#when Aslan gave them a new one

[paisholotus]

Chapter 7

୨⎯ Narrative ⎯୧

The Stone Bridge. The Pevensie's stood on the looking over the horizon. "Now, Aslan’s camp is near the Stone Table just across the frozen river." Mr. Beaver told them. Rina stood beside Mrs. Beaver worried, not only for Edmund but what her father and sister will say.

"River?" Peter said, looking concerned. "Oh, the river’s been frozen solid for a hundred years." Mrs. Beaver said, reassuring him. "It’s so far!" Susan said, frowning lowly. "It’s the world, Dear. Did you expect it to be small?" Mrs, Beaver said, smiling.

Across The Wood

The court yard door opens and Edmund and Ginarrbrik walk through it into the courtyard. Edmund stops short when he sees a new statue, Mr.Tumnus. "When you’re ready, Son of Adam." The Witch said.

The sleigh sweeps out of the castle doors and across the frozen lake surrounding it. Edmund huddles on the floor whilst the Witch sits upright, wrapped in her furs.

Susan, Lucy, Peter, Rina and the Beavers walking across a huge frozen river. "Come on, humans! While we're still young." Mr. Beaver said, walking ahead of them. Peter bends down to give Lucy a piggy back ride, "If he tells us to hurry one more time, I’m gonna turn him into a big, fluffy hat." Peter said, making Lucy giggle.

"No! Behind you! It's her!" Mr. Beaver yelled. Rina quickly looked behind them and took a deep breath widening her power making them all invisible. "Wait! Will you just think about this for a minute?" Susan asked, frantically Peter. "We don’t have a minute!" Peter said sternly. "I’m just trying to be realistic." Susan said, galring back at Peter. "No, you’re trying to be smart. As usual."

They start to climb down. Susan looks like she might stay but the howling of the wolves in the distance changes her mind. Peter puts a foot on the ice and water spurts up from under it. "Wait. Maybe I should go first." Mr. Beaver said, making Rina nervous as she looked at him with scared eyes. But, he gave her a quick smile making Peter catch on and frown as to what he was looking at.

Mr. Beaver tests out the ice with his feet and tail, trying to find the strongest passage. The children start to follow Mr. Beaver across the ice. Lucy notices the wolves running across the top of the frozen waterfall to the other side of the river. The wolves leap down being able to smell them, but can't see them.

"OH, PRINCESS RINA! I KNOW YOU'RE HIDING THEM!" Maugrim yelled. They ran across the river, Rina's heart pounds in her chest as she tried to focus on keeping them invisible. She grabbed onto Lucy's hand helping her keep up. Susan and Peter looked at Lucy, as they're eyes widened looking at Lucy grabbing on to something or someone.

"WHAT'S IT GOING TO BE, PRINCESS BRAT!? THE RIVER CAN'T HIDE THEM!" Maugrim yelled to her again.

Peter noticing the waterfall is starting to crack and collapse. He stabs the sword into the ice. The waterfall plunges down on them and sweeps them away. The beavers propel the chunk of ice to shore. Peter stands up holding Lucy’s coat in his hand, but no Lucy. "WHAT HAVE YOU DONE!?" Susan yells. They look around but don't see her. "Lucy! Lucy!" Susan yells.

"Has anyone seen my coat?" They heard a little voice and turns to see Lucy being pulled from the water by a little brown girl, as they walked up the frozen bank holding hands. Both of them soaking wet and shivering from the cold.

Mr and Mrs. Beaver looked at Rina. She's been seen. "Rina my child." Mrs. Beaver whispered, concerned but also happy that she was okay.

Rina looked at everyone as they stared at her. She then looked at Lucy and she smiled lowly at her nodding. Rina then told them who she was. She told them about her sister and who Aslan is to her. She told them that she was princess of Narnia entirely, and her sister would be Queen of Narnia not just parts of it but all of Narnia. She told them she's been with them this whole time, keeping them safe. She apologized for not being able to save their brother, her powers weren't that advanced yet. Her father was truly the only one that could help him.

Peter and Susan than hugged Lucy and thanked Rina for saving her and doing her best by keeping them safe.

"Well, I don't think you'll be needing those coats anymore." Mrs. Beaver said smiling. They see a blossom growing and leave their coats behind as the wood changes from winter into spring/summer.

[maretinelli]

WILL YOU MARRY ME?? AGAIN...

Edmund Pevensie X fem!reader

Summary: Even after spending years dating and getting married in Narnia in the golden age, Edmund makes an important request to Y/n, However, now here in your world.

Words: 1.5K+

Warnings: Mention of Narnia, university, and really cute happy couple stuff.

Author: Always saying that English is not my first language, I apologize for any spelling or typing errors I may have. And as a good patriot (or not so much) I mentioned a typical Brazilian food — BRIGADEIRO. I hope everyone can experience this wonder one day!!!

MASTERLIST

Y/n and Edmund had been together forever. They were the same age, born a week apart, their childhood was spent in each other's houses. And everything changed when they went to Nárnia for the first time, in which, in the golden age, they grew up, dated, got married and when they were about to think about having an heir, Aslan sent them back to their world. Which, they were still children.

However, they were still in a relationship, with more maturity than any other pre-teen child their age.

Second time they went to Narnia, they went together and faced more challenges than when they were in the golden age. To which, Edmund almost lost Y/n in the battle of Beruna against the Telmarines.

Third time, only Edmund, Lucy and Y/n went. Well, Eustace had also parachuted into the world of Narnia. But that is beside the point.

Now, two years after the last time they went to Narnia. Y/n and Edmund had left for a new adventure together. The incredible life at University.

They left for Seattle when they had the opportunity to study at the University of Washington. Both got a scholarship for the courses they wanted. Edmund was in his second year of Law and Y/n was more than happy studying Journalism.

They both moved and were living in an apartment that the college paid for. It's a small, modest and simple place, but having each other was more than anything for them.

Edmund was in their small space in the college dormitory area, while he had a small black velvety box in his hands and looked at a pair of rings inside.

When he told his parents that he would ask Y/n to marry him, they were elated and Helen Pevensie said she had a gift for him. It was the first pair of rings that Ed's parents had worn, she said she wanted him to propose to Y/n with those same rings. Ed was so emotional that he couldn't hold back his tears that day, and now he was here, waiting for Y/n to get home from her last class of the day to propose to her.

When the brunette hears keys unlocking the door, he quickly puts the box in his pocket and takes a bouquet that was on the coffee table.

"Eds honey, you don't know what I just found!!" Y/n drops her bag on the floor as she locks the door again. "I was coming home and I saw a cafe with typical country food. I looked at the menu quickly and saw something Brazilian like, biga...pri...brigadeiro I think. I thought I'd ask you so we can go there in a bit" she takes off her shoes and turns to Edmund, who was smiling as she spoke and had a beautiful bouquet in his hands. "That it??" She asks, smiling shyly and approaching him, while Edmund takes the bouquet to her.

"They're for you" He hands over the flowers and kisses his beloved's temple.

"They're beautiful, Ed" Y/n smiles at her boyfriend and admires the flowers.

"My classes ended early today and I was passing by the flower shop here and I thought they would suit you" It wasn't a lie, Edmund always gave flowers to Y/n and said they suited the girl, today was no different, but yes, there were a special touch.

"Thank you" Y/n smiles shyly. "I'm going to put them in a jug of water, so they don't die" she walks to the kitchen and Ed follows the girl.

“So, what were you saying about the coffee shop…” He leans against the kitchen doorframe and watches Y/n walk around the small space behind a pitcher.

"Oh yes, of course!! What do you think about going there later today? It's Friday and they're open until 11 pm" she tries to get the jug that was on top and can't. "Ed, my love. Help me!! Y/n exclaims and Ed laughs heading towards her.

After taking the jug for herself, Y/n gives the brunette a quick kiss on the lips as a reward.

"I thought it was a great idea. But I kind of planned an afternoon for us"

Y/n turns quickly and looks at him with a crooked smile on her lips.

"A is?? Did you plan?"

"Yes" Ed crosses his arms in front of his chest and smiles victoriously at her.

The truth was that Ed asked Y/n's friends for help to organize a surprise for the girl, so he could ask her to marry him.

He would have done it with his sisters, but it was kind of impossible when they were on the other side of the country. But in the end, everything worked out and the girls would be at the park where Ed would ask Y/n to marry him until they got there. To keep an eye on things.

"And where are we going, Lord Edmund the Guide" Y/n approaches her boyfriend and puts her arms around his neck.

"Surprise!"

Y/n widens her eyes and smiles.

"Okay, Mysterious Ed. But what outfit should I wear for this surprise date?"

"Come, I can help you!!" He takes the girl's hand and pulls her to the shared room.

"Silly!!" Y/n smiles when he leaves her sitting on the bed and starts looking through her clothes in the closet they shared.

••••••••••••••••••••••

It doesn't take long and the two are already walking hand in hand to the surprise location.

Y/n tried everything to get information on where they were going, but Edmund refused to say anything and laughed every time Y/n mentioned an option that had nothing to do with the place.

"Now you must close your eyes" Ed walks behind her and puts a blindfold on Y/n's eyes affectionately.

"What if I fall?"

"I will be here!!" Edmund places a chaste kiss on Y/n's cheek and she smiles at his action. "Be careful, it's a bit steep here"

"Are we not park?"

"Try"

"I love this park" Y/n says as she climbs a small hill with Ed's help.

He smiled.

"I know, my love"

When they reach the top, a beautiful picnic blanket is spread out on the ground with different foods for both of them, a beautiful photo of the two is next to the basket and balloons in Y/n's favorite colors decorate the place.

With that, Edmund thanks Y/n's friends who took care of everything and they say goodbye before going down the hill, being careful not to alert Y/n of their presence.

"Is there someone here?" Y/n asks.

"Yes, me and you"

"HAHA you're very funny" she says sarcastically and he laughs.

"You can take off the blindfold now" he says and helps his girlfriend remove the black cloth that was around the future journalist's eyes.

Y/n adjusts her eyes according to the light in the room and opens her mouth in surprise when she sees everything organized and a beautiful picnic in front of her.

"Eds, this is so beautiful!!" She kneels down and takes the photo from the picture frame near the basket. "You did all this?"

Edmund nods. "Well, I had help from some people. But it was all my idea" he says proudly and Y/n laughs.

She looks at the photo again and runs her thumb over the image.

It was a photo of the two of them on the last Christmas they spent with their parents before coming to university. The two families got together and surprised the future university student by giving him several gifts for his "new" apartment. In the photo, Y/n had a pan in her hands and was about to put it on Edmund's head, when Lucy's dog invaded the photo and jumped on top of Y/n.

At the time of the photo the girl was still laughing, but the dog did complete damage. Making everyone laugh.

"Lucy's dog almost killed me that day"

"Exaggeration" Ed rolls his eyes and laughs, sitting next to the girl. "He just messed up your hair and drooled on it."

"So!! I almost died" she says being dramatic and Ed laughs.

Y/n smiles as she puts the photo back in place and looks at the balloons.

"Why all this? Is there anything important today that I don't remember?"

Ed shook his head.

"Well, yes and no" he says, already with his hand in the pocket where the box with the rings was. "Well, I fell in love with you since I saw you. Which I don't remember much, because we were born together and growing up together, so yes, I've been in love with you since God created me, I fell in love with you before I kissed you, before the touch, before saying I love you. I fell in love with your being, with what you are. They always say that we have one person who makes everything worth it, and that person is you Y/n, every time I I lie down and get up, my thought is you, I couldn't choose anyone else. It was you and it will always be you, I know I already made this request a few years ago in Narnia, but I want to marry you here too. So Y/n, will you marry me again??" He kneels in front of the girl and she smiles with tears in her eyes.

"How could I say no?? Yes, I will always say yes!!" She says, shedding some tears before Edmund hugs her.

"I love you, my eternal Queen Y/n, the faithful"

"I will always love you, King Edmund the Just"

Author: Remembering that the images are from Pinterest, but I take them and turn them into a montage!!

[sunny-mercya]

Feverish Dance

Edmund Pevensie x Male Reader

Masterlist

On your voyage to find Aslan again and help Caspian dethroning his Uncle and bringing peace to Narnia—freeing the land from Miraz clutches—you had come across an abandoned Castle. By the looks of the size from it, it probably has once belonged to an Earl or Duke. Now for the time being, how ever long this will be and take. this would be your new provisional home.

Susan, Lucy and you ventured through another section of the castle. Long empty hallways and corridors, forgotten and dusty. Most of the rooms had been barricaded or locked, making it hard to find a open one—a one for use.

When sunset had begun every so slowly, dunking the lands with an orange hue—kissing it good night—you three had found another room, which was unlocked. A ballroom, a grand one—where all dreams of the nights could come true—once a magnificent place, but now filled with cobwebs lingering over the furniture with it's muddy, decaying and damp spots. Signs of being not used over the centuries, decades perhaps even.

«Imagine all the grand grandiose banquets which had been held in here!» mused Lucy with excitement out, skipping further into room and touching one of the silk like robes—now shredded with holes in it by moths—and swings it around with a twirl.

«Don't touch too much in here Lu, you might could get sick.»

«Oh Susan, where would all the fun be, when we don't and risk a bit,»

You snickered a bit at Lucy's reply. Deciding to explore the room like her too. You had to agree with Lucy, this ballroom here had probably witness a endless festival night after night, when the castle—perhaps even the years itself—had been in its glory.

~~~

The last bit of Sun-rays peeked through the cloud filled sky, through the windows and into the room. The natural light was still enough to see without any extra light source, though Susan had already begun to lit up some torches.

Despite your excitement, your adventurous rush of curiosity you had—while rummaging through the chests and the mostly covered furniture, getting more than once off track distracted by Lucy—who started at one point to play pretend, telling possible stories of how festive the nights in here could've been—you felt a constant pull of exhaustion tugging at your body.

Like a demanding child the exhaustion keeps tugging at you and bringing your body into a sluggish waving. Feeling heavy with muscles aching, ready to take a nap everywhere and anywhere even when it would be on the hard ground.

A lingering feeling, one of the kinds you couldn't describe, deep down in the core—the far back—of your body and mind, like a minimal headache—which pounds on your skull as if it was a door and till it feels like your skull would crack apart, splitting into two like bread but with crunch to it.

Lucy watches you with concern, once you stopped in your tracks with whatever you were about to do. Standing completely still like a statue, looking off into empty spaces.

Your complexion, perhaps it was because of the torchlights flickering flames and the last few sun ray's, looked more pale—ashen even—than it should be. The way you rubbed over your face, digging the palms of your hands into your eyes, were clear signs for Lucy that you weren't feeling all that well at all.

«Are you feeling alright [Name]?» Lucy asked with concern, a bit hesitantly. She didn't got a answer right away, not verbal at least. Susan gave her sister a questionable eyebrow raise, not sure herself if she would wait the situation out or get Edmund—preferable, since the two of you has a close connection—and the others.

«I'm fine, Luce. Just a bit of a headache» you mumbled it more, incoherently, than you intended to, but your mouth and tongue felt like cotton.

A groan left your lips, dry they felt now and no amount of licking over them would help it. Goosebumps racked through your body, tingling your spine, as flashes of cold and warmth at the same came over you.

«You should sit down [Nickname],» Lucy feared it might have been the small wound, which you have acquired on the way, being infected now. Though the last time they checked over it, mere hours ago at the crack of dawn, it seemed nothing to worrisome. Trying to persuade you to sit down, to take a break.

Lucy couldn't comprehend the next minutes within. Standing there and the next you twirled and spun her through the room.

«Do you hear this Lucy?»

«No? What do you hear?»

«The music! Oh, Lucy! Those wonderful music, I haven't heard in so long!»

Your eyes brimmed with tears, laughing carefree, having longed to hear such wonderful music and brought your heart into a joyful burst.

Ever since the start of the War, ever since Great Britain is been targeted of German bombing, you weren't able to listen to the music—from a long forgotten decades—you loved so much in so long and at all. A rarity it had been.

Missed to dance to it, as your practices had been cut short to the bare minimum, twirling through the room like there was no tomorrow, to their fast—sometimes slow—uplifting, joyfully—romanticisation, theatrical and deeply sorrow filled—sonority.

Oh, this was Mozart's Alla Turca. Offenbachs Overture to Orpheus next and then, Tchaikovskys Trépak.

You loved them all, loved every single piece.

~~~

When Susan had come to get him, telling him that you weren't feeling well, Edmund hadn't expected it to be like this. He once had read, in one of the history books out of boredom, about the Dance Plague from 1518 and somehow this reminds Edmund of you—your current doing as if you had this ominous mysterious plague caught yourself.

Edmund saw you dance more than once. He knew every single steps of the waltzes and choreographies you had done, had went to every practices, recitals and performance you did. Had been your partner for these every so often.

There were only a few, handful of people—Edmund being one of them—which could keep up with your fast-spacing dashing of dancing—like a lightning you could and would twirl around, jumping high like stars in the night sky and being a hurricane like storm and yet, so gentle and delicately at the same time—and catching you seemed a impossible task.

You had letting go of Lucy, who felt nauseous from so much dancing—even though she loved it as much as you—long ago and she watches you with still presenting amaze, even though she too had been to your practices more than once.

«Ed! Ed! Come and dance with me! Brahms Hungarian Dance had always been one of my favourite» you had taken hold of your boyfriends hands, waltzing with him through the room and getting faster with the passing seconds.

Perhaps you were getting sick, having catch a possible flu. Perhaps it is the nervousness and stress or perhaps, you finally have lost your mind all at once—like one of your distant aunts.

But the music is so wonderful and magnificent. You couldn't stop, wouldn't, even when your muscles were aching so painful and burning like fire.

To dance was like the blood in your veins. Needed to make your body function, to keep you alive.

Then, the above, seemed to tip and darkness crashed over you.

~~~

Edmund daps the sweat from you forehead, keeping your face cool with a cold dunked cloths. A high fever you had, making you squirming uncomfortable on the bed.

In your moments of being wake, you mumbled incoherently gibberish, smiling and telling Edmund about moon and stars before dozing off again.

A relief it was that your wound didn't infected itself, as far as they could tell. So you being current bedridden with a fever was indeed, probably, because of nothing but stress.

Funny, just—in sense of earth time, since Narnia's time goes and pass differently—hours ago you had treated one of Edmunds scraps, which he had gotten during his and Peter's small fight with others boys and now it was him to take care of you.

A groan came over your lips, turning more onto your side, bleary open your eyes and glancing at Edmund.

«Tea Time........noon......Tchaikovsky....»

«Sure love, after some naps»

«....with em...?»

«If you want,»

Edmund laid next to you on the bed, taking you in his arms. For someone with a high fever, you felt icy cold. He pulls you even closer, humming a bit of a tune—one of the nursery ones—hand racking through your hair, ever so softly—like you would do to him, when he has one of his anger bursting days—when you hide your face in the crook of his neck.

«When you feel better,» a kiss to the crown of your hair he gives you,

«we could dance one of those waltzes you like so much, just you and me love» Edmund gave you another kiss, this time on the lips. Closing his eyes and slowly he too, drifts into the world of dreams.

~~~

«Ed's soo smitten with [Nickname], I told you he has a soft spot» snickers Lucy—leaving the part "for him" out and keeping it for herself—quietly closing the door and walking away.

«Luce, they're both are.» corrects Peter, walking with her.

[mirayaslan]

 Oh, is that MIRAY ASLAN? I heard the THIRTY ONE year old is LOYAL. But don’t let that pretty face fool you, they are also CALCULATING. Makes sense seeing how they are a LEADER in the THE CRIMSONS.

pinterest. wanted connections

NAME: miray aslan

AGE: 31

DOB: 21st august

HOME: brooklyn, nyc

OCCUPATION: leader of the crimsons

GENDER: cis woman

SEXUALITY: bisexual & biromantic

prominent features: a large scar down her spine, a scar on the right side of her head under her hair

- 𝙿𝙴𝚁𝚂𝙾𝙽𝙰𝙻𝙸𝚃𝚈

THEME SONG: six inch heels by beyonce

POSITIVE TRAITS: charming, sociable, confident, captivating, poised

NEGATIVE TRAITS: vainglorious, cold, loyal, stubborn, vain

MORAL ALIGNMENT: chaotic neutral

MBTI: estp

DEADLY SIN: lust

HEAVENLY VIRTUE: patience

LABEL: the vixen

CHARACTER PARALLELS: samantha jones (sex and the city), santana lopez (glee), ramona vega (hustlers), veronica lodge (riverdale), jennifer check (jennifer's body), maddy perez (euphoria), blair waldorf (gossip girl), haley dunphy (modern family), villanelle (killing eve)

- 𝙱𝙸𝙾

trigger warnings: suicide, death(like a lot of it)

Miray was born and raised in Manhattan by Murat and Leyla Aslan. Her father, Murat, was a head surgeon at the top hospital in New York, and her mother, Leyla, was the CEO and founder of a prominent fashion house. Throughout her childhood, Miray was given everything she could possibly want and more, living a life of comfort and luxury. She and her younger sister, Mina, were doted on in every way.

Tragedy struck when Miray was in her early teens and involved in a car crash. Although she survived with injuries, her parents did not. Miray tried to revive them at the scene for what felt like hours but it was no use, they were gone. For the first time in her life, something had not gone Miray's way, and instead of feeling sadness or anger, she felt lost.

It took her until she was seventeen to decide what she wanted in life, and she quickly realized that staying in Manhattan wasn't it. She moved to Brooklyn, where she found herself drawn into the Crimsons. Miray's charm, confidence, and ruthlessness quickly sent her up the ranks until she took over as the leader of the gang. This was 8 years ago.

In Brooklyn, with her gang behind her, Miray slowly started to feel invincible once again. However, her world was shattered when she walked into her childhood home in Manhattan to see her sister hanging in the middle of the living room having taken her own life.

Following Mina's death, Miray's life became a blur of violence, danger, and survival. Most people never managed to get close to her again. Her success within the gang and seemingly unshakable confidence masked an undercurrent of a predatory need for control. Once a girl who believed in goodness and happy endings, she had become cold, calculating, and unrelenting. All of this, of course, was hidden beneath a cheeky wink and a flirtatious attitude.

At some point, Miray had a child, a complete accident that she found out about too late to do anything about. She didn't want the baby, too busy being a leader to even think about raising a child and so she gave baby Mina to a distant family member to raise. She still sees the child regularly but everyone believes Miray is her auntie and not her mother.

A couple of years ago Miray got married to a Senator and they were madly in love. Their relationship was wild and fast they married after only six months of dating (because when you know you know). Tragedy stuck only two months later when Miray's husband was tragically assassinated, a crime the police and Miray are still investigating.

[fatherofnarnia]

Aslan in other Universes

The Wood Between the Worlds is a realm of portals that allows magical travel between the worlds (see more in The Magician's Nephew). Its forest is dotted with lots of pools of water, each serving as a portal to a different world. I use this approach when it comes to writing Aslan in other universes.

According to my headcanon, The Wood Between the Worlds were created by Aslan's father, the Emperor-Over-The-Sea. He created not just the wood, but all the pools (worlds) in it as well, except for one: the pool of Narnia's world that - we know from the Magican's Nephew - was created by Aslan.

In this post I am summarizing how Aslan appears in other worlds/universes/fandoms, how I write him in them, what my headcanons are for him. I might bring only a few because these are based on the threads I have already written here, but I would like to emphasize that Aslan is present in every world (or to say fandom). So these are only the universes worked out, but as I write him more and more in other universes/fandoms, this list will be expanding. In fandomless worlds and threads with OCs his portrayal will depend on the plot itself.

The Chronicles of Narnia - Of course the default verse for him as his character originate from this fandom. I write him canonically just like we know him from the books and movies.

The Adventures of Merlin - This fandom is one of those fandoms outside of Narnia that Aslan fits in so well. Aslan is the creator of the Old Religion, he originally created it to unite people in him. Anyone who is following this religion with heart, that person is actually following Aslan. He gave magicians the power of magic to use it for good (Aslan has amber eyes and that's what we can see when a magician is using magic, the colour of their eyes turns amber for a second), however, unfortunately a part of them became corrupted by Evil and started using the magic for bad. They also started worshiping another deity, the Triple Goddess, who actually works against Aslan. The true followers who still believe in Aslan are Merlin and Gaius as well as the Druids (although some of them went evil like Ruadan), the people whom Aslan found worthy to give them the Cup of Life. Camelot and the other kingdoms can exist either in a different universe, or they can be part of Narnia's world as well (like an island in the Great Eastern Ocean).

Frozen - Arendelle once was a country within Narnia's world. Because of Runeard's sin, Aslan exiles Arendelle from there, he also sends the mist and the Northuldra to protect the border and the new situation. Later, he chooses Elsa as fifth spirit to restore everything. Elsa while frozen at Ahtohallan has a spirital talk with Aslan, and after they're done, Aslan revives Esla by his breath (like he does in Narnia).

The Lion King - I already have some threads with characters from this fandom, so I am adding this to my list. By most character Aslan is considered as one of the Great Kings of the Past alive; although he is more than that. Let's not forget these kings were mortal lions, but Aslan is not just an ordinary lion. We can also say this fandom takes places on Earth, so Aslan appears like someone who takes care of the creatures of Earth.

If you have any questions, please let me know. If there is a fandom that is not listed here but you would like to know what my portrayal is for Aslan, let me know. Also, if you have more suggestions, let me know. :)

[chaoslynx]

Aww the fanart with asheiji and kids... <3 It gave me an idea for a fic: Ash and Eiji's child(ren) notice that something isn't going right in one of their friends' life. Obviously they're too young and naive to realize that their friend is being abused at home. But Ash sees, and knows... Merry XMas and Happy New Year!

About an AshEiji [child], I'd like the name Layla for a daughter. Aslan (or Arslan/Arsalan, which is a Turkish name and not Hebrew like Yoshida thought) is the hero of a popular Persian epic. And Layla is from a famous Arab piece, Layla and Majnun, the middle-eastern version of Romeo and Juliet.

Ash has noticed that Layla's been a little ... off, for a while.

She's always bene a little introspective for her age, and generally just a good kid. Gets that from being raised by Eiji, Ash guesses. No way someone raised by someone that good could end up with a cruel bone in their body, even if Ash is the other parent. At least, that's what Ash has to keep telling himself to try to get the idea that Layla won't end up like him.

But she's been even more withdrawn lately, like she's thinking about something beyond her years.

Ash doesn't like it.

It's not quite familiar in a way that's especially concerning to him, but it's uncomfortable enough to see that he's worried. And she's been brushing him off when he asks, but he's determined to get through to her. Layla is his daughter, after all, as weird of a situation as that is for him to realize sometimes.

"Hey kiddo," he says one day, when she gets home from elementary. "You okay if we do an ice cream check in?" It's a keyword of sorts between the three of them—Eiji included—that started just due to Layla's love of ice cream. It became an easy way to talk to her about anything serious or seemingly scary. Spoonful of sugar type of situation. The ice cream makes everything a little more palatable.

But Layla frowns, now, and hugs her knees to her chest. "I dunno," she admits.

"We don't have to, but I do think it would be helpful to talk some things out, yeah? Something's on your mind."

She pouts.

"Am I wrong?" Ash says, not pushing too hard, but just a small challenge.

"Dummy," Layla mumbles. "How'd you know?"

"Hey, language," Ash says, halfhearted. Like he hasn't said worse in front of her. "Come on, let's get some ice cream and talk stuff out."

Once they're settled in with their bowls, Ash waits for Layla to speak first. She already knows that he's wanting a conversation here, since he essentially used the parent equivalent of the safe word they gave her to get her out of any situation without others picking up on it. He's inviting her to say anything and everything on her mind, but he's going to let her do it on her terms.

"... It's my friend at school," Layla says after a few bites.

"Don't talk with your mouth full," Ash reminds her softly. "What's going on with your friend?"

"He's just"—Layla makes a face—"I dunno."

Ash feels a flare of anger for a moment. "Is he bullying you?"

But Layla quickly shakes her head, barely sparing this kid from the wrath of Ash Lynx. "No, more like I'm worried he might be getting bullied. Or ... something." She frowns down into her bowl, and Ash can feel his entire demeanor shift.

Ash goes almost deadly quiet for a moment, thinking of how to approach this. He can't make assumptions too quickly, but he does know that they've taught Layla enough of how to speak up for herself and what healthy friendships should look like that she's probably right if she thinks that something's wrong.

Taking a slow breath, Ash reminds himself that he needs to not scare Layla here as well. He doesn't want her to worry any more than she already is—she's such a good kid, but it isn't her responsibility to be looking after her classmates. If she's right about this—or, rather, if Ash is right about what he thinks Layla might be saying—then the adults in her classmate's life have failed him.

Ash knows what that's like.

"... What's got you worried?" Ash asks gently. "Maybe I can help him, or we can figure out someone who can."

Layla thoughtfully scoops another spoonful of ice cream. "Well," she starts, "he seems to get hurt a lot at home."

Ash's temper flares for a moment, and it takes everything in him to remember that Layla's probably talking about the normal bumps and bruises that happen with the accidents of childhood.

Except, apparently, enough of them to worry her.

"What kind of hurt?" Ash asks.

Layla drops her spoon and runs her hands up her arms. "Like here," she explains. She taps her wrists with the opposite hands. "And here."

"Like bruises?"

Nodding, Layla says, "Like when I fell down."

Ash winces thinking of it even now—Layla fell out of her bunk bed once a few months ago. She wasn't badly injured, but she did have some really bad bruising.

"And he always seems scared in P.E.," Layla continues. "I don't know what's wrong, but ... something, I think."

Ash winces, thinking of his own experiences with sports at that age. There could be any number of reasons why a kid might not be fond of physical education, but ... it's definitely not a good sign.

Ash swallows. "Thank you for trusting me with all of this, sweetie. I'm going to see what we can do, okay? We'll make sure he's okay."

" 'Kay!" Layla says immediately. She trusts Ash so strongly that all the worry she's been showing recently seems to melt out of her. She kicks her legs back and forth, enjoying her ice cream.

... Well, Ash has a new goal. Ethical routes first: he'll bring it to the school's attention first, and then follow up with a social worker and the ChildHelp hotline.

And, if all else fails, there's still a little bit of Ash Lynx left in him these days. He's gotten his hands dirty before, and he's not afraid to do it again. Not if it means he can help someone like who he used to be.

[astra-galaxie]

☾★☆■☮♒ൠ For Adalet/Anders?

I always love getting the opportunity to talk about my OCs, especially my MCs! One batch of headcanons for everyone’s favourite human-alien investigator is coming up!😁

(For simplicity's sake, I’ll refer to them as Star (the nickname Ticcory gave them) and use they/them pronouns.)

☾ - sleep headcanon

Star is a light sleeper due to their heightened senses. If they want to get a deep sleep without disruption, they need to wear their sensory deprivation eye mask and ear plugs. When sleeping, they love cuddling Fili as their husband is like a giant teddy bear. He's very warm and soft, making him perfect for cuddling - so long as he doesn't roll on top of you in his sleep!

★ - sad headcanon

One of the first times Star remembers watching a fireworks show was when they were four. Previously, whenever there were fireworks shows on New Asgard, they and their fathers would stay in their house to watch them to protect Star and Heimdall’s ears. But once, when Star had been out playing during a festival with Magnus, the fireworks show started earlier than planned. Since they were still outside and had nothing to protect their heightened senses, Star's eardrums ruptured bad enough that their ears bled. Magnus freaked out when he saw the blood and their twin sobbing in pain and yelled for help, unintentionally making Star’s headache worse. Eir found them first and immediately brought the twins to the hospital so the doctors could treat Star.

After this incident, Star always wears earplugs or headphones to festivals with fireworks shows. Later, after getting Loki, their companion transforms into headphones for them to wear and activates a noise-cancelling feature the moment loud noises like fireworks start.

☆ - happy headcanon

When they heard Ahmet call them “Mom” for the first time, Star was stunned and speechless. But their surprise was quickly overshadowed by joy when he repeated it. Star has always wanted to have children, and while they had considered Ahmet their child long before that day, hearing him acknowledge them as his parent was like a dream come true. And when it was Fili’s turn for the boy to call him “Dad” for the first time, the couple isn’t ashamed to admit they cried in happiness together after Ahmet had gone to bed.

■ - Bedroom/house/living quarters headcanon

Star has lived in many places over their life, but a consistency they always maintain is a clean, organized home with lots of personal touches. They'll always have photos of their family and friends around their house and things they've collected over the years to decorate the rooms. With the integration of Earth into the rest of the universe in the works, Star plans to display their alien technology and decor in their home to make it more unique.

And ever since they and Fili got married, flowers have become a must-have in their home. Star loves the pops of colour the plants bring to any space and how much more lively the house feels with them. Fili grows the family’s favourite plants year-round, and he'll make themed arrangements for holidays or special events to suit the occasion.

☮ - friendship headcanon

If you're looking for a loyal, trustworthy, and caring friend, look no further than Star! They're always willing to lend a helping hand to their friends or to be a shoulder for them to cry on. Star is also very protective of their friends, so if you hurt one of them, then you better watch your back! You’ll never see Star's revenge coming!

♒ - cooking/food headcanon

Star is a good cook and baker. They love making home-cooked meals and desserts for family and friends. Given their alien heritage, they have a very diverse palette and have eaten some bizarre foods during their missions for the G.I.A. But their favourite foods will always be those they grew up eating, like their Far's kanelbullar and Baba's baklava.

ൠ - random headcanon

Despite resembling Heimdall the most out of their two fathers, Star has always taken more after Aslan. From their personality to their fashion sense, people have always said they are a mini-Aslan. The reason why these two are so similar is that Star was made using a higher percentage of Aslan’s DNA than Heimdall’s. But Asgardian genes are strong, so that’s why Star inherited Hiemdall’s powers and looks. However, the majority of their genetic makeup comes from Aslan.

And that’s my headcanons for Star! Thanks for the request, Bean! I hope you and others enjoyed them!

[princesssarisa]

Character ask: Aslan (The Chronicles of Narnia)

Favorite thing about them: His infinite love and kindness. When he's first introduced, he seems like a remote, faintly frightening, awe-inspiring deity, but gradually he reveals himself as a truly generous-hearted figure, as he shows warm affection to his devoted followers, romps and plays with Susan and Lucy like a kitten in The Lion, the Witch and the Wardrobe, and sheds tears of compassion for human grief (at King Caspian's death in The Silver Chair and at Digory's grief for his dying mother in The Magician's Nephew). Like his human incarnation, Jesus, he lets himself be tortured and killed as a self-sacrifice, but where Jesus did it for the whole human race, Aslan does it to save just one boy, which further reinforces the depth of his love for all creatures. And he rewards all good deeds done in the name of another god as through they were done for himself.

Least favorite thing about them: The harsher side of his character. The side of him that claws Aravis's back as punishment for leaving a slave girl to be flogged in The Horse and His Boy, and that speaks of the many people he has "swallowed up" in The Silver Chair. Since he's a deity of justice as well as kindness, it's only natural that he has a punishing, fear-inspiring side, but for a person who doesn't care for that style of religion, it's still slightly uncomfortable. I'm glad he leans much more toward love and compassion, though; in the hands of an author more fundamentalist than Lewis, it might not have been so.

Three things I have in common with them:

*I'm loving and compassionate, or at least I try to be.

*I'm sometimes more comfortable interacting with children than with adults.

*I'm serious when I need to be, but I can be energetic and playful too (as when Aslan joyfully romps with Susan and Lucy after his resurrection).

Three things I don't have in common with them:

*I've never created a world.

*I've never sacrificed my life and then been resurrected.

*I'm not Jesus Christ in an animal form.

Favorite line:

From The Lion, the Witch, and the Wardrobe, when he explains his resurrection to Susan and Lucy:

"It means that though the Witch knew the Deep Magic, there is a magic deeper still which she did not know. Her knowledge goes back only to the dawn of Time. But if she could have looked a little further back, into the stillness and the darkness before Time dawned, she would have read there a different incantation. She would have known that when a willing victim who had committed no treachery was killed in a traitor's stead, the Table would crack and Death itself would start working backwards."

From The Voyage of the Dawn Treader, his allusion to his earthly identity as Jesus:

"I am [in the human world too]. But there I have another name. You must learn to know me by that name. This was the very reason why you were brought to Narnia, that by knowing me here for a little, you may know me better there."

From The Magician's Nephew, the words that complete his creation of Narnia:

"Narnia, Narnia, Narnia, awake. Love. Think. Speak. Be walking trees. Be talking beasts. Be divine waters."

From the same book, foreshadowing the events of The Lion, the Witch, and the Wardrobe, after Digory confesses that he brought Jadis into Narnia:

"You see, friends, that before the new, clean world I gave you is seven hours old, a force of evil has already entered it; waked and brought hither by this son of Adam. But do not be cast down. Evil will come of that evil, but it is still a long way off, and I will see to it that the worst falls upon myself. In the meantime, let us take such order that for many hundred years yet this shall be a merry land in a merry world. And as Adam's race has done the harm, Adam's race shall help to heal it."

His speech to Digory about the latter's temptation to steal a magic apple to heal his mother:

Understand, then, that it would have healed her; but not to your joy or hers. The day would have come when both you and she would have looked back and said it would have been better to die in that illness... That is what would have happened, child, with a stolen apple. It is not what will happen now. What I give you now will bring joy. It will not, in your world, give endless life, but it will heal. Go. Pluck her an apple from the Tree."

His thinly veiled foretelling of the atomic bomb and the rise of HItler:

"It is not certain that some wicked one of your race will not find out a secret as evil as the Deplorable Word and use it to destroy all living things. And soon, very soon, before you are an old man and an old woman, great nations in your world will be ruled by tyrants who care no more for joy and justice and mercy than the Empress Jadis. Let your world beware."

And at the end of The Last Battle, when he reveals to Lucy and co. that they died on earth and will now live in his paradise forever:

"The term is over: the holidays have begun. The dream is ended: this is the morning."

brOTP: The Friends of Narnia (Digory Kirke, Polly Plummer, the Pevensie siblings, Eustace Scrubb, and Jill Pole).

OTP: None.

nOTP: Jadis the White Witch.

Random headcanon: All-knowing though he seems, he isn't completely omniscient: his father the Emperor Beyond the Sea (i.e. God) is the only real omniscient being. So when Aslan trades his life for Edmund's in The Lion, the Witch, and the Wardrobe, he doesn't know for certain that he'll be resurrected. This explains his sadness as he goes to his fate, and why he "can give no promise" that he'll take part in the battle afterwards. He knows about the prophecy that an innocent victim killed in a traitor's stead will be resurrected, but he doesn't know fore sure if it's true or not, because it had never been put to the test before. (The 1988 BBC adaptation makes this explicit.)

Unpopular opinion: I don't blame him for Susan's being left behind when her whole family dies in the train crash in The Last Battle. Unless you think he controls everything that happens either in the real world or in Narnia (which might fit with some people's beliefs, but not with mine), there's no evidence that he causes the train crash or arranges for Susan not to be on the train. To me, it seems likely that the crash would have happened no matter what; Aslan simply brings his Friends to Narnia at the moment of their deaths, to witness its end and then pass into the paradise of Real Narnia. The reason why they were all together in the first place was to try to use the magic rings from The Magician's Nephew to send Eustace and Jill back to Narnia, so Susan's rejection of Narnia was the reason why she wasn't with them. Therefore, her survival while her family dies is just a consequence of her loss of faith, not a punishment for it. And I do believe that when she eventually dies, Aslan will bring her to join her family in his country – Lewis implied as much in a letter in 1960.

Song I associate with them: None to speak of. I hope that someday The Magician's Nephew finally gets a screen adaptation, so we can actually hear a version of the magical wordless song Aslan sings to bring Narnia into being.

Favorite picture of them:

This classic illustration by Pauline Baynes, even if it does get Lucy's hair color wrong:

This illustration by Ruth Korch:

These illustrations by Deborah Maze. Aslan with Peter:

And with Lucy:

From the 1979 animated version of The Lion, the Witch, and the Wardrobe (my introduction to Narnia), his first meeting with the Pevensie siblings (minus Edmund) and the Beavers:

From the 1988 BBC miniseries of The Lion, the Witch, and the Wardrobe, with the Pevensie siblings:

From the poster for the 2005 Disney/Walden Media film of The Lion, the Witch, and the Wardrobe:

[pidayforpi]

So...there is this UNDERTALE story idea I have here...

Yes. You heard right. UNDERTALE.

----------------------

Okay.

I actually never thought I would have the chance to share this to...virtually anyone.

And by "never", I really mean it.

When I came up with this idea, I had prepared to die without anyone else knowing this madness I have in my head (to be honest I still have a lot of crazy stuff in my mind that I am not sure if I will ever share with anyone).

But...uh...now that I am (technically) involved in fandoms, and have already spread my cringe, even in completed story forms, I think...maybe I will share this one as well...

(Sequence of discussion: Creation Background → Story Settings → Plot → Explanation)

[Also spoilers for Undertale, if you haven't played/watched the game yet. Like, total spoilers.]

----------------------

Background

Back in 2015/2016, I was a...rather big Undertale fanboi.

Also I was a kid. Put two and two together you get a really cringy fanboi kid.

To be honest, Undertale really had taken my heart for a while. I remember I started playing the game in autumn 2015, and I was quite literally captivated by it. I actually played the demo first in October, and then later went on to play the full game in November.

I can't pinpoint what attracted me the most, or what attracted me at all. I still can't. Perhaps it was the music? I bought the soundtrack as well, and I think the songs are something I still love to this day.

But without a doubt, Undertale had truly given me many happy memories, especially that winter.

I first beat the pacifist neutral ending (which is my favourite), and then the true pacifist ending (pacifist neutral is a prerequisite for the true ending for a first playthrough anyway, iirc).

I specifically remember that I beat the true pacifist ending on 24 Jan 2016 (Sun). I specifically remember that because that day was also an exceptionally cold day for my old home (around 3°C, which is very uncommon for there).

I would say Undertale made that day extra special for me.

("Screenshot" I took of the true pacifist ending, on my old laptop. [24 Jan 2016])

I left the game alone for some time, before deciding to try the genocide ending in February. And no, it was nothing personal.

It was just a usual routine of me when playing RPGs: I try to see all the endings that the game provides, whether they be good ones or bad ones. I want to see them all. I want to see all the content the game has.

And...knowing how bad I am with video games...I got stuck at Sans.

And I have never touched the game since then. (also don't ask me what "aslan" means I am too embarrassed to explain)

Seriously, it wasn't even rage quit. Sans is literally impossible for my pathetic gaming skill. I am still surprised I somehow cleared Undyne.

I did, however, watch the rest of the genocide route past Sans.

...and I am glad I gave up.

Now, I am not here to give a review of Undertale. Long story short of my feelings towards Undertale: Subjectively, it did give me wonderful memories, and become a significant symbol of a period in my life; Objectively, it's okay.

Even after putting the game away (to this day), I did think a lot about Undertale for the first quarter of 2016 (before something else occupied my mind for an even longer period of time, and affected me much deeper). Now that I think about it, Undertale might be my very first fandom.

And being young and new to fandoms...I did some stuff that I didn't even know were "fandom stuff" (relax those were all normal stuff): Fan art browsing, fan fic reading, comic dub watching, fan animation viewing (Seriously, some Undertale animations were SICK)...

Back then, I didn't think of producing something (i.e. writing a story) for a fandom. Probably because I didn't have time/talent/determination, or simply because my interests shifted too fast (my interests started to become stable only since Disney Ducks).

One thing edgy, cringy young me did sort of "produce", was a story idea.

And before you ask, no. I am never putting it on paper. Because of multiple reasons, and it being too edgy is not one of them actually (otherwise I wouldn't be sharing it).

First and most importantly, I am no longer in the Undertale fandom. I know what it is, but I am no longer interested to the point of producing something for it.

Secondly...well, you see...The reason why I say "story" idea instead of "fic" idea is because...it isn't a fic idea actually.

When I daydreamed about the idea, I actually imagined it being played out like an anime (told you I was cringy). Technically I could write the idea out in a story format, but it would be very hard to convey the plot and the message. And no way am I ever animating/drawing it out.

But I actually like the idea, so that's why I am writing this down in a descriptive format.

To be honest, I don't know how young me thought of such a "woke" message for a story. I am not sure if there was any "post-production" tinkering to the idea, because it seems too advanced for kid me. At least, the story plot is (mostly) unchanged, that's for sure (because I really had written it down in 2016, albeit a very simple version).

What struck me the most about Undertale was the concept of "morality" (again, I have quite something to talk about this one, but this is not a review).

One thing I noticed was the hypersensitivity of morality when it comes to you, and you only.

That monsters can kill you infinite amount of time without any guilt, but you immediately become a total trash person for killing just one monster. Gameplay wise, you are immediately locked out of the true, "good" ending of the game if you dare kill one soul. In the neutral "phone call" endings, characters literally feel betrayed/heartbroken/furious when you kill just one random monster, and even more so if it is a named NPC.

But no one mentions the fact that it is the monsters who initiate aggression, and attempt murder.

It is as if the concept of "self-defence" is unheard of to monsters.

Or, it is unheard of to monsters only when it is applied to you. Monsters can self-defend alright.

As a player sitting in front of a computer, it is easy to just "spare" everyone, as the game is "intended" to be played. Sparing or attacking is literally just a difference of a button. It isn't a hard decision at all, even sparing monsters.

But think about Frisk: A literal child. Alone. Stranded in an unfamiliar, dangerous territory. Lost in hostile terrains. Surrounded by actual, literal monsters who want to literally kill you and take your soul. Also their ultimate goal being invading your homeland.

Even the seemingly "most friendly" monster is a skeleton boi who literally proclaims he is going to send you to the guillotine just so he can get a promotion.

How would Frisk feel? What would he do? I have heard about "fight or flight", but "spare"? Would "spare" even be an option to him? Could he even comprehend "spare" in his situation?

And somehow, the burden of morality has fallen on the shoulders of this distraught, desperate child.

Notice how it is always Frisk sparing monsters, but never monsters sparing Frisk? Think about how bizarre that sounds: A child sparing a monster? A prey sparing a predator?

Killing with kindness is good, but sometimes it is too good to be true.

Especially, when there are people who don't understand you, who don't want to understand you...or who want to take advantage of your kindness.

----------------------

[Okay. Now we get to the actual story components. Just a heads-up: In general, the story is dark, violent, somewhat depressing, very edgy. And I am also going to make some characters you love look bad. Like, real bad.

Also certain characterisations/plot points may be altered for the sake of storytelling and message delivery. And it has been 8 years. Please don't challenge me on lore-friendliness orz]

Settings

These are the story settings I have as background/world-building. Kind of like a "list of headcanons used".

→ The story is essentially a retelling, alternative universe of the genocide route.

→ Frisk enters the monster world by accident.

→ Frisk actually has very powerful supernatural abilities. His weapon is a wooden stick (the default weapon in-game). I imagine his main ability taking form as psychokinesis (after a character I am also too embarrassed to explain), the magnitude of which is much more powerful than Sans'.

→ Another ability of Frisk is his "Determination", which allows him to revive infinitely as long as he is determined. Therefore, he essentially can't die how many times he is killed, as he will be resurrected in a nearby place afterwards (a reference to "reloading" after a game over). This "Determination" ability is also what prevents Frisk's soul from being taken when he dies. Frisk does, however, retain memories of his "past lives", and can feel pain. This "samsara" can also end if Frisk is no longer determined. When that happens, Frisk's soul can be taken, and he will truly die. What Frisk is determined about in this story is leaving the Underground alive. (When Chara is in control, what he is determined about is protecting Frisk.)

→ Since an early point in the story, Chara appears alongside Frisk. Chara is (sort of) a ghost, and shares Frisk's body with Frisk. Chara's weapon is a knife. He is very skilled in physical combat, and does most of the fighting in the story. However, when compared to Frisk's power, Chara definitely cannot compete.

→ Some rules apply in this "shared body" situation:

☆ Only one person can control the body at one time. "Wrestling" for control will lead to the stronger one gaining control.

☆ When the person is in control, the body will shift to that person's appearance. Since Frisk and Chara look very similar, the main difference is the shirt colour. The weapon will also shift to the corresponding one (stick for Frisk, knife for Chara).

☆ Only the person in control can actively control the body's physical movements. In return, only the person in control will feel pain inflicted to the body.

☆ Abilities are also exclusive to the person. It means that even when Chara is in control of the body, he cannot use Frisk's psychokinesis ability.

☆ The only shared ability is the "Determination" reviving ability. It means that no matter who is in control of the body when it dies, the body (and Frisk and Chara) will always be revived.

☆ The person not in control cannot influence the body's actions (unless he is strong enough to overcome and gain control of the body), but he can still see and hear what is going on.

→ Frisk here cannot reset the timeline whenever he likes (otherwise he would do that in a heartbeat), because his soul is not powerful enough. Only a strong enough soul, possible only by absorbing other souls, can reset the timeline.

----------------------

Plot

(This is the "raw" plot of the story. Explanations and themes are in the next section. Some plot points/details may seem weird, but they will be explained in the next section.)

Frisk, a child, falls into the Underground (monster world) accidentally.

Alone, hurt, cold and scared, Frisk wanders around the entrance of the Underground, trying to escape via where he came from, without success (the "boundary" between the human and monster worlds exists in both the entrance and exit. Not even Frisk can break through with his powers).

Frisk cowers in fear and despair on a flower bed, crying alone until a sentient flower suddenly emerges. Flowey introduces himself with that fake friendliness, to which the desperate Frisk really believes. Shortly afterwards, however, Flowey breaks that trust and attacks Frisk, who then runs away even more terrified, while Flowey laughs and states that he will continue watching Frisk from the sides.

This time, Frisk does not meet Toriel immediately. In fact, Frisk does not meet Toriel until after a long time in the Ruins. During that time, Frisk wanders around the Ruins aimlessly, still searching for a way out.

Shortly after running into the Ruins, Frisk has his first monster encounter. Monsters here literally want to hunt down Frisk and take his soul. Frisk tries asking for help, or "talking it out", but monsters either are too mindless to understand, or simply don't care. Although Frisk is powerful (he knows he is powerful too), the gentle human child does not want to hurt anyone. The only option he has is to keep running away from monsters.

However, trapped in a monster-ridden dungeon, there is really no place to run. Frisk is soon cornered, injured...and when the damages accumulate to maximum, his body succumbs, and Frisk dies for the first time.

Frisk is surprised to find himself awaken in another part of the Ruins, as if nothing has happened. The damages are all healed, his clothes and stick are still there with him. It is as if Frisk has had a dream.

However, as the process inevitably repeats, Frisk dies again, and again...He soon realises it is not a dream. He really died, and somehow lives again.

Trapped in this endless loop, Frisk starts to lose hope, but he never loses his kindness. He will still run away from monsters; and, when he can't, he will just let himself get killed and revive later.

He doesn't need food or water to live too. Even when the monsters don't get him soon enough, so that the hunger and thirst kill him first, Frisk will just revive feeling okay. The pain of getting attacked or starving is still there, and it hurts like hell, but Frisk is starting to get used to it. After all, there doesn't seem to be a way out.

Until after who knows how long, a once again dying Frisk is found by Toriel in the Ruins. Toriel expresses pity, and brings Frisk to her home. For the first time since falling into the Underground, Frisk experiences love and kindness, and breaks down in front of Toriel. Toriel promises to take care of Frisk as if he was her actual child.

Frisk is finally happy and safe after uncountable time of torment. These happy days go on for some time, with Toriel really fulfilling her promise. She really takes good care of Frisk, provides a home for him, and protects him from danger.

However, at some point, Frisk asks Toriel about how he can leave the Underground and go back to the human world. At first, Toriel feigns ignorance, brushes it off, or otherwise ignores his questions. When Frisk keeps pressing the issue, Toriel angrily warns that he is not going anywhere, before quickly reverting to her "gentle" demeanour, saying something like "mother knows best" and "there are dangers outside, I am just trying to keep you safe".

After that exchange, Frisk decides not to bring up that topic, but instead secretly searches for a way out. He thinks Toriel is nice, and the home is safe, but he really wants to go back to his own world. He couldn't possibly stay in the Ruins forever, could he?

Eventually, Frisk discovers the exit of the Ruins, located in the basement of Toriel's home. Toriel finds out, and, expectedly, is furious. She reiterates that she just wants the best for Frisk, really treats Frisk like her own son, etc.

Frisk thanks Toriel for her kindness. He really means it, for Toriel is the first person to show him compassion since he was stranded in the Underground. However, Frisk, although scared and somewhat guilty, insists that he wants to leave and go back to his actual home.

Toriel isn't having any of that. Seeing that the easy way isn't working, she forces Frisk to fight her, as Frisk "needs to prove that he is strong enough to survive on his own". Of course Frisk is unwilling, but Toriel still insists.

This conflict is locked in a stalemate for some time: With Toriel pretending to attack Frisk, actually attacking and hurting Frisk, and then crying and showing guilt and the "look what you've made me done" expression. Frisk, on the other hand, is 200% unwilling to hurt Toriel, and only keeps dodging or withstanding.

At the end, Frisk starts to really believe Toriel is thinking for his good. Combined with the fear of the outside world, and the despair that he may actually never go home, Frisk is about to give in.

When suddenly, Frisk feels that he has blacked out and lost control of his body. When Frisk comes back to his senses, he finds out his wooden stick is now somehow a knife, and is stabbed into Toriel.

Frisk cries, and tries to remove the knife. However, he finds out that his voice isn't going out, and he can't move his body. The knife is only plunged deeper, as Frisk can't do anything but watches in confusion and fear.

Toriel is visibly shocked, and even more shocked when she looks at "Frisk's" face, as if she recognises him but as another person.

At her last moment, Toriel still says that she just wants to keep "you" safe, and "mother knows best". She wishes "you" all the best, before saying goodbye to "you, Chara".

When Frisk finally regains control, Toriel is dead on the ground (and fading, because monster). The knife has returned to a wooden stick, but it is bloodstained.

Before Frisk can comprehend what is going on or even break down, he hears another person calling his name. It is a boy's voice, but when he looks around, there is no one there. Frisk hears it again, and he starts to "see" the person.

The boy introduces himself as Chara, a child looking just like Frisk, but with a different shirt pattern and a knife in his hand. Chara looks transparent, and Frisk can't really "touch" him. Chara explains that he is a human child spirit roaming the Underground. He is the person who took control of Frisk's body, and killed Toriel "for him".

When confronted by a devastated Frisk, Chara calmly states he is trying to save him. Frisk scolds Chara for killing Toriel when "she just wants to protect me", to which Chara rebuts, saying "I am the one who wants to protect you". He wants to say something about Toriel, but seeing Frisk's heartbroken expression, he decides not to. Instead, Chara asks rhetorically if Frisk wants to stay in the Underground forever. Frisk pauses, as he wonders if there really is no way of escaping without killing Toriel. Chara states that he has seen several human children meeting their ends in different parts of the Underground, and Toriel is just one of the obstacles. This time, however, Chara is strong enough to intervene and saves Frisk.

Chara then promises he will protect Frisk from now on, before leaving the Ruins together with him. Seeing Frisk still grieving and distraught, Chara vows to himself that he won't let anything or anyone hurt Frisk anymore, physically and mentally. He will do anything to protect Frisk's innocence, even if it means doing all the dirty works himself.

The following story is as linear as it gets (or I haven't thought it through). Chara leads Frisk to navigate to the Underground exit, in the same route as it is in-game.

When there are monsters in their way, Chara will take over and exterminate the threats for Frisk, so that Frisk won't get his hands dirty or get hurt. At first, Frisk still tries to talk it out and/or run away, and Chara lets him try that. But when communication isn't an option and/or there is no place to run, Frisk will despair, allowing Chara to take over and fight their way out. Eventually, Frisk loses hope in doing things the pacifist way, letting Chara engage in combat when there are monsters picking a fight. However, unlike the in-game genocide route, they don't actively seek out monsters to kill (because they have no reason to. No one has a reason to, to be honest).

Outside of combat, Frisk is mostly in control, and the two boys can communicate with each other. Over time, Chara explains to Frisk most of the background/settings of the story (e.g. what are discussed in the previous section), such as how his "Determination" ability works, the monsters' plan to get to the human world, Chara's own backstory (which is the same as it is in-game. Chara has been wandering the Underground since his (and Asriel's) death), etc.

The named characters they meet are mostly the same. In this story, I only highlight some characters of interest. Mini bosses (e.g. Muffet), side characters (e.g. Monster Kid), and a few "bosses" (e.g. Mettaton, Alphys) are omitted.

Below I will list only those characters of interest, and Frisk/Chara's encounter with them. The significance of each of these characters will be discussed in the next section.

Papyrus and (technically) Sans are the first characters Frisk meets.

Sans is very elusive at this point, almost like a background character. He only observes Frisk from behind Papyrus, but the story makes it obvious that Sans is not a simple person, and is very interested in Frisk (but not Chara). It is also implied that Sans knows there are two people in Frisk's body, as well as Frisk's hidden abilities, showing Sans' extraordinary perception and potential powers.

(It's very hard to describe these "animation effects" in words. In short is that Sans does nothing apparently, but is heavily hinted to be important/powerful later on. Also his interest in Frisk (and Frisk alone) is shown, and is a significant plot point. You will see why later on.)

Papyrus does what he does in-game, trying to "arrest" Frisk as part of his "duty" as a royal guard. At first, when they are still in the snowy wilderness, Frisk tries to ignore him (and Sans), as Papyrus isn't really much of a threat (and is doing a very bad job at "stopping" Frisk). This frustrates Papyrus (in a comical way. Papyrus is the only comical/lighthearted character here).

These "Papyrus encounters" repeat for a few times. Chara refrains from attacking immediately, as Papyrus is annoying but pretty harmless. Especially when Sans is also present, as Chara senses that Sans is not as simple as he seems. Chara just (tells Frisk to) ignores Papyrus' traps and stuff, and eventually arrives at Snowdin Town.

It is at there when Papyrus shows up alone, and really tries to stop Frisk. Papyrus is convinced that Frisk is an evil/dangerous individual, even though his only evidence are the words of Undyne and general propaganda on humans. He "ensures" that Undyne is a friendly person, and all they are going to do with Frisk is to send him back to his own world. Chara tells Frisk that both of which are false: Undyne will kill him without question and harvest his soul for Asgore (but Papyrus really believes what he is saying). Papyrus rambles on about how being a royal guard means "fighting injustice" and "helping the weak", further showing his ignorance.

Still refraining from attacking, Chara allows Frisk to try to talk it out (because even Chara hesitates on outright killing Papyrus). Frisk takes over, and explains to Papyrus his situation. Papyrus, of course, doesn't believe Frisk at first. However, this rejection once again triggers Frisk's hopelessness, leading him to cry.

Seeing Frisk's pitiful expression, Papyrus softens. He comes over to comfort Frisk, and listens to his pleads once more. After Frisk settles down, Papyrus decides to believe in what Frisk says (showing how gullible he is, although Frisk is telling the truth). Papyrus then begins to lead Frisk to the Waterfall.

When Frisk (and Chara) thinks he can finally settle a conflict in peace for once, Papyrus says that he will bring Frisk to Undyne to ask for help (because she is his "superior"), and that "Undyne will definitely understand". Papyrus keeps reassuring Frisk that there is nothing to worry about, and how things will go smoothly for Frisk (in an unrealistic way, such as allowing Frisk to cross the barrier when it is technically impossible to do so).

Frisk stops in his tracks, realising Papyrus still doesn't understand the whole situation, and is leading him to his death (albeit unknowingly). In fact, Papyrus will never understand. Frisk's willpower plunges, as despair fills his heart once more. Subconsciously, Frisk allows Chara to take control. Chara, knowing that Papyrus will never change his mind and never let Frisk go (also evidenced from Chara's previous witnesses of Papyrus' encounters with other human children), makes a hard decision.

In a swift attack, Chara swings his knife at Papyrus.

The next boss they encounter is Undyne, at the end of the Waterfall. Undyne is, as Chara described, hellbent on destroying Frisk at all cost. This is partly due to Undyne knowing Frisk (Chara) has killed monsters before (without knowing the context, nor does she want to know the context), partly due to wanting Frisk's soul for Asgore's plan, and partly due her ultimate (blind) hatred for human beings.

Frisk doesn't even have the chance to explain this time (nor does he want to, at this point). Frisk quickly lets Chara take control and fight Undyne.

Undyne's battle is the first tough one they encounter (reference to the in-game boss fight). Chara has a hard time facing Undyne, especially after she has "powered up". He even dies (and revives) a few times, but he insists on being in control and doing the fighting himself.

Undyne notices Frisk (Chara) reviving as well. Although taken aback at first, she quickly remembers that previous human children had displayed this "Determination" ability before. She then states that she just has to fight harder, and strike Frisk down how many times it is required to completely kill him.

Undyne's insults towards Frisk anger Chara. He stands up for Frisk, saying that he is just a lost child wanting to go home. He has explained and sought help numerous times, but the monsters just won't listen to him. Instead, they treat him like nothing, or worse than nothing. They keep ignoring, attacking and taking advantage of him. Now pushed against a corner, Frisk is only attacking in self-defence. He just wants to survive and see the light of day again, and somehow this makes him the villain? What is so wrong about it?

Undyne actually didn't know that Frisk is in the Underground because he got lost, or that Frisk is attacking monsters because monsters attack him first. Actually, she didn't know anything about Frisk in the first place (not that she wanted to know anyway).

After hearing Chara's plead, however, Undyne immediately hits him with an "USODA!!!" (LIES!!!). Undyne cannot and does not want to believe that Frisk is innocent. That Frisk is actually the victim. That Frisk is not killing monsters because he is sadistic. That Frisk is not the absolute piece of trash she thinks he is. She is fixated on believing Frisk is completely the guilty one, and that she is the "justice one" ridding the world of a total garbage human being.

Undyne's words set Chara berserk. He attacks with even greater power, fighting in revenge of Frisk for the pain he has endured. The monsters' hypocrisy pisses Chara off, and he is done letting yet another human child fall victim to those lies and manipulations.

Chara finally fights neck-to-neck with Undyne. At the end, Chara defeats Undyne, but she stabs herself with her spear before she can be killed by "a filthy human". Chara stabs his knife into her fading ashes, crying out in a fit of rage. Frisk only silently watches and listens as Chara lets his anger out on his surroundings.

Past the Hotland and the Core, Chara and Frisk arrive at the "Last Corridor" to meet their final enemy: Sans.

Sans has been awaiting Frisk, but frowns when he sees Chara instead. At first, Sans still puts up his facade. He proceeds normally, same as what he does in-game, judging Frisk/Chara's actions and such. He comments that somehow what has happened to Frisk throughout the Underground - taking many monsters', Toriel's, Undyne's and even his brother Papyrus' lives - is still "not enough". (Also showing that Sans doesn't care about monster casualties)

Chara throws his knife at Sans in rage, telling Sans to cut the crap. He tells Sans to give up, and that he "will never let Frisk out". He "will not let Frisk get hurt by trash like you". Sans will be fighting Chara, and Chara alone.

Doubting and amused, Sans accepts Chara's duel. However, soon it is very obvious that Chara is no match for Sans. Sans easily overpowers Chara, killing him over and over again. Chara's determination to protect Frisk and not let him get hurt allows Chara to revive after each death, but the pain and exhaustion still get to him. At some point, Sans even purposely hurts Chara as much as possible before killing him off, just for Frisk to see, because "I know you are there, watching your friend Chara taking all the suffering for you".

During the fight, Sans reveals (to Frisk) that he actually knows everything from the start: The reason why Frisk came to the Underground. The fact that Frisk is just an innocent lost child. The fact that Frisk is desperately asking for help. The fact that Frisk actually does nothing wrong.

And most importantly: Sans reveals that he knows about Frisk's hidden power.

At this point, Chara, knowing what Sans is trying to do, fights with all his might to stop Sans, but he is still no match.

Sans taunts Frisk, that if he doesn't want Chara to keep suffering because of him, he just has to "come out and play for a little while". Chara becomes desperate upon hearing Sans' "invitation", causing his attacks to miss a lot more, and himself to get hurt even more. He yells that he will not let Frisk fight Sans, but Chara's willpower has faded a lot along with his physical strength. Chara still tries to get up and continue the battle, supported only by his resolution, but at this point he isn't in any condition to fight any longer.

Annoyed by Chara's "stubbornness", Sans cripples and trips Chara, such that he cannot stand up anymore. Still, Chara uses his remaining energy to keep his consciousness from fading, and tells Sans to kill him without ever seeing Frisk. That "even if I cannot protect Frisk's life, I will at least protect his innocence".

All the while, Frisk has been watching everything. His heart aches every time Chara gets hurt and killed because of him, and he is terribly upset to hear that Sans actually knows everything but does nothing. Still, he obeys Chara's request to "never come out", despite how painful it makes him feel to see Chara doing everything to protect him. Frisk only sits in the void, hugging his legs as everything unfolds in front of him.

Seeing as Frisk isn't coming out no matter what, Sans takes his last resort.

He spares Frisk.

Sans says that he surrenders. Everything he has been doing is only to test Frisk's determination. Now that Frisk has "passed", Sans has no reason to continue fighting.

He even says he is "sorry" for everything Frisk has had to gone through. He understands Frisk's pain, sorrow and despair, and he knows a way to undo everything Frisk has experienced, and give him the happy ending he deserves.

Knowing very well it is a trap, Chara cries for Frisk not to fall for it. However, Chara can no longer retain control.

In the body, Frisk looks up at Sans' offer with teary eyes. A monster sparing him is something Frisk has been dying for since he has fallen into the Underground. No one ever spared Frisk, no matter how much he cried and begged. He just wants someone to truly understand and empathise with him. Hearing a monster sparing him makes him drop his guard immediately. At this point, Frisk's heart is too broken and damaged to think rationally or have any sense of deception.

At Sans' words, Frisk finally takes control of the body. He slowly walks towards Sans, who is welcoming Frisk with open arms. Teardrops keep falling, as Frisk recounts all the ridicules and hostilities he has encountered. Now, he will finally be spared and saved. He can finally return to being the innocent, helpless child that he is.

Frisk rushes to Sans in an embrace, crying over Sans' shoulders, completely defenceless. Frisk cries that he never wished for any of this, and he only wants to go home. He is just a scared child, after all. Sans does "comfort" Frisk for a while, stroking his head and patting his back.

Before...

"geeettttttt dunked on!!!"

Sans attacks Frisk in point-blank range, killing him instantly.

But he makes sure Frisk knows damn well what he has done. That Frisk will remember what he has done.

Sans gained his trust and betrayed him. Then made a joke about it.

Gained his trust and betrayed him.

Betrayed.

And this completely breaks Frisk.

To Chara's fear, as this is what he has been trying to prevent.

To Sans' entertainment, as this is what he has been trying to achieve.

"Liar..."

When the boy revives, it is finally Frisk that appears. Sans laughs in excitement, as the boy's hand is now holding a wooden stick, and his entire figure enveloping in a different, much more powerful kind of magic.

Then immediately, Frisk overpowers Sans (much to Sans' own surprise). In an instant, the battle turns entirely. None of Sans' seemingly devastating abilities proves effective to counter Frisk's overwhelming magic. Frisk awakens his long hidden ability to maximum, holding nothing back as he silently but brutally attacks, throwing Sans around and throwing things towards Sans with his psychokinesis power (like what Sans did to Chara).

(I imagine it to be Frisk directing his psychokinesis vector with his stick, same as how Sans throws Chara/the player in-game around with his hands.)

The attack begins and ends as quickly as a storm. By the end of Frisk's assault, the entire corridor has been completely destroyed, and Sans is completely incapacitated. Chara watches in shock, as he witnesses what Frisk is capable of, and what he doesn't want to witness in the first place.

Sans is just as shocked and puzzled. Now heavily wounded, Sans lies against the crumbled wall of the corridor, unable to move. He looks up at Frisk standing at where he revived, hasn't moved a step.

Then, Frisk slowly walks towards Sans. His steps are unsteady. His eyes are unfocused. He says nothing and makes no sound, but anger as deep as the sea can undoubtedly be felt.

Realising Frisk is going to finish Sans off, Chara shouts for him to stop, and leave the killing to him. Chara has been preventing Frisk from hurting anyone (and getting hurt by anyone) at all cost, because he knows that once Frisk kills someone, it will be the final nail to the coffin. His innocence will forever be tarnished. That's why Chara has been doing all the killings for Frisk.

However, Frisk has already been broken. Seeing as Frisk is no longer listening to him, Chara resorts to taking the control by force. But with his injuries and Frisk's now super-determined (and violent) willpower, Chara only succeeds for a second before losing the control. Chara tries again desperately, only to win and lose repeatedly.

(I imagine this process to be one "switch" per step. That is: They take one step → Switches to Chara → They take one step → Switches to Frisk → [Repeats])

The last step is Chara, and he immediately swings his knife in an attempt to finish off Sans for Frisk. However, Sans dodges that attack with the last of his strength. When Chara desperately prepares for another swing, the knife has become a stick again. Frisk has regained control.

With a violent slash, Frisk kills off Sans.

And Chara knows Frisk will no longer be the same.

In a mindless rage, Frisk stabs, punches, tramples, kicks the fading remains of Sans. Until there is nothing left of him.

Then, Frisk slowly walks out of the ruined corridor, continuing towards the exit of the Underground.

Since then, Frisk is always in control. Chara loses all influence on the body (except talking to Frisk, but Chara is also completely hopeless and distraught now).

Frisk has completely changed. He talks no more, cries no more, and holds back no more. All monsters (if still any) in his path are violently slaughtered without a word.

The first monster Frisk still encounters is the ecstatic Flowey. Flowey has been watching Frisk all along, including his previous fight with Sans. He "congratulates" Frisk on finally becoming the violent killer that he always is, "providing him (Flowey) with a good show".

Flowey then tells Frisk that he can do an "encore": Frisk can take the human souls that Asgore has collected. With that power, Frisk can reset the timeline and do it all over again, while Flowey will be watching once more. Flowey also wonders if Sans has told Frisk about the ability to reset timeline, as he learned it from Sans as well.

Before Flowey can talk any further, however, Frisk approaches him, much to Flowey's confusion and uneasiness. Flowey didn't do anything to Frisk, did he? All he did was watching. There's no reason Frisk would despise him, right?

Those are Flowey's last thoughts, before Frisk violently kills Flowey.

The next and last monster Frisk faces off is Asgore. Well, not really "faces off", because Frisk just one shots your personal favourite goat dad. Frisk won't listen to or believe in any monster anymore.

With Asgore dead, Frisk takes the human souls, and uses their power to break through the barrier.

Frisk escapes.

He returns home to his very surprised parents, who thought he was dead after missing for who knows how long. After a very emotional reunion (to his parents at least, because Frisk no longer feels anything, but his parents are too happy to notice that their son is already broken), life starts to return to "normal".

Frisk is finally back to being a child, but he is no longer an innocent one.

How many days have passed since he left the Underground cannot heal the wounds Frisk has suffered. That traumatic experience has completely changed him. He smiles no more, trusts no more. It is the worst outcome, the outcome Chara had tried his best and failed to prevent.

After many seasons have passed, and Frisk is still the same emotionless being, Chara speaks to him in his room one night, as one last effort to try to fix everything.

He asks Frisk to consider resetting the timeline.

Now that he has the power of all the human souls, Frisk has the ability to reset the universe as Flowey stated. With this reset, Frisk can do everything all over again, and make everything "right" this time.

Chara tells Frisk of what could happen in this timeline, which is what would happen in an in-game pacifist run. Chara shows Frisk the happy ending that he, and all the monsters who could be his friends (for real this time), could achieve. That this time, everything will be what Frisk had wanted.

The "screen/animation" then visualises scenes of the pacifist run, such as the end credit scenes of the pacifist ending. In those scenes, everyone is genuinely nice to Frisk. Everyone understands him, helps him and treats him with kindness. Together, Frisk and the monsters escape the Underground, into the human world where everyone miraculously accepts the monsters immediately. In the end, everyone, monsters and humans, live together in harmony, just as what Frisk had wished for. A happily ever after straight out of a fairy tale story, except that it could be reality. If Frisk would just press the reset button...

To which Frisk smiles, and replies:

"No way."

The scene cuts to black, and the story ends.

----------------------

Okay.

So, WTF does all the insanity above mean?

Again, I have to reiterate that I am really not sure if I thought of the following message at the same time I thought of the plot, or after I had thought of the plot.

Because I really cannot imagine ~12 y/o me thinking of such an edgy message that makes sense. Young me had so many edgy ideas that made no sense, but this one somehow made sense. And deep sense. At least, enough sense for me to write it down in words logically. Therefore, I suspect I might have thought of an explanation "post-production". That is, after I have...you know, grown up a bit and be less cringy.

But either way, this is the message of the story.

Explanation

Apathy induces apathy.

This is the message of the story.

Just like how empathy induces empathy, apathy can also induce apathy. It's the same teaching that "life changes life", but for the worse.

Frisk is originally a very empathetic person. At the end of the story, his empathy has completely been replaced with apathy, apathy even stronger than the monsters'. The most pure person is the one who can become the most broken.

(One character that this weeb author has taken inspiration from is Gon Freecss)

Apathy is the main theme of the story. Many of the monsters' actions are driven by apathy, or, to put it more simply, "don't care".

Frisk could have got the help he needed if someone would have just lent him a hand. The "pacifist ending" vision at the end of the story represents what could have happened if the monsters had done something. Chara is not trying to give Frisk the choice to do over, because there's nothing more Frisk could have done. Chara wants to bet another chance that the monsters would do the right thing in the new timeline, and give Frisk (and the monsters, as a side effect) the happy ending he deserves.

Think about it: If you kept on sparing monsters (first of all, why are you sparing monsters to start with???), but the monsters showed no response/ignored you/took advantage of you, would Frisk be able to get the happy ending that is the "pacifist ending"? It's never only the choice of you.

Frisk has done his best, in such a desperate state. He has done what he could have. Even with a reset, Frisk would once again ask for help, and try to fight hostility with kindness. What leads to the tragic end for both Frisk and monsters is the monsters' apathy.

And apathy can be because of many reasons. Each of the "significant characters" in the plot above represents one of the reasons for apathy.

I have divided the characters into 2 categories, based on whether their intentions for apathy are relatively "good" or "bad". Emphasis on relatively, because ultimately all of them choose not to help Frisk and instead watch him die / kill him. Some reasons are more acceptable. Some reasons are just pure evil.

(Also this is the point I am going to get burned lol)

Characters with relatively acceptable reasons are:

(A1) Papyrus

(A2) Undyne

(A3) General Monsters

...in decreasing morality (i.e. More and more evil).

Characters with absolutely horrible motives are:

(B1) Flowey

(B2) Toriel (yes)

(B3) Sans

...again in decreasing morality.

I will explain each of these characters in the following time. Aside from character analyses and symbolism explanations, I will also cover plot points that may have seemed "weird" in the above [Plot] section (e.g. wtf is Sans' deal).

(A1) Papyrus

(I really can't taint the best skeleton boi can i)

Papyrus represents apathy because of ignorance.

He is the most innocent monster of the entire monster cast in the story. And therefore, also the most tragic monster casualty.

Papyrus is naive. Period. And this is what causes problems.

He believes everything everyone tells him. He believes everything at first sight. Very deeply, too. Without challenge.

He believes humans are all bad guys because Undyne tells him so.

He believes monsters are the good guys because Undyne tells him so.

He believes Undyne is a good person because that's his own impression.

He believes Undyne will understand Frisk because that's his personal wishful thinking.

I could go over all of Papyrus' mental gymnastics (that's actually what I did in the first draft), but that would be too verbose. In conclusion, what I am trying to show is how dangerously simple Papyrus' mind is, both for himself and those around him.

He really thinks he is doing Frisk a legitimate favour. He really thinks Undyne will immediately pity Frisk as Papyrus does, and help Frisk as Papyrus wishes for. And then everyone will immediately understand Frisk, and with the power of friendship, they can do anything and achieve a happily ever after.

That is simply not possible.

You can say he is "stupid", and I will have to agree. But this stupidness, or ignorance, is what makes him a culprit and a victim.

This ignorance causes him to believe in a lie that leads to many humans killed.

This ignorance causes him to deny a human salvation.

This ignorance causes him to unknowingly send a human child to his death.

And this ignorance is taken advantage by those who wants to push their own agenda.

Ignorance itself is innocent, but ignorance can be manipulated into committing terrible acts of evil.

===

(A2) Undyne

Undyne represents apathy because of stubbornness.

Another way of describing Undyne's attitude is "the unwillingness to change (a concept)".

Undyne has believed humans to be literal scum of the earth for so long, she doesn't (and quite frankly, cannot) believe otherwise. She doesn't believe she has been killing the wrong people this whole time. That the humans killed all had emotions, dreams, memories and families like this child (Frisk) in front of her. She refuses to believe so.

Also, her pride plays a part to her refusal to accept the truth. She is the noble, righteous knight of the Underground. How could she admit she was actually the villain here? What would others think of her? (And more importantly) What would she think of herself?

Therefore, upon knowing the real truth behind Frisk, she really believes that it is a lie. She has to believe so: This is what keeps her going. The belief that humans are evil, and it is her duty to eradicate them from the face of the earth.

This extreme stubbornness is what causes her apathy. If she helped Frisk, how would she explain to herself? About her belief? About what she had done to many humans in the past? She would rather just be wrong her entire life, rather than owning it up and accepting the truth. That would make her life easier.

Undyne is not evil per se. She has just believed in an extreme ideology for too long to let go. Now she can't let go anymore, because her entire meaning of existence now depends on it: Her apathy towards humans. She can't change anymore.

Not for Frisk. Not for any other pitiable human.

She can only bring that apathy to her grave.

===

(A3) General Monsters

General monsters (like the "random encounters" in-game) represents apathy because...just cause.

In other words: "Why should I care?"

This is the most common cause of apathy, and it is exemplified in those "general" monsters.

Rather than having a reason not to help, they don't have a reason to help.

They see Frisk in trouble, and then they think: "Why should I help him? How does that benefit me? And moreover, why should I help him? I don't have the responsibility to."

At best, they will ignore him.

At worst, they will bully him, because...hey, easy target, am I right?

Notice how all of those general monsters, no matter how "flashy" and unique they may be, attack you for seemingly no freaking reasons? They aren't even seeking out your soul. They are just being annoying and a nuisance. And you suffer for it.

And to an already troubled individual, this is not "just a prank, bro". This is humiliation.

======================

The next section of characters are the "bad" ones. They all display apathy for absolutely terrible motives.

To summarise, all of them represent apathy because of selfishness, with different selfish "reasons" for their (in)actions. And by "selfishness", I mean inflicting absolutely unnecessary pain for absolutely unnecessary personal pleasure.

(B1) Flowey

Flowey takes pleasure in watching Frisk suffer and break.

Flowey is right: Really, he didn't do anything to Frisk. Well, aside from that little skirmish when they first met, but that was just to "teach" Frisk about "stranger danger".

(That's a lie. It was used to elicit the dark side of Frisk's personality, which had been suppressed pretty well because of Chara. Had been.)

In other times, Flowey doesn't even appear near Frisk. Flowey doesn't intervene with Frisk. Doesn't sabotage him nor help his enemies. Flowey is just...watching from afar.

And this is the problem. If Flowey didn't appear to Frisk near the end of the story, he wouldn't be killed, honestly. Frisk probably wouldn't even remember him. But Flowey's appearance and comments show Frisk that he is being watched like a freak show. His suffering is viewed as pleasure. His breakdowns, cries, pain, despair...they are all enjoyed by someone.

Imagining how someone can be smiling in ecstasy while he's literally dying inside and outside, that rage drives Frisk to brutally murder Flowey for his schadenfreude.

===

(B2) Toriel

Alright. This may seem a shock to you, and I can tell you it is intended.

Toriel takes pleasure in keeping Frisk.

In a nutshell, Toriel's mindset can be summarised with a quote from someone and something you may or may not know.

"You're funny. I'm keeping you."

~ Doofus Drake, "Day of the Only Child!", Ducktales 2017 (S01E14)

It is hard to convey via text, but what I want to show with Toriel is that she views Frisk as a possession rather than a person.

When things are going smoothly, these two nouns can seem pretty synonymous. But when things go down (i.e. when Frisk wants to leave), that is when these two words start to show contrasts.

Toriel loves Frisk, and wants to keep Frisk. Period.

She doesn't care if he likes it or not. She doesn't care if he loves her back or not. She doesn't care if he is happy or not. As long as Toriel has Frisk in her home, she will be happy. And that's the only thing that matters.

To keep Frisk, Toriel will do anything to make him stay. The most prominent (and heinous) thing is emotional manipulation.

In other words: Guilt-tripping.

This is why Toriel wants Frisk to fight her, even though Frisk is terribly unwillingly and that is mentally unhealthy for Frisk (imagine your parent asking you to fight them???) She knows this, and this is why she is forcing him to do it.

Because Frisk is going to feel extremely guilty for having to hurt Toriel (after everything she has so "graciously" done for him), and Toriel is going to exploit that guilt. The only way Frisk is going to leave is over Toriel's dead body. Don't wanna hurt Toriel? Can't leave then, kid.

And when Frisk is feeling more determined (i.e. when he actually tries to "fight" Toriel to escape), Toriel ups her guilt-tripping game: She purposely hurts Frisk, and then feigns guilt/regret. Making a "look what you've made me done" face, and making sure Frisk sees it. This makes Frisk feel like the scum of the earth for ever wanting to leave the Ruins, and Toriel wants that.

This is why Chara intervenes and immediately kills Toriel without questions. Chara has seen so many human children fallen trap into Toriel's manipulation, thus staying in the Ruins until they eventually lose their determination (soul) and die.

He has seen so many incidents of that guilt-tripping happening; and when Toriel is "bored" of that child, she just "I don't want to play with you anymore" and lets them die.

And he's not going to let Frisk be another one.

This is why Chara says he is the one who truly wants to protect Frisk.

Chara thought of telling Frisk about the true nature of Toriel, but seeing how Frisk is still so innocent (at that time), he decides to keep it to himself.

Of course, by the end of the story, Frisk probably has deduced that himself.

===

(B3) Sans

I know Sans has a lot of fans (apparently he is a "tumblr sexyman" without me even knowing??? I even learnt this fact outside of fandoms), and I am probably gonna get gaster-blastered for saying what I am going to say.

But Sans is the absolute piece of shit in my story.

If I have to swear to comment on a character, Sans is that character.

To really summarise, Sans takes pleasure in fighting Frisk.

But what Sans enjoys is general sadism.

Sans loves to fight (and defeat) strong people. This is his primary motive. And he will do anything to have an "exciting" fight. I realised afterwards that Sans' character is quite similar to Hisoka Morow (afterwards, because I didn't know HxH at the time I was thinking of the plot).

When Sans first sees Frisk (or rather, when he first senses Frisk, because Sans often visits the exit of the Ruins), he knows at once that Frisk has a very strong power hidden. Sans wants to fight Frisk in his "awakened" state.

To his dismay, however, Chara is there to protect Frisk. To make him awaken his powers, Sans will do anything to break Frisk.

Sans purposely makes Frisk (Chara) murder everyone in the Underground, just to awaken his "dark side". Sacrifices include Undyne, Toriel and even his own brother Papyrus (and especially Papyrus. Because he is pretty much innocent and his death will deteriorate Frisk's sanity by a lot, and Sans knows and wants this).

Think about it: Sans is literally there in the second area of the game, and he knows you are a (supposedly) violent individual. Why the hell doesn't he stop you right then and there??? We know Sans is strong af. He is definitely more than capable of stopping you from continuing your genocide route at that point. Why, then, does he do nothing, and even lets you kill his brother?

My reason for this is to break Frisk. He purposely lets Frisk undergo all the suffering, pain and traumas throughout the Underground, just so he can make Frisk unlock his potential and have a good fight with a broken Frisk. And monster sacrifices don't matter, because Sans knows about the timeline reset ability (not that he cares about casualties anyway, he just cares about himself having fun).

Sans is so confident in his ability that he can definitely defeat Frisk and make him submit (thus losing the "Determination" revival ability). He is so arrogant that he thinks he can "have fun" fighting even an awakened Frisk, and win. And then he can take his Soul and reset the timeline with it, saving everything and everyone. And doing it all over again for the thrill.

(This is why it's important that Sans is the one to bring up the topic of timeline reset, because this is the mechanism he intended to exploit.)

When he sees that Chara has been doing a very good job at keep Frisk (barely) sane, Sans takes advantage of Frisk's most vulnerable: Despair.

When a person is desperate, they would do anything to achieve what they want, even things that would be deemed irrational otherwise. And this is what Sans uses against Frisk: He knows very well that Frisk is innocent all along and just wants to be spared, so he gives him what he wants and then immediately betrays him. Not to mention making fun of his despair and helplessness.

That is the final breaking point for Frisk. And Frisk does break, much to Sans' excitement for 1 second and then shock for the next.

Sans didn't know just how powerful Frisk really was. He thought he was the strongest fighter in the entire world. He didn't know how exactly strong an awakened Frisk was, but he was so arrogant in his ability, he thought he could beat him anyway. Of course he was wrong.

This is why Sans gets rekted immediately after Frisk takes over, because Sans didn't expect Frisk to be this strong. He doesn't even have the chance to fight back (and so he isn't having any fun at all).

In the end, Sans pays his price for his psychopathic behaviour, but the damage to Frisk has been done. A damage that not even a timeline reset can erase.

======================

To add on one last bit: The ending of the story is meant to showcase Frisk's complete transition from empathy to apathy.

What Chara shows Frisk (i.e. The True Pacifist ending) is real. If Frisk chose to reset the timeline, he really would achieve that ending.

Notice how I said in the [Settings] section that "Frisk would reset the timeline in a heartbeat"? At the end of the story, Frisk finally attains the power to do so, but he no longer chooses to.

Even if Frisk would not retain the memories (traumas) of what had happened in the previous timeline, he still wouldn't choose to reset.

This is because Frisk's happy ending is no longer the issue here. He doesn't care if he is stuck in the worst ending possible. What matters is that he doesn't want the monsters to have their own happy ending.

The monsters didn't give Frisk a happy ending, why should Frisk give them one then?

In the end, no one is happy.

----------------------

(7-2-2023 ~ 20-3-2023)

[softlyblues]

Burrowing, Burrowing, Burrowing - Part One - an Edmund Golden Age Fic

Maithas Bristlebrow rubs his hand down his face and wishes, very fervently, that he was dead. "Tell me again," he says evenly.

The two dwarflings, holding hands and trembling in the face of their fearless leader's reaction, press together. Someone - possibly them - has braided their beards together, so every time one of them moves the other one wobbles and they both have to screech and windmill their arms to stay up straight. "Um," says one.

"It's the burrow," says another.

They both look at each other. Neither of them are old enough to remember last year, never mind before it was winter; to them, this spring is more terrifying than anything else they know. "It flooded," says the first one timidly.

Maithas buries his head in his hands and bites down hard on the meat of his thumb.

It doesn't work.

He's still screaming.

In the aftermath of the White Witch's death, the sudden restoration of Spring leads to some unexpected issues. When the Bristlebrow burrow floods, Maithas Bristlebrow - now Chief due to the death of his brother in the final battle - reaches out to his new monarchs for aid. King Edmund the Just is quick to respond.

read on ao3

The days after the coronation are exhausting; Edmund has never felt more alive.

For one thing, Cair Paravel is mostly in ruins around them. The four Pevensies sleep, therefore, underneath their regal cloaks on the floor in front of the thrones, using their arms and each other for pillows, and wearing and wearing again the clothes Aslan gave them to be crowned in. The party attendees have slept off the wine and wandered (or run) back home, for the most part; Oreius, who Edmund had come to see as part of the furniture, has returned to the remnants of the camp at the Stone Table, giving no word of return. Maybe he won't. Maybe he was a winter general, and now Spring has come he has no intention of doing anything but... whatever it is centaurs do, in their spare time.

Edmund wanders outside onto the first pavilion. His shoes are hurting him. They're uncomfortable Sunday shoes, because he'd been saving his best boots for exploring the woods in the Professor's country, back a hundred years ago (a week? two?) before he came here. Now his other hurts have gone, his shoes are back to being his primary worry, and worry he does; what if there are no shoemakers in Narnia? What if none of them want to make him any shoes?

Inside Cair Paravel, Lucy and Susan are exploring what remains of the basements. Peter is down on the beach, poking into caves, having decided that there must be smugglers somewhere. Edmund kicks listlessly at the grass. Do the other three feel as he does? They walk with a lot more purpose, even Lucy. She's found a leather belt for herself, and has looped the little vial into a free hook, draping it over her waist. It sloshes when she walks.

Edmund does not like feeling sorry for himself.

The pavilion is a pretty place. Maybe once it was roofed, but he suspects not; the tiled floor has mossed and grassed over, and the pillars are blue with salt from the sea and general neglect, but it's still a place someone loved, once.

"Oh, bally it all," Edmund mutters, kicking off his shoes. The knots have swollen with river-water, and are now impossible to unpick; he tosses them into the long grass on the other side of the pavilion and then gets down to his hands and knees, beginning at one corner, wresting thick moss and wildflower stems from between the tiles, pulling them free of the ceramics and throwing them the same way as the shoes.

It's a picture!

Tasked now, Edmund works with a frenzy for hours. Certainly long enough for the sun to rise to an apex in the watery blue sky, and set again - begin setting - with the sort of premature joy a Springtime sun feels, as though it hasn't realised yet that winter is over.

It's a picture!

When dusk is well and truly upon them, and the voices of his siblings are chattering in the Throne Room again, Edmund stands. He brushes his earthy palms against his thighs. He'll have to get up high, to properly see what the picture is.

Perhaps it's a bad idea, but he doesn't put his shoes on. He heads right for one of the curly apple trees on the edge of the pavilion, an old thing long beyond flowering, and clambers up.

"Pretty, that," says the magpie on the branch beside him, in a conversational sort of voice.

Edmund falls out of the tree.

His head aches, but not as bad as his back, where he's landed flat on a gnarled root. His heart is thundering a horse-race in his chest, and he feels stupid and afraid. "Ow."

The bird in the tree flutters down to the rock beside him, and cocks its head. It's a magpie, but it's definitely a Talking Magpie - Edmund is beginning to recognise the hallmarks, the sheen to the feathers, the size of the animal, the intelligence in the beady eyes. "You one of the yoo-mans, then?" The bird asks, still looking at the pavilion, "Damn odd thing for a yoo-man to do."

"I'm human," Edmund says. He's still lying, looking up at the stars. God, his head throbs.

"You one of the Kings or Queens?"

Edmund nods and instantly regrets it. "Queens are girls," he explains, "Kings are boys. I'm a King."

"How in damnation am I to know whether you're a girl or a boy?" The Magpie scolds him, cackling deep in its throat, "You ain't no pretty bird, so who's to tell?"

"I can't tell with you," Edmund says with considerable injury.

"Well!" The Magpie preens, looking as offended as a bird can get, "Well! That's a fine thing to say to a body, and a body what's your loyal subject and all!"

"Oh." Edmund thinks about that for a second, "Yes. Sorry. That was rude. Sorry."

"Hmph."

After a while, Edmund feels safe enough to sit up; he leans against the trunk of the apple tree, surprised enough to see the Magpie still beside him, perched on a log. "I don't want to climb up again," he confesses to the bird, "Will you... what's the picture?"

The Magpie quirks its head. "It's a pair of yoo-mans," it says, "Looking real fine. Wearing pretty feathers. Got gold and stuff on their heads, and a Pegasus with them."

"A Pegasus?"

"You dunno what a Pegasus is? Hell, maybe you is simple."

Edmund doesn't say anything. He isn't sure what to say.

"'S a flying horse," the Magpie says sullenly, after a few moments, "And I'm Maulkbone. And I'm a boy Magpie, so don't go making no assumptions, you."

"Oh," Edmund turns and grins, unable to help himself, "Maulkbone - it's lovely to meet you - I'm Edmund."

"King Edmund," says Maulkbone with a grin in his beak, "Not Queen Edmund?"

For the first time in several days, Edmund laughs and means it.

Maithas Bristlebrow still wishes he was dead, because being dead - surely, surely - would be less hassle than this.

"We have to camp, Granny," he repeats for the fiftieth time, "Because the burrow is full of water."

Granny Bristlebrow folds her arms over her chest. "I amn't going," she declares, much to the amusement of the various Bristlebrows witness to this argument, "And you amn't gonna make me, Maithas, Chief or no Chief!"

In the hours since the Bristlebrow clan has been flooded out of their burrow, a sort of refugee camp has grown in the forest near the river, higher than the floods can possibly reach. We hope. Dwarves are always prepared and many-layered; a mish-mash of tents made out of jackets, half-tanned leather, trousers, jerkins, shirts, towels, and blankets has become a sort of aboveground burrow, where Bristlebrows of all sizes now sit, feeding babies and sharpening shovels and braiding hair and generally looking about as displaced as Maithas feels. Dwarves are not made for sitting around.

"Granny," he tries again, lowering his voice, "C'mon, please. People're starting to watch."

Granny Bristlebrow just cackles, her walking stick brandished like a weapon. "I'm staying on this bank until Winter comes back or you dig me a new burrow," she says. "Yessir, Chief Bristlebrow, Sir!"

Maithas closes his eyes and takes a deep breath. His ribs are still bruised. "Granny," he says, "Until you move, we can't start digging you a new burrow."

Some murmurs of admiration among the gathered Bristlebrows at this new piece of diplomacy.

Granny Bristlebrow nods her head in acknowledgement, like a master chess player impressed at a reckless move from a rookie. "Fine, then," she says, and holds out her hand, "You can carry me up the hill if you truly must, but I ain't moving any further than that!"

Thankfully, Granny Bristlebrow weighs about as much as a sack of spuds, and Maithas is strong even for a dwarf. She still beats the backs of his knees with her stick as he walks, but that's just to keep him on his toes. "I'll kill her!" Granny says cheerfully, swinging with every step Maithas takes, "She'll die!"

"Pretty sure she died already, Granny," Maithas says, depositing his grandmother at the mouth of one of the first tents. The Bristlebrows have dispersed again, back to their pasttimes, Maithas's entertainment having left them, "I should know. I seen it, didn't I?"

She pats him on the head with her free hand. "Everyone's seen it."

"Sure, but I was there."

"I know, son," Granny Bristlebrow keeps patting him. It makes Maithas feel very young, and very un-Chiefly, "Was it that brave Son of Adam what did it?"

"No," Maithas admits, "It was..." And he finds he can't remember. He'd been Captain of the Black Dwarf team, a group of about twenty Bristlebrows, Blackbanes, Beardbraids, Ballangers, and Bluebanders; by the time the news spread, Maithas had still been wrestling with a particularly savage Red Dwarf from the other side (hence the bruised ribs, he remembers with a wince).

Granny pats him on the cheek again.

When Maithas stands, knees cracking, and surveys the hill, his heart sinks. There are maybe three hundred Bristlebrows currently lying in the woods - the burrow that flooded was the central campment, and that's not counting the cousins, uncles, aunts, siblings and distant relations still returning through Narnia. In a week, he will have five hundred dwarves to house, and nothing but watery soil to house them in, should they miraculously learn how to breathe underwater.

He wanders up the hill, lest Granny start giving him advice again. He's been Chief for - Aslan's Mane, how long ago was the battle? It can't be a week, can it? - and already he can feel the grey hairs in his beard.

"Caw! Caw!"

Stopping just below a tree, an Aunt of his - Charia Bristlebrow - and her fourteen children stirring a stew pot, Maithas squints up. The voice is familiar. "Maulky?"

Sure enough there's a Talking Magpie in the tree, although when Maithas meets his eyes the bird flutters down onto his shoulder. One of Charia's children, a little dwarfling not much older than a year, giggles.

"Pretty pickle you're in here, Bristlebrow," Maulkbone Magpie says. He chucks, an instinctive noise in the back of his throat, and starts to preen his feathers.

Maithas slumps. "I know," he says. Charia very kindly turns the children back to the stew, to let him have his breakdown in peace. "Ye gods, Maulky, what am I going to do? My burrow's flooded, and Matthein is - Matthein is-"

Maulky pecks fondly at Maithas's ear. "Sorry," he coos, "Sorry-sorry-sorry. Pretty pickle you're in here, all the same."

The dwarves up the hill a bit have started singing a mournful gold chant. So many men and women have not returned; the Bristlebrow clan is either very very young, dwarflings without hardly any beard, or very very old, hobbling around on two sticks. The very first thing Maithas has done, on becoming Chief, is make the whole bloody lot of them homeless.

Ye Gods.

"I know summat that could help," says Maulky thoughtfully. Well. Pretend-thoughtfully. The sort of thoughtful he says, sometimes, when he's scheming.

Maithas both hands on his eyes and presses until he sees stars. "What? What could possibly help?"

Magpies can't grin, but Maulky does a damn good approximation of one. "You ever make it to that funny coronation up the country, in the end?"

[eruanna1875]

There's a trope I've noticed in a lot of recent cartoons (largely ones I've not watched, so don't take this as an expert's word), and it's really starting to get under my skin: the magic being banished forever from the storyworld in some way at the end of the show.

This has happened with (SPOILERS) Tangled The Series, Amphibia, Star Vs., and even movies like "Song of the Sea". (END SPOILERS)

The heroes spend the entire story using and living around all this magic. There's usually some vital thing connected to a few of them, magical objects, which they use especially in the climax.

And then... it's just gone. They're cut off from the fantastical world forever (and not in the Narnia way, generally), or the magic things just straight up leave for some reason, never to be seen again, or in a couple of cases, the magic is literally destroyed.

And it's really starting to bug me.

I mean, there's so much more you could do with that! There's so many more possibilities than just "show's over, bye-bye forever, magic!" And yes, I'm about to list them.

If the magic they've been using must be taken away from them, have it be a sacrifice so that the power can be used by others, maybe to rebuild, or create something new

Maybe it must be put away after they've fulfilled their roles, awaiting a time when it can be given to new wielders

Maybe they end the story by passing it on to new wielders, like other characters we've followed through the story

Maybe they could legit just keep their power, train in it or (if they've already done that) become these great protectors of their homes and worlds, possibly to pass it on to their own kids someday

Maybe they can't use it in the same way that they had been before, but there are still other, perhaps smaller ways to use it that they have to discover and grow into

And the thing is, Tolkien and Lewis have done this, but they've done it in satisfying ways. (SPOILERS FOR BOTH) Tolkien didn't have all magic disappear in the end, and it took some time for even the magic of the elves to disappear. For all we know, there are still dwarves and hobbits and other peoples like that still in the world. And Lewis had the children stop coming, but because they were now ready to know Aslan better in their own world. He had Narnia end, but only so all of Narnia could begin a greater story that would never end. (END SPOILERS)

Granted, I'm still sad about those, but they did it better. They didn't just shoot it off into the distance, and it wasn't just gone. They gave both an element of closure and an element of hope, in a way.

I don't know, I'm still processing all this. But I think when it comes to me as a writer, I'm not going to ever end a story with all magic being gone, or even the heroes' magic being gone. They either keep it or pass it on, or use it in a different way than before.

(Bad magic being banished/destroyed forever, I can live with, though. That's perfectly okay by me.)

[gojuo]

Pass the happy! 🌻🌈 When you receive this, list 5 things that make you happy and send this to 10 of the last people in your notifications!

honestly I really do love my green mutuals like I left the got fandom back in 2014 after s04 stopped airing (bc no lady stoneheart + arianne martell + white ppl casting for dorne + overall divergence from the source material which is something I always distain) and slowly stopped caring abt asoiaf bc of no book content in so long so I just moved on, quietly waiting on twow and staying in my dorne-exclusive corner of the fandom but sadly I really do love asoiaf so regrettably I am interested in hotd but this fandom is so awful with all the targ infestation HOWEVER my green mutuals have renewed the love I used to have for asoiaf 🫶 we're small but I love it here in our little corner free from rabid dogs analyzing media MWAH 💋

MY CATSSSS MY BABIES MY CHILDREN FR 🥺 I'm actually allergic to cat and dog fur so even though me and my lil bro have wanted a cat for so long we just never got one bc of my allergies, but then my dad randomly one night in november 2021 came home with Lale (our little princess fr) then 3 months later we got Aslan (literally a terrorist I'm not even joking) so that Lale wouldn't be alone. Aslan is a Siberian and Lale is a Neva Masquerade, those races are hypoallergenic so my allergies don't act up thank God and I'm being so serious when I tell you cats cure depression ..... they are my firstborns fr😭 Lale has the prettiest blue eyes you will ever see in your life and stayed small (or average size idk she's barely 3 kilos) and is truly a lady and is extremely dignified. Like she's so funny, if we give her a piece of raw chicken or fish we HAVE to let her smell it for a few seconds before she takes a lick and THEN she starts biting it. And if it falls on the floor she won't touch it again we HAVE to give it to her from our hands she's literally soookjjgfjjgkvkfngcnd SHE'S A HIGHBORN LADY OF ROYAL BLOOD AND SHE WILL LET YOU KNOW!!!! She also purrs louder than a bike. Aslan in contrast is 6 kilos and none of that is overweight 😭 He's bigger than a small dog (if he grew a little more he'd be as big as a maine coon (eu version) is what the vets tell me) and has a huge mane like a lion (truly suits his namesake) and you won't hear his purrs unless you put your ear to his body but he TALKS SOOOOOOOO MUCH!!!! he's constantly meowing and trilling and chirping and whatever else like he will not shut up!!! He's also so energetic more than a husky imo. he keeps running to and fro and trilling all the while it's actually so hilarious my dad dies from laughter every single time. the way he eats food is .. inexplicable LMFAO he's the complete opposite of ladylike Lale he's literally kirby with the way he inhales food. ALSO HE KEEPS JUMPING ON THE KITCHEN COUNTER!!!! EVIL TERRORIST THAT HE IS!!!!! (Aslan left, Lale right)

speaking abt my cats... my father insisted before we castrated them both that Lale became a mother at least once in her life. I reluctantly gave in and last August she had 6 babies 🥺 it was one hell of an experience, getting ready for her to give birth and watching new life come into the world and the aftercare I had to provide for all 7 cats (Aslan gave no shits ohmigod he was a deadbeat FR!!!!) I had to constantly keep watch and be vigilant so that all kittens would live past infancy and could grow up healthy. it felt like they were my own babies you know? and watching them come into the world and taking their first breath and watching them grow from being palm-sized to Lale's own size was genuinely miraculous and a memory I will never forget living through. they're Lale's babies but also mine, yknow? I also took care of them and hounded them like a mother lol. Giving them away was very sad but it had to happen :(. 5 of the kittens have already found their own homes, but the last one is still with us bc everyone that shows an ounce of interest in him keeps cancelling last minute 🥲 But idc I kinda wanna keep him but it's not advised by the vet 😭 my poor baby no one wants him, I wish he could stay with us :((((((

stone ocean anime ended > i finished reading jojolion > the jojolands manga begins serialization in less than 40 days LIKE THIS IS PEAK FICTION. HALLMARK OF MEDIA. GOLD STANDARD OF STORYTELLING!!!!! I LOVE JOJO'S BIZARRE ADVENTURE SSOOOOOOOOOO MUCHH NO OTHER PIECE OF MEDIA BRINGS ME THIS MUCH JOY 😭😭😭 i love jojos in ways no one could ever even imagine loving a thing......

got my piece of shit law degree last summer now I am finally fucking free of university FOREVER !!!! YIPPIEEEE !!!!!!!!

[thedalatribune]

© Paolo Dala

Where Heaven Touches Earth

Recently, my wife and I became fascinated with documentaries about mountain climbers. It started with Free Solo, which tells the story of Alex Honnold and his ascent of one of the most difficult rock faces in Yosemite National Park - without any ropes! We watched awestruck at what Honnold accomplished and, at the same time, appalled by the risks he took. What would drive a man to that?

Next, The Alpinist landed in our playlist. The film kept us on the edge of our seats as it followed Marc-André Leclerc’s obsession with solo climbing America’s most dangerous peaks. Leclerc’s longing to experience the highest heights eventually led to his tragic death.

Other tales of alpinism followed, and after watching scores of people ante up their lives to summit the loftiest peaks on the planet, my wife asked the obvious question: Where does that desire come from? Why do mountains so mesmerize us?

In the early 2000s, the United Nations declared 2009 “International Year of Mountains” and dedicated it with the slogan, “We are all mountain people.” Whatever the UN meant, that phrase summarizes well the role mountains play in Scripture. From start to finish, the story of the Bible swirls around mountaintops, and the people of God truly are mountain people. Let me explain.

In the beginning, God created everything, including mountains (Psalm 90:2; 95:4; 104:8). God made man, gave him dominion, and placed him in the garden of Eden on God’s holy mountain (Ezekiel 28:14). This Edenic peak is paradigmatic of all other noteworthy mountains in Scripture because here God dwelt with man. On the mountain, heaven touches earth. However, man’s stay on these blessed heights was short-lived. He chose death, and down he went from paradise.

Throughout the rest of God’s story, mountains grant a foretaste of when heaven and earth will be renewed - God and man together again. Noah, Abraham, Moses, and Elijah all met God on the mountain. The temple and tabernacle, both modeled after Eden, had their own mini-mountains in the form of the altar. And Zion towered over all other rival heights as “the mount that God desired for his abode” (Psalm 68:15-16).

Jesus regularly sought God on the mountain (Matthew 14:23; Mark 6:46). But more than that, Jesus was God on the mountain. He met man there in thunder and cloud (Mark 9:2-8), reuniting heaven and earth. All the alpine cords of Scripture climax in Christ. He calls his own to join him on the mountain (Mark 3:13), and from the mountaintop he commissions his new humanity to mediate his dominion to the ends of the earth (Matthew 28:16-20). And one day, those kingdom subjects will climb further up and further in to dwell with God on the Mountain forever (Revelation 21:10).

In Scripture, mountains stand as metaphors in stone. They are the place where heaven meets earth, where God descends to man. They are monolithic reminders of the enormous bliss of Eden...

Mountains awaken this sweet desire. We want to dwell with God. The booming invitation of Aslan to “Come further up! Come further in!” leaves us breathless. Shakes us to the soul. We ache to ascend to Eden - but better.

Massive granite arrows, mountains point beyond themselves to Someone far higher and more thrilling - to the One where all the beauty comes from. If we mistake them for the God they beckon us to know, they become stone idols, dragging their worshipers down. But if we heed their call to climb, we may admit with Lewis, “All my life the God of the Mountain has been wooing me” (Till We Have Faces, 87).

Clinton Manley Where Heaven Touches Earth: Why Mountains Mesmerize Us

[queenlucythevaliant]

The cabby who knew Aslan

The housewife who became queen

[witchthewriter]

𝐁𝐞𝐢𝐧𝐠 𝐊𝐢𝐧𝐠 𝐄𝐝𝐦𝐮𝐧𝐝'𝐬 𝐰𝐢𝐟𝐞 𝐰𝐨𝐮𝐥𝐝 𝐢𝐧𝐜𝐥𝐮𝐝𝐞

⤷ female, ambiguous race, and any size reader. Requests are open, thank you for reading!  

a/n: I think this might be one of my favourite headcanons that I’ve written, especially for Narnia...

ᴹᵃˢᵗᵉʳˡᶤˢᵗ    

SFW🌿

⭑ “Free-spirited, artistic, and somewhat aloof,” Aslan had named the three words that described you. Lucy wanted to know what the new seamstress was like, since you would be around them a lot. 

⭑ The young queen was puzzled by these words, not because she didn’t understand their meaning, but because their old seamstress was just that ... old. 

⭑ “Doesn’t seem like she’d make a very good seamstress then,” Susan retorted. Shuffling papers together. 

⭑ Aslan gave a short chuckle and strode out of the council chamber, Lucy on his heels. 

⭑ “Just give her a chance,” he stated to no one in particular. 

⭑ And they had. The Pevensie siblings had their reservations, since they had grown accustomed to their old seamstress of many years, but they were open to you. 

⭑ You put Susan’s teeth on edge for the first few weeks. Her constant worries were met with your smiles and nods. 

⭑ But you never left their clothes too late, or too loose or too tight. 

⭑ You were a brilliant seamstress - one that could create beautiful clothes from nothing but a curtain and some rope. 

⭑ Peter liked you - 

⭑ So did Lucy

⭑ They both admired your creative and out-of-the-box nature. Which was saying something because you did grow up in a land with dwarfs and talking animals. 

⭑ And because the Pevensie’s were the only humans in Narnia, your lineage was confusing. 

⭑ “So, you’re not a human woman...” Lucy had said one sunny afternoon. “But you’re not a faun or dwarf and you definitely don’t have a tail..” You both laughed at that

⭑ “No, not that I’ve noticed,” you replied heartily

⭑ It was difficult to explain, but you were part fairy. A fae-human hybrid that could enter people’s dreams, stop aging and with great effort - fly. (Click here if you want to know more, I had no idea how many creatures actually lived in Narnia...)

⭑ Edmund was ... wary of you. His actions with the White Witch still clouded his mind and his guilt felt heavy. 

⭑ But you didn’t hold it against him. 

⭑ No one can be all good, and live without mistakes. There would be no point in living if we were all perfect. 

⭑ And so, being around you was like he could breathe again. 

⭑ You took his worries, anxieties, and self-hatred and blew it away. As if your very being was magic (and it was.)

⭑ Edmund told you about his nightmares, and how the White Witch still haunted him. Even though years and years had passed by. 

⭑ You perked up even more - because that was one of your talents. You could enter people’s dream state and alter their nightmares/dreams. 

⭑ And that night ... you did -

⭑ It was the first night in years that he had a full nights sleep. He did not wake up once.  

⭑ The first thing he did when he woke the next morning was run to you. Already in your work room, hunched over a spinning wheel and humming to yourself. You glittered in the sunlight, and Edmund was struck with such a new feeling. ‘Love,’ he thought, ‘this must be what it feels like.’

⭑ He didn’t enter the room, but rather turned around, and went to find Lucy. 

⭑ Edmund explained his feelings and wanted her opinion on what to do next. Since she spent the most time with you. 

⭑ The romance that Edmund was showing you made your heart soar. Not many people... or creatures, had shown you attention like this. 

⭑ And a king?

⭑ Well... what person wouldn’t want this attention ... 

⭑ And since the politics of marrying weren’t so harsh on Edmund - Lucy defended her brother and you. She was the biggest advocate for your relationship. 

⭑ “Wouldn’t it be a positive for the Narnians to see one of them on the throne? Next to a King?” Her point was extremely valid. And although Susan could argue - the fact was ... she didn’t want to. She didn’t want to argue against her brother. Or against you. 

⭑ Susan could see the good you brought him - the light that shone in his eyes now. 

⭑ So you married. 

⭑ And it was one of the happiest days of your life. 

⭑ Your days were still filled with work - 

⭑ You didn’t want to give up your position as a seamstress

⭑ So you were now ... the royal seamstress? Queen of the seamstresses? 

⭑ Anywho - you were still creating for the Kings and Queens of Narnia. Your family. 

⭑ You moved into Edmund’s chambers and it was ... awkward at first. Well, he was awkward. You just watched as he showed you around the chamber (because it was quite large.)

⭑ An ensuite, a large oak desk with a chair to match, a four-poster bed, marble floor to ceiling. It was all so elaborate. 

⭑ He showed you where you could have your stuff, but began moving his - because he instantly felt bad that he had made that decision for you. 

    “Actually, I’ll just move my stuff. You choose!” 

⭑ Your heart swelled. He cared so much about you

⭑ Ed sleeps closest to the door (so that if there’s a threat he can protect you)

⭑ He wakes up first, and gazes at you adoringly for hours

   “Ed...”

“Yeah?”

     “You’re doing it again.”

“Sorry, you’re just...so pretty...”

⭑ Helping each other get ready in the mornings and nights. 

⭑ He never has nightmares again, even though you don’t use your powers. It’s because of your union, AND your proximity when sleeping. 

⭑ Lucy will burst into the room some mornings, waking both you and Ed. She leaps onto your bed and snuggles in between you two. 

⭑ Relationship Tropes: 

  ✧ Off the Walls Eccentric (You) x Emotional Wall with 1 Weakness (Ed)

  ✧ Tough on the Outside, Soft on the Inside (Ed) x The Top (You)

  ✧ Aggressively Supportive

[stuckinblrjail]

Basmele Apelor(Fairy tales of the waters), the story that gave the name to the collection is actually 6 tales in one, the overaching one is that a retired sailor gets his single father life cut short by his daughters scheduled transformation into sea goddesses. 5/5

Illustrations by Elena Boariu

Basmele Apelor by Monica Aslan

1987

Summary: This one is kind of hard to summarize cause as I said it is 6 tales in one. The framing tale is about a sailor who likes the look of an abandoned palace on an island and decides to retire there, despite people telling him weird stuff happens on the island every 15 years on account of the place being sacred to the Lord of the Waters. When the first landmark rolls around a beautiful woman with no memory of her past life washes on the shore and they like eachother and marry. Unfortunately the lady dies giving birth, which is devastating to the sailor but he takes solace in rasing their daughter. Unfortunately when her 15th birthday the Lord of the Waters comes by and she dissapears with him, leaving her dad alone and heartbroken. To keep him from succumbing to his grief all of the sailors old friends bring him a baby they found floating around in their travels. Which he does and is really happy for a time but when the next 15 year landmark rolls around they also dissapear. Wrecked by grief and convinced he angered the god by setling on his sacred island the sailor throws himself into the sea, but is pulled  out of the waves by his daughters who have become sea goddesses and they tell him the tales of their mothers. Each of the moms got screwed by the crewl universe and sexist societies and wanting a better life for their daughters so they offered them to the Lord of Waters-except the sailor’s wife who had sort of a first born deal with the Lord in exchange for her life. So, knowing his daughters are OK, the sailor keeps chilling on the island where he is regularly visited by the new goddesses.