#what if anything he should be told

[queenlucythevaliant]

harder than you think

i. When the Narnians stole Edmund away from beneath the Witch's blade, they told him he was safe. This wasn't a lie, but it wasn't the whole truth either.

ii. They brought him to the Stone Table. It was night. Edmund doubted very much that he would find safety there, for he still recoiled at the name of Aslan. He slept fitfully and woke the next morning before the sun was up.

iii. A sliver of gold just beyond the tent flap captured his attention, there in the dark. Unaccountably, Edmund felt the urge to rise and go towards it.

iv. And there was Aslan, who was supposed to be fearsome, supposed to be dangerous, supposed to be powerful, and he was he was he was. Dimly, Edmund felt himself hitting the ground.

v. But then Aslan said, “Come, Son of Adam. Let us walk a while, and reason together.”

vi. And as they walked together, in the cool dewy grass of early morning, the Lion told Edmund everything that he had ever done.

vii. They were standing in front of the Table when the conversation turned. Aslan spoke a riddle of a house blasted into rubble which he would piece back together overnight. He spoke of flesh being pierced, blood being shed, and of rejected stones being used for new foundations. He spoke about water welling up forever, washing you clean of everything you ever did wrong, all the blood that you ever thought of shedding, everything you ever tried to steal, and a river that carries you home when you can't walk anymore and spits you out brand new when it reaches the sea.

viii. Edmund's head swam. Silently, he yearned for the wisdom to understand what he was being told; or, failing that, at least to remember it for as long as it took him to puzzle it out.

ix. And then, the Witch. Then, the battle. The thrones. A year passed, and winter came. In its time, it melted back to glorious spring.

x. “Edmund,” said Lucy one day. “There's something we need to tell you.” She and Susan were cloaked in springtime gossamer, like fairy queens in poems he only half remembered. They sat on the window seat in his study, holding hands white-knuckled: his two beloved sisters.

xi. “It's about Aslan,” Susan said. “And the White Witch, and how he made her renounce her claim on your blood. The night before Beruna, he went back to the Stone Table.”

xii. “He let her kill him,” Lucy cut in. “Instead of you. And then, because he hadn't done anything wrong, the Emperor's Deeper Magic brought him back to life.”

xiii. “We've been arguing all year about how much to tell you,” said Susan wryly. Then, a little gentler, “We don't want to hurt you, but we feel you ought to be told what he did for you.”

xiv. And Edmund, who had never forgotten what Aslan told him on that cool, dewy morning before the sun came up, shut his eyes and whispered, “I know.”

xv. I know, he said. I know that he died. I know that he did it for me. I know he lived again because I saw him the next day, and the next, and the next. I think I know what it means - or at least, I know the shape of it.

xvi. “Oh,” said Lucy. “We should have realized that he would have told you himself.”

xvii. “Yes. But please, tell me the story all the same.”

[poorly-drawn-mdzs]

Hey now, Let her cook!

[hinamie]

thank u canon plant nerd megumi for my life

bonus:

[bunnieswithknives]

Thanks.

Prev

[dollypopup]

I can't stop thinking about Colin on his travels. Colin, alone, on a journey to 17 different cities, across several countries. Colin on his own.

Colin who writes letter after letter, to his family, to his friends, and barely gets a response back. How long before he understands that they didn't get lost in the mail? How long until he realizes that, just like when he was a boy, no one has the time for him? The space for him? How many letters unanswered before he lets it finally take root and fester in his mind?

He could have died on that tour.

Would they even notice? Would they see when the letters slow until they cease? Would they wonder why? His mum, surely (maybe, possibly, but she has enough on her hands, besides, and he's never been a concern, in need of her assistance, before), but anyone else? Anthony on his honeymoon, Eloise a stormcloud personified, Benedict taking on the familial responsibilities, Fran preparing for the marriage mart and in Bath, regardless. Daphne, his closest sister, a mum running her own estate.

Greg and Hyacinth who enjoy his stories, but are children.

Pen who ignores him. No explanation, no goodbye.

Colin who has no one in his corner. Colin who travels city to city, putting on personas. Will they like me? What about now? Colin who has hardly anything to read from the people he loves. Who do not think of him.

And yet he thinks of them. Brings them back gifts, writes his recollections for them until it hits him that, oh, they don't care. They don't care what he's doing, how he's doing. They didn't want to hear it before, when he was there with them, and they do not want to hear it now, either. Did they even open those envelopes? Did they see them come through the post, just as proof he's alive, and shrug off the contents? Did they look? Once, Colin sends an empty page. No one notices. Easier, then, to send just the outsides. People only ever care about the outsides. Pretty and prim in neat packages, uncaring of what lies beneath. Sea sick on the rocking boats, staring up at stars on the continent, Colin grows aware, but not bitter. Sad, but resigned.

He loves his family, he loves Pen, loves them to grace, loves them to it's okay. It was him, he determines. Too chatty, his letters too long, uninteresting, his passions dull or droll, or else, worse, he's displeased them in some way. Colin who takes refuge in stranger's arms and homes, who dreams and tries to sate his curiosity. Colin who pretends, because anyone, anyone but him would be received better, he's sure of it. Colin who must talk too much, surely, and with no one to listen. Colin who learns to hush.

Yes. Remarkable- as in, I have many remarks about it.

How many times did he go to excitedly write of what he did that week, and stopped himself, knowing it was a waste? How many times did he write and throw into the fire a letter asking Why don't you see me? Why don't you care?

If he didn't make it, how long would it take for anyone to notice? A month? Two? A year? Would they wave it off as his frivolity, denounce him as a flake and fume about the funds? Would they wonder where it was he had lost himself off at?

He cannot fall into that, so, he writes in his journal, instead. Of the ache of it, of how he longs for connection, for understanding, for someone to take him seriously. He keeps it with him, this log of his discontent, of his folly and felicity, of his pitfalls and pains.

If he didn't make it, would they realize all that's left of him is what he sent them, not even a body to bury? Did he look over the side of a bow of a boat and look at the churn of the ocean and think of how many bones it held? Did he tip his face to the sun? How many new scars did he earn? Who did he befriend?

Who did he become?

Somewhere along the line, Colin learned. He learned the real him wasn't wanted.

Somewhere along the line, somewhere between Patmos and Paris, Colin left Colin behind.

And, somewhere along the line, Colin laid face to face with loneliness in his bed, and it wrapped its arms around him.

[lgbtlunaverse]

So I've said multipe times now (here and here) that thinking nmj is just so blinded by privilege he doesn't undertand that acting out of line gets people killed is, in my opinion, a misunderstanding of his character that ignores the part where he's, you know, actively dying the whole time and thinks that's a good thing. But that doesn't mean I don't think privilege plays no role at all in how he views the world.

Specifically, his view that death (at least premature or violent death) means something.

Death isn't always a tragedy to NMJ, but it is always meaningful. If you kill an evil dangerous person for your righteous cause, that death had meaning. There was evil in the world and now there is less of it. Similarly, if you die in the pursuit of your righteous cause, that death has meaning, because the sheer dedication you gave to it that you were willing to die for it will further that cause, and your bretheren will be invigorated by your sacrifice to fight even harder.

If a death isn't meaningful, that's an injustice and it is up to the living to give it meaning. That's what cuts so deep about his father's murder. There were no consequences, no changes, no meaning. Wen Ruohan was just going to get away with it! He fights and wins an entire war to make it mean something, to make it so that the unjust murder of Nie Mingjue's father is part of Wen Ruohan's downfall.

But this is a view he can only hold because he's the kind of person who's death will be meaningful. Most ordinary people's deaths are meaningless. Not ontologically, not inherently, but they are made meaningless because no one cares. For death to be meaningful you either have to be so powerful that anything you risk your life for will be impacted in some way. (Like, say, if you sacrifice a long life for immense martial power in a faustian bargain with a blade) Or if people with that kind of power care enough about you to do so for you. For most people, this isn't true. A starving street kid has no power to change the unfair world that put them there, even if they risk their life trying, and no one will do it for them once they die.

Nie Mingjue knows this in abstract, and of course rightfully believes it's wrong. But all that does is make it yet another righteous cause people should be willing to die for. Everyone's deaths should mean something, we'll make it so or die trying!

This is what the conflict between nieyao is about at its core. Because Jin Guangyao, fundamentally, cannot conceive of his own death as meaningful. Nie Mingjue grew up around powerful men who could change the world but refuse to do so because god forbid they risk a single hair on their perfect heads. Meng Yao, on the other hand, grew up in an environment where no one of importance would blink twice if you died. He was surrounded by meaningless death. Indeed his entire early life is defined by that lack of care.

Meng Shi dies and no one cares. Meng Yao gets thrown off a flight off stairs and no one cares. He has to be the one to do the caring, and once he's gone no one else will do it for him.

So he has to live.

Jin Guangyao eventually gets far enough that he actually does aquire the power to change some things... as long as he's alive. If he changes too much, holds on too tightly to his ideals, he'll die and it'll all be for nothing. He can't sacrifice himself for his goals because doing so would immediately render those goals unobtainable. No one will care about what he tried to do. He won't be a heroic sacrifice, he'll just be trash that finally cleaned itself up.

And well... Nie Mingjue dies, and someone makes it mean something. Makes it mean so much that the entire story of mdzs would not exist without it. Jin Guangyao dies and it doesn't mean anything. Most people are glad to be rid of him, and the few that are not don't do anything to change that.

[vaguely-concerned]

I've been picking mostly only the essential flirt options with lucanis in the romance so far (I've personally found the dynamic much more natural and mutual when you do that, more like forming a solid friendship slowly and inevitably becoming something else and less like you keep pushing on him and getting little back b/c he seemingly just gets overwhelmed and goes into freeze instead), and I think rye is a pretty hard person to read at the best of times even though he's been Down Real Bad from pretty early on and their chemistry as people is naturally really good. so the way the almost-kiss plays out in this playthrough feels a lot like it has the added layer of lucanis realizing that no but for sure rook is flirting and not just being kind or a good friend* it IS actually happening it's not just wishful/fearful thinking!!! and then uh. maybe going a bit too hard a bit too fast in all the excitement at that revelation haha

*in lucanis' defense he has seemingly literally never had a friend who wasn't his cousin-brother before, under those circumstances I suppose some confusion is extremely natural if not outright expected lmao

[markantonys]

just accidentally stumbled on an egwene hate reddit thread and everyone was bitching about how she tries to act like rand's equal when she's only the second-most powerful authority figure on the continent, and one sane person was like "well, balance was a huge theme of the series, so it's pretty clear that RJ did consider the dragon and the amyrlin two halves of a whole and that rand is meant to be egwene's equal co-authority rather than her superior" and of course they were downvoted to hell. and this one little thread just really epitomizes how the readers who approach WOT as a male power fantasy just fundamentally will never understand the series and its themes and the story it was ACTUALLY telling.

[sidsthekid]

nate out here cheesin cause he thought scoring in ot would mean going on to play team canada (sid) in the wch semi finals. but alas, it was not to be…

[descendant-of-truth]

Anyone else find it fascinating that whenever we're shown Roxas's feelings through Sora, it's just kind of melancholic and wistful, but the reverse scenario always feels like you just walked into a psychological horror?

Seriously, the way it's presented, it's like we're meant to see Roxas as an old friend that we miss talking to, but Sora - our original "old friend" that we would have reasons to miss - is hardly even shown as a person. The contents of his memories feel less important than the effect they're having on Roxas, which is usually Extreme Distress and/or physical pain.

And it's insane to me because KH1 was so whimsical! The memories that Roxas and Xion are experiencing are literal Disney magic! But the way they're shown, with the fuzzy filters and the glitch effects, sort of removes the emotions you associate with them and makes them come across as eerie and unsettling.

Not to mention, Sora's memories rarely prompt any feelings of happiness, the way Roxas's might make Sora extra fond of the Twilight Town crew... which might say more about how KH1 affected Sora's mental health than anything.

(I personally stand by the idea that the story revisits it so much as an analogy for how repeating events in your head over and over can alter your perception of them)

But like. how wild is it that this series found a way to take its cheerful protagonist, and without changing anything about him, turned him into this constant, unnerving presence that haunts the lives of two other characters?

And I think another reason Roxas doesn't feel like he haunts Sora in the same way is because no one really... treats Sora like a person while he's asleep. He's either a tool or an object of affection, and regardless of which you pick, his feelings are seen as secondary to the goal of waking him up. As a result, the narrative focuses entirely on Roxas and Xion's personhood, and unlike Sora, they never stop being treated like people once they're made inaccessible due to the plot.

It's probably a bit late in the story to bring it up by now, but I still wonder if we'll ever see Sora be upset with Riku for sacrificing people in his name. Sure, it worked out in the end, and I'm not sure if Sora's even aware of what happened (how likely is it that he's properly sifted through all of Roxas's memories at this point?) but there's a list of things he could still conceivably be mad at Riku about that he hasn't processed, and I want this to be one of them

[dykedvonte]

I think the most baffling thing about the Tulpar as a vessel to me is the fact that the ship really did only have a one way communication system.

I know it was cheap but even the most basic of vessels regarding major transport would have some way, shape or form for outside communication. Not only that but there was absolutely no form of innate emergency signal to show they may have been offline or in trouble despite clearly having a system to dock credits if they went off course. It's another factor that really shows that bad situations are made to get worse by design. One person who is required to relay all information to the crew and make all the choices without feedback. No way to update or call for help in case of a dire situation. No way to inform of inner personal conflicts and acquire procedures accordingly.

It really is like they are all in some sort of fucked up solitary confinement. They have their own world with strict roles that are meaningless in the end, as long as the cargo makes it, it doesn't matter what happens on that ship to the company. They don't want to hear anything and will come to conclusions on what happened based on how much pay they can withhold from the workers. Even what they do send is short, sterile and corporate to the extent it was likely written and sent out with a command by some random unmanned computer in an office.

There's something to be said about how unfair it is to force absolute power and control onto one person when you as an entity could do so much more to offload it but I've said it many times before so I won't again.

[arsenicflame]

Izzy Hands can have a little "thinking hes incapable of feeling love" as a treat (for me. the treat is for me)

[creativitycache]

Alright apparently I’m now outnumbered in my small office for not carrying anything defensive like pepper spray, a taser, or a metal baton every day.

[perilegs]

my sweet little baby man is no longer with us

[n0bluev]

@fushiglow hmm….wonder who i’d draw this for all of a sudden and why… 🤔🤔

[candidateofloyalty]

Franziska’s insistence on perfection is an attempt to live up to her father’s legacy despite that legacy being built on lies and ruining countless lives including that of the person Franziska loves most. Accepting that she is not and cannot be perfect is a major step in her development into not only a better person but a happier one. And despite all of this, every time she declares her own perfection my immediate impulse is to agree with her