamics such as flirting and romance. When Riker comes in and starts flirting with her (I should clarify that at this point he doesn't know he's chatting up the offspring of the last crewmember he'd ever expect), she decides to... test this knowledge.

Honestly, I can only assume that's just the regular effect Jonathan Frakes has on women. Though he did direct this episode, so that may have been biased.

Lal expresses frustration to her father about being unable to feel love, wondering why they keep trying to emulate something they can never achieve. Data explains that the effort itself has its own rewards. Lal tests her knowledge of affection again (thankfully in a different way) by holding her father's hand in a show of affection. I think Data would've shed a tear if he could.

Then Admiral Haftel shows up.

Haftel is essentially our Bruce Maddox for this episode. And while I'm not going to pretend Maddox was a particularly likable character, he was far from the obvious strawman Haftel is depicted as. Because we can't have a debate about androids counting as real people without someone arguing against it.

He of course sugarcoats his intentions with Lal when he meets with her, saying that the Federation would be delighted to meet her. And to be fair, he's understandably concerned that the equivalent of a giant newborn child with the strength of ten men has been allowed relatively free reign of a Galaxy-class starship, but we can gather that it's the same "keep her in a lab like a test subject" plans that you'd expect.

Data is obviously unwilling to hand his child over to the same people who once tried to disassemble him and Picard being similarly resistant to the idea. Lal is also reluctant to leave the Enterprise, and confides in Counsellor Troi. During the meeting she's clearly distraught, even stuttering in her speech, and Troi can even sense her fear.

I want to reiterate this: the empath can sense emotions from an android.

How exactly Lal is developing so quickly and more than her father ever has is a bit unclear, but it can probably be handwaved by whatever technology Data used to build her. In any case, an android feeling tangible emotions and being unable to properly understand them is terrifying, especially when said emotion is primal fear of her likely imminent death.

While Data and Haftel continue to argue, Troi interrupts to tell them that Lal has returned to Data's lab - something she was programmed to do in the event of a malfunction. Data identifies a cascade failure in Lal's positronic brain, and quickly gets to work.

Hours pass. Haftel emerges from the lab with bad news:

"She… she won't survive much longer. There was nothing anyone could have done. We'd repolarize one pathway and another would collapse. And then another. His… hands were moving faster than I could see, trying to stay ahead of each breakdown. He refused to give up. He was remarkable. Just… wasn't meant to be."

Wow, that sounds like it would've been way more interesting to actually see instead of it just being described.

Back in the lab, with Data unable to correct Lal's system failure, he's forced to shut her down, and the two say their goodbyes.

"I feel."

"What do you feel, Lal?"

"I love you, father."

"I wish I could feel it with you."

"I will feel it for both of us… thank you for my life."

Cut to Data returning to the bridge, explaining that Lal suffered complete neural failure, but that he's transferred her memories to him. As he takes his station, he stares into space, obviously affected by the experience.

6.5/10 - Perhaps the most tragic case of missed potential in the series so far.

[peachcitt]

shadow and bone netflix series analysis

what up besties i said as a joke that i wanted to do an analysis post on the changes made in the s&b netflix series from the grishaverse books, and then i realized i wasn't joking and that i actually wanted to do that

it's finals season, i am an undergraduate english major, i have had about five hours of sleep within the past forty eight hours, and believe it or not i am doing this analysis as a fun reward for finishing a research paper. i am putting this out here for you so you can decide if these are the kinds of vibes you want right now.

structure of the analysis will be vaguely as follows:

changes made, in chronological order (or as best as chronology i can do under the circumstances and doing absolutely zero fact checking)

analysis of change when looking at the themes of the books which will include my personal feelings

personal theories (if any) derived from the change for the trajectory of the netflix series

so, like, long post warning. also spoiler warning for the netflix series as well as probably most, if not all, grishaverse books

now let's get this baby started

alina's appearance and shu heritage

so the series starts right off the bat acknowledging alina's shu appearance and the in-world racism and prejudice she's experienced because of it, which was not in the books. however i found alina's shu appearance to be completely in line with the book's themes. alina was already isolated at keramzin and the army because of her sickliness, and she's isolated at the little palace because of her power and her awkwardness. so purposefully making her shu was, i felt, a nice world-building decision as well as a new and interesting layer to her character. also, it's always nice to see diversity in media, so i have literally no qualms with this change

in terms of the rest of the series, the grishaverse is a very politically-motivated story. there's a lot of in-universe politics that happens in the shadow and bone trilogy and especially in the king of scars duology, and i think if the series chooses to extend into/include the king of scars duology story (which, i really hope it will), alina being shu (or at least part shu) will be very interesting to see considering king of scars and rule of wolves deal with negotiations and treaties with shu han. i think also having alina be shu and someone who has experienced countless amounts of in-world racism become a saint, seeing how she and the rest of ravka navigate her identity and identity politics will be really interesting. generally speaking, i just really hope the later parts of the series really delve into alina's identity, what it means to be a saint and also "look like the enemy," and the ravkan people's mixed feelings about her

alina's sickliness/childhood relationship with mal

in the books, alina is described as thin, always having trouble sleeping, hardly ever hungry, and sickly looking because, as we learn later, of her constantly unconsciously repressing her grisha abilities. this is part of the reason she's isolated at keramzin in the books; she's sickly and awkward and no one bothers with her except mal - because they're the same age and mal is strong enough to defend her from the older orphans at keramzin. however, the show doesn't really delve into the effects of what suppressing her abilities do to her except for a few offhand lines (alina angrily saying "im never that sick" when mal suggests she say she's stick to stop from going into the fold, mentions of her larger appetite when they're on the run in the woods). instead, the show kind of flips alina and mal's childhood personalities; mal is depicted as shy and easily picked on, and alina is the protector.

i'll just say it: this change fucks so hard. i love it. i think it says such wonderful things about their characters, and i like that alina begins the series as someone incapable of turning a blind eye to bullies and someone who cares very fiercely for the people she loves (not that that isn't the case in the books - i just think this change does a great job of looking directly at it in the way that shows have to). i think it's easy to root for her, and it's easy to see how she will become a saint to the people. in addition to that, i love what this is saying about alina and mal's characters and how they grow up; that separation from alina caused mal to have to face his own problems head on in traditionally masculine ways (because that was what ana kuya criticizes him in the show for; for always running from fights and being too soft, and i think it's really telling that our first view of mal as a kid, im pretty sure, is gingerly holding a bunny which portrays feminine caregiving and then we jump cut to mal fighting in a dirty boxing ring in the first army, something gritty and masculine). masculine ways that he had to be indoctrinated into and that may not actually be in his natural disposition.

meanwhile, separation from mal meant alina no longer had to be a dominant protector, and she does not connect with anyone in the first army as strongly as she connected with mal, so she doesn't really feel the need to be as aggressive as she was as a child. however, you can see that quiet protectiveness spark up at times - notably when people other than herself are picked on, such as at the food line when she claims not to know the others in the cartography unit so they don't get penalized along with her. i do wish, however, elements of her sickliness had been emphasized a little more in the show because of grisha theory, which i will talk about in another section.

first entry into the fold

okay i will be honest. this change is probably the one that scared me the most when seeing it in the trailers, and i am kind of still iffy on it now. in the books, alina's first journey into the fold and the inciting moment for the entire series is just luck and orders. everyone in the first army has to go through the fold at some point, and it just so happens to be alina and mal's time to go through. however, in the show alina is not initially assigned to go into the fold, but mal is, and alina goes out of her way to make sure that she gets on the skiff so that mal won't have to go alone/without her. there's this level of 'choice' (or at least the illusion of it) in the show in terms of alina and mal getting onto the skiff and going into the fold; at one point or the other they both try to tell the other not to get on the skiff and just choose something else.

the thing that irks me the most is alina's stubborn "i'll make it" line that she tells mal after she's on the skiff. it screams 'fantasy dystopian protagonist' (divergent is the first to come to mind for some reason) in a way that alina never comes across in the books. alina never chooses to make her life more difficult - she's always given two terrible options and has to take the option that fits with her morals or her perception of the power she needs to surivive and win the fight. but i know the only reason alina goes out of her way to get on the skiff is because she's separated from mal, which aligns nicely with the protective nature the show has inscribed on her.

the thing that redeems this change for me is that when alina tries to get just herself onto the skiff (by burning the maps to ensure that she has a purpose there), she ends up endangering the lives of her entire cartography unit. this keeps with the theme of a whole lot of alina's later decisions throughout the books affecting so many more people than just her, and i like that this is a lesson that she learns very early on. this change also seems to be a trade out for the final entering-the-fold scene, but i'll talk about that later.

alexei

here he is, the lynchpin himself. in the books, alexei is dry and rude in a funny way with alina, and they have this really great banter at the beginning of the novel, and then he's, like, the first to get carried off by volcra. very harrowing in the book, i loved it. in the show, alexei's character is a little (a lot) different - he's naive and blunt in a silly way, and he very obviously has a crush on alina. instead of being carried off by volcra in the show, though, he jumps off the skiff and runs blind into the fold - committing what we think at the time is an act of suicide - which was extremely harrowing to see in a completely different way, and i loved it. even if they changed alexei's personality i still love him (and his death) dearly

so as previously mentioned, alexei acts as the lynchpin between the six of crows plot and the shadow and bone plot; he manages to escape the fold alive, and makes it all the way to ketterdam to tell a select few people the legendary sun summoner is alive WHICH. okay ive just decided that's my next topic. anyway back to alexei.

his death in ketterdam is awful because of the personality change, which is why i don't mind missing bitchy alexei from the book; his hopeful little "if i tell you, you'll set me free?" that pulls at your heart and also tells you immediately that he is going to die as soon as he tells everyone what he say is done so well. i also like that through treatment of alexei, we get some characterization of the crows; inej immediately gives him water and glares at the mercher in quiet rage on his cruel treatment, kaz doesn't flinch when alexei is killed but inej and jesper do. i also thought it was interesting to have the mercher (dreeson was his name i believe) to be the one to get his hands 'dirty' and actually be the one to shoot alexei because in six of crows, there is always the sense that the merchers are cruel and conniving, but that they very carefully keep the death of the poor and the grisha off their own hands. im wondering if this hands-on killing is a dreeson-specific trait, or if this more hands-on cruelty will be explored more in other mercher characters we meet, like van eck.

sun summoner legend

this change is so?? i don't really know what to think of it. narratively, it makes sense in the show to have this legend be in place so that alina's importance is immediately recognized by people across the different countries.

however in the books, no one really expected alina. her presence wasn't foretold or divine (at first) or fate in any way. she became a saint because i think in part people weren't expecting her, and once they saw what she could do, they wanted to believe in her abilities so bad they made her divine. this change was also weird to me having just finished rule of wolves where zoya (i think) reflects on amazing things that have happened throughout the story and she notes that alina was not some sort of legend that people were expecting - none of what happened was. everything that happened from alina to nina's miracles in king of scars to zoya's expanded abilities by the end of rule of wolves to the "age of saints." all of those things were just chance people being in chance situations that all slid together in a strange, amazing coincidence. they got lucky.

and i think, at the center of the books, is this kind of purposeful disillusionment of the saints and religion, what with the main character of the original trilogy literally becoming a saint and yet never truly feeling saint-ly or being perfectly divine. the sun summoner legend the show brings up seems to depart from this. it'll be interesting to see what the show does with the legend and how alina feels about it as she fulfills it, and im honestly hoping that we'll find out later in the series that the legend was actually just some poor guy a few hundred years ago making something up to give people hope.

the crows timeline/characterization

in the books, the six of crowd ice court heist happens three years after the events of the final book of the shadow and bone trilogy. but obviously the timelines are smushed together for the show to create a new and different direction for their story and also, as we see at the end of the season, a new and different direction for alina's story as well

ive also seen bardugo say that because of the converging time lines, the grishaverse story will not take seven seasons (one season per book in the grishaverse) to get through. for this reason, im thinking that the parem story/ice court heist will begin if/when we get season 2. given that parem is a big part of kos/row, i see a crows and nikolai interaction happening in season 2 that sparks a beginning discussion on parem.

but back to the crows characterization! the crows are completely in character for me in almost every way, and i found the interactions between kaz, inej, and jesper to be very in character. however kaz's plan to capture alina doesn't work out almost at all which is something that he definitely wouldn't have let happen in the books. im chalking this up to the converging timelines - these crows are baby crows. they're young, a little less experienced, and they haven't gotten their groove on heists (and they don't have the rest of their crew) yet. but i anticipate seeing more crows-classic successful heists in season 2.

there are a couple of things i want to talk about each crow, so it's subtopic time

nina and matthias

perfect. their interactions were almost always word-for-word from the book. i can't remember if matthias had actually been the one to actually catch nina in the book, but if not, then it was a nice touch. it was interesting to see that both of them were so willing to be traitors of their country for each other in the show, because even when they're in a romantic relationship outside of fjerda and ravka in the book, they struggle with even the idea of betraying their country.

i like how they changed nina and matthias' "escape" from fjerda to ravka, and how nina explicitly betrayed grisha she knew to their faces. im interested to see how they'll integrate her back into the second army, or if they even will do that. also, i like that fedyor slowed matthias' heart to make him pass out before he sees the other grisha, so it was easy to understand how matthias could've thought it was nina deceiving him all along. their confrontation in the boat was (chef's kiss), and the horror on nina's face as she realized that this situation she put him in won't be as easily solvable as she thought was just wonderful.

jesper

perfect. i love him. and the coy little hints that he's a fabrikator were so good. also the line in the very beginning where he asks for a demo man, which foreshadows wylan was very nice. the only thing out of character is one time kaz asks him to be a distraction and show jesper claims that being a handsome distraction is not part of his talents. it literally is, why did they make him lie.

inej

literally so so good. i love that we meet her while she still has her oath not to take lives; we get to see her develop and learn that sometimes death is necessary, but that she still isn't yet comfortable with killing. on some level, she never will be, and i think that was a perfect place to start her character. however, i am confused about the show giving her a brother. where is he. is he going to be important?? why is he here???? i can't even make any solid predictions about him because inej having a brother came straight out of fucking left field. here's one flimsy prediction based on nothing at all: inej's brother is grisha and is an indentured servant. may also be involved in the parem plot, or works at the white rose where nina will befriend him and connect with the rest of the six because of him. who fucking knows

kaz

i already kind of went over their disaster plan that still somehow worked out for him, but i love literally everything else they did with kaz. the refusal to show his bare hands was literally art!! we got that tease in the first episode and the camera pans up as soon as the gloves come off. that was perfection - as well as the intimacy and trust portrayed between kaz and inej without them ever touching. i also loved the hints and nudges for his story with pekka - the way he always says his name with obvious distaste, and when we see him interact with pekka for the first time on screen. how he asks if they've ever made a deal before and pekka just goes "nah" and kaz just glares at him. perfect. and i also think the show really leaned in to the soft parts of kaz that inej sees in him, especially when he basically said she (and jesper) meant more to him than any saint?? oh my GOD. i kind of like this honest departure from kaz's book "greed is my god edgy edgy blah blah" especially when he's afraid he'll lose inej. i also think it'd be funny if we hear kaz say "greed is my god" and be edgy about it with us AND inej knowing that is superficial because of what he told her. that would be hilarious.

pekka, tante heleen, per haskell

these three aren't part of the six, but they are part of the original six of crows story and i still wanted to talk about my opinions on them, so they're going here.

i fucking loved pekka, how ruthless he was, and his irish accent. that was wonderful. because of how fucking hands-on and brutal he was, though, i wonder if they're going to keep the jakob hertzoon piece of kaz's origin story the same, because this pekka was so good at being violent that it was hard to picture him even pretending to be a benevolent benefactor to orphans. he is a dilf, though. i am not afraid to admit that.

my only problem with tante heleen is that her actress looked too nice. like she might bake me cookies and offer me a ride home from school. total milf as well but not in the scary sexy way that she was in the books. she had smile lines, she was so dainty, she seemed so genuine. i want to see her be a little more cruel.

per haskell, the actual gang leader of the crows, is not in the show at all. it seems as though the show made kaz the official boss of the crows while he is only second in command in the book. this makes me wonder how they'll handle or if they'll even include that fucking awesome scene in crooked kingdom of kaz earning the gang's trust over haskell. it would be weird to introduce per haskell in season 2 when he wasn't even mentioned in season 1, but it wouldn't be altogether terrible considering the crows spent very little time in ketterdam this season. however, this makes me wonder if, when kaz was away on his little saint pilgrimage (i am calling it that specifically because i know it would piss him off) someone else stepped in as "boss" of the crows. in the show, kaz also leverages the deed of the crow club in order to be able to take inej with him, and presumably the jewels alina gives him will solve that problem, but what would happen if any of the crows find out he made that deal? would he still have to earn the gang's trust back in a show of power and respect like in crooked kingdom? much to think about.

mal

back to the shadow and bone story, ive already briefly (not really briefly) gone over mal characterization alongside alina, but i want to mention how the show includes his perspective alongside alina's and how important that is. the shadow and bone trilogy is told entirely from alina's perspective, and alina is in some ways an unreliable narrator. she tends to think of her relationships and feelings as one sided unless her friend/love interest is looking her in the eye and telling her exactly how they feel about her. the one exception is genya, and that sort of bites her in the ass until it doesn't, but i digress. the point is, the only mal perspective we get in the books is alina's perception of mal, and the bonus content of the "lost" letter he'd written to her while looking for the stag in fjerda. granted, that letter says a lot about mal and how he feels about alina, so if you didn't take the time to read the letter when reading the book, chances are you weren't so hot on mal unless you have sexy critical reading skills like me (or just really love the childhood best friends to lovers trope).

getting all the gritty, messy details of how hard mal is trying to get back to alina in the show makes him so much more of a sympathetic character than he may have seemed at first glance for the majority of shadow and bone from alina's perspective. the show really stresses that the bond alina and mal have is mutual and powerful, and i think that's fucking perfect, actually.

this point was really driven home during the episode we see that mal has a matching scar on his palm that is related to alina, just like how alina has a mal-related scar on her palm. that scene in the brig was so good, especially when they ask each other what they're in for, and alina says "the usual," and after a pause, mal replies "the usual" as well. he could be lying because he knows she would feel bad if she was the reason he chose to stir trouble to go to the brig, but he could also be saying that he usually actively chooses to be sent to the brig for defending alina or because alina is usually already there and he wants to be with her. knowing that and then seeing alina have the scar on her palm erased was. fucking devastating (in a good-ish way), and im kind of hoping alina either chooses to have the tailoring removed so she can see the scar again or injures her hand in a mal-related injury so they can match again :(

i have more to say about mal, but i'll save it for the grisha theory/amplifier section

the darkling

overall, darkling portrayal was very spot on, but i didn't really like how he just. gave alina his name so early on. in the books im quite certain he doesn't give alina his first name until the third book? regardless, he doesn't give it to her until they've fought and been enemies for a while. theoretically, kirigan giving his real name to alina so early could be a manipulation tactic (like his moments of 'vulnerability' and 'weakness' with alina in the book), especially because we lose that 'heart to heart' by the campfire after the darkling rescues alina from the fjerdans where alina first starts to see the darkling as human.

i also thought it was interesting that alina kisses kirigan first - in the books they're actually having a serious discussion (i can't remember what about, but when she realizes the darkling is Not Good, she remembers the first time they kissed as a thing he possibly did to distract her from thinking her own thoughts), and the darkling interrupts her with a kiss sexy enough for her to forget what's going on. the show however chooses to do a girlboss she-can-move-on-if-she-wants-to moment which is pretty cool and let's be honest, if you like men and ben barnes is right in front of you giving you Sexy Eyes a whole lot, you are going to want to kiss him. that scene where they get interrupted during a steamy kiss, and they laugh and kirigan leaves the frame just to rush back for one last kiss? that nearly fucking converted me. that was really sweet actually. the show does a fantastic job of showing how captivating kirigan's interest can be.

last note about the kirigan for this section - isn't kirigan the name of the guy who owns the guilded bog for nikolai in kos/row? i can't be sure because i don't have my book with me and i refuse to look up information when i have gone this entire post without looking anything up, but if his name isn't kirigan it's pretty fucking close. i don't know what that means, but i don't think bardugo is the type to name characters similar names for no reason. we'll know for sure if/when the guilded bog is introduced.

zoya

most of zoya's portrayal is really in line with her character and her development throughout the shadow and bone trilogy as well as king of scars and rule of wolves. i think the show did a great job of showing how zoya was in the darkling/kirigan's favor for a while before alina arrived and how she resents alina at first for causing her to not be the darkling's favorite anymore. in addition to that, knowing we find out she is part suli in row makes her casting so much better, and i like that we get to see a little more of her personality in the show than we do in the book shadow and bone. of course we see more of her in siege and storm/ruin and rising, but it's nice to have her become a sympathetic character through the knowledge that she has family in novokribirsk and that she purposefully mans skiffs to see them before she fully sides with alina.

the one thing that made me. just confused was zoya calling alina a "half-breed" at the little palace?? it was so out of place (that particular part of the insult; im pretty sure the other thing she said was very much exactly what she said in the book. some insult about orphans i think), especially knowing that zoya herself is a "half-breed," so that didn't make sense to me.

however, i was glad to see alina immediately embrace zoya as an ally - because she knows from the start of zoya's alliance that she had family that kirigan killed. in the books, alina's parentage is not at all important, and their deaths are never specified to matter, but the show points out from the very beginning that alina's parents were swallowed by the fold. i think this makes alina's immediate compassion and forgiveness of zoya make sense, and it was also very sweet and a little funny to see alina pull zoya into a hug that she so obviously does not expect or want to express as something she wants. it was perfect.

east vs west ravka civil war

i don't have much to say about this except it makes kirigan's actions at the fold seem a little better. not great, not by any means, but knowing that the leader of a growing coup was right on the other side really cements in the idea that kirigan is doing this for what he thinks is the greater good of ravka. im pretty sure in the original trilogy, there was also some tension between east and west ravka, but none of it comes to a head until the events of kos/row. great set up for future ravkan tensions in future seasons.

david and genya & fedyor and ivan

before we get into the last meat and potatoes of this post, i want to talk about love because it's a little bit of a break. take this time to stop reading, stretch, relax your jaw, straighten your back, drink water, etc. you've been here a while. you deserve it

okay so first fedyor and ivan. in the books, fedyor and ivan are just bros (i don't even remember them ever really interacting?) but in the show it is heavily implied they are dating. this is so funny to me, and i love it so much. especially because ivan was in a het relationship with marie in the books (but because the show kills marie off before she dies in the books, obviously that is not happening), so they really just decided that ivan and fedyor were gay for seemingly no reason. except i think ivan died on the skiff during the final battle in the show which is kind of a bummer because he lives through to ruin and rising and has an... interesting arc. fedyor, i think, dies in the battle of the little palace in siege and storm, but i wonder what they'll do with this relationship in next seasons. maybe fedyor will take ivan's place as grieving boyfriend with ptsd, but im not sure. i honestly don't even know for certain if ivan dies in the show, so we'll see.

as for genya and david, i would just like to point out the little hints of mutual affection. in the books, it's kind of implied that genya had feelings for david first and he didn't realize his own feelings until after she's scarred by the darkling, but in the show we see david actually looking at genya during the winter fete! like looking, appreciating the view! i loved the show choosing to include that small amount of mutuality, and after finishing rule of wolves it definitely made me feel some type of way. david and genya. i love them, they're perfect.

grisha theory/amplifiers

we're nearing the final stretch in this post, however, i have a lot to say about grisha theory and amplifiers, and i also have a lot to say for the battle of the fold so this "final stretch" will probably be. a very long stretch.

so obviously because of the nature of books and narrative writing, there was a lot of space within the shadow and bone book to go over the grisha theory alina was learning at her time in the little palace in great detail, however in the show we hardly even get any grisha theory at all. the little we get is actually from the apparat. im not sure if we get anything from bhagra. i don't even think we get the phrase "like calls to like" which is the most basic piece of grisha theory throughout the entire grishaverse.

i am definitely. bitter about this. i obviously didn't want huge long meditations on grisha theory in the show, but pretty much the whole time alina was at the little palace, i felt like she had so much time free time to wander around the palace, hang out with nadia and marie, daydream about mal and kirigan. don't get me wrong - those are all valuable activities - but i feel like it missed the point of alina's time at the little palace. she felt isolated there; yes, she had nadia and marie, but she couldn't share with them everything she was going through because she didn't want anyone to truly know how difficult mastering her abilities were. and because she was so isolated, she throws herself into grisha theory, especially during the times in which she can't summon her abilities by herself. this is when she learns about why she's been so sickly her whole life (because she has not used her abilities, and grisha derive some form of life force and energy from using their abilities), all about amplifies, and other really cool world-building for grisha abilities and culture. instead, it was difficult to tell (at least for me) in the show if the palace and the little palace were even different places while in the books the little palace was such a whimsical, ancient, and magical place for alina compared to the gaudiness of the main palace.

the collar

anyway, complaints about architecture and alina's subpar theory education aside, the little bit of grisha theory we get is from the apparat when he talks about ilya morozova and the three amplifiers he was attempting to make during his lifetime. when the apparat is describing amplifiers, it almost seems like amplifers - not just morozova's inventions - are super rare in the world of the show. amplifiers are relatively rare in the books, obtained by only some of the most powerful grisha (zoya, ivan, alina), but they still exist. from what we've seen of zoya and ivan, they didn't seem to have amplifiers on their person, so it looks like alina is unique not only in getting an amplifier from one of morozova's beasts, but also in just getting an amplifier in general, which is a little weird.

EDIT: thanks to @laelipoo for pointing out that zoya is actually shown to have what looks like a tiger’s tooth embedded in the skin of her wrist in the first episode! so okay this shows that powerful grisha still have amplifiers in the world of the show, but this probably suggests that instead of being pieces of jewelry like in the books, they act more as body modifications, which is really interesting. if im not mistaken, ivan’s amplifier is a necklace in the book, so maybe his show-amplifier would’ve been embedded in the skin of his chest. regardless, i’d still like to see more discussion on how amplifiers in the show work - which, now that we know zoya most probably has an amplifier, we might get to see with her becoming more prevalent of a character in the projected arcs of the show (both shadow and bone trilogy as well as kos/row)

i can't remember if morozova was ever referred to as "the bonesmith" (i feel like he has been, but not in the way the apparat refers to him in the show), but i feel as though that was a kind of. foreshadowing for how we would see the stag amplifier work later in the show. in the book, the stag's antlers are a literal collar around alina's neck that remains there until she loses her abilities, so the metaphor of being "owned" by the darkling is definitely there. it never stops being there until she loses the ability that makes her his mirror and his tool. however, in the show we definitely. do not get that.

so i've seen some people say that they hate the design of the stag collar, and i cannot say i was a huge fan of looking at it myself. but that just really cemented in the fact that kirigan forcing the collar on her is a complete violation of her body and her agency. the fact that the bones erupt from her skin and that her skin looks irritated where the bones puncture through her skin just reinforces the idea that this fusion is not natural and is not supposed to be pretty because kirigan taking control of her in this way is really really terrible actually. in addition to the collar, the show also gives kirigan a circle of bone embedded in his hand - which, hand versus collar, who has the most agency in this situation, his hand is quite literally around her neck, etc - but i feel like they made this change so that non-readers could see and understand the mutuality of the amplifier in a physical manifestation because the show doesn't expand on that theory at all.

i really liked that the show kept the reason for alina gaining control of the amplifier being her connection with the stag before kirigan killed it because that at least is consistent with the theory in the books, especially with the expansion of that same theory in kos/row with zoya's connection with juris and how true use of an amplifier requires mutual connection, understanding, and suffering between the grisha and the animal.

i also thought that the way the show portrayed alina taking back control of her power with the stag's horns absorbing into her own bones was a really effective way to show that the power is hers now, and that it is a part of her. however, i wish the show had kept some evidence of the collar because of how it quickly became a piece of her iconography in the books as well as a symbol of her power. seeing as how alina stabbed the circle of bone out of kirigan's hand (very sexy girlboss moment), i wonder if kirigan will still be able to control her abilities. if he can, i hope that any time he uses her abilities, the horns emerge from her skin again as a visual signifier that alina is being violated and that her own power is being used against her. OR even at the times in which alina uses kirigan's power against him (like if the show depicts the conclusion to the battle of the little palace where alina uses the darkling's merzost) to have the horns come out of her skin to show that she is reinforcing her bond with him. both would be really cool.

alina and mal

okay so in ruin and rising we learn that not only are alina and mal bffs and in love whatever, but also that they've been drawn to each other because mal is actually the host to the last of morozova's amplifiers. and then alina looks back at the times in which she's felt the most powerful or when they encountered morozova's beasts, and she realizes that all of those times coincide with when she had important moments with mal. this reveal is huge in the series, and without the build up, i fear it might seem like it would've come out of nowhere if the show chooses to go in the same direction.

for example, alina and mal in the book only find the stag after they kiss for the first time. however, in the show they don't kiss. they don't even move mal's "i see you now" speech to right before they find the stag. it's simply a jump cut to alina and mal in the forest looking at the stag. they might be talking, but i don't think it was an 'important' moment for them.

however, they've been setting mal up as a better-than-average tracker since the very beginning with ana kuya asking him specifically to hunt for dinner. mal also admits that when he saw alina's power come from the tent when kirigan is testing her power that he heard a 'high-pitched tone' and somehow intuitively knew that it was her or something like that. he also tells alina that he'll always be able to find his way to her, no matter what, which is really romantic of course, but it is also part of their connection as one of morozova's three amplifiers and the girl who will possess at one point in time two of the three amplifiers.

i also think that the scene in ruin and rising when alina kills mal for his power is supposed to directly mirror the scene in the shadow and bone book where alina tells mal before they find the stag that she wants him to kill her before she can be caught by the darkling; part of the reason she feels strongly enough to ask this is because she understands grisha theory enough to know what the darkling's plans for the stag and her are. when she's protecting mal and the stag from the darkling, she begs mal to kill her. but he doesn't. and in ruin and rising, when they're out of options during the final battle, mal tells alina to kill him. and she does.

but without alina asking to be killed paired alongside the lack of intimate mal and alina moment before they find the stag, i wonder if the show will be heading in the same direction as the books in terms of mal's status as the last of morozova's creations, or if they'll decide to do something different.

battle of the fold

i think the most obvious difference in the battle of the fold is that kaz, inej, and jesper are like. just chillin on the skiff. additionally, zoya is on the skiff (her presence there was discussed in the zoya section), and mal is not a prisoner in the skiff like he was in the book - he snuck on. for the six's presence on the skiff, i don't mind it and i actually like how they participate in the battle (inej throwing a knife into kirigan's chest and nearly ending his shit right then and there was something we always wanted but did not know we wanted. same with zoya and inej bonding during a fight), but the change in mal's freedom status on the ship is a little more complicated.

in the books, the darkling lets alina and mal spend one last night together (with bars between them) before whatever happens on the fold. i can't remember if he tells alina that he plans to execute mal in the fold, but regardless it becomes apparent that is his plan when he throws mal overboard, on the edges of alina's sunlight, and begins reigning in the sunlight so that mal will be consumed by the fold. it's the fact that mal is in danger that alina manages to gain control of her power once more, and she saves mal. the group of dignitaries from the various nations are still on the ship when she makes her escape, and she uses the Cut - a form of summoner ability that she has never used before and has only ever been used by the darkling. she makes the terrible and difficult decision to let the dignitaries die in the fold alongside the darkling, because she believes it's a worthy sacrifice to make, and she and mal escape together.

i think this sequence of events would've tracked really well in the show with how alina had previously been depicted as mal's protector, but the show chooses not to have alina save mal and kill the dignitaries. instead, the show has kirigan kill the dignitaries and also has mal have a homoerotic fist fight with kirigan which is. not exactly not in line with themes the show has put on, especially with how mal and kirigan have interacted before in the show.

in the books, we don't see mal and the darkling interact without alina as a buffer, and so a fistfight between them in the battle of the fold in shadow and bone wouldn't have made narrative sense and would've just ended up feeling cheap. however we do see mal and kirigan interact without alina in the show - when mal is showing kirigan where the stag is and kirigan learns alina's favorite flower through mal, and when kirigan gives mal that petty little speech about how he'll get alina eventually while mal grows old and dies.

there's an interesting phenomenon in certain kinds of love triangles; most of the time you see love triangles in the classic sense of Person B and Person C both being in love with Person A, who has to make the choice between B and C. however, that's not a true love triangle - there also needs to be a connecting factor between B and C. and, in most cases, that connecting factor is the ritual of masculine homosocial rivalry. so when applying this kind of love triangle to alina, mal, and kirigan, we see that both mal and kirigan have feelings for alina, but they also have a connection to each other through their rivalry, which is as much about rituals of masculine conquering (whether the person they are wanting to conquer is alina or the other man is a very interesting question to which the answer is yes) as it is about being the person alina loves.

do i personally like the kirigan/mal fight in the fold? no, i would've much preferred to see alina rescue and protect mal. however, i do recognize that the fight makes narrative sense within the show, and it was really funny to see kirigan get his shit rocked by mal's bare fists a couple of times. i would say i hope he's been humbled by the experience but we all know that's not true.

also remember when i mentioned that kirigan is the one who kills the dignitaries here instead of alina leaving them to die? and remember, way back in the beginning when i said that alina inadvertently getting her cartography unit killed in the show may have been a swap for some deaths in the battle of the fold? alina being excused from the deaths of the dignitaries in the show but responsible for the deaths of her cartography friends at the beginning is what i was talking about. like i said way back (or maybe i didn't say it but im saying it now), it makes narrative sense. i get it.

however, i think the choice not to have alina perform the Cut on the skiff when she regains control of her power is an interesting one. because, in the book, that was an ultimate show-off of power (even if it was a terrible moment for alina). no one else but the darkling can perform a Cut, and as soon as alina forcibly takes control of her power from the darkling she uses his own signature move to leave him for death? that's a power move. that's irony. that's a physical manifestation of alina being able to adopt and take advantage of some of the darkling's power and use it against him, which is definitely a main theme in the book as it happens every single time alina gets close to defeating him and also when she actually defeats him.

so the Cut is really important, and i want to see in what other situation the show might have alina perform a Cut of her own against kirigan, or if they'll even include that aspect of reclaiming of power. i really want them to.

conclusion

so what have we learned? i think, first and foremost, we have learned that i have so many opinions and should learn how to be sweet and concise with my words. we have also learned there were a lot of changes between the grishaverse books and the series, and these were only the changes that i remembered off the top of my head having watched the series almost a week ago and having reread the books over the past few months.

in addition to those things, we have learned that, in my academic opinion, many of the changes made to fit the story into the screen were positive changes or, at the very least, changes i am interested in seeing develop. in the end, i am just a fan, and regardless of what season 2 may throw at us, i trust bardugo's decisions because she has never let me down narratively before, so i'll probably end up loving things the show ends up doing because i am, at my core, a simple sort of person.

i had a lot of fun writing this all up, and i hope this super long post was informative or entertaining in some way. thank you so much for reading<3<3<3<3

[t-o-m-hollands]

And so finally here it is, the fourth and final part of this series.

Warnings: Smoking, drinking and smut. One scene contains memories back to an emotionally abusive relationship (not between main characters). This is set in Nice in the 1950’s, I have never been to the French riviera and I wasn’t alive in the 50’s, so probably a very inaccurate description of the place (also at times simply just made up). Also features a PROFOUND misunderstanding of Nietzsche’s work.

Summary: Can you and Timothée make a life together?

Themes: Artist!Timmy, period piece (1950's).

READ THE PREVIOUS THREE CHAPTERS HERE,

this is the final part of this series.

August, 1953

The days are spent like this, one much like the other, settling into life without either one of you ever really noticing. The future is never mentioned more than a few days ahead and all plans are made for the day only.

But without really meaning to, you both make a home out of villa Marguerite.

Timmy buys a vespa from a man in town. It’s rusty and old but steers easily. His sore feet thanks him for no longer having to walk up and down the long hill each time you’ve forgotten to buy something in the village, instead he now just swings his leg over the saddle and swiftly sets out to buy it for you (“unpitted black olives, please”).

Each night you insist on doing the cooking, telling him you find pleasure in it; and well, who is he to deny you anything that brings you joy? So each night you cook and after the food and the wine shared on the terrace he goes back inside to do the dirty dishes. With shirt sleeves rolled up to the elbows he sets to work, going over each utensil with great care. Louise snickers at him most nights, tells him there’s no need, that it is her job; looks at him with a knowing smirk he can’t quite translate to meaning. Still, he does the washing up. Wants to do it. Loves the domesticity of it, you cooking; feeding the both of you, and him cleaning after; helping out.

*

One afternoon as the sky above shifts in shades of pink and lilac Timothée and Marco sit by the square, playing chess. Marco is winning, a habit he has when they are playing together. Timothée in turn is trying not to sulk, something he spectacularly fails at, which is entertaining Marco to no end.

It is not the losing that has got him in such a terrible mood.

You have had to go back to London for a few days, (“there are papers that need to be looked over and signed”).

“Honestly” Marco says, as he takes Timothée's queen. “Why don’t you just tell her you are crazy about her?”

“Afraid that ship’s sailed, mate” Timothée mutters, taking one of Marco’s pawns, a small victory indeed when one has just lost his queen. With his head resting on his folded arms on the table he observes the chess board in front of him with vague interest, trying to figure out Marco’s plan of action.

“Why’s that? She has clearly not kicked you out of the house so she must be somewhat fond of your sulking ass?”

Timothée snorts. “Fond? How nice, the word we save for people we can’t force ourselves to love”.

“Then why do you stay there? Leave. Find another woman, let yourself heal.”

Timothée’s head snaps up, and for a second he’s stunned silent. “No” he says eventually, but not after having first considered the idea. “ No, I can’t do that” he says. It is not as if Marco had suggested something impossible, like walking on water or turning water into wine. Timothée could leave. He could go back to your home, pack his bags and take the first train back to Paris. It would not be an equal action to that of the resurrection. Marco moves his queen across the board but Timothée isn’t looking, has his mind somewhere else; far away. For the first time he truly ponders about the option to leave. To start anew; to forget he ever met you.

But he doesn’t want to.

It’s as easy as that. Living with you, sharing space with you; why would he ever leave that? Even if he’ll never get to kiss your soft lips again he’d still stay. As long as he sees you in the morning, unguarded with tousled hair; drinking coffee he’s made you; as long as his days end with a meal shared with you, drinking wine and talking.

Marco waves a hand before him, a sly smile on his face, “your turn, Romeo”.

Timothée rolls his eyes and moves his king out of Marco’s queen’s way.

“And shack mate” Marco says, a broad smile on his face as he knocks Timothée’s king over with his knight. “Next time maybe keep your focus on the game” he adds, winking at him.

“Oh you fucker” Timothée grumbles, taking a swing from his wine glas.

*

Later that night as he walks home, having drunk much too much to drive, he hears a small, injured whimper. He stands very still for a moment, trying to ignore all other noise, before he hears the sound again. Following the injured mewling he soon discovers the source. It’s a kitten. Looking not older than a few weeks old and tiny enough to fit in the palm of his hand, with fur completely black from head to paw and eyes shining yellow in the night. It looks strangely like a very small panther. It looks slightly worse for wear as well. Skinny and small and with uneven fur. The kitten looks up at him, opens its mouth and lets out the same whimpering sound once again.

Timothée stands up, presses the small animal against his chest to keep it warm, and takes him home. He lets it sleep in his bed and it curls up beside him and the next day he takes it to the vet; who informs him that the creature, all though underfed, is in perfectly good health.

When you come back from London the next day, face more strained than before but seemingly happy to be back, Timothée tells you the story.

“What have you named him?” you ask, scratching the purring kitten behind his ear.

“Well, I thought that maybe you should be with me on the decision” he says, watching you pet his newfound friend.

“Any suggestions?”

“Well,” Timothée begins, suddenly shy. “I was thinking maybe Chopin?”

You smile at him, with genuine fondness in your eyes, and he feels his cheeks heat up. “Chopin it is. It was very good of you to save him, Timothée”.

And something like hope blooms in his chest.

That night as he lays in bed, Chopin sleeping on his chest, he reflects on his conversation with Marco and the words ‘let yourself heal’ comes back to him. The words had startled him, confused him, and maybe even shocked a little. He ponders over the words, the meaning and the implications, and decides that no. He cannot heal.

Because he is not wounded. He had been, after you left Paris that spring, he had been a wounded thing; a child who flew too close to what he wanted, only to find his wings melting and his body falling down into the sea.

But he wasn’t wounded anymore.

Through the other side of the wall he can hear how you walk around your room, going through the nightly routine. He hears the squeaking sound as you lay down on the big iron bed. Chopin purrs on his chest and Timothée closes his eyes, ready for sleep to take him.

There’s no use in thinking ahead, he decides. What will be, will be.

*

September

Late one night Timothée is playing cards with some new-found friends.

Marco had finally given in and arranged a jazz night to Nathaniel’s and Timothée’s great joy. The Milanese jazz band consists of five free-spirited and unbound vagabonds. When they play the whole village square dances. After their performance Timothée, Nathaniel, Marco and the musicians sit down to play cards. The night passes and the rum flows as easy as the conversation. The room is quickly filled up with cigarette smoke and wild anecdotes of past victories. The musicians, although a cheerful lot, have not got much to bet with, so the stakes are kept low and the spirits high.

So how exactly it came about that Marco lost the old piano in the bistro to Timothée no one can remember the following day, for the details are blurry and stained by drink. Nevertheless, as they wave the five musicians off the following morning, it is clear to them both that Marco owes him a piano.

“Ridiculous” Marco grumbles, his Italian accent clearer when aggravated, as he and Timothée push the piano up to the truck. “You can’t even play the damn thing!”

Timothée snorts, “I can learn!”

“Oh really?” Marco bursts out, sarcasm heavy in his words “like how you’ve ‘learned’ Italian you mean?”

Sweat runs down his back, the afternoon sun is bearing down on them and the heat feels like a physical pressure against his skin. “I speak perfect Italian, thank you very much” he defends himself.

It is Marco’s time to snort, which he does with great satisfaction before announcing “speaking French while putting on an Italian accent is in fact not speaking Italian at all”.

His head is pounding; but he is in a good mood and so he laughs. With much effort and even more grumbling from Marco they manage to load the heavy thing inside the rented truck and after having driven it up the hill they carry it into the villa. Deciding to place the instrument in the drawing room they lean on each other’s shoulder for a bit, trying to catch their breath; laughing.

He offers the older man a beer, but Marco declines; has a business to get back to.

So Timothée steps out into the burning sun on his own, the stone floor of the terrace scorching his bare feet. The world feels peaceful in all its golden glory. He can hear the rhythmic waves of the ocean far below, the radio playing in the kitchen; the seagull’s calling in the sky. He takes a deep breath and tastes the salt of sea water on his tongue.

His oil paints and canvas are still where he left them yesterday, a half-finished attempt of a sunrise pictured on it. On the table stand a vase with bright blue hyacinth and blood red poppies that you must have picked.

For a few minutes he just stands there, soaking in the sun. With unhurried fingers he starts to unbutton his white linen shirt. Removing it he lays it on the sunchair beside him and his trousers soon follow suit. Turning away from the sun he walks down the hot stony steps by the terrace and down to the private beach. It’s a long walk down, but he feels a great need to wash himself clean of the sweat, the dirt, the booze from last night.

With his eyes glued on the steps in front of him he makes his way down, and only as he jumps the last hot stone does he rise his head; and he sees you. You are already out in the water, swimming on the spot, your face turned towards the horizon. He clears his throat, not wanting to pry on you, nor does he want to scare you. He fails, as you turn around, startles, and lets out a sharp gasp.

“Hi,” he says, feeling awkward, shifting from foot to foot, aware that he is only in his underwear. “Didn’t know you were here”.

“’s alright” you say, sinking down into the water slightly.

Knowing not where else to look he looks down at the ground, spotting with surprise a white towel thrown on the sand, next to your dress. It is only then he realizes that you are completely naked.

“Mind if I take a swim as well?” he asks. He’s almost certain that you will ask him yes; tell him to wait until you are done but you just shake your head.

“Hop in” you say “the water’s nice and cool”. And so he asks you to turn around, so that he too can rid himself of his last remaining piece of clothing before walking out on the jetty and jumping down into the deep water.

Swimming out to you he keeps a few meters distance out of respect. The water is still somewhat clear, and he doesn’t want to peep, even by mistake.

And so there, wading in the water, avoiding the others eyes, you both watch as the sea and sky in front of you slowly turn from vibrant blue to lilac as the sun begins its journey down the horizon.

“I, eh, I won a piano” he says eventually, wanting to break the somewhat awkward silence. You turn to him, wading the water, surprise written on your face. “A piano?”

“Yeah, put it in the drawing room, hope that was okay?”

You laugh, the sound clear and bright and something flutters in Timothée’s stomach like the wings of a butterfly. He tells you the story of how he came by it and you laugh some more and he can’t help but smile at the sound, can’t help but stare himself blind at your beautiful face.

You swim on the spot and you talk; about everyday life, how you both think Louise has fallen in love with a baker in the village, about Chopin scratching on the furniture, about the pasta you had for lunch. About life in all its domestic simplicity.

You’re looking at the sun. It is the golden hour and it has painted you golden as well. You seem to shine in the light, laughing at something he’s said as you wade the water in front of you, the water golden as way; a reflection of the sky above. It hits him almost with brutal force, how beautiful you are. He looks at you thinks; Aphrodite, who entered the world fully formed, born out of sea foam, the goddess of love and beauty. You blink up at him, eyelashes fluttering like the wings of a butterfly and his chest feels too tight, as if something inside where his heart should be is taking up too much space

Without either one having realized it you’ve swam closer to each other. You are so close that he could easily reach out and touch you; could easily lean in and taste the saltwater on your lips. You are looking at his mouth and he is wondering if that is what you want him to do but he is not sure and because he is afraid to ruin the tender friendship you have built by blundering in - he doesn’t. And you don’t either.

‘But, we used to be lovers’ he thinks. His body used to know your body like it was a continuation of his own. And perhaps that is why it hurts so bad to be parted from you.

“I should get back” you say in the end, avoiding his eyes. “We haven’t even had dinner yet”.

“Alright” he says “I’ll come join you in a minute”. He turns away from the beach, leaves you to get out of the water and get dressed in privacy.

*

Later that night there is dinner, and drinks, and your bare feet as you dance in the dining room to a jazzy tune, a glass of sangria in hand as Chopin runs circles around the hem of your dress. Later there is laughter as Timothée tries to teach you poker, something you turn out to be disastrously bad at.

And later somewhere in the village church bells are ringing.

***

One day is much like another. You wake up in the morning and Timothée makes you coffee and you share it on the terrace. Then he paints and you move through the house; going through the things that need to be gone through, doing the tasks of the day. You read your correspondents and write your letters back.

You set out to the market, chat with the vendors. You learn their names and their stories and in turn they share their family recipes for the perfect pasta vongole or ratatouille. You buy your vegetables and bread, your fish and meat, your wine and cheese, excited for the dinner ahead.

Sometimes you go to the tailor and you share a cappuccino in the sun with Claudette, the old woman running it. You chat about clothes, of fashion in the past versus the fashion of now, about the passing of time. She tells you about the war and the occupation. Of the rationing of fabrics and how she has learned how to make each cut of cloth work - wasting nothing.

In her store you pick out a light floral pattern chiffon and Claudette turns it into a beautiful summer dress, so light and different from the heavier material you wore in London.

You buy handmade pottery from the woman in the square. Big pots and jars and urns that she’s crafted with her own hands and with handpainted flowers and patterns on them; made by her sister. You keep olive oil and flour and flowers in them, and place them around the house in their rightful place.

You go to the beach and you collect seashells. Bringing them with you home you tie them up on strings and you hang them by the terrace door and with each dust of wind the gentle noise of the seashells rattling against each other can be heard.

You don’t talk about the future and never plan ahead. You are not together; just two people living in the same house after all.

*

You watch him, laying on some faded old sheets on the terrace floor, soaking up sun. Timothée approaches sunbathing the way he does everything else in life; with reckless abandon. Despite Louise’s warning words that he’ll burn his pale skin he lays under the scorching sun for hours, wearing nothing on his skin but white bathing shorts. His nose has already turned an angry pinkish colour that will surely change to red soon. Beside him lay an open book, Robert Graves - The Greek Myths. His half-finished landscape painting of today lay abandoned on the table.

In the kitchen you hear the clattering of dishes as Louise does the washing up after lunch. She’s singing along to a tune on the radio and without looking you know that she is dancing.

Walking back into the house, up the steps and into your bedroom, you lay down on the bed. The bedchamber had been your aunt’s at one point and her style still lingers over the room like her old perfume, a bottle of which still lay on the antique vanity. A comforting presence.

Staring up at the white ceiling you’re trying to put a name to the feelings you’ve been having lately.

It feels, you decide, like you’re playing a game with the past and you’re not sure you’re winning. Going back to London had been a mistake. You had walked the same old streets, dined in the same old restaurants and met the same old people as you had when you lived there with Freddie. It had been a mistake to go back, and hear all the tittle-tattle gossip of the divorce, of your absence from the London scene. You had sat there, in the great white dining room of The Luxembourg, you’re back straight and poise perfected, and the gossiping tongues around you had played in your head like an orchestra. You had seen your dinner companions mouths moving, but the words all seemed distorted and slow, coming to you as in a haze. Your face feeling strangely taut, as if you were wearing a mask over your own skin, unable to move the mask's features.

The only success of the journey had been that it made you all the more certain of your decision; to sell the Mayfair flat and rid yourself of the London scene once and for all.

You had visited your parents as well. Had sat through a luncheon with them and calmly listened to their grief and despair over your split from Freddie. Had heard their praises and glorification of your former husband and you had kept quiet all the way through it, poking at your food and feeling rather sick.

In London baron Freddie Fairfax was a constant presence even in his absence.

Your marriage had consisted of days filled with silence. Days spent apart, seeing different people; living different lives. Thought not at all really, since it was all in the same small social circle. Any secret relieved between friends between crystal glasses of wine at lunch would not stay secret for long. By cocktail hour it’d be known by one and all of the tight-knitted, blue-blooded social circle you called friends. Any secret shared to a confidant would reach Freddie’s ears before the sun set, no matter how much time you spent apart; dining and drinking in different restaurants.

The evenings, if shared just the two of you, would either be spent in total silence; during which you would turn on the radio just to fill the space between you. In the night he would touch you, move in and out of you with sharp thrusts as you pretended to be somewhere else, his grunts filling the only sound in the night.

Or, if he was in one of his moods, the evenings would consist of him leaning over your shoulder, wherever you turned. Breathing down your neck. Always ready with a comment, a sly remark on your clothes, your face, your figure; you’re thoughts and opinions. On the things you said, or on your defeated silence. He never asked you any questions about yourself, had no curiosity about who you were or what you thought. The only exception was when he interrogated you about the men you conversed with, or at times about your female friends; how long you’d known them, if they were dating anyone. How attractive he found them.

Your feelings were his to toy with, because in his eyes you were his plaything to do with as he pleased. Because to Freddie love would always go hand in hand with possession and to you love would always mean hunger.

Hunger for something gentler, warmer, and altogether different. Hunger for someone else.

Pictures of dark curls play in your mind. Timothée, his eyes furrowed and a pencil in his mouth, looking at the canvas in front of him with great concentration. Timothée, with blue paint splattered on his pale cheek, the sun shining in through the dirty windows of his artist flat, illuminating him.

Timothée who had slowly helped you put yourself together again when you fled to Paris; thought he’d never asked for glory for his role in the mending of your heart.

Nevertheless, he had. With great care and gentle hands.

Once in Switzerland you had gone with your father to the horologist. Your father was to have his watch repaired. You had watched the horologist with great interest as he sat down by his desk, thick glasses resting on his nose as he opened the back of the clock. The old man had furrowed his grey brows and with great focus and piety set to work with repairing the complicated machinery of the timepiece. Putting it together with the expertise of a mechanic who not only knows how each fragile piece works but why.

That’s how you imagine Timothée loving you; with great precision, knowing just how every piece of you fit.

And so maybe in the end that is what love means to you; not hunger, but being understood.

The windows are all wide opened, but no breeze makes its way inside and the room remains boiling hot under the late summer sun. The warmth feels like a heavy blanket covering you as you lay there in bed, just taking in the sounds of the house. The ticking of the grandfather clock in the hall, the seagulls screeching in the sky, the far-away sound of Louise singing in the kitchen and further away still; the ocean.

The bedchamber remains stuffy and hot.

Sitting up you reach for the cigarette package on your bedside table, discovering that they are Lucky Strikes; instead of your usual Gauloises. Timothée’s cigarettes then. You must have taken them by mistake. Grabbing the package you walk down stairs and out on the terrace again, where Timothée lay where you left him, sprawled out on the floor, the tip of his nose now bright red.

“You’re burning yourself” you tell him, throwing the cigarette package down on the ground beside him. Timothée lifts a hand to shade his eyes, otherwise blinded by the light. He looks at you with a lazy grin, before moving on the sheets to make room for you. Keeping his eyes on you he pats the spot next to him on the floor and so you lay down beside him.

“Think you have my Gauloises” you say, the entire world orange as the sun shines through your closed eyelids. “Must have taken your Lucky Strikes by mistake”.

Timothée hums, before rising and moving into the house. A minute later he is back with your package of cigarettes and an ashtray. Handing you the cigarettes he then helps you light up with his precious silver gift, his dark curly hair falling down his face as he does so. He smells of seawater and turpentine and as you lay down on the ground beside him on the ruffled sheets you feel like you can breath again.

Laying there under the sun you smoke and observe him. His hand with their specks of blue paint left from his work this morning, his legs slightly spread, his chest slowly moving up and down with each breath. His eyes are closed, and the ghost of a smile still plays on his lips. He seems at peace.

You wonder how long this fine line you both have been walking is going to last before one of you tumbles. The fine line between lover and ex lover. You wonder what will happen next.

Or perhaps this is the way things will always be. Each day lived out ad infinitum, one much like the other. A foolish thought; a childish one. For sooner or later he will take another lover, find someone new to cherish. Someone in no need of healing. And you think of Lucy, and her laugh as light as the bubbles in champagne, her easy charm and carefree personality.

You’ll wonder if he’ll take someone home with him one day, make her love to her in the room next to yours. Where he’ll learn her body like he once knew yours .

You wonder if you’ll do the same.

***

October

The days are cooler now, still pleasantly warm but not intensely so, and most of the tourists have left the stony shores; leaving the whole village less crowded and easier to move through.

For two weeks Timothée goes back to Paris. He sits in the street and paints the people he sees in their everyday life; reading newspapers on the park benches, friends sipping cappuccinos on rotting chairs outside the café, old women choosing their bread with great care at the boulangerie. He adds no drama or sensationalism to the scenes, but settles for painting the people in all their simplicity and its realism.

He visits his art dealer, who with great astonishment accepts nine landscape paintings and a handful of sketches. “No portraits then, monsieur?”

And Timothée tells him no. He is waiting for the perfect model for the job.

He goes to his artist studio, and is surprised to find that it feels less like home than before. He doesn’t linger for long, and when two weeks are up he books a new compartment on the Blue Train, treating himself with a first class ticket this time.

On his way to the station, his bag slung over his shoulder and a package of new pots of paints tucked in underneath his arm, he walks by a bookshop. Casting an eye at the shop window he stops dead in his tracks. A placard with William’s face stares back at him through the window, his mouth twisted into a wide smile and his hair styled neatly.

Timothée walks into the store and five minutes later he walks out with a freshly printed copy of ‘A siren calls’ in his hands.

He borders the train, lays down in his train compartment and he begins to read. And through the entire journey home he reads.

*

Villa Marguerite is much the same when he returns from Paris. Chopin greets him as he hears him come in, happily accepting scratches behind his ear as an excuse for his absence. Placing his bag and his paints on the floor, but book still firmly in hand, he walks out on the terrace in search of you, but finds it empty.

Walking upstairs he knocks at your door and upon hearing you call ‘enter’ from the other side he steps inside.

You are laying on your stomach on the bed, wearing your silk canary yellow robe, flipping through a copy of Tatler, the gramophone in the corner playing Chopin. You look up at him, eyebrow raised in silent question.

He clears his throat, unsure how to approach this any other way but straight on. “Have you seen this?” he says, and raises the book for you to see.

“Oh that” you say and sigh. “Yes, he wrote to me informing me of it weeks ago”.

“You knew?” he says, astonished.

“That William’s great piece of literature was going to be about me” you flip a page in your magazine “of course I did.”

Timothée leans against the doorway feeling like the air has been pushed out of him. “Why didn’t you tell me?”

You look up at him again, and again with a surprised expression on your face. “I didn’t know you wanted to know that” and then “is it any good? The Tatler’s reviewer calls him the new Fitzgerald”, you nod down to the magazine in front of you.

Timothée hesitates, unsure how to respond. “It's, well yes I suppose it’s alright. The prose is quite stunning, if not slightly overworked”.

“But?” you say, sensing an objection.

“He’s made a caricature out of you”.

“He’s written me as he saw me, just as you’ve painted me as you saw me. And you’ve both sold your works for money. On this, if perhaps on this only, you are the same”.

Again he is stunned. Then, voice slightly shaking with held back frustration, he says “please tell me I’m closer to the real you then this” and he holds up the book again “this rubbish. He’s made you out as this, this…” he wrecks his head for the right word before finally settles for the obvious one “siren. This woman he can’t help but love but his love for her is standing in the way for the life he wants to live of unbound pleasures. A siren that keeps calling him back from his path on the search for perfect bliss. This siren that drowns him with her love”.

Silence for a heartbeat, then “you were”. He blinks, and you continue “you were closer to, as you refer to it, the real me. But that doesn’t make his interpretation of me any less real. Like I said, I’m sure that is how he sees me”.

“Well he’s dedicated the book to you”

“That’s sweet”

“I’m not sure it’s meant to be. Before it could be up for assumption who the book is abou. Now it’s crystal clear for everyone to see.”

“You don’t think he’s meant that as a compliment?” Standing up you tighten your silk robe around you. “I think so. I think he’ll consider it a great honour to have a book written in your honour, no matter the subject matter”. You walk past him “but never mind, let’s have drinks on the balcony upstairs, I think it’s going to rain tonight”.

*

“You never talk about Freddie” he states. It is late at night, rain dipping against the ceiling above, and they are sharing a bottle of wine.

“There’s not much to talk about” you say, avoiding his eyes, eyes set on the rainy scenery in front of you.

“He was cruel to you, wasn’t he?”

“There are others who’ve had it worse.”

“Doesn’t make it less cruel” he says. Feelings are fighting with each other in his stomach, like a nest of vipers they twist and turn inside him, fighting for dominance. Feelings of anger, empathy, sadness and love.

He walks over to you, and sits down on the bench beside you, his warm hand cups your cheek and you close your eyes, looking ready to weep.

“I’m so sorry, ma chérie, I really am” he presses a chaste kiss to your forehead, moves his arms so that he holds you to his chest instead. Soon you let yourself cry. He holds you to him, his chin resting on the top of your head and as far beneath you the waves are crashing against the rocks and in the chill evening air he keeps you warm.

He holds you for the longest time and somewhere in the village church bells are ringing.

***

An early morning some days later you walk out on the terrace. It is decidedly cooler outside this morning and the air feels crisp in your lungs and pulling your robe tighter around you you sit down by the laid table.

Timothée sits hunched over a book, a cigarette in hand, a cup of black coffee next to him. Despite the morning chill he’s only wearing his usual paint-stained linen trousers.

“What are you reading?” you ask, pouring yourself coffee into a small, porcelain cup. His eyes are still on the book, brows furrowed, and so you look around, take in the scenery around you; the cerulean blue sky stretching out over a landscape of hills and pastel coloured villas, and further down - the ocean.

“Nietzsche”.

“It’s too early for Nietzsche”

“I never went to sleep” he answers.

You try to keep your eyes on the horizon in front of you, but despite your might they dart back towards the tussle of brown, curly hair on the other side of the table. He’s hunched over his book and it is hard to tell, but you think you can see shadows of blue underneath his eyes. He looks tired.

“And what does Nietzsche have to say?”

“Well” he starts, before going on to read from the page. “Nietzsche claimed that the exemplary human being must craft their own identity through self-realization and do so without relying on anything transcending – such as God or a soul. This way of living should be affirmed even if one were one to adopt, most problematically, a radical vision of eternity, one suggesting the eternal recurrence of all events.”

“What does that mean, the eternal recurrence of all events?”

“That the universe and all existence and energy has been recurring, and will continue to recur, in a self-similar form an infinite number of times across infinite time or space”.

You stay silent, contemplating this momentous new idea.

“You know, scientists say that we are made out of stardust” Timothée says.

You don’t follow his train of thoughts but you go along with it and ask, “how could that be?”

“Well, everything we are and everything in the universe and on earth originated from stardust, and it continually floats through us still. It directly connects us to the universe, rebuilding our bodies over and again over our lifetimes. When stars get to the end of their lives, they swell up and fall together again, throwing off their outer layers. If a star is heavy enough, it will explode in a supernova. The brighter the star; the faster it burns. So you see, most of the material that we're made of comes out of dying stars, or stars that died in explosions. And those stellar explosions continue. And so, we have stardust in us as old as the universe, and then some that landed here maybe only a hundred years ago. And all of that mixes in our bodies.”

You stay silent for a while, him with his eyes stuck on the page in front of him, obstinately avoiding your eyes and you; eyes fixed on him, sipping your coffee.

“I don’t understand what you are trying to tell me, Timothée” you say in the end.

He blinks, eyelashes fluttering over cheekbones delicate like fine china, now tanned after months spent on the riviera. The sun is shining down on the both of you by now, and through tousles of dark curls you can now clearly see the dark shadows underneath his eyes. The wind whistles through the cypress trees.

“Just that there is nothing new under the sun” he says after a long silence. “And I guess that I’m trying to talk to you about destiny; how we are born, and reborn ad infinitum. Again and again and again our dice are cast, casting out our roles in life. We all have our parts to play. Parts that we are destined to play, and they are decided for us. It is beyond our control.”

“And what do we learn from this?”

“Amor fati”

“To love one’s fate?”

“To love one’s fate”.

***

One afternoon Timothée wakes up from a nap on the terrace. He opens his eyes and for a moment he’s blinded by the light, seeing only silhouettes in front of him. Stretching out his arms and legs, his body stiff from laying on the terrace floor, he groans. His limbs feel heavy and numb and his mind is unusually quiet, as it has a habit of being just after he wakes from slumber. Closing his eyes again he lets the bright sunlight turn the world white behind his eyelids.

Above him the seashells you’ve put up tinkle in the soft breeze. From way down below he can hear the ocean, steady today in this fine autumn weather. But he can hear something else as well. The clinking of a piano being played. Standing up, as in a haze, he follows the sound.

Walking into the house, past the tinkling seashells and white curtains, through the kitchen and hall he follows the sound into the drawing room.

You are sitting by the piano, playing Für Elise with unpractised hands. The sun is coming through the large windows, lighting you up, painting a halo atop your head.

“Can I paint you?” he asks, for the first time in months.

Your fingers fumble with the piano chords for a second before carrying on, showing no other signs of having heard him. You continue playing until the piece comes to an end.

Then, in the silence, your soft voice.

“Alright”

***

Someone has dug out an old Fletcher Henderson record and the music is blaring from the gramophone as people dance to the old jazz music, one woman has gotten up on the table and is stamping her bare feet along to the rhythm, twirling her dress and swinging her hips. Others are standing in groups, laughing and chatting; cocktail glasses in hand. Others still are sitting by the table.

You can’t tear your eyes from Timothée as he sits leaned back in his chair, arms draped over the railing and head thrown back in laughter. The afternoon light has turned the entire world golden, but Timothée seems to have been more blessed by the light than anybody else; as if he had been picked out and touched by Midas himself. He seems to shine as he laughs with his new-found friends, cheering them with a glass of cheap wine. They’re discussing new revolutionary ideas and he laughs as they clink their glasses in celebration of their own drunken brilliance. He’s wearing his nice white dress shirt and suspenders. The first couple of buttons are undone at the top, and sunkissed skin peeks through. His hair a mess of sea-salt curls, falling over his face, and pearls of water falling from his skin like little stars; the party having gotten back from a swim just moments before. They are mostly Timothée’s friends, though some are yours. Locals, whom you’ve befriended during your time here; with the added number of guests being a couple of british and dutch backpackers Timothée met up with on the way back to the villa.

You look at him, carefree and golden in the sun, and you know the image of him like this will stay with you forever – that you never will see anyone or anything this beautiful again. You don’t think of rebirth, or of reincarnation - of lives destined to be lived over and over again until the sun finally implodes and swallows you all; thus setting you all free from your destinies. You don’t think destined, star-crossed or fated.

Or of amor fati.

Instead you look at him and you think of immortality. Of gods and heroes of the ancient past and of all the holy creatures legends say has roamed the earth since there was anything to roam. You watch him in the golden afternoon light and you think of Achilles and of Apollo and of the archangel Gabriel.

(And you understand why the ancient Greek believed in heroes and god amongst men. You believe as well.)

On the first day God created light.

And so, the scientists say we are all made of stardust. You watch the golden boy in front of you, seemingly shining in the sun, and you wonder to yourself if perhaps the stardust he was made of ever really settled into human skin.

You have never felt more blue, like a sea creature dragged up to the surface against its will; but he is half boy, half ethereal creature. Something Holy. You can almost see it; heavy white wings sprouting out between his shoulder blades, casting a great shadow beneath him, wherever he goes; a golden halo atop the mess of curls on his head. There, at the table under the golden mimosa tree, he throws his head back in laughter again and the sound rings clear over the music, over the other’s voices.

His eyes meet yours where you stand in the shadow underneath the roof and the laughter seems to die in his mouth.

On the third day God created the seas.

The sun goes over the horizon; the golden hour has passed, and everything is set in shadow. You keep your eyes on each other while the rest of the party roars on around you. Their laughter, the clinking of their glasses and the loud music falling on deaf ears as he keeps his eyes fixed on you.

The sun has set, and the boy in front of you is no longer golden for you are all in shadow now; you are both human again.

Yet you still swear you can see the faint light of a halo atop his head and you can still feel the heavy weight of saltwater inside your lungs, taste it on your lips.

Eyes still fixed on his, you raise your glass to your lips, and you drown the last of your red wine. You can feel a drop slip from the corner of your mouth and make its way down your chin, your throat, your chest; down on your white silk dress. You put the glass down beside you and turn away from his gaze, walking away from him.

On the fourth day God created the moon and the stars.

The deep steps down to the water are wet from the passing tide and you move your feet carefully forward as you make your way down to the water. The sounds of music and laughter are soon replaced by that of waves. Passing by the old wooden jetty you walk down to the small piece of stony beach by the rocks. And there you stand. In front of you, a landscape of water so dark it appears black, and reflected on it from the sky above, the moon and the stars.

You hear the creaking sounds of someone stepping on the jetty.

And on the sixth day god created mankind in his own image.

Timothée stands in front of you, hands in pockets, his shirt undone and suspenders slightly astray; looking at you with such intent that you swear there’s thunder in the air, though the sky remains cloudless. Slowly, as if giving you plenty of time to retreat, he moves closer. Then, with his hands holding on to you, he kisses you. It is saltwater and sweet wine. It is red hot and wet and slow, until both of your breaths come heavy and your hands are fumbling over the other’s clothes. You tumble back against the flattened cliff wall behind you and you’re pulling him closer to you, tugging at his clothes until he’s pressed against you, chest to chest. Your hearts as close to each other as can be.

Your hands fumble with his zipper until it finally comes undone, and lifts up the skirt of your dress, pushing down your underwear until they fall at your feet. Hooking your leg around him you struggle for a second with finding the right position. Then, with a jagged thrust he’s inside you and you suck in a sharp breath. “Careful now” you moan in his ear, your arms around him holding onto him tightly. “It’s been a while”.

The reminder seems to soothe him, and the thrusts become slower, more dragged out but deeper too. His hands become gentler, less rushed, but still firm as he holds on to you; each hand pressing into the smooth flesh of your thighs. Your arms are clinging onto his shoulders, painted red nails digging into his back, your own back arched from pleasure. Moans and whimpers are falling from your lips and into his ear; his hair, still wet from the earlier swim, feels cold against your cheek.

There, in the dark; the night only lit up by moonlight, with waves crashing against the stones beneath your feet, he moves in and out of you and the air itself tastes of seawater.

You lean down and kiss his exposed tanned collarbones peeking through his half-opened white shirt and as you gently bite down he hisses and fumbles with the pace for a second, before regaining his posure; pressing you harder up against the wall again.

“That’s right” you moan, hands clutching onto his shirt and your head thrown back. “Fuck, harder!”

And he does.

And when you come it is white-hot bliss. Like the invisible strings holding together reality are all pulled out and you tumble through existence; unsure of where anything ends or begins.

Except that maybe the answer to both of those things are Timothée’s ragged breaths as he fucks you with feverish pace. Maybe there is where it all ends and begins. He comes in a whimper, your hands in his hair, his face in the crook of your neck.

And there you both stand, holding each other; fighting for air, as the waves crash around your feet.

***

You’re in the market and nothing feels real to you.

It is like you’re watching it all happen on film in front of you, the vendors shouting out prices and shoppers picking out their vegetables. It is like you are watching it all happen very far away.

The sun is high in the sky, and it is unusually warm for a day in late october. Your skin is clammy and your palms feel sweaty; yet you feel strangely cold. And you are trembling, feeling certain that if someone were to prick you with a needle right now – you wouldn’t feel a thing.

You see the people moving, arguing over prices of leek one moment and laughing the next. People carrying wicker baskets filled to the rim with ripe fruit and vegetables. It is like they all move in slow-motion, the sounds they make muffled and far off.

You step away from the crowd but when you turn around you walk straight into Timothée. He stumbles backward a step, unprepared for the collusion. He says something, swears perhaps, but you can’t hear him. There’s a ringing in your ear and the ground feels unsteady underneath your feet, the sun glaring down at you.

Then his hands are cupping your face, and you see him mouthing your name. He looks at you, eyes full of worry. He takes your hand, leads you away from the market and into the ancient church. His hand warm in yours he leads you down the aisle before turning into one of the box pews. You sit down beside him and he takes your hands in his.

“Your hands are cold” he says, before lifting them his his lips to kiss them.

He had been inside you just hours ago. You had cleaned up as best you could, before walking up the stairs again and re-joining the party. You had retired early, claiming a headache, while Timothée stayed out on the terrace with his friends. In the morning you had risen before him, heading down into the market before breakfast.

“Do you think we can ever be happy?” he asks and you want to laugh. Because the question is so precisely what has been on your mind ever since last night.

You think of the ocean; the way it can carry you or drown you depending on its whim. You think of the seawater in your veins, of lungs heaving for air. You think of never ceasing, impossible blue. Of bones engraved with memories from the past. And how all of this is who you are, that it is not a temporary blueness.

“Do you think we can ever be happy?” you ask back.

“I don’t know” he says. The church is cool and drafty, despite the warm weather outside and his hands around yours feels warm and safe. It wakes an unholy sort of wanting inside of you.

“Ask me who I am” he says.

“Who are you?”

“Someone that loves you.” His voice is low. You are not the only two people in church, a few rows ahead there is a woman praying and at the front two priests are conversing with one another. He continues in his soft voice, “I can’t promise you perfect happiness forever, no one can, and frankly; I’m not sure that is what you really want either. It’s perhaps what you think you should want, but that’s not the same as actually wanting it. I think part of you loves your melancholia”.

“Well then, what can you promise me?”

“I promise you that on the days you feel like you’re drowning I will keep us afloat and I’ll hold you until it passes. I’ll keep you warm”.

“And you don’t wish I was more yellow?” you ask, voice sightly trembling.

“You know, I’ve always loved the ocean. I’ve never felt the need to change its hue, despite its darkest blue”.

“It’s that easy?”

“It’s that easy” he says, and kisses your hands again.

***

On the balcony floor outside your bedroom you both lay that night, spread out on sheets and plush pillows you’ve carried out. You lay there, your head on his stomach, and stare up at the stars. Neither one of you is wearing a thread of clothing, but you are both tangled up in sheets. There’s an empty bottle of wine beside you and in Timothée’s hand his book on Nietzsche’s philosophies.

“So what do you think?” he asks. “Do we have a free will or is it as Nietzsche believes, that the dice have already been cast far before we’re born, leaving us to live out our stories without the ability to ever change the outcome. Leaving us to simply accept our fate; to love our fate”.

“It sounds terribly defeatist to me” you say

“Or brave” Timothée says, “I’m really not so sure which. Perhaps both.”

“So you agree with him? You agree with Nietzsche? We are not ourselves in charge of our lives?”

“No, no not at all” he objects “I don’t believe he’s right. I’ve made my own choices in life. I’ve created my own mistakes and fortunes. And my fate has never been to love you, I’ve done that intentionally.”

You love me on purpose?

Yes I love you on purpose. I chose it, I chose you”

“I chose you too”

*****

Inspirations: Jenny Slate’s tweet about wanting someone to love her on purpose, my own quite frankly disastrous relationships, Johnny Cash saying paradise is “this morning, with her, having coffee”, Anna Karenina, Cat on a Hot Tin Roof (OBSESSED with https://www.ntathome.com/packages/cat-on-a-hot-tin-roof/videos/cat-on-a-hot-tin-roof-full-play version, highly recommend renting it), Greek mythology, The Blue Train adaptation by ITV Poirot (season 10 episode 1, watch it, every episode is individually based on one of her books so no need to see it chronologically) that has been playing on repeat and also the fact that for the last month I’ve been thinking of nothing else than traveling to Italy, France and Greece again.

[norsecoyote]

There's this one stupid internet argument I keep getting into even though I know I shouldn't.

I follow/participate in a forum thread about webcomics, which is a mixture of genuine appreciation for good ones and communal hate-reading of the really bad ones. One such Bad One is the inexplicably but wildly popular Lore Olympus.

Lore Olympus is a terrible fucking comic for so many reasons, all of which originate in the creator's stunning lack of talent for anything beyond creating a vaguely compelling aesthetic. Artistically, the characters are all literally indistinguishable from one another except that each one is colored different (by which I mean, their entire figure is colored, skin, hair, clothes, everything). All the women have identical figures and faces (although some have pointy ears). There are a whopping two types of men's bodies, "buff" and "willowy," but they all have the same noses. Oh, and all of these body shapes change wildly from panel to panel, with zero sense of proportion or scale between characters.

The writing is where the real deep problems start, though. The comic bills itself as a retelling of the myth of Hades and Persephone except this time Persephone has Agency™, which tbf is a great concept. The problem is that the author repeatedly goes miles out of her goddamn way to rob her of any possible agency in her situation. She is literally constantly being manipulated by the other gods, pushed into uncomfortable situations, entire jobs, relationships, etc. with zero chance to choose for herself. Even beyond the core plot details, though, her internal characterization is childish verging on infantilizing; we are constantly reminded how out-of-her-depth and naive she is about the big bad adult world of Mount Olympus.

Which is a segue into the really awful shit that this comic pulls, as it happens. See, in this weird-ass inconsistent interpretation of the mythos (don't even attempt to make sense of the worldbuilding, seriously), Hades and all of the other Olympians are ~2,000 years old. Persephone, meanwhile, is 18. Literally 18. Also, Hera assigns her (without any of Persephone's input) to work as Hades's intern (Hades here being the CEO of "Underworld Corp").

So we're already getting into rocky waters, since the comic has somehow conspired to make the power dynamics of this relationship even more unbalanced and one-sided than the original mythos, where Persephone was physically abducted and carried off. But the real damning thing is that, having established this titillatingly taboo relationship, the author makes a special point of establishing that what attracts Hades to Persephone is: her body. I wish I were joking, but there's literally zero time spent on what he likes about her as a person, versus whole episodes on his feelings of lust. Which is still better than Captain Agency, for whom we have actually ZERO sense of what she sees in the gangly blue asshole (Hades is blue, which is the only way to tell him apart from his brothers, who are yellow and green).

So the comic sucks, and that's not even getting into the ways that every single character who suggests that maybe it's not appropriate for Hades to romantically pursue his 1,982-years-younger employee is immediately thereafter shown to be hypocritical and/or sabotaging the relationship for their own selfish ends, or the way that Persephone begins to come to terms with having been raped (in an early scene) not through any actions or reflection of her own but via Eros using his magic fuck-detecting powers(?) to realize and exclaim out loud, with other people present, that she's not a virgin anymore(??!!!!) and pressuring her into telling him the whole story. The comic sucks in both concept and execution and I kind of hate that it's apparently popular enough to get optioned for an animated series.

None of that is the stupid argument I keep getting into, though.

The stupid argument is that many posters in the thread, when asked (say, by a newcomer) why Lore Olympus is so bad, will say something like "because it's about how a really toxic type of relationship" (i.e. one with an enormous age- and power-gap) "is Good, Actually."

And mostly I can just let this slide, but every once in a while I am compelled to say, "actually, it's not bad because it wants to tell a romance about a powerful older man falling for a younger woman, it's bad because it does a really bad job of telling that story, in a way that actively glorifies the imbalance and either glosses over or actively mocks all reasonable issues with it."

Because, IMO, you shouldn't say that art is bad because of its subject matter. Just because I think relationships in real life like the one depicted in Lore Olympus are highly likely to be toxic and dangerous to the weaker/younger half doesn't, itself, mean that LO is bad for trying to make a counterargument.

But the other posters say: yes, this kind of relationship is so toxic that there's no possible way to write positively about one without being Bad.

And I suggest, just because you disagree with art or find its themes repugnant does not, in itself, make that art Bad. Maybe there are some topics that are just so taboo they should never be touched, but I dunno, the universe of human relationships is vast and varied enough that I don't think this crosses the line. I can imagine there being a romance about a couple like this that has artistic merit.

And they say: I didn't realize "45 year olds shouldn't get romantically involved with a 19 year old under any circumstances" was a hot take.

And that's when I start to get Mad On The Internet and go crying into my tumblr.