#which they not only *can* provide but *want to* provide

[howl224tgeundying]

I agree with all of this and I think a lot of people do too, which is wild because in theory, the consumer should have all the power.

The only problem really is that the corporations in the market have made a decision to act together and to remove all of these things from the market and to only supply the stuff that nobody really wants, This is because they enjoy bombarding us with ads, harvesting our information and basically being dicks.

The good thing, is that this creates a gap in the market, and so if someone has enough personal funds or venture capital, or is willing to take a loan, one can start a company that does make these things, or websites and all of that. And in theory, it should be a success because you will providing what nobody else is but also what many people want.

I suppose many people like myself have no real desire to manage a business, personally I'm a musician and that is my full time job but I'd like to think there are people out there who have always had a dream of being their own boss and are willing to make a company that caters to those that hate where the modern world is going, and I think there's enough people disgruntled in that manner to support said company(s).

So if you've ever thought about making something devoid of QR codes, digital cloud storage, a return to physical media or any of that, please go for it. World is turning to shit, might as well be a light shining in the darkness.

I don't know I'm not done talking about it. It's insane that I can't just uninstall Edge or Copilot. That websites require my phone number to sign up. That people share their contacts to find their friends on social media.

I wouldn't use an adblocker if ads were just banners on the side funding a website I enjoy using and want to support. Ads pop up invasively and fill my whole screen, I misclick and get warped away to another page just for trying to read an article or get a recipe.

Every app shouldn't be like every other app. Instagram didn't need reels and a shop. TikTok doesn't need a store. Instagram doesn't need to be connected to Facebook. I don't want my apps to do everything, I want a hub for a specific thing, and I'll go to that place accordingly.

I love discord, but so much information gets lost to it. I don't want to join to view things. I want to lurk on forums. I want to be a user who can log in and join a conversation by replying to a thread, even if that conversation was two days ago. I know discord has threads, it's not the same. I don't want to have to verify my account with a phone number. I understand safety and digital concerns, but I'm concerned about information like that with leaks everywhere, even with password managers.

I shouldn't have to pay subscriptions to use services and get locked out of old versions. My old disk copy of photoshop should work. I should want to upgrade eventually because I like photoshop and supporting the business. Adobe is a whole other can of worms here.

Streaming is so splintered across everything. Shows release so fast. Things don't get physical releases. I can't stream a movie I own digitally to friends because the share-screen blocks it, even though I own two digital copies, even though I own a physical copy.

I have an iPod, and I had to install a third party OS to easily put my music on it without having to tangle with iTunes. Spotify bricked hardware I purchased because they were unwillingly to upkeep it. They don't pay their artists. iTunes isn't even iTunes anymore and Apple struggles to upkeep it.

My TV shows me ads on the home screen. My dad lost access to eBook he purchased because they were digital and got revoked by the company distributing them. Hitman 1-3 only runs online most of the time. Flash died and is staying alive because people love it and made efforts to keep it up.

I have to click "not now" and can't click "no". I don't just get emails, they want to text me to purchase things online too. My windows start search bar searches online, not just my computer. Everything is blindly called an app now. Everything wants me to upload to the cloud. These are good tools! But why am I forced to use them! Why am I not allowed to own or control them?

No more!!!!! I love my iPod with so much storage and FLAC files. I love having all my fics on my harddrive. I love having USBs and backups. I love running scripts to gut suck stuff out of my Windows computer I don't want that spies on me. I love having forums. I love sending letters. I love neocities and webpages and webrings. I will not be scanning QR codes. Please hand me a physical menu. If I didn't need a smartphone for work I'd get a "dumb" phone so fast. I want things to have buttons. I want to use a mouse. I want replaceable batteries. I want the right to repair. I grew up online and I won't forget how it was!

[biancadoes1]

The things we know for sure about N and L

-the looks and touching that were way above PR

-the whole meeting her family and the reactions of said family

-the ring which sure can symbolize season 3 , but that also means it symbolizes Luke too.  Especially because she said on a podcast she always liked Luke, but now has a real love for him.  Now one could argue it isn't romantic... but on what planet would another man or woman be ok with someone wearing a claddagh  ring in the taken position, with that meaning behind the ring.  

-N saying she doesn't have a relationship in her life with anyone else, like she does with L. 

-And she mentions several times there is real love there or they really do love each other.  She could have said cared for each other, but said love and never followed with platonic or JUST friends 

-commented about people wanting her to marry Luke... in TIME magazine not People...TIME

-pic on her phone screen.  I know some people think it is JD... but the guy is left handed and L does seem to have more of a widow peak and shorter during the press tour with the way his hair was styled,  so I think it could be from then

-what obviously looks like L hand in the background of N getting ready(with a ring on his left ring finger around the same time N switched her ring to the left hand). 

-possibly L voice in background of video at glamour event 

And yet she is with a 24 year who has only ever show interest in men...  I know. I know.. we shouldn't assume and I'm really not.  I'm going of articles about him, his IG and his friends posts and comments.  And I realize people can be bi, pan or fluid... but again I just don't see it.  

When it’s quiet people tend to start drama in their own heads.

They forget what we do have and instead focus on what we don’t. This sets you up for failure.

Stop doing that and instead focus on this list our wonderful anon has provided to remind you why we’re still on the ship.

Good things will come. We just have to remind ourselves to be patient.

[monstatron]

OBASI ADEBOWALE, THE BIG BOSS (character is a woman and butch lesbian, she/he!!) Obasi is the current leader of the Phantoms and a stoic gorilla animan with a determination to protect the city of Haderia and the ones she loves. Birthed from a legacy of heavy-hearted pessimism, Obasi struggles to find herself whilst still attempting to hold true to her values and empathy. Her sense of self is otherwise skewed, but regardless, she remains steadfast in maintaining the criminal underground of Haderia and keeping her family safe. She has been the leader of the Phantoms for over 25 years, nearing 30 soon. This has earned her the title as the "King of Haderia". She is respected by many, but not all. Obasi could care less about this, as her goal is to ultimately maintain peace within the city. She strives to provide for those in need, including the lower class and others who have been let down by the higher government. Obasi is seen as a protector of sorts because of this, as she puts a large effort into keeping military activity to a minimum in the city and ensures that resources are distributed evenly- or at least as much as possible. There is only so much that Obasi can do, but it is wise to never doubt her determination. Aside from her work as a kingpin, Obasi is a mother. She's raised three daughters. In addition, she's a maternal figure to the younger members of her syndicate, one of which she's taken under her wing. Despite being stoic and sometimes cold, Obasi is incredibly caring to her family and friends. She tries to spend as much time as she possibly can with her loved ones, and she will always make time for them if she is able. Obasi will always put her family first in dire situations, and she wants only the best for her children as well. She encourages them to seek lives outside of the criminal underground and supports them in this. Obasi herself has also sought a career far from criminal work. From a young age she had an interest in music, and this later led her to occasionally perform at adult clubs or small events under the artist name of "Amethyst Blood".

a new and more official reference of my big gorilla gal, obasi! she's been an oc i've had for so long and one that has gone through countless changes, but now more than ever she truly feels authentic to me.

obasi is the main character of a hopefully upcoming book i've been planning to write within my "blade in the city" world! blade in the city is a cyberpunk thriller novel about anthropomorphic animals in a post-human world, following obasi and her journey to find individuality.

[serpentface]

Scenes from The Baby Wars Part One: The First One

[Hibrides never wanted to be a mother (though the concept of childbearing has always occurred to her as 'inevitable and necessary'), underwent very severe post-partum depression, never really bonded with the infant, and was extremely uncomfortable with nursing her (they had a wet nurse who covered most of it).

Brakul ended up being the Designated Housewife throughout Erubi's infancy and was effectively the only member of the household providing parental care, was Extremely bitter with Hibrides for not really wanting anything to do with her daughter (among other things), and was raised in a context where fathers allowing their infants to comfort nurse on them is a standard practice (which is not widely conceptualized as a Thing men can do in the Wardi cultural sphere and comes off as bizarre to the rest of his household).

These combined factors lead to tense standoffs where he looms behind Hibrides trying to guilt her into Feeding The GodDamn Baby while looking, from her perspective, like he's trying his absolute hardest to breastfeed.]

[lu-is-not-ok]

Hello there! My friend introduced me to the Daiyu/Baoyu theory recently and I repaid them by immediately becoming crazy about Soda Hong Lu. Have you looked at Soda Hong Lu in the lens of this theory? Because half joking about this:

1. It is the only EGO that I can recall that features a transformation type sequence

2. In the corrosion, two shrimps attempt to check on the hallucinating Hong Lu/Body; he destroys them in the frenzy

3. It is an EGO that Hong Lu strangely has no Identities for in regards to archetype, Poise, and is one of the EGO for which Hong Lu has a dull eye. (Next Walpur might outdate this one but still squinting at it)

4. It is an Envy EGO, the sin associated with. Yknow.

5. In the pull animation, a shrimp is inexplicably focused on, crying from the same side Hong Lu's jade eye is on.

Idk if this is totally out of the ballpark here, but I'm seeing Soda as an EGO that represents Daiyu being dragged onto the 'boat', that being the family, as Baoyu guiltily observes, barely keeping it together under the idea that the 'boat' is the "better life" as seen on the log for Wellcheers in LCorp. They want to be able to pretend that the transformation is something that'll bring them fortune, just another process in the façade, but as the corrosion shows, one slip will doom them into inconsolable panic. It is an EGO that demands you provide to the group, but it is hanging by a thread. Do you see my logic. Shrimp Jia Family.

So, I'm gonna put it this way.

The things you pointed out about Soda? Huge. Like, they do definitely point towards something and I have my own interpretation of them to share.

Your interpretation of the EGO... I feel like it misses the mark a bit, but that's okay, because it very much can still be about the Two in One Daiyu Baoyu of it all in a way, thanks to the things you pointed out.

Let me explain.

Soda, both for Ryoshu and Hong Lu, is symbolic for their escapism, while also having some major themes of Reality/Fiction.

To briefly show what I mean by explaining Ryoshu's Soda - her form of escapism is that of indulging in the cruel Reality. Note how her Soda focuses on the Wellcheers drink itself - she uses the soda itself to attack, and in the corrosion she turns into the soda as well. Her EGO focuses on the cruel Reality that Wellcheers is a soda company that only cares about people consuming their product, she literally forces her target to drink it in her Awakening animation. Her Corrosion then focuses on the Fictionalization of that Reality, on the rumors that the soda can lead you to wake up on a ship in the middle of an ocean.

This isn't a Ryoshu post though, so if any Ryoshu scholars want to add onto this with their own interpretation of how that connects to Ryoshu's art and how she wishes to reflect reality in all its cruelty, be my guests.

Now, back to Hong Lu's Soda - for him, escapism is the reverse. He indulges in Fiction, his EGO reflecting the life shown in hypothetical Wellcheers' advertisements, happily fishing for shrimp among prawn on a ship in the middle of an ocean, surrounded by seagulls. Then, his Corrosion is the Realization of that Fiction, of what it would be like to actually live on a ship like that, having to hear seagulls scream and run away from you.

And this is where the details you pointed out come in. Because they made me realize something.

The 'Fiction' being symbolized by Soda? It's Hong Lu's current life as 'Hong Lu'.

Here's the thing about the Daiyu Baoyu theory - one of its many parts is that Hong Lu as a person does not exist. 'Hong Lu' is a fake persona. He's not a real person with an actual history, it's a character made up and played by Baoyu to cope with being forced to override Daiyu.

After all, it's not until after Canto 4, where Hong Lu becomes aware of Yi Sang's attempts of calling for help, that he starts actually saying concerning things. Until then he's tried his fucking hardest to make it seem like his homelife is as uneventful as a sheltered rich kid's homelife could be, with the anecdotes only getting more and more actually fucked up when it became clear his turn drew closer. Perhaps because that's what Hong Lu as an act was originally supposed to be - a rich kid like Baoyu but without his baggage, without his trauma. Until he started getting desperate and realizing that he too needs help, but couldn't ask directly without revealing he'd been lying this whole time, so instead he's sprinkling in more and more concerning things hoping Someone Will Get The Hint.

That little tangent aside, I believe this is what the magical girl transformation in the Awakening is meant to symbolize - Baoyu indulging in the Fiction of his new made up persona that is Hong Lu. After all, if you think about it, isn't it a common trope in magical girl shows for the girls to use pseudonyms and keep their true identities secret while transformed? Isn't that exactly what Baoyu is doing while he's acting as Hong Lu?

With that in mind, the prawn that gets focused on in the acquisition animation, the one randomly crying out of the equivalent of Hong Lu's jade eye, could be a little reference to the fact that under the act Baoyu is Fucking Miserable.

And then there's the matter of the ship. If the transformation sequence is a reflection of Baoyu becoming Hong Lu, then what is the ship about?

...It's the bus. The ship is Limbus Company's Bus.

Soda as an E.G.O symbolizes Baoyu's escapism via becoming Hong Lu aboard Limbus Company's Bus, getting carried around to "fish for shrimp" or perhaps hunt for Boughs.

Then there's the Corrosion. The seagulls screaming and crying all around him. The genuine anxiety and panic in his voice (listen to the original file for the voiceline without the effects if you can btw, it's so well acted - you can find it in the Organized Assets drive). The way others try to check up on him and he instead lashes out at them. How the animation seems to purposefully hide the actual enemies being hit so that it seems on first glance like the only things he's attacking are fellow prawn.

Ya'll... this could be another Distortion foreshadowing. Think about it. The realization that his escapist Fiction isn't enough, that the horrible reality he's living in has started to poke through and scream at him and cry at him. And the resulting breakdown causing him to lash out indiscriminately. ...Doesn't that sound like something that could happen with a Distortion?

Alternately, it could simply be a way to show in general what would happen once the act is stripped from Hong Lu. The fear, the panic. The pushing others away. A representation of someone whose escapism is a defense mechanism, and who, upon being stripped of it, cannot handle reality.

So, sorry to say Shrimp Jia Family is likely not the case. Thankfully, we can have the alternative of Shrimp Sinners.

On the other hand, here's a fun semi-related fun fact: the Sin Affinities of the Soda EGOs could in part be references to the two work types you can perform on the Abno to get the grape soda! Gloom representing Repression work, and Envy representing Attachment work. Neat, huh?

[thewitchinthecloset35]

Worshipping vs Working with Deities

Definitions Worshipping a deity is all about respecting them, honouring them, living in a way that represents their domains and aspects. Working with a deity is exactly as the word suggests, a working relationship plus worshipping. A more personal and in-depth back and forth between you and the deity you work with on a long-term goal or in life generally but the specifics are between you and the deity.

Do you need to ask to worship? No. Deities are just that, deities! You can worship whoever you want and feel drawn to. You can ask them for favours, provide offerings, and pray to them.

Do you need to ask to work with a deity? Yes, but you don’t need to wait for them to reach out first. You can always express interest in working with them for whatever reason, provide an offering, and either ask for a specific sign or perform divination. A no now doesn’t mean no later, so if a deity says no to working with you, don’t worry. It doesn’t mean never, just not right now!

Can you make an altar for a deity you don’t work with or only worship? Yes, and as always, make sure you respect that space if you are dedicating it to a deity.

Working vs Worshipping example You work with Apollo in the musical aspects of your life, having more personal guidance and support on learning your chosen instrument and playing in a band. You worship his twin sister Artemis by lighting candles to honour her and care for wildlife with bird feeders, hedgehog homes, birdhouses, and an outdoor ceramic water bowl.

Which is more important? Neither. Whether you worship or work with a deity, both are equally important and just because you don’t work with a deity doesn’t mean your relationship with them is less than. Respect, honouring, and religion specifics are always important in both.

[eerna]

The ending of Arcane was MESSY, but not surprising. After all it's still a LoL promo, and for it to work this way the conflict could only ever "resolve" as going back to status quo. At least that's what I'm telling myself when I'm trying to figure out why the writing is so good with characters on interpersonal level, but turns to the most simplified black and white shit when it comes to the larger systems. In retrospect - OF COURSE they weren't going to resolve Pilrover/Zaun tension. I mean they tried to pitch us "they all unite against a larger enemy" thing with Sevika being on the council (outnumbered by Piltover councilors 7 to 1) and people of Zaun fighting for their basic survival. But I don't really buy it as a lasting improvement because the core issues between them are not resolved. Just like with any superhero media, they only thrive in conflict, so their characters can clash over it and make us feel things. No resolution ever is the primary goal. Meanwhile we fall in love with Vi, Jinx, Ekko, Jayce, Mel, Victor etc (not Cait though because her Nazi tendencies were swept under the rug). Almost as if the show says oh but don't you want to experience playing as one of them with their cool unique abilities. Which is fair I guess, but a lot of gaps in Arcane feel like a missed opportunity for something deeper than it is currently. Overall I like the show enough for what it provides best - intricate family and friendship dynamics, unique visual style, top tier animation and lesbians. I feel grateful that we've got some sort of complete story at all, given how terrible the animation industry is lately to its workers. Fortiche deserves all the flowers (and well earned money) for their hard work.

Yeah, a big round of applause for Fortiche! They absolutely rocked it, it was a visually stunning season. But tbh s1 was a good enough ending to vaguely hint at both a complete storyline (Piltover decided to change too little too late and their leaders got bombed for it) AND League connection (Jinx becomes Zaun's most wanted fr, Cait dedicates her life to hunting her down, Jayce and Viktor survive bc of Mel's implied shield, even Warwick was in the post credits scene). And yeah the worst part is that we should have known... it was too good to be true... we chose to trust in a LOL PROMO SHOW.... we are wearing the clown noses

[scorpioriesling]

Invisible String - Part 6

･ﾟ: *✧･ﾟ:* ✧･ﾟ: *✧･ﾟ:* ✧･ﾟ: *✧･ﾟ:* ✧･ﾟ: *✧･ﾟ:* ✧･ﾟ: *

Pairing(s): Eris x reader

Warning(s): Please be advised; this part might not be suitable for all audiences. Proceed with caution.

Summary: You'd taken the nanny position for the royal family over a year ago, not expecting what would come of it or how close you'd grow to the child you cared for. Things became tough for Eris when his wife left him and his daughter, and he found it increasingly harder to raise Riley himself. He soon realizes, you've provided a lot more than the typical job description duties for his daughter... and maybe for him, too.

SR’s Note: My apologies, this took forever for me to finish writing for you all (I've had so much on my plate lately). I hope you’re ready — all we have left is the finale! I added in the advisory so that younger / uncomfortable readers won't read the series without knowing or expecting potential risks in content to come. For those who enjoy or look forward to content as such -- I hope you are excited! Nonetheless, I hope readers will enjoy this series that came to me in a dream one night. (; Much love to all.

Tags: @mellowmusings @talesofadragon @rcarbo1 @mandziaaa @lilah-asteria @a-frog-with-a-laptop @kitsunetori @dannul @velarisdusk @lamarmotta @paintedbyshadows @i-know-i-can @adventure-awaits13 @acourtofbatboydreams (inbox me or comment if you'd like to be added!)

･ﾟ: *✧･ﾟ:* ✧･ﾟ: *✧･ﾟ:* ✧･ﾟ: *✧･ﾟ:* ✧･ﾟ: *✧･ﾟ:* ✧･ﾟ:

"My bow tied?"

You sigh as you adjust the golden ribbon tied in the little girl's hair, her wide eyes looking to you for assurance. Though it's about the fifth time she's asked you to confirm, you answer her once more.

"Yes, dear," you say, smoothing down the front of her corduroy dress with reassurance. "I promise I tied it into your ponytail really good."

She nods, her little body buzzing with anticipation and excitement. You take her hand, leading her toward the front door of the Forest House where her father waits.

"Ready for your first day?" He asks, smiling prodly at his daughter though you can practically feel the way his heart hurts inside.

"I am, daddy!" She bounds over to him, clutching the strap of her pink backpack with a fluffy bunny printed on the front. When Eris arrived home with it last week, she could've practically exploded from sheer excitement.

He helps her slip it over her little shoulders, bending down and kissing the top of her head as he gazes at her. Your heart swells -- you knew, this wasn't just a big day for Riley, but for him too.

"We should walk outside -- the carriage service will be here soon, you won't want to miss it." He winks, and Riley giggles as she jumps up and down.

"Daddy -- Y/N coming too?" She asks as he takes her hand in his. He glances to you, and your eyes widen.

"Oh, no, honey, I think your father should bring you to your first day of school," you explain hastily. She huffs, trotting over to you and wrapping her small fingers around your palm.

"Pleeeeeeease, you come too?" She asks. Eris only shrugs, and you glance down into those big, pleading eyes once more.

"Alright, then," you hesitate, and she continues her celebration as though this was her birthday. Eris glances out the window, turning to face the two of you again before speaking.

"The carriage is just down the way; ready to go, Riles?" She nods, looking back to make sure you're following.

"I'll be just behind you," you say, jogging to the kitchen as they make their way through the front door. Spotting the mason jar in the middle of the table, you reach for it, and then hurry to catch up with the two out front.

:* ✧･ﾟ:

The rest of the day goes on per usual, though the house is errily quiet with Riley's absence.

Eris left for the Palace soon after Riley got on the carriage, which left you in the Forrest House... alone. All day.

You were cleaning for what felt like the 25th hour of the day when the clock struck 3 pm, and you quickly hurried outside. She would be home any minute, and you were dying to know how her first day of public school went.

Sure enough, the gleaming ivory of the carriage made it's debut over the hill; stopping just at the end of the drive. The doors were barely open before Riley burst out, running as fast as she could to you up the drive.

"Chris-anthem!"

You kneeled, stretching your arms wide as she lept into them full-force. She held onto you tightly, the only adieu to the carriage coach a small wave before he set off once more. When she finally let go, you asked her.

"How was your first-"

"A Chris-anthem!" She squealed again, this time thrusting her clenched fist toward you to look. In her palm, she held the stem of a rather wilty, dying orange bloom.

"Ohhh, your flower," you realized. "You asked what it was, hm?" She nodded happily.

"Yes! And Miss Peachum says its a Chris-anthem!" You chuckle, realizing the plant is indeed a Chrysanthemum.

"Ahh, I see," You say, half-distracted by the approaching male on horseback trotting toward the stables. His hair is radiant in the light of the setting sun, his shoulders set as he comes more into view.

"We should go inside -- I think your daddy is almost home, and I'm sure he'd love to hear about your first day at school."

:* ✧･ﾟ:

The routine becomes a little more established over the next couple of weeks as all of you adapt to the new schedule. On days Eris goes in later, he gets up with his daughter and gets her onto the carriage; on his early days, you do it. It's a nice routine, one that is almost perfect.

Almost.

You still longed for the feeling of his sheets, his warm embrace as he'd hold you through the night. How good it felt, even for just a short time, to feel so comfortable, as though your longing had been satiated -- now, it felt like those days were as good as gone.

"Oh, Y/N?" His voice was quiet in the silent hall of the house, Riley put into bed after another long day. You were jsut about to retire to your chambers when he spoke, his steps quick to catch you before you went to bed.

"Hm?" You turned, facing him in the dim evening light. He stepped close enough so you oculd make out his features, every freckle on his nose and the exact curve of his jaw -- but not too close to touch.

"I, uh, I just had something I wanted to ask you about," he fumbles, and you lean against the doorway as his eyes finally find yours.

"Anything," you say reassuringly, hating how uncharacteristically nervous he's being. He swallows, his lips parting in thought before he speaks again.

"The uh, the annual court ball is happening in three days," he says, his brows knitting. "And, uhm." He coughs to clear his throat, and you raise an eyebrow.

"Yessss?"

"Well, it's in the evening, um. I have to go, I mean. I have to attend." He says, biting the inside of his cheek. You nod in realization, your heart sinking just a bit.

"Right, right, I figured as much. I, uh. I don't have any plans, I mean, I'll be here, for Riley that night-"

He frowns, taking a step closer and looking straight down into your eyes.

"No," he says sharply, his features relaxing when your eyes widen. "I, um. She has, someone else to watch her that evening." He nods once, and you look up at him quizzically.

"Okay...?"

"Would you join me?" The words come out so fast you almost don't register them. "I mean, to the ball. Would you..." his fingers lightly take yours, his thumb tracing a small circle on the back of your hand.

"You. Want me. To go with you?"

He chuckles, his hand holding yours with ease. If only he knew the tidal wave rushing through your veins at this very moment-

"I do," he assures, bringing the back of your hand to his mouth to press a small kiss to it. "I'd be honored, if you would join me."

:* ✧･ﾟ:

Three days was not near long enough to get yourself in check.

By that, you were feeling so nervous -- no matter how many times you'd redone your makeup, or re-tied the laces on your gown -- you still stared at yourself in the mirror, barely believing the events that were to unfold tonight.

A soft knock on your door pulls you from your daze, the wood creaking as it slowly opens.

"Oh... wow," Eris sucks in a breath, coming to stand behind you as he gazes at you through the mirror. You continue to pick and fiddle with your gown, only halting when his hands rest on your waist.

"Y/N, you're beautiful," he muses, and you can't help but blush. Gazing at him through the reflection, you agree -- you were beautiful, the maroon fabric hugged you nicely and complimented the accents of his jacket to a tee.

"Thank you," you whisper, and he turns you to face him. A small smile creeps onto his lips as he takes you in before him. You can't help but grin back, as the man oogling you is quite handsome himself.

"Are you ready?" He asks, and you take a deep breath, glancing at yourself once more over your shoulder.

"I am," you hesitate. "I just... I hope your parents won't think less of you for bringing me tonight."

Eris huffs a laugh, his eyes meeting yours in the glass.

"Darling, I don't give a damn what my parents think. Especially my father."

You chew on your lip, his words not resonating with you like he hoped they would.

"I just... I'm not like you, I'm not... a High Fae," you sigh. "I'm nothing like Selene-"

"Good." His fingers prod at your chin, turning your head to face him directly once more.

"I'm glad you're nothing like her, Y/N." Your heart melts, his words finally hitting home.

"You're everything and more, love," you swear his lips are inching toward yours with every word he speaks.

"She could only wish to be half the woman you are."

:* ✧･ﾟ:

Living in the Autumn Court your entire life, you could've never imagined the royal balls were anything like this. Not even close.

Your gaze shifted from person to person, taking in everything from their elaborate attire to their pointed ears. Weaving through the crowd of people and lingering stares, the insecurity from earlier resurfaced as you glanced down at your rather plain dress.

"Eris," you hissed. He turned, leaning in close to speak with you. "Why didn't you tell me to get something more..." You struggled to find the word. "Ball-appropriate?"

His grin sent a shiver down your spine before his warm breath against your ear could.

"I think you look absolutely divine, Y/N."

Your cheeks heat again as he reaches for your hand, giving it a small squeeze before opening his mouth again.

"I need to make an appearance at the dais," he explains. "Will you be alright-"

"Yes. I'll wait here." You nod, not exactly as confident as you'd hoped in meeting his parents so soon. He kisses your cheek quickly, the brush of his lips a momentary relief against your flushed face before he makes way for the dais. His father tracks his movements, every step watched by those beady eyes.

You'd known the High Lord was, well... cruel, to put it plainly. He was unfair, and demanding, and took advantage of the power he held -- which is exactly why your stomach begins to turn as his focus lands right. On. You.

"Thank you all, for coming tonight." He bellows, standing to speak to the crowd in the throne room. Every head turns to face him, every eye focused on him as he scans the room. Eris stands confidently next to his father, with the Lady of Autumn politely standing on his other side.

He continues his short announcement, the music resuming as he finishes and demands it be so. As people begin moving and partnering off, your worry returns. Where was Eris? No longer beside his father, you look around you, not spotting that firey red head of hair anywhere among the crowd.

That is, until two large hands snake around your waist from behind, his familiar chuckle causing your breath to hitch.

"Share a dance with me?"

:* ✧･ﾟ:

Your hands tremble as Eris slowly guides you to the middle of the room, all the faelights dimming on the walls. People sidestep around you, moving out of your way as though Eris is parting the sea itself.

The soft melody from the string quartet begins, a song you'd surely heard before. None of it calmed your nerves, especially as you peered toward the dais. Sure enough; both of his parents were watching the two of you.

"Hey, don't get nervous on me now." Eris offers a small smile, and you gulp down your nerves. He places your left hand on his shoulder, taking the other one in his own. His free hand snakes around your waist, splaying flat on your back as he draws you closer to him.

"Just, follow me." He steps to the side, beginning to move in time with the song. You follow, trying to calm the shakiness of your hand in his while he presses you against him.

A few counts in, you relax a little. Sure, you weren't High Fae, or maybe someone his father would choose for him -- but Eris chose you. You're the one here with him tonight, dancing in front of his family and his court as though you came as a package deal.

When you look up at him, you blush realizing he had already been focused on you. He chuckles, his fingers tracing up and down on the small of your back as he twirls the two of you around the dancing floor.

"I'm really glad you came tonight," he says lowly, his amber-flecked gaze intense as you can't help but stare back.

"Me too," you say. "I've never attended anything like this before."

He raises an eyebrow, an amused look on his face.

"Well, you're quite the talented dancer for never being brought to a ball before," he releases your waist, spinning you in a slow circle and then pulling you back to him once more. You grin, a small laugh escaping your lips as the two of you are held close once more.

"I shouldn't be surprised, as you've grown up going to these things," you say, your gaze landing on his lips. "But, you're quite impressive as well."

Those lips tilt upward as the song comes to an end, the two of you simply gazing at the other. You don't notice the clearing made for the two of you, how every other fae had allowed the two of you into the spotlight of the room. You'd simply been too caught up in the moment with the handsome man before you-

Eris sighs, and you watch as his gaze zeroes in on the dais once more. Turning, you peek as well -- the High Lord is beckoning his son at once.

"I can wait for you-"

"He wants us both." Eris shakes his head, the muscles in his arms tightening as he slowly lets go of you.

"Oh," is all you can think to say. He takes your hand, once again making way to his father's throne. This time, he leads you with him.

"Father." Is all he says when the two of you approach, and you watch as the High Lord so much as flicks his gaze to you before offerring his son an unamused look. Eris bends at the waist, and you follow suit, curtsying low as you offer your respect.

"Eris," his father echoes, his hands folding across his chest. "How uncourtly of you to not introduce your mother and I to your... guest, this evening." You look to the Lady of Autumn, offering a small bow of your head. She smiles at you softly -- the most reaction you'd seen from her all night.

"My apologies." Eris says, and you can practically hear the sarcastic remarks he was making in his mind. He turns to you, a smile sppearing on his face when you meet his gaze.

"This is Y/N, you've heard me mention her before," he explains. "She is the woman who helps so much with... with Riley," he hesitates. You'd known his parents were not involved much in his personal life, mainly because of his father and how he has treated his own son. You couldn't say you blamed him.

"Y/N," Beron repeats, his beady gaze focusing on you. He reaches to take your hand in his, kissing the back of it in polite greeting. You force a smile, but can feel Eris' jaw tightening from where he stood beside you. "How nice to finally meet you."

His words are dripping with venom, but you respond with class nonetheless. "Likewise, High Lord."

He releases your hand, resting his own on the armrests of his throne. He looks to Eris again, his gaze wavering between the two of you.

"So nice to see my son bring a woman to one of these kinds of events again -- he'd been alone in attendance, of course, since he let that Day Court whore slip through his fingers." Your eyes widen at his careless use of the derogatory language, but he simply chuckles. Eris' fingers find yours, sliding through them and squeezing gently. His father doesn't miss the action, and is quite unpleased by it.

"Even if it means bringing the help with him." He sneers a horrible smile, and you feel your face flush at the comment. Your throat tightens, making swallowing painful as you try and surpress the forming emotions threatening to spill out.

"Father, please-"

"Now now, son. It's been a few years since Selene fled, whether it be your --" he pauses in throught. "...annoying, nature, or maybe she simply didn't enjoy your company." Eris sucks in a breath, releasing it slowly as though he's practiced this a million times.

Nonetheless, Beron continues. "Reguardless, I think it's time you remarry -- don't you?" Your eyes widen, your gaze dropping to the floor. Remarry? Surely Eris wouldn't agree to that.

"Father, I'm perfectly happy with-"

"With, what? Being alone? Leaving that poor child without a mother?" His father tutts, his hands flexing against the golden armrests.

"Could we talk about this, later?" Eris grits out. Your heart sinks as you feel both of his parent's eyes on you. Looking to the Lady of Autumn, she only offers you a sorrow-filled expression.

"We shall do just that." Beron promises. "Now, go. Enjoy the rest of the ball." He grins wickedly as though he didn't just insult everyone standing before him.

Eris turns, guiding you down the stairs of the dais when you hear Beron's voice from behind you.

"Lovely to meet you, Y/N!"

You only manage a small nod as your foot steps onto the floor. Then, you take off in a beeline for the exit.

:* ✧･ﾟ:

Your chest is heaving as you shove through the heavy entry doors to the palace, the cool night air chilly against your heated skin. You brace against one of the marbled columns in the entryway, a few hot tears finally breaking free and falling down your cheeks. In seconds, the doors open again, a familiar voice ringing out behind you.

"Y/N, please don't take what he said to heart-"

"Don't," you growl, your shoulders shaking as your emotions continue to rattle through you. The soft footsteps of his boots sound behind you, his quiet approach made known as his hand rests against your back.

"Love, I promise he's always like this-"

"Like what? Horrible?" Your eyes narrow as you turn to face him, his saddened expression evident when he sees the wet streams down your face. He reaches out, brushing a stray tear away.

"Pretty much," he mumbles, his other hand rubbing soothingly against your back. You continue to sob, soft sounds coming from you as Eris pulls you close to his chest.

In minutes, you feel his hands pushing you lightly against a cushiony surface. You follow his lead, sitting as you rub the water from your eyes. The familiar feeling of silk touches your fingers, and Eris moves for just a moment before the room is filled with heat.

His bedroom. He'd winnowed the two of you out of there, and right into his room.

"Eris-" You stutter, avoiding his gaze shamefully as he moves to sit beside you on the bed. "Y-you have to get back, your parents-"

"My parents can fuck off for now." He says, his hands reaching for you and pulling you close to him. He guides you to lie next to him, your head resting against his chest while his fingers stroke through your hair.

It's silent for a while, the only sounds from the fire crackling in the hearth and a few occasional sniffles as you work to regain your composure. When anyone finally speaks, it's him.

"I'm not going to remarry." He says, another few silent beats following his admission. Your heart breaks further, any hope of what you'd had before with the male shattering. He hugs you closer to him, his hands bracing around your smaller frame.

"I mean, I'm not remarrying just because of my father." He clarifies. You wipe your eyes with the back o your hand, pushing up on a elbow to look directly into his eyes.

"Eris... it doesn't seem like much of a choice-"

"It is," he cuts in. "It is my choice. I'm so sick of my father choosing what I do, and when, and who with. I won't allow it any longer." He frowns, pulling you down to lay with him again. Your fingers begin to play with one of the seams on his jacket, as your mind clears.

"Is that... what I was? Tonight?" You ask weakly. "Just, a way of defiance, to your father?" Eris sighs, tilting your chin to look up into his eyes. Though your face is red and puffy, he offers you a small smile.

"Never, my dear -- I had the choice in bringing someone with me this evening. And, I chose you. I wanted you there with me." You feel a spark of hope in your chest, amidst everything else you'd been feeling. He's quiet, waiting as you collect your thoughts.

Another single tear slips free, trailing down your cheek as you inch closer to him. He pulls you in, his mouth mere inches from yours as your voice comes out in a whisper.

"I choose you, too, Eris."

:* ✧･ﾟ:

[offtorivendell]

Elain, Gwyn and a possible January birthday...

I can't believe it's the end of the Year of our Cauldron 2024 and this argument has resurfaced, but here we go I guess.

Thank you @shitwillnotbegiven for working though this with me!

Firstly, I really want people to know that none of this even matters; the interview in which Steph asked SJM if Azriel's person could have her birthday happened after ACOSF was sent* to be published. So whatever couple was built up was already set in the text. It's a complete non issue. Secondly, SJM has fudged up the numbers before; I am pretty sure that someone did the maths and, according to canon, Eris would have only been around 8yo when he left Mor at Autumn's border! These things happen, and SJM has said she's not a numbers person (no shame).

* Correction: ACOSF was not yet published, but it would have been at the printers and/or being shipped out. Thank you @valentiinexo.

Thirdly, assuming SJM honours the promise to begin with, even if the birthday request predated ACOSF being sent to the printers, it's still a non issue because both Elain and Gwyn could have been born in January. I don't know why people are saying Elain was born over the summer, besides wanting to reassure themselves that she won't end up with Az.

But let's have a look.

Elain

Nesta said that Elain was "barely thirteen" at the ball when the heiress bullied her for whatever reason.

“She wouldn’t have gone into much detail about it,” Elain said. “Nesta was only fourteen at the last ball we went to before—well, before we were poor …” Elain shook her head. “Another young heiress was at the ball, and she positively hated me. She was several years older, and I’d never done anything to provoke her hatred, but I think …” “She was jealous of your beauty,” Amren said, an amused smile on her red lips. Elain blushed. “Perhaps.” It was definitely that. Even though Elain would have been barely thirteen at the time. “Well, Nesta saw how she treated me, her casual cruelties and snubs, and bided her time. Waited until that ball, when a handsome duke from the continent was there to find a bride. His family had run out of money, which was why he’d deigned to come over at all—to nab a rich bride to refill their estate’s coffers. Nesta knew the heiress had her sights set on him. The girl had bragged about it to all of us in the powder room at every ball for weeks leading up to it. - ACOSF, chapter 44

Nesta herself was only "fourteen," born in the spring.

Cassian held her gaze as he stalked for her, then reached out an arm— And plucked the cerulean-and-cream scarf Elain had given her for her birthday this spring off the hook on the wall. He gripped it in his fist, dangling it like a strangled snake as he brushed past her. - ACOSF, chapter 1

As the map and seasons of Prythian both coincide with the map and seasons of the UK and Ireland/the northern hemisphere in general (besides the four seasonal courts), and it should be safe to assume that the ball happened during the social season, then we can extrapolate from most online sources, which suggest that would have begun when British parliament returned after closing for the winter.

Per Wikipedia:

The Season coincided with the sitting of parliament; it began some time after Christmas and ran until midsummer, roughly late June. Some sources say it began at Parliament's Easter session break. The social season played a role in the political life of the country: the members of the two Houses of Parliament were almost all participants in the season, as all Peers sitting in the House of Lords were by definition nobility, and many if not most Members of the House of Commons were gentry. But the Season also provided an opportunity for the children of marriageable age of the nobility and gentry to be launched into society.

Feyre confirmed as much in ACOTAR, because she arrived back in the human lands after the "socialite season" had ended and it was getting into summer. Elain was even wearing summer appropriate attire and was flushed - maybe from the heat as much as her excitement?

Summer—in the weeks that I’d been painting and dining with Tamlin and wandering the court lands at his side, summer had come. Did my family still truly believe me to be visiting some long-lost aunt? What were they doing with themselves? - ACOTAR, chapter 25

I glanced sidelong at her. My sister was beaming, content—prettier than I’d ever seen her, even in her simple muslin gardening dress. Her cheeks were flushed beneath her large, floppy hat. “I think—I think I’d like to see the continent,” I said. And it was true, I realized. There was so much of the world that I hadn’t seen, hadn’t ever thought about visiting. Hadn’t ever been able to dream of visiting. “I’m surprised you’re so eager to go next spring,” I said. “Isn’t that right in the middle of the season?” The socialite season, which had ended a few weeks ago, apparently, full of parties and balls and luncheons and gossip, gossip, gossip. Elain had told me all about it at dinner the night before, hardly noticing that it was an effort for me to get down my food. - ACOTAR, chapter 29

The following afternoon, bleary-eyed and quiet, we all gathered at the lunch table. I thanked my sister and father for the party, and dodged my father’s inquiries regarding whether any of his friends’ sons had caught my eye. The summer heat had arrived, and I propped my chin on a fist as I fanned myself. I’d slept fitfully in the heat last night. It was never too hot or too cold at Tamlin’s estate. - ACOTAR, chapter 31

Spring is "right in the middle of" Prythian's social season. Winter > spring (tulip season) > summer. Feyre gives us this information.

All of this is to say that it is absolutely possible for Elain to be born in January and be "barely thirteen" years of age in the late winter/early spring of the same year "weeks" later, when Nesta got revenge for her at the ball. And Nesta, who was "only fourteen" at the time, could have been nearing her fifteenth birthday. "Two under two" is a common saying for a reason, and I suspect the "only" was not to suggest that Nesta had recently turned fourteen (though two in one year is definitely possible), but that she was too young for marriage in her father's/family's opinion, and the entire situation was ludicrous.

Perhaps the wooden rose was actually a birthday gift for Elain from Papa Archeron?

She plucked another figurine from the mantel: a rose carved from a dark sort of wood. She held it in her palm, its solid weight surprising, and traced a finger over one of the petals. “He made this one for Elain. Since it was winter and she missed the flowers.” - ACOSF, chapter 55

Gwyn

If Gwyn and Catrin were conceived on Calanmai, which is the first of May, and faerie pregnancies last ten months - this is of course assuming that their half-nymph mother would have expected the same duration of her pregnancy as a high fae like Feyre - then yes, a pregnancy with a due date of May plus ten months (it's impossible to count from her last missed period as we know at least the high fae only have two cycles a year, so the conception date will have to do) could end with a set of twins born in January.

Gwyn went on, “My mother was unwanted by either of their people. She could not dwell in the rivers of the Spring Court, but was too untamed to endure the confinement of the forest house of Autumn. So she was given in her childhood to the temple at Sangravah, where she was raised. She partook in the Great Rite when she was of age, and I, we—my sister and I, I mean—were the result of that sacred union with a male stranger. She never found out who he was, for the magic chose him that night, and no one ever showed up to ask about twin girls. We were raised in the temple as well. I never left its grounds until … until I came here.” - ACOSF, chapter 29

Around half of twin pregnancies make it to term, and 90% are born after 32 weeks (per google), so even with the extrapolation between human data and the barely existent faerie pregnancy "lore" I think that a January birthdate for Gwyn and Catrin is not a risky guess. I also think it's much more exciting to refer to pregnancy "lore" than data, so can we all get that going? 😂

So yeah, there you have it. Both Elain and Gwyn could have been born in January. Though again, it was a request made after ACOSF was finished. This argument doesn't "benefit" either side, and to suggest that it eliminates either Elain or Gwyn is disingenuous. Why does it keep popping up?

[raayllum]

What Is Up With Terry :: the Thread of Necessity

Intro

Terry is an interesting character in a lot of ways. He's unflappably kind and optimistic, accepting even to a fault, and he's an elf with no issue with dark magic yet doesn't seek out its use for himself. He's a non-traditional antagonist for starters, he's trans without being overly sanitized, and he most notably provides a sounding board for more overtly 'evil' characters like Viren in season four and Claudia in seasons five and six. Most of this is in service of Claudia's goals, with Terry not having many of his own goals outside of his support of Claudia and Viren; this is, mind you, not too dissimilar from Soren with Ezran in arc 2 as well, or even Amaya with Janai.

I also think he's a very important in a character in a lot of ways, for the ease with which he explores and exemplifies

You can love / support Viren and Claudia and that doesn't make you a 'bad person' in the show

You can be okay with dark magic without changing your mind and that doesn't make you a bad person either

You can kill someone in TDP and that doesn't automatically make you a bad person either

We know all of this is true (and will likely continue to be true) as we know in S7 there is an episode about Terry related to him still having a "true and pure heart," which is about as classical "good guy protagonist" speak as you can get. In those lenses, I think Terry was a fantastic choice in introducing a new character to not only contrast against Claudia and Viren, but also in terms of getting us to be more sympathetic towards them (particularly Viren) than we might've been inclined towards in arc 1.

That said, I think the most important thread that Terry carries is that he is a character who truly and wholly does whatever is necessary for his cause, nothing more, nothing less.

But what does that mean, tangibly, within TDP's narrative? Well, let's talk about it:

Necessity

The concept of necessity—I needed to do this, or I have to do this (even though I don't want to)—is one that has been central to TDP for a while. We see this characters who cite a lack of agency ("He was going to take Claudia's life, I had no choice" / "Every step I took, I took because I had to" / "I'm sorry. I have to do this") throughout the show, both dark mages and not, particularly Rayla, Soren, and Callum.

And in return for perceived necessity, as Harrow states, "I have done terrible things. I thought they were necessary. Now I don't know." We increasingly see people justify, or struggle to justify, worse and worse actions. Claudia's mindset has become very transactional, for example ("He saved you, and now we have to save Aaravos" / "It's a mistake! I saved you! You owe me your life!"). Generally speaking, the show treats these things labelled as necessary as unnecessary (hence the regret they experience, and even Terry disagreeing more adamantly than he ever has before).

This is, of course, because 4x09 and 6x09 together very clearly spells out what is important for Terry to believe something is necessary: it must be done entirely out of love, no more and no less.

I've seen you do a lot of awful things, dark magic things, but I always believed in you because you had a reason [saving your dad]. But what you just did, the way you tricked that Moonshadow elf? It was just cruel.

Maybe it started out as a story of love, but along the way it got twisted. [...] He isn't doing anything for love. He's doing it out of revenge.

To Terry, you do what you have to do but go no further; you don't give into anger, you don't give into revenge. You act entirely out of love, and keep acting out of love and let it temper you. This is why Terry resonates, I think, and seeks guidance from Viren after the mage's initial assessment of what's been happening, emotionally:

This is similar in practice to why Viren (and Claudia to a lesser extent) are characters with such fraught paths. Not only because of their dark magic use, but because of their denial. Viren violates Lissa's safety and trust to save Soren, but then blames Soren for it; Claudia heals Soren and brings back Viren, and doesn't understand why fixing things physically wasn't enough. "I had no choice" for them means "I have no accountability," and that's why they kept spiralling deeper till Viren broke out of it. He atones then not by swearing off dark magic (although it helps) but by taking full agency in the choice to do dark magic and in what manner (not sacrificing his family again) and without a desire for ego, which was his biggest character flaw in a lot of ways.

The reason I bring this up is to provide a contrast for Terry in a few ways, such as

Terry always being very emotionally open, rather than repressing or offloading blame onto other people

Mandates that he had no choice (4x03, 4x04) but to kill Ibis verbally, but is also aware that it very much was

Is able to accept that this was a choice and move on

Terry does what he believes is necessary. He feels things about it. He doesn't go further into outright self destruction, and he doesn't escalate to what harm is deemed unnecessary. That doesn't mean Terry's levelheadedness can't be a flaw (he absolutely should have told Claudia to give up magic in 6x04) or that what he believes is necessary always is / that his choices are perfect (they're not), but that in his contrast to Claudia and Viren, he continually provides that contrast. He can be held at sword point by Rayla, a total aggressive stranger, and still recognize that withholding her family from her is what he deems as unnecessary cruelty (but more on that later).

For now I want to talk about patterns, specifically two that he engages in with Claudia.

Patterns

The first pattern is unsurprising, perhaps, given that Claudia-Rayla have continually had parallels, given that:

1) Claudia keeps leaving him

This is, of course, most obvious in 6x01 when Claudia states her intention to do so, or even in 6x09 wherein Aaravos literally lifts her away from Terry:

But we also see it earlier on with even the choices Claudia makes in her mission. Terry is a passive person, much like how Claudia at her core is ("Tell me what to do" + 90% of interactions with Viren that aren't about saving him), and therefore Claudia leads the way, and Terry is happy to let her.

He never really considers that he might be a core part of her truth, and that she wants more active advice (see the way Rayla counsels Callum about his dark magic use, comparatively, in 6x03, or nudges him forwards elsewhere throughout the seasons). While Terry isn't wrong to encourage Claudia to think staunchly for herself, and in fact she very much should, it does leave her more vulnerable to the next first person willing to tell her what to do: Aaravos.

We also see Terry's passivity go even further back to one of his first episodes, as well as in the S5 finale.

Each entry in the pattern is a little different.

4x03: Claudia leaves / goes in alone and fails at her mission. Terry follows and saves her by killing Ibis at great cost to his personal emotional state.

5x09: Claudia leaves / goes in alone and fails at her mission. She goes further into Aaravos' clutches (the ocean here metaphorically) and returns of her own accord.

6x01: Claudia succeeds at bringing back her father but cannot make him stay. She leaves on her own in an attempt to break her family's cycle of abandonment without realizing how she's continually perpetuating it, but returns in a devastated and dejected state.

6x09: Claudia succeeds at her mission of freeing Aaravos, and the Startouch elf takes her literally into his clutches and away from Terry.

Each time it is her choice to leave, with only 4x03 firmly having Terry following without her returning by her own merit. Whereas Claudia plays out her family's cycle of abandonment with all its members—her mother, her brother, and finally her father—Terry plays it out with just Claudia, over and over again. This doesn't mean their relationship is bad or that some of these times are unreasonable—Terry is willing and supportive to let her go in 4x03 and 5x09 much the way Callum is supportive of Rayla in 4x09, 6x05, and 6x09—but it is a pattern that has then taken on a negative slant in S6 and will likely to continue to worsen in S7 before it gets better either in the season or beyond.

Then, we have the pattern of how

2) Claudia gradually stops listening to him.

This is probably more interwoven with the thread of necessity than the previous pattern, since as stated before, sometimes when Terry is letting Claudia go off on her own while it's imperfect in the narrative, it makes sense within their dynamic / resources. Like as previously mentioned, too, Terry is more often correct than he is wrong about the next moves people should make. He's right that Claudia will need help in 4x03, he's right that they should go look for her in 4x07, he's right that she needs rest in 5x02, and right to be wary and against Aaravos in 6x09.

In the beginning, Claudia listens to him.

But as the seasons go on, this gradually changes with twice back to back in 5x06.

T: It won't chase us anymore, you won. It's trapped. Please. C: You're right. It won't follow us. But not because it's trapped.

Season six is arguably the season where Claudia listens to him the least despite Terry reaffirming her agency most directly (6x04) as she ignores or doesn't listen to every reservation he has.

T: It's him. It's your Dad. C: Then I have to... T: No! Please! Please don't... I don't think you should see him like this. C: I have to! I came all this way to see him one last time. I need him to show me the right path. T: This won't give you answers. Only anger. Only pain. I'm so sorry. He's gone. He is gone.

And Terry, who does things only that are necessary, only out of love, would know the difference: unlike Rayla, or Claudia, or numerous other characters arguably in the show, he always has, particularly when given broader context the way he is in 6x09 (which hasn't always been true in his relationship with Claudia, either).

None of this is to say that Claudia is a Bad Partner or that your partner should always listen to you, either, because neither of those things are true in life or in TDP. Healthy couples in TDP disagree all the time in both healthy and unhealthy ways. Rayla left Callum when he explicitly made her promise not to, and Callum did dark magic to save her twice despite 100% knowing it's not what she wold've wanted.

But the first thing I want to address is the difference between Claudia leaving out of grief and trying to feel in control after losing everyone but her boyfriend, and Rayla leaving out of grief and trying to feel in control after losing everyone but her boyfriend because they are wildly different for one main reason.

Rayla left in the middle of the night while Callum was sleeping because "you’ll wake up and try to stop me… from doing what I know I have to do. Leaving. But I can’t let you stop me, Callum. No matter how much I want to. [...] And if you said even one word to me, I wouldn’t be—couldn’t be. If I stay even until your eyes open and you yawn your silly morning yawn, I’ll break" (TDP reflections, Dear Callum).

Terry, meanwhile, is actively begging and pleading with Claudia, and he is still abandoned. Granted, Claudia seemingly comes back within a day or two, not two years, so that does mitigate things, but the fact remains that Rayla thought she wouldn't be able to leave to protect Callum if she even heard him speak a word or yawn, and Claudia was able to leave to protect herself while having a full on conversation. Ouch.

Nor does this completely absolve Terry of the one time Claudia straight up asks him to tell her what to do, or what he thinks she should do, Terry doesn't (6x04). He's not wrong that she needs to choose the way and figure out what she needs, but him emphasizing that he can't tell her what to do and then immediately accepting her premises that Viren can and should tell her what to do is something that's already bitten both of them in the ass.

Terry also only asks Claudia to listen to him, really listen, and to tell her what she should do when he thinks it's absolutely necessary.

This is also one of the reasons why she and Terry are suited to each other. Both value and respond to necessity, scaffolding everything else on top of what needs to be done or doesn't need to be done. What's risky about this mutual understanding is the potential for it to stop being so mutual if they start to have different views on what's necessary. And as we see in 6x09, that's happening more and more. What is going to continue happen when Claudia keeps viewing Aaravos' actions as necessary, and Terry doesn't?

Questioning

So Terry is, presumably, going to increasingly be wary and against Aaravos. What is that going to look like?

We have a decent idea, honestly. As stated / noted before, Terry actually pushes back against Claudia fairly often. He's just rather gentle about it, and usually is trying to prioritize her wellbeing (or someone else's) when she isn't. Examples include:

4x09 over the coins / being cruel

5x01 ("You'd think if dark magic does this to a person they might not do it")

5x02 over resting

5x06 over attacking the dragon

5x06 over killing the dragon

6x01 over her leaving

6x04 with telling her what to do

6x08 over seeing Viren's corpse

6x09 in helping / freeing Aaravos

However, we're also yet to see him be angry in his questioning or when pushing back, which is what I think would be most interesting to see change (think the moment where Iroh finally yells at Zuko beneath Lake Laogai). His pushback with Claudia has gotten more and more consistent as well as more dire throughout the seasons, and just like how Viren and Claudia eventually disagreed and split up, I think Terry and Claudia will too. How permanent that split will be, I think, is up to her (I could see parallels happening between Soren and Terry teaming up to try and bring her home, with Ezran and Rayla doing the same for a brother-partner tag team Callum duo), but I do think that Terry's testament of "I love you, I will never leave you" is apt foreshadowing to see what it would take for him to break his promise, and do just that.

To what he knows needs to be done, even if that means walking away.

Misc. Season Thoughts

Terry also has some interesting things that don't fall under the necessity umbrella that I wanted to talk about as well. One of those things is

TERRY AND IDENTITY

This isn't to say I think Terry actively has an identity arc in seasons 4 through 6 the way other characters (Callum, Rayla, Viren) are, but that Terry like most of the main cast is linked to arc 2's continual increased emphasis on identity and choosing your own identity. This is true particularly in 4x01, which opens after the intro with Callum running through / clarifying his titles (or identity roles) and concludes with Viren and Terry being introduced to one another. Terry gives details on his name ("[Terrestrius] is a bit traditional, but my friends call me Terry") and then asks for clarification on what he can call Viren.

Later on in S5 and S6, we see Soren and Rayla respectively see through the 'monstrous' / threat of others by reaffirming their similarities ("I know what this is like. I know how you feel" / "This storm isn't your rage, it's your grief. I know how you feel") and bestowing agency through naming conventions. Rayla identifies the monster isn't a monster but a pet, and more than that, gives Esmeray back her name. Elmer does the same when he overthrows Finnegrin and Soren likewise affirms it: "We literally didn't [defeat him]. Elmer did."

Why is this relevant? Well, in an arc that's all about emphasizing over and over again to see other people's personhood by using their name(s), recognizing that you have a choice, and choosing who you want to be...

So often queer characters in media are regulated to their queerness being happenstance (i.e. they fulfil a certain story role regardless and just happen to also be queer) or it's all their character gets to be (a "figuring out queerness and/or a coming out" arc). One of the reasons I myself (as a queer and trans person) has always deeply appreciated Terry as a queer character, specifically as a trans character, is precisely the way that his transness is interwoven with TDP's broader themes of chosen identity, self-actualization, and knowing / name motifs. In having these themes and ideas for multiple cis characters, Terry's interplay gets to be enhanced by his trans identity and simultaneously let him enhance the thematic explorations the series has going on, and I think that's pretty cool. Identity is one of the main themes of s4, and for Terry as well, so it's nice to see the ways that's reflected.

I expect season 7 to challenge his identity further ("I'm going to be strong enough to do whatever I need to do and still have feelings") if forcing him to confront who he wants to be, who Claudia is becoming, and who he thinks they can still be together. In a lot of ways I'm expecting S7 to be a sister season to S4 thematically even as S7 builds on S5/S6 in terms of plot and character arcs, since S7 seems geared to be about identity directly even more than S4 was (and much more than S5 or S6 were).

TERRY AND COMMUNICATION

If season four is about identity, season five has a strong emphasis on communication. This is, again, likewise true for Terry, as he encourages Claudia to communicate in various ways across the course of the season.

The situation is urgent, and you're worried I'm not treating it that way.

Terry consistently having clear communication is also something that puts him in direct contrast to Aaravos, who is a master manipulator and very careful liar-not-liar in his own way. Terry is always open and while thoughtful does not really bottle things up; he communicates clearly with other people and is comfortable doing so, and is very good at validating others as well. Whenever he does push against Claudia, he always clearly explains why he's doing so or why he disagrees but leaves the choice of what to do next in making amends or carrying on up to her. Aaravos, meanwhile, continually withholds or omits information, and presents things in certain ways in order to get, well, his way.

I don't have as much to say for season six, given that Terry is only in about half the season (6x01, 6x03, 6x04, 6x08, 6x09) and one of those is entirely silent. I'd say his main idea in s6, like s4 with identity and s5 with communication, would be the theme of Questioning (scaffolded under 'supportive'). He's supportive of Viren and Claudia's searches for meaning alongside his own increase questioning of what they and Aaravos are doing and why. I'll be curious to see what his main character beat may be in s7 going forward.

Conclusion

There's more I could talk about with Terry (Viren dreaming in 5x03 of chasing after Claudia only for her not to listen, only for Terry to live out that worst fear in 6x01 directly, for example) but I think for now these are the main things I wanted to discuss without going further into speculation than I already have. I hope this maybe brought a new perspective or appreciation for Terry as a character and for his arc in the show so far! As always, thank you for reading and I hope you enjoy.

[bohemian-rhapsody-in-blue]

I’ve been thinking about this a lot. I realize it’s sort of connected to this chart:

This was a chart that puts into visual terms a system used by US President Dwight D. Eisenhower to decide what to prioritize and do when, and is supposed to help increase one’s productivity. I think Stephen Covey also used it in that Seven Habits of Highly Effective People book that my school was obsessed with for some reason. You can put Tasks You Need/Want To Do into each box, depending on how urgent and important you deem them, and then that will—y’know, in theory—help you decide what order to do them in.

Tim Urban of Wait But Why (he also has some bullshit “enlightened centrist” and Elon Musk-fanboy opinions I don’t agree with, but I love his series of popular posts and TED Talk about procrastination) suggests in this post that procrastinators’ matrices tend to look more like this:

We tend to live in Quadrants 3 and 4, avoiding Quadrant 1 until it’s absolutely necessary and we’re sent into a panicked frenzy of productivity. But the trick to this is, if you think “oh, clearly what I’m doing to procrastinate is my passion, so I’ll pursue that instead,” it turns from a fun, desirable Q3 or Q4 task into an undesirable Q1 one. It might be the exact same task, or similar, but now it’s urgent and a responsibility and people expect things of you and that’s scary…so now you’re avoiding the task you used to love!

OP seems to have experienced this with art, where it started as a Q4 task (doodling in class, to avoid the Q1 task of learning about Henry VIII) or Q3 task (updating their webcomic on a regular schedule) to a Q1 task when they made it their career. I’ve gone through it with writing: fanfic or random cracked-out stories I write just for myself? Fun! I wanna! My senior thesis, which is literally the same thing, writing short stories? Oh no, now it’s an assignment, and that’s to be avoided.

And like OP said, this means procrastinators are rarely just sitting idle, and they are getting stuff done! Even if it’s not urgent stuff, or stuff that looks important to you right now, it is stuff that is getting done. Of course, what this Q3 or Q4 stuff is can range from “mindlessly scrolling through Instagram” to “working on a successful webcomic and letting your creativity flow.” The other day, I found some free Latin textbooks online and found that I was doing the exercises in them as a means of procrastination—I was literally teaching myself a dead language instead of doing the psych homework I was supposed to be doing. My brain is broken. (Of course, if I actually took a Latin class, I’d probably start procrastinating on doing the exercises for THAT too…)

I don’t know what the conclusion is here—doing a Q1 job I hate to save mental energy for Q3/Q4 stuff I love? I don’t want to never try and seek credit, payment, etc. for things I love to do for fear that they’ll become Q1 things and I’ll start hating them. I don’t know, I’m only a college undergrad here. But I thought OP brought up a very good point that I’ve actually been using for a whole as a framework to look at my procrastination, and I thought I’d provide an alternate visualization that’s helped me too.

i feel like i had a massive breakthrough with understanding in hindsight how adhd has affected my relationship with art, and i sat there for about an hour just like

[tyrantisterror]

Wherefore Art Thou Clownfucker?

A while back I made a post explaining why vampires appeal to me, and while it was mostly in a more general sense, there was a specific focus on why I find them, you know, hot. And it was that was in part because I had recently discovered that I'm apparently surrounded by Werewolf fuckers on here, much to my dismay as a Vampire fucker. It's like being the only goth kid at a rockabilly concert or something. I felt defensive, is the point! I needed to go to bat (heh) for my pale ladies (and Astarion.... and Spike)!

And now, because Muncher compels me to do so, I'm doing the same for Clowns. My other pale ladies.

Now, keep in mind the fact that I'm a monsterfucker first and foremost, and that my clownfuckery is really more derived from my monsterfuckery. I imagine the middle section of the Clownfucker/Monsterfucker diagram is pretty big, but I also know there are some clownfuckers who are very much NOT monsterfuckers, and vice versa. This is not the case for vampirefuckers, who are nestled firmly within the monsterfucker circle, because while all vampires are monsters, not all clowns are monsters. I bring this up because while I'm gonna try to explain clownfuckery on its own terms, there is likely going to be some monsterfucker bias in my explanations and defense. That's just how it is on this bitch of an earth!

I'm gonna get real pretentious here and talk about the historic role of clowns for a moment. From Comedia del Arte harlequins to medieval court Jesters, the clown's role has always been that of Comic Relief. They are, simply put, here to be tonally dissonant - when everyone else is serious and dramatic, a clown comes in as this weird, silly, incongruously hilarious element that contrasts the gravity of everything around them. "Relief" is really the key word here - a clown's job is to provide levity when otherwise there would be none. When everything is dark, they provide a little light.

That's the core emotional appeal of clownfucking - a clown is/should be someone who can make you smile when you need it the most. Kingdom's at war, family's fighting, your life's in shambles? The clown will make you laugh. Everything feels dark and gloomy and depressing? Here comes a silly little goofball wearing bright, clashing colors and jingling with each step because they're covered in bells, and all they want to do is tell jokes until you start laughing. Clowns are, by intent, that sweet sweet hit of dopamine personified.

Clowns are here to make you smile.

Another important historical detail about clowns is their unique place in the hierarchy of society - namely, being entirely outside of it. A jester was in some respects the lowest person on the totem pole, a fool that had power over no one and nothing, living to be laughed at. Yet, because they had no power over anyone, it was generally poor taste to take offense to anything a jester said, which meant they could talk more freely than anyone else - when everyone else acts like a butt-kissing sycophant, a jester is free to talk shit and speak their mind.

The traditional attire and appearance of clowns plays into both of these traits: the bright, gaudy clothing and makeup is silly, yes, but it's also a sign that the clown does not give a single shit about fashion and other social norms. A clown is, by nature, an anomaly, a misfit, a rebel.

Nowadays we have another word for people with that attitude. Clowns are punk.

Weird makeup, crayola red hair, patchwork clothes...

I would say the very fact that "normal" people look at clownfucking as some sort of inexplicable fetish is, in fact, part of the appeal. It's a form of xenophilia, of attraction to things that are different and othered, a love for outsiders and misfits and oddballs. To fuck a clown is to show love and adoration for something outside of the realm of what is socially acceptable - something silly, goofy, and weird, yet also often harmless. After all, a clown's main purpose is to make you smile.

That's not to say that clowns have to be harmless to be attractive, mind you. Tons of people, many much smarter than I, have talked about the cultural shift of our perception of clowns that began somewhere in the 1980's. Clowns went from being viewed as genuinely fun and cute to primarily being figures of fear and terror - if a clown shows up in modern media, even if it's innocuous, there will always be at least one character who vocally talks about how creepy they think clowns are.

That may in part be due to the fact that clowns have such a benign mission statement - a lot of people, especially nowadays, do not trust a person who claims they just want to make others happy. Anyone who acts like that MUST be up to something - there must be something nefarious going on, some evil plan, some lurking danger.

Which is where you REALLY bring the monsterfuckers in.

You really don't need to do that much with a clown's design to push it firmly into monster territory - "a pale person with sharp teeth" is the bare minimum it takes to make a vampire, after all (and even the pale part can be downplayed).

And a clown's dedication to making things "funny" can make for a very enjoyably-scary persona for a monster - hell, half the appeal of the Addams Family is that they're a bunch of freakish inhuman monsters who react to a bunch of scary shit with absolute delight and adoration. Again, the tonal dissonance element is at play here, albeit in a different way - even when Clowns are the darkness in your world, they still bring light in the sense that they view it that darkness as funny in of itself.

(hell, the word "harlequin" means "five horns," and may be rooted in folkloric monsters like Herne the Hunter depending on who you ask, so in a way clowns have always been monster-coded)

I think all of this is pretty well exemplified in the current Patron Saint of Clownfuckers, the goddess of Clownfuckery if you will, Harley Quinn. Hailing from a story whose main setting is such a Gothic Horror-inspired nightmarish shithole of a city that it's literally called Gotham, surrounded by characters who are at least 60% gothic horror archetypes by volume, opposed by a hero who literally dresses like a Dracula, it is inarguable that Harley Quinn is surrounded by darkness that's both literal and figurative.

But she's always smiling, and not in an ironic way.

Harley Quinn suffers intense abuse, she's drawn into wicked schemes, and in the way of most modern clowns, she causes no small amount of mayhem and suffering herself. But even at her darkest, she's always smiling, always trying to find the bright side.

She's a rebel, she's a punk. Almost everyone thinks she's beneath them. Almost all of those people get proven they're wrong. In a world full of tyrannical hierarchies, she steps outside of them.

She's an outsider, a misfit, an oddball. And she wants to make you smile.

I think you can probably see the appeal of that.

[librarycards]

Jenny Odell: I sometimes feel that in an individualistic culture, people get freaked out by the idea of being tied down or responsible for anything. Thinking about a gift economy, they might say, “I want the gift part but not the accountability part.” Lately, I’ve been volunteering in this native plant restoration group, and one of the most surprising parts has been how enlivening it is to help keep something else alive (I’ve never had a garden before). Sometimes I truly can’t tell whether I’m giving or getting. What are some ways that you see participation in a gift economy changing the participant’s sense of herself and her place in a network? In other words, is participation itself part of the gift?

RK: Yes. Exactly. Participation is part of the gift, where giving and getting meld into one another. A garden teaches you that every day. Gifts and responsibilities are always coupled to each other.

Of course, you’re right that given our hyper-individualistic culture, many people are not eager to embrace responsibility. Its often confounded, I think with the notion of “obligation”. Obligation feels to me like an involuntary demand on our time and energy, imposed from outside without the assurance that you’ll benefit in return. I’m sometimes reluctant about that, too. But, responsibility is an invitation to respond to need, an opening to reciprocity in which the benefits flow both ways. The benefits of participation in a gift economy are not only flowing to the gift recipient but the giver as well. Working on your restoration project, or any other gift exchange strengthens your own sense of agency, doesn’t it? It awakens care and compassion, builds relationship and nurtures your own identity as a person of capacity, of having enough abundance in your life that you can share it. I think it contributes to a sense of purpose, which we know is good medicine. It reminds you that you matter, that you’re part of something. That’s a big reward.

I find that some of the times that I feel most fully alive are in experiences of shared physical work in community with others. Like an old-time husking bee or shared planting. We’ve lost so many of the opportunities for that and gift economies provide the opportunity to work in common, to satisfy the need for belonging. And when that work is on the land and the benefits flow into our neighborhood of many species, the benefits are multiplied beyond the boundaries of ourselves.

JO: There is a really beautiful analogy you draw between the economy of nature and the human gift economy. Asking what in the gift economy functions as the “sun”–the constantly replenishing source of energy–you speculate: “Maybe it is love.” Reading this, it occurred to me how love is in essence a surplus, the force that gets things going. Could you speak more to the emotional and practical role that things like love and gratitude play in a gift economy? And how do they change the way we see “resources”?

RK: The fundamental currency of a gift economy, is relationship, not money. I suppose it’s what some people call “social capital”, but I’m not fond of that term. Participation in a gift economy could create a whole continuum of relationships, from the warmth of being cared for or an expanded sense of justice to just plain neighborliness. This can create a sense of security because mutual reliance grows from gift exchange. There is a sense of satisfaction in being able to give, and a sense of kinship in being able to receive, when we share the mutual acknowledgment of human vulnerability. For me, that continuum of relationships includes the possibility of a currency of love and gratitude that motivates the gift exchange, which is the source of the flow, between people and between people and the earth as well.

Gift-giving is a way of saying “I see you.” I see what you need and I see what I have to share. My well-being is tied to yours and yours to mine. It develops a trust that when I am in need, there will be abundance shared with me. The giver and the recipient are honored at the same time. That seems a lot like love to me.

Robin Wall Kimmerer, interviewed by Jenny Odell, Gift Thinking. [emphasis added]

[rom-e-o]

*holds Manfred hostage* Spill the tea on Belismerich's proposal, or the skeleboy gets an earful of the nastiest, funnest-to-say swear words. ... Metaphorically speaking.

NO, MANFRED! 😭 (Although that does sound like a good time…I’m tempted. Manfred has gotten good grades lately, maybe he can say ‘fuck’ one, as a little treat.)

OKAY BUT YES - Belismerich proposal! To be honest, I had not thought about what this would look like specifically, so this was a really fun ask to receive! I had to think about it. We know Emmy says before the final battle that there is so much he wants to “say” and “plan” with Rook after they survive. (He can still die horribly in a cinematic after this if you mess up enough with your battle assignments, which KILLS ME INSIDE, but not in this universe.)

If you romance Bellara, she confesses something along the lines of, “Rook, I know we haven’t known each other that long, but I feel like I’ve know you forever” right before the end. So we don’t really know how long this adventure lasts. Maybe 6 months? Harding also teases Emmrich that “you and Rook are sort of moving quickly.” (Which is funny, his romance is the only one with multiple kisses and dates, whereas most of the other allies get … one/two kisses and bed scene rolled into one. So yeah, he’s amorous by comparison.)

So, after the final battle, I don’t think Emmrich jumps right into a proposal. Even with his lingering fear of death and insecurity about aging, I feel like his desire to give Rook a proper romance comes through, which is big for him. I do HC that, after they survive the final fight, they’re sitting together in a sickbay recovering, and Emmrich slips off one of his MANY rings and gives it to her.

(This gets long, so I’m inserting a “Read More”, haha.)

Belisma: Emmrich, what is…?

Emmrich: It’s…a promise to you.

Belisma: A promise? Emmrich, are you—

Emmrich: I-I know there is much we need to do. The cities needs to recover. The world needs to heal. The ancients are gone, and the everything has changed, my love. We need to rebuild, and mourn those we lost. But … through it all, no matter what we face, I want you to know my feelings were true. Are true. Our relationship was not a flight of fancy. I still long for you. For a future with you. If you’ll have me.

Belisma: Oh. I … Y-Yes. I’d very much love that.

I think Belisma worries Emmrich’s fancy for her might fade once she’s no longer the grand hero “Rook.” She goes back to being a normal, bookish Watcher with an affinity for ballet and jam sandwiches. Is their love the type that can shift from an environment of dangerous excitement to domestic bliss? Does he only love her because of her exciting, dashing hero persona and role?

With Belisma being a Watcher, I imagine it’s easy and natural for her to move into his lodgings in the Necropolis with Manfred. There is plenty of space, and it’s private. He takes an extended sabbatical, and works on making Rook feel at home. Their rooms were adjacent at the Lighthouse, but now? They’re sharing a bed. Rooms. A wardrobe.

Isma’s fears are quickly nullified as they spend more time quiet together. Walking the gardens, cooking together, reading together by the fire. They also walk the crypts hand-in-hand, and attend lectures/seminars together on necromancy. They tend to the funerary rites of all the people lost in that final battle, and as they prepare their bodies, they reminisce and pay very personal respects. They make sure Lace has a proper monument erected to honor her sacrifice. And they travel! They visit Treviso for the amazing markets, or Rivain to frolic the beaches properly. He always wanted to travel, and now he can. So, they still adventure a bit, but much more safely, haha. They also travel to provide aid across the country, especially to those needing assistance with burying/honoring their dead. It’s a sensitive process, and they are very, very tender.

They bond over teaching Manfred magic (there’s a few close calls with the flaming rocks.) She goes back to dancing ballet. He still privately tutors his most promising pupils, and grades assignments in is spare time.

It’s perfect. Then, six months in, he proposes.

The most obvious choice is the Memorial Gardens, but I imagine he also does it there because his parents are there. 🥹 And it’s private, and where they shared their first kiss.

They share wine and dinner, and end with a walk. Belisma expects nothing; they’ve done this make times before. Then, right at the end, he leads her off the path and to his parents graves. There, Manfred is standing with an overflowing bouquet, and a small box. But they aren’t offerings. He goes to them, takes them, and beckons her forward. She obeys, and he gifts her the flowers. Shroud’s Kiss, Blue Creepvine. Weeping Widower.

They walk eternity hand-in-hand, he reads. Their epitaph. “It’s always a sentiment that is touched me, even as a boy. Their affection so enduring that, even in death, they are intertwined. Bound by their mutual adoration. Their lives ended too soon, but they set a sterling example for what love could be. Should be. Warmth. Togetherness. I longed for that in my life. A-And with a loving soul to watch over or wait for, then join that new journey … even death itself seems more than bearable. With you.”

Soulmates, in every way.

Slightly breathless, he presents the ring, and sinks onto one knee while taking hers. “Flame of my heart, I ask … would you join me in that destiny? Will you marry me?”

He doesn’t trust himself to say much, because he’s so nervous. Here he is, on his knee before the woman he loves (and Manfred, lmao) laying his heart bare for her. The ring is gold with a smoky-quartz stone in the middle. It matches her hair and eyes.

Belisma buries her face in the bouquet, so happy she is without words, before nodding eagerly. Here she was, happy to be his love in all ways. But marriage? She’s almost 36 by now. She was content with being a quirky spinster/retired hero. Now, she’s wanted as a bride? As a wife. Her heart sings, and she wishes she could twirl.

“…My love, I need you to say it,” he says. “Please.” His heart can’t handle false hope.

“Yes,” she rushes to say, “I will … happily marry you, Emmrich Volkarin. Walk hand-in-hand with you for the rest of our mortal, and immortal, days. I want to share your life, your name, everything.”

The ring is slid onto her finger, and less than a second later, he rushes upward to crush her into a thankful, passionate kiss. “I’ll always love you,” he promises through pants. “Treasure you. Keep you company, and you’ll want for nothing, my dearest. I promise. Oh, I promise.”

Manfred turns away and shields his eyes with a squeal, then distracts himself with a rose bush (“Rose! Beautiful!”) Neither Belisma or Emmrich stop this, instead continuing to kiss and whisper loving please to each other between swipes of the tongue and sighs of delight.

Belisma also takes his name, which means a lot. After all, he’s the last Volkarin. And now, she has his name. She chose to be a part of his life, and his family. That, in addition to a long list of other things, leaves him besotted and hopelessly, undoubtedly, convinced he has found a soulmate in her.

[saioratral]

so there's this professor... - 01 Fractured Equations masterlist

“do you even know yourself, or are you just another child moulded by the world around us?”

your small eyes search for the voice, a distant echo floating in the cold air. you shuffle closer, yearning for the warmth of the fading memory, but the chilly air of britain’s streets sink into your bones. here, survival isn’t merely a skill; it’s a daily battle that leaves you feeling small and utterly alone like a speck of dust

“promise me you won’t fall into the mould”

you look up, your heart aching at the sight of her sad smile painted on like a fragile mask of a porcelain doll, cracking at the edges. behind it lies grief far too vast for a seven-year-old to fathom.

how could you ever comprehend the weight of her sorrow? 

your tiny hands reach out, desperate for comfort, but all you grasp is emptiness—the coldness of fingers that once cradled you close, now forever still. cold hands fall on your face as you stare in horror

no word slips from your lips, not even a fragile whisper, just a silent plea from your heart. another reminder that love can vanish, leaving only absence in your already empty void. you want to scream, to shake her from her slumber.

but instead, you sit there. hope became a cruel joke, and the warmth of her embrace is a ghost that taunts you. tears prick as you try your hardest to carve her smile into your memory. in that moment, you realise 

you’re not just searching for her; you’re searching for yourself in the ruins of her despair. 

“mother..?”

…

…

…

“hold on- let me say goodbye to my mother before we head off”

you snap back to the present, watching your best friend dash into his mother’s store. you see her happy smile as she leans down, allowing him to plant a small kiss on her cheek before he turns away. you’ve always waited for him before heading to class. it’s a cherished tradition: you walk to his house in the morning, and he walks you back after class

“flowers? my mom had extras,” alvin offers, pushing a small bouquet of neatly arranged lavender roses into your hands.

“you always give me the same kind,” you say, bringing it closer

“blame my mom for growing too many. come on! we’re going to be late!” he insists, pulling you along, not wanting to elaborate 

“i miss my mother whenever i see yours,” you mutter softly, the words slipping out before you can catch them

“i miss her too- even though i never met her. which is weird if you think about it,” alvin replies, glancing back at your sad expression

“i can’t remember her anymore”

you switch off your thoughts for a moment, letting him navigate through the bustling marketplace. you treasure these few minutes, allowing your imagination to roam. daydreaming is another beloved pastime, and alvin provides the perfect escape into your bubble of comfort.

with your bag slung over his shoulder, he takes your hand in his free hand, unwilling to lose you in the crowd.

“i heard we have a new maths professor,” alvin begins again, trying to lift the mood

“he’s supposed to be young and a genius,” he adds, looking at you for a reaction.

“maths professor? what about mrs aya?” you suddenly remember

“oh, her? thomas said she’s now in his astronomy class- lucky fella,” alvin groans

you laugh at his silliness. the only reason he liked mrs. aya was for the free snacks she gave out after class. her husband, a wealthy lord, often sent treats during her lessons, accompanied by a signature green note that wished her a great day ahead. 

“one day, i’m going to find out who her lover is so i can ask if he has a sister! i’ve never tasted such wonderful cookies,” alvin reminisces

“i guess you won’t have them anymore,” you pat his back as he sulks at the thought

and just like that, you both walk toward your university building. alvin greets everyone he sees on campus, a habit that leaves you questioning his motives

“no? i’m not friends with security, but everyone deserves a good smile!” he responds cheerily

“you’re not fully dressed without a smile.”

“did you just quote haz-”

“stop. robert and his gang.. again”

with that, alvin moves you behind him, muttering about “stupid rich boys” as they approach. you clutch the flowers closer, watching him roll his eyes dramatically. a sigh escapes his lips as he stands face-to-face with robert

“how do you always bump into us? it’s almost like you wait here,” alvin begins

“me? wait for some peasants? do you not know who i am? i am robert smith! the-”

“the second son of lord smith and the sole heir of the luxury leather manufacturers. we know. you’re a broken record at this point,” alvin interrupts, mimicking him.

“i see [last name] still comes here. have you not found a partner yet? you keep coming to ‘educate’ yourself, but what’s the point? no one would hire a low-class rat,” robert retorts, his friends snickering in the background.

“i told you to leave us alone, right? get lost” alvin insists, trying to shoo robert away, but he stands firm

“i could propose to spare your lowly life… i do need a new piece for my future collection,” robert continues to taunt

“ooh, how unfortunate! to me, [name] leroy sounds a lot better than [name] smith- which, by the way, sounds like a shoe polisher,” alvin shoots back as he walks away with you

“you don’t always have to defend me,” you mutter, glancing back at the fuming robert.

“grow a spine first stupid” alvin replies, looking at you with his usual smile.

with that, you both reach your first class. mathematics has its own muse, but you’ve never understood the supposed muse. while you’re not failing, you’re certainly not a star student either. you settle into your seats in the middle rows as alvin struggles to see the board from far

“glasses aren’t such a bad thing…” you comment as you pull out your notebook.

“true, but i don’t see why i should pay so much just to read the board,” alvin sighs, slouching back with his latest magazine.

“you’re going to pay attention to the board… with a magazine?” you question.

“shush, i don’t want to label you as a snitch,” he teases, flipping through the pages.

you let the conversation drop, not wanting to disturb his reading. your gaze drifts around the classroom, where a mix of new faces and familiar ones fills the room. it’s a new semester, and getting into the university was not easy, given the challenging entry requirements.

right on cue, your new professor walks in. his striking blonde hair catches your eye, making him stand out immediately. even his three-piece brown suit looked more expensive than your entire snack budget.

he stands before the board, chalk in hand, neatly writing his name with precision. even his handwriting exudes a sense of perfection. he appears rather young for a mathematics professor, surprising you further.

“i am william james moriarty,” he introduces himself as he turns to the students. “i’ll be teaching mathematics.”

"moriarty...?", alvin mumbles the name and shudders. you look at him strangely but he doesn't seem to care

“i hope you take this class seriously. i remember a quote by albert einstein,” william states.

“pure mathematics is, in its way, the poetry of logical ideas.”

“what is he even saying?” alvin whispers, and you shrug in response

“now, some of you might be like mr. leroy here, confused as to why i brought this up,” william continues. “think of my words as motivation.”

“he knows my name??” alvin gasps, nearly shouting in your ear

“i am well aware of everyone’s name, mr. leroy. you’re not as quiet as you presume to be,” he replies, and the class erupts into laughter. 

you can’t help but join in as alvin buries his face in his arms, magazine forgotten on the floor. the rest of the class unfolds normally. your professor teaches, and the time slips away. class had ended before you even finished your notes. 

“should we get him a little gift?” you ask as you pack your bag

“a gift?? for him?? after he embarrassed me??” alvin exclaims, his bewildered expression making you laugh

“your hair is messy again silly”, you sighed 

a silence falls between you, and you reach out to push the bangs from his forehead. he flinches, feeling your hand before swatting it away to fix his hair himself muttering about how he could do it himself 

“okay, so what are you going to get him, your majesty?” alvin rolls his eyes

“a set of new chalk?” you suggest 

“chalk? why? the school provides him with a huge box!” he reasons.

“no, no! i mean the kind used by mathematicians- hagoromo chalk! isn’t it nice? i could even knit him a small napkin to clean the board later on!” you continued 

“i don’t see you putting this much effort into my gifts…”

© saioratral 2024-25 -- do not repost, translate, alter, etc on any platform without permission. Any characters used in my work do not belong to me, they are created by their original creator. all images used are from pinterest

taglist (forgot to post- whoops):

@fishii28 @ayaswrld @eliasorchard @onna-musha-mari @dija200

[javiersprincess]

𝚩𝚬 𝐌𝐘…

˖°.𓆩♡𓆪 .°˖ tags: written explictly for @prettyboykatsuki. south asian reader in mind. established relationship. age gap. fem presenting reader. nudity. set in rdr1 where reader is going with john to mexico. hint and joking of a daddy kink.

˖°.𓆩♡𓆪 .°˖ synopsis: john marston in his older age only wants to be there for you whether you scowl or weep.

You and John arrive to a small dusty town just by the Mexican border, so small and remote it was just a saloon, a shop and few dusty buildings. You were dead tired and filthy - when John had brought up getting a bath and staying in the hotel above the saloon you didn’t make some sort snarky comment about how his old age is getting to him. You follow him on your white mare, frowning along the way as you think about how you’ll have to brush her out soon. You hitch her up out the front of the saloon and turn when you hear the whistle John sends your way, holding the swinging door of the establishment open for you.

“After you, my lady,” He comments grinning even while sweating and covered head to toe in dust from the ride. His eyes don’t leave your form even has he watches you walk past him, a glint them as he follows in falling step with your gait. You went straight to the bartender, eying the sign of how much it will cost to spend a room and night. When he’s finally behind you, your head had turned to look back at him and John can already hear how your voice will fret over how much it would cost you.

Which is why he beats you to the punch and drops just enough for one bath and one room. One for the two of you. The bartender raises his brow at the two you with a knowing look. When you turned to look at him, annoyance painting your face you are met with the same grin on John’s lips as he nudges his shoulder to yours while grabbing the keys to the room.

“What? You were so worried about the price, this is halving it right, sweetheart?” Your face twists into a scowl.

“You are an annoying man Mr. Marston.” You hiss stomping past him, making sure your shoulder hits his arm in a your little petty way of getting back at him. You hear his rickety laugh as he follows you up the stairs and he opens the door for you just like he did outside.

“Quit trying to be the gentleman - it doesn’t you.” You snip as you enter into the threshold of the room, hand working to off your layers to hang them somewhere to be shaken off later. John laughs again, dark and deep as he takes his hat off and works to do the same with his coat. From his place on the chair by the desk the hotel provides he asks you,

“What is it that you think suits me then?” He is taking off his gloves, head tilted to watch how you strip down your layers until you are only in your bloomers and chemise. You roll your eyes not sparing him a glance as make your way to the bathroom attached to the room to start the bath you are aching for.

“Probably a dog with how filthy you are.” You say, laughing around the bite of your words and John only laughs in return, calling out back as he takes his shirt off.

“Oh but I am your dog aren’t I, my sweet?” He hears your groan from his sweet talk and it only serves to make him laugh harder as he hears the water start to run. John chuckles with a soft shake of his head, ever so fond as he works the rest of his clothes off. His gun belt is thrown over the desk, along with his hat and gloves. He’s left only his union suit as he walks to the bathroom door, now filled with pleasantly soft orange lighting and steam. He can see you, resting your head against the lip of the tub, the water filled with soap studs. Your face is lax and flushed and you don’t notice him until you feel rough lips press a kiss to your cheek.

“You enjoying yourself?” John asks you, voice soft as the steam against your skin. You hum your affirmation, tilting so you can look at him. There is a faraway look in your eyes, something aching and tender yet and John asks you, honorably and carefully.

“What you thinking bout?” You don’t say anything at first, merely gazing at him before your eyes flicker to a small painting on the side of the wall where on faces when they sit in the tub. The painting was of a flowers -white with cool purple edging the ends of the petals sitting on a lily pad in the water. There written on the bottom end of the painting, in neat cursive read, “Nymphaea nouchali. Water Lily, India, 1899."

1899. The year still stings.

“You thinking about your folks?’ He asks and you allow yourself to lean closer to him, resting your soft cheek against his shoulder that is above the steaming bathwater.

“I try not to but - when I see stuff like that…it’s hard not to.” You have lost all your edges, soft and vulnerable before him. John knows, and he knows you know which is why you can let yourself be like this with him. Dropping the outer exterior that you wear like armor and letting him to take care of you when you need it most. He’s your dog, he’s your man - he is yours completely and utterly. He moves his hand so he can hold your chin his his palm gently, reverently.

His thumb strokes the skin of the chin lovingly.

“I know sweetheart, I know that loss well and true,” he turns to look back at the painting too. The numbers 1899 make the wounds in his heart ache. “I ain’t saying this to cover up what you feelin’ but you are not without family. You have me and the ranch - as long you will have us.” John speaks to you and every word is forged of the same iron his bullets are. Forged with fire and blood and the promise of their conviction. It makes you smile and you hope John doesn’t see the wateriness of your eyes as you nod.

“Besides, you’re in good hands,” He says something mischievous and sleazy in his eyes now that you have graced him with a smile, “You might not have your pa around but you still got your daddy with me don’t ya?”

Your smile drops and replaced with a similar scowl that gets sent his way day after day but he only chuckles deep in his chest as he watches you step out of the bath. You shout at him, telling him to shut up and get in the bath as you wrap the towel around yourself and head to get dressed. John strips away his last layer and steps into the now warm and tepid water. He doesn’t mind - his body warm with the deep flush he caught over your cheeks and the way you never said no to what he said.