#turning darkness into light spoilers

[derangedpracticality]

Thinking about Turning Darkness Into Light again. I love the very realistic depiction of translating old texts, that was fun!

What touched me most in the story were

Kudshayn's thoughts about the new text and how to deal with the emergence of an older and different creation myth for your people than what you know and believe. Very fascinating.

[verflares]

(click for higher quality!) draconified link concept ive been chipping away at this past week ..... here's my funny little compendium concept for him:

"A heroic spirit has taken the form of this bestial dragon. Unlike it's kin, this creature exhibits an extremely aggressive disposition. It appears highly territorial, and will relentlessly chase down those who disturb its skywide patrols - of which it seems to be endlessly searching for either a long-time vassal or foe. Unfortunately, it seems the spirit within has long since forgotten exactly who it was looking for…"

[idontwikeit]

What's the observation?

[wannaeatramyeon]

DG x Reader: Hair

Spoiler! G/N. Soft. Masterlists

DG bites his tongue and refrains from asking.

It's a stupid question anyway. Racked full of insecurity and especially surprising coming from someone from him.

Yet as your eyes rove over his new style, lingering a moment too long on his dark locks, the question spills forth-

"Don't you like it?"

Delivered on autopilot with a smirk, and his tone implies that of course you do. An age old mask of attitude and arrogance that transcends identities, enough to hide what truly lurks below. The inner workings of James Lee.

You reach up and ruffle his hair, swallowing down the thought that it might take you a while to get used to this, ignore that you're going to miss the shock of baby pink.

It's different, that's all.

Instead you respond by telling him to shut up.

All fondness and zero bite even as you roll your eyes. Your gaze no longer lingers on his hair though your touch does, letting the strands curl around your fingers.

And when his eyes meet yours again, you never bothered to answer his question but nevertheless-

DG feels a weight lifted from his shoulders.

[mayasaura]

one problem with a theatrical adaption of tlt is htn, where the reveal that Gideon lives on works because of the change of second person to first.

the only way i can think of it working is that the actor playing gideon works backstage, like the lights system (but is hidden from the audience aside from subtle hints)

the biggest hint is when when wake breaches pal's river bubble she 'breaks' the lighting system and the stage goes dark. harrow is ushered into the wings by pal so she doesn't see anything, but the lights flick back on just before the curtains drop for a scene change, and pal looks directly up at the light box in surprise and smiles. if the audience is quick to turn around they can see a flash of a black robe.

Oh boy my friend, have you come to the right place!!

So, fun fact about ninja. Bear with me, I am going somewhere with this. The image of a ninja covered head to toe in black, with a hood and mask, comes from Kabuki theatre. It was originally a stagehand uniform. Like stagehands in modern theatre, stagehands in Kabuki would wear all black to signify that they were not really there, and whatever effect they were causing (carrying a prop, creating a breeze, ect.) was to be taken as happening on its own. Basic stagehand stuff, a lot of productions in many styles around the world do it, especially if they don't have fancy rigging systems.

Someone (I don't remember who now, or in what play) had the idea to dress the ninja in a production up as a stagehand. In the convention of the theatre, this made them invisible. The audience was already so used to ignoring stagehands, they didn't know any more than the characters that the ninja was present, despite the actor being clearly visible on stage. Which meant when the ninja struck, it was as if out of nowhere. I can only imagine the uproar in the theatre the first time it happened. It worked so well as to become commonplace, and the rest is history. The popular image of a ninja is still a kabuki stagehand.

So, back to the stage play of Harrow the Ninth. I think you've hit almost exactly on how to incorporate the Gideon twist into a theatrical production. But not as a lighting tech. Gideon is a stage hand. Maybe there would be more than one stagehand, maybe she would be the only one, but she would operate in full view of the audience, literally setting the scenes. I think it works best if she's the only one, but if the production needs more, she should subtly stand out in some way. As the play went on, we would notice that this one stage hand... increasingly interacts with Harrow, though Harrow never acknowledges it. At first it might look like she's playing Harrow's necromancy, because that would be the main special effect she would need to help with. When Harrow is unconscious at the end of a scene, it's always the same stagehand carrying her out. But we all know she's not really there. Until Palamedes acknowledges her. Turns to look right at her, and speaks to her. I can see the scene clearly. He would look at her, stunned, until Gideon finally took off her mask. The line "Kill us twice, shame on God," would be addressed to Gideon, and then he would turn back to Harrow, kiss her on the forehead, and tell her to go. Gideon, always out of Harrow's line of sight, would guide Harrow away while Harrow looked back at Palamedes.

[raayllum]

She squinted as a shaft of light appeared maybe ten feet ahead, the ground sloping upwards as they followed the phases of the moon back toward the surface.

Relief washed over her in waves as the light grew brighter, bigger, haloing Callum’s silhouette of a windswept-haired head and broadened shoulders. He picked up the pace, not looking back, as her muscles became mush. But they were almost there. She could keep going. Just a few more steps to the surface, and then— Rayla’s foot caught on a rock. She stumbled. She slipped, both hands scraping against the ground.

Callum glanced back immediately, turning round and dropping to the ground in front of her, grasping at her arms, eyebrows knit with worry. “Hey, you okay?”

—Teach Me How to Name the Bigger Light, Chapter 7, January 25th 2024 / The Dragon Prince, 6x05 Moonless Night, July 26th, 2024

[wellwhatnowlove]

“He looks down at his feet, searching for words. When he finds them, he looks up at me with the raw emotion of his father, but without the anger or the pain. “Mother, your inheritance was guilt. Father’s was surrender. Because of you, because of Father, mine is struggle. That is better than guilt. It is better than surrender. I do not blame you. I thank you. You never pretended the world wasn’t broken, even when a broken world favored you.”

Light Bringer, pg.144

I GOT TO THINKIN TODAY ABOUT WHAT PAX SAID ABOUT HIS PARENTS’ INHERITANCE AND I HAD A REVELATION. okay sorry VERY LONG WINDED ESSAY BELOW. (Light Bringer spoilers too)

If Darrow’s inheritance has always been surrender and Virginia’s has always been guilt, then Light Bringer is a study in how they’ve swapped those burdens, and both grew immensely because of it. Virginia is forced to face the reality of surrender to keep Mars from falling. She must learn to sacrifice lives on an unimaginable scale. She literally has to surrender Phobos in order to hold Mars and save lives from a bloody battle over pride. She routinely seeks out the injured and dying to confront those she sacrifices. It’s heart breaking and hard to read at times, but not once did she not feel like the character we grew to love. She stays true to herself while mentioning multiple times that she now understands Darrow’s plight more than ever from the last decade.

Then on the flip side, Darrow is forced to reckon with his insurmountable guilt when he is put on trial before the daughters in the rim to answer for betraying them in order to secure a victory for the core rising/republic. He talks about how that guilt put a wedge between him and his family. That guilt made him feel unworthy of love, and, therefore, unable to properly express his love to those he would give everything for. This mirrors Virginia’s past struggle with one particularly potent example being her inability to believe that Darrow could love her after he reveals his true identity as a red in the tunnel under Lykos at the end of Golden Son. She says

“They are my family!” she shouts, face collapsing into grief. “My father hanged your wife. He hanged her. How can you even look at me?”

I think it’s this guilt (and probably some feelings of utter betrayal, panic, and overwhelm) that led her to leave Darrow in that tunnel and indirectly led him into the Jackal’s trap. Which I’m sure she also feels immense guilt for. But I think a large part of her journey off page and into morning star is her coming to terms with that guilt. In confronting it she learns to be vulnerable with Darrow again and comes to accept that he loves her despite the insane complexity of their history. This culminating with her leaning into her understanding of her part in the society and realizing that it puts her in a place to make a true change. All of this accomplished with an education in immense humility, flexibility, and compromise. Which is the lesson Darrow grapples with and I think truly leans into throughout this book. In a way, he is forced to reckon with how his guilt drove him away from Virginia and Pax and even veered him away from Eo’s dream.

I think on a character based level, this will exponentially strengthen their relationship when (please please Pierce) they finally reunite, and will make them a more formidable pair than even before. They now understand each others struggles in such intimate ways that idk if anyone can stop these two.

Then, on a plot based level it speaks to the larger themes of resilience, understanding and the fight for humanity. Virginia finds strength in surrender and Darrow finds redemption in humility and compromise. 

Then, add in some struggle, grit and pixie dust (and a cool head tattoo I guess. WE SEE YOU OVER THERE PAX AKA ADEPT AUGUSTUS. HELL YEAH KEEP IT UP BABY WOO) and the rising might just have a true shot. Not only at victory, but at redemption and continued effort in the name of what is just and good.

[highfantasy-soul]

Wild that I've seen takes that Mae turning away from her revenge quest funded by 'the master' is showing HOW EVIL SHE IS, ACTUALLY!!!

I get different interpretations of things, but to say a character who's entire family was slaughtered and she thought she was the only one left, had nothing to live for, and was given the opportunity for revenge, then when she realizes there's something for her to LIVE for, LOVE can come back into her life, so she's willing to turn herself in (not steal Osha away, not kill everyone with her, but turn herself in!!!) and stop killing, and say that is 'actually proof of how obsessive, evil, and possessive of her sister she is! Look how evil she is for finding something to live for again and seeing a different path forward! This is evil!'

Yes, it could be Mae wanting Osha at any cost, but I haven't seen anything in the story that would support that concept - other than the one moment in the flashback, from Osha's POV, and when she was 8. [as a side note, please please please stop with this obsession with labeling children psychopaths. stop it. seriously. stop.]

Mae's mission is actually quite logical - she's only harming the Jedi who came in and killed her entire family (presumably). She never killed a bystander, and with Torbin, she literally just talked to him and he chose to kill himself rather than admit to the Council what he did. When she saw Osha again, she didn't try to apprehend her, she didn't implore her to come with her, she genuinely looked confused, vulnerable, and fled.

We don't have the full story - that's intentional. We need to question every action and motivation because it might not be what it seems, yes. But to me, it feels like with the evidence we have so far, the idea of this show isn't "Mae is the Dark Side twin and Osha is the Light Side twin - everything is very clear cut and black and white - everything Osha does will be good, everything Mae does will have an evil reason for it" - it's all mixed up with good (or neutral) people doing both good and bad things/the things they believe is best for their own group. And for me, that's much more interesting than trying to force bad actions done by 'protagonists' to be good, somehow, and good actions done by 'antagonists' to be bad, somehow.

[acourtofquestions]

Rowaelin Chapter 41 Kingdom of Ash:

She'd rebuild it—what she had been.

Perhaps one last time, perhaps only for a little while, but she'd do it. If only for Terrasen.

Rowan swooped from the mast, shifting as he reached her side at the rail. He surveyed the night-black sea beyond them. "You should rest." She slid him a glance. "I'm not tired." Not a lie, not in some regards. "Want to spar?" He frowned. "Training can start tomorrow."

"Or tonight." She held his piercing stare, matched his dominance with her own.

"It can wait a few hours, Aelin."

"Every day counts." Against Erawan, even a day of training would count.

Rowan's jaw tightened. "True," he said at last. "But it can still wait. There are ... there are things we need to discuss." The silent words rose in his animal-bright eyes. About you and me.

Her mouth went dry. But Aelin nodded In silence, they strode into their spacious quarters, its only decoration the wall of windows that overlooked the churning sea behind them. A far cry from a queen's chamber, or any she might have purchased as Adarlan's assassin.

At least the bed built into the wall looked clean enough, the sheets crisp and stainless. But Aelin headed for the oak desk anchored to the floor, and leaned against it while Rowan shut the door.

In the dim lantern light, they stared at each other.

She'd endured Maeve and Cairn; she'd endured Endovier and countless other horrors and losses. She could have this conversation with him. The first step toward rebuilding herself.

Aelin knew Rowan could hear her thundering heart as the space between them went taut. She swallowed once. "Elide and Lorcan told you... told you everything that was said on that beach."

A curt nod, wariness flooding his eyes. "Everything that Maeve said." Another nod.

She braced herself. "That I'm-we're mates."

Understanding and something like relief replaced that wariness. "Yes."

"I'm your mate," she said, needing to voice it. "And you are mine."

Rowan crossed the room, but halted a few feet from the desk on which she leaned. "What of it, Aelin?" His question was low, rough.

"Don't you..." She scrubbed at her face. "You know what she did to you, to ..." She couldn't say her name. Lyria. "Because of it."

"I do know."

"And?"

"And what do you wish me to say?"

She pushed off the desk. "I wish you to tell me how you feel about it. If…"

"If what?"

"If you wish it wasn't so."

His brows narrowed. "Why would I ever wish that?"

She shook her head, unable to answer, and stared over her shoulder toward the sea.

It seemed like he would close the distance between them, but he remained where he was.

"Aelin." His voice turned hoarse. "Aelin."

She looked at him then, at the pain in his words.

"Do you know what I wish?" He exposed his palms, one tattooed, the other unmarked. "I wish that you had told me. When you realized it. I wish you had told me then."

She swallowed against the ache in her throat. "I didn't want to hurt you."

"Why would it ever hurt me to know the truth that was already in my heart? The truth I hoped for?"

"I didn't understand it. I didn't understand how it was possible. I thought maybe ... maybe you might be able to have two mates within a lifetime, but even then, I just ….." She blew out a breath. "I didn't want you to be distressed." His eyes softened. "Do I regret that Lyria was dragged into this, that the cost of Maeve's game was her life, and the life of the child we might have had? Yes. I regret that, and I wish it had never happened." He would bear the tattoo to remember it for the rest of his days. "But none of that was your fault. I will always carry some of the burden of it, always know I chose to leave her for war and glory, and that I played right into Maeve's hands."

"Maeve wanted to ensnare you to get to me, though."

"Then it is her choice, not yours."

Aelin ran a hand over the worn wood of the desk. "In those illusions she spun for me, she showed me variations on one more than all the others." The words were strained, but she forced them out. Forced herself to look at him. "She spun me one dreamscape that felt so real I could smell the wind off the Staghorns."

"What did she show you?" A breathless question.

Aelin had to swallow before she could answer. "She showed me what might have been—if there had been no Erawan, if Elena had dealt with him properly and banished him. If there had been no Lyria, none of that pain or despair you endured. She showed me Terrasen as it would have been today, with my father as king, and my childhood happy, and..." Her lips wobbled. "When I turned twenty, you came with a delegation of Fae to Terrasen, to make amends for the rift between my mother and Maeve. And you and I took one look at each other in my father's throne room, and we knew."

She didn't fight the stinging in her eyes. "I wanted to believe that was the true world. That this was the nightmare from which I'd awaken. I wanted to believe that there was a place where you and I had never known this suffering and loss, where we'd take one look at each other and know we were mates. Maeve told me she could make it so. If I gave her the keys, she'd make it all possible." She wiped at her cheek, at the tear that escaped down it. "She spun me realities where you were dead, where you'd been killed by Erawan and only in handing over the keys to her would I be able to avenge you. But those realities made me ... I stopped being useful to her when she told me you were gone. She couldn't get me to talk, to think. Yet in the ones where you and I met, where things were as they should have been ... that was when I came the closest."

His swallow was audible. "What stopped you?"

She wiped at her face again. "The male I fell in love with was you. It was you, who knew pain as I did, and who walked with me through it, back to the light. Maeve didn't understand that. That even if she could create that perfect world, it wouldn't be you with me. And I'd never trade that, trade this. Not for anything." He extended his hand. An offer and invitation.

Aelin laid hers atop his, and his callused fingers squeezed gently. "I wanted it to be you," he breathed, closing his eyes. "For months and months, even in Wendlyn, I wondered why you weren't my mate instead. It tore me up, wondering it, but I still did." He opened his eyes, and they burned like green fire. "All this time, I wanted it to be you."

She lowered her gaze, but he hooked a thumb and forefinger around her chin and lifted her face.

"I know you are tired, Fireheart. I know that the burden on your shoulders is more than anyone should endure." He took their joined hands and laid them on his heart. "But we'll face this together. Erawan, the Lock, all of it.

"We'll face it together. And when we are done, when you Settle, we will have a thousand years together. Longer."

A small sound came out of her. "Elena said the Lock requires—"

"We'll face it together," he swore again.

"And if the cost of it truly is you, then we'll pay it together. As one soul in two bodies.

Her heart strained to the point of cleaving. "Terrasen needs a king."

"I have no intention of ruling Terrasen without you. Aedion can have the job."

She scanned his face. He meant every word He brushed the hair from her face, his other hand still clasping hers to his chest, where his heart pounded a steady, unfaltering rhythm.

"Even if I had my choice of any dream-realities, any perfect illusions, I would still choose you, too."

She felt the truth of his words echo into the unbreakable thing that bound their very souls, and tilted her face up toward his. But he made no move beyond it.

She frowned. "Why aren't you kissing me?"

"I thought you might want to be asked first."

"That never stopped you before."

"This first time, I wanted to make sure you were ... ready." After Cairn and Maeve. After months of having no choices whatsoever.

She smiled despite that truth. "I'm ready to be kissed again, Prince."

He let out a dark chuckle and muttered, "Thank the gods," before he lowered his mouth to hers.

"You're my mate." Her words were a breathless rush. "And I am yours."

The world might have been burning around them for all she cared, all he cared, too.

"Together, Aelin," he promised, and she heard the rest of the words in every place their bodies joined. Together they would face this, together they would find a way.

Together we'll find a way, their mingling breaths, the crashing sea, seemed to echo.

Together.

[velvetjune]

[average alan wake shadow voice] “i’m drowning…WAKE…no way out…sinking deeper and deeper and deeper…i died…”

[swordmaid]

get her again for ME!!

[vounoura]

try on your new jimjams! they're a present from Father - it would be rude not to.

[tjerra14]

Continuing my Control adventures with AWE, and so far all I can say is a) why is it so dark b) at this point, Maria will be adopting Alfred I fear c) wish mold removal would be this easy irl d) turns out I retained enough from that one (1) Alan Wake playthrough I watched several years ago that some things remotely ring a bell e) can I... move those arcades... a little closer to each other.... f) WHY IS IT SO DARK

[angeltannis]

[BG3 spoilers below]

I was really hoping the Shar stuff in this game would have more nuance to it with one of your companions being a Shar worshipper. But so far it feels like the same old “darkness = evil, light = good” with a nice smattering of “Satanists Sharrans are coming to kidnap your children and groom them into their evil cult!!”

I acknowledge that most of this is rooted in D&D itself and that the writers of BG3 were probably limited in what they could do with these licensed characters and world. But it still sucks and is so boring. Feels like a high fantasy version of a every old Satanic Panic horror movie out there

[elvhendis]

Confession time I never finished the Shadow and Bone show because I googled who Alina ends up with and it wasn't the tortured darkness void boi

[thedeadflag]

I've rewatched WoT S02E06 three times now, and once again I find myself hoping beyond hope that we get a better ending with the Seanchan at the end of the show than what RJ/BS managed with the books.

Like, I get the "little in life is black or white, we exist in the greys" bit that's routinely pushed, and the narrative exploration of the politics of privilege and how the majority of a society can grow to tolerate and appreciate the subjugation of others and the horrors their government inflict if it means their own lives benefit. I get the spotlighting themes of Law vs Justice and Order vs Peace they bring out. I get that. I do think both authors really had a tendency to stumble when writing towards those aims, and it often came across as minimizing the evil of the Seanchan. There are things in life worse than death, and I never did see the Seanchan as any better (and often saw them as worse) than the Dark One's forces. By the end of the series, the dark one's imprisoned again, and the Seanchan are reasonably well equipped to eventually conquer the world within a few generations (and iirc we do get glimpses of that future through Aviendha). The only other alternative would be if Shara only let a trickle of their forces to the final battle, and had enough of a channeler army to pose a threat, and they honestly wouldn't be any better. Shit's seriously fucked.

And I have little doubt that not too long after that conquering (or perhaps in the later stages of it), some desperate people will bore into the Dark One's prison again and release him in exchange for the power to defeat the Seanchan. And I honestly wouldn't blame them (and the Dark One probably worked to build that force over the centuries as a plan B if all else fails), and it may just be the right thing so that the Seanchan society can die off, and hopefully when the Dark is defeated once again, there won't be the threat of a looming incomprehensibly evil society ready to take over.

Like, I don't need a kittens and rainbows happy ending in the show, it wouldn't fit the series, but I do want one where the threat of the Seanchan is seriously considered and where there's some glimmer of hope for a better turning of the wheel. Throughout the series, I always considered them on par with the Dark One as the "big bad", if not the sneakily primary one, since they're more 'digestible' as the more human face of evil, but still no less evil than the Dark One and its forces. And it's a big reason why Sanderson's books kind of fell flat for me and often undermined the tension they tried to build in sections related to them, because the threat of the Seanchan really wasn't addressed well, at least not IMO.

It's probably because RJ planned another book series featuring Mat that would potentially explore the deconstruction of Seanchan society and the political intrigue and philosophical issues involved with changing the core principles of a society and the elements of imperialism/colonialism involved in that, but we're never getting that story, so can we please just ensure the show ends with a decisive L for the Seanchan? Please let them reap the consequences of their own actions for goddamned once, at least to some extent to where there's meaningful hope for a better future.

Or maybe just have Semirhage completely eliminate all Seanchan leadership and capability to enslave channelers during her time in the Seanchan mainland, and publicly collars a few sul'dam before killing them to break public faith in that whole system. Like, screw the civil war nonsense, just cast them into utter chaos, left to question everything they believed in. That way, by the end of the show, there may be less narrative impact to the truce, but it'd make for a more hopeful ending given the slim likelihood of the Seanchan culture and principles lasting long after the end.

Like, I don't care all that much how it happens, only that it does happen. The writers have a chance to make their own mark in a good way, and if the series lasts that long, I hope that they take it. (And also maybe just omit the Shaido abduction arc entirely, it doesn't need to happen and they wouldn't have the runtime on screen to justify that conclusion.)