#implied Hero/Mari

[hero-deserves-to-be-happy]

Grief (in OMORI)

After unspeakable tragedy, the five friends left behind grieve differently.

A study of Sunny, Basil, Aubrey, Hero, and Kel's grief. Soul-Crushing Angst. Part Fanfiction; Part Analysis. Cross Posted to AO3.

(Warnings for Soul-Crushing Angst, Grief, Depression, Referenced Canonical Character Death, and Heavy Themes. Canon Typical OMORI warnings and MAJOR Omori Spoilers)

Sunny’s grief is quiet. He fades into shadowy corners watching his mother’s wailing with stormy eyes, but he doesn’t make a sound. He hasn’t spoken a word since Mari died—not that he talked much to begin with, but now there’s nothing he could even want to say. He can’t stand speaking to an empty room, waiting for that familiar laugh or the lilted, tinkly voice of his sister that would never come. He’d never hear her voice again, never hear her laugh, never hear the sounds of her piano playing.

The house is quiet without her. There’s no laughter. No music. No sound besides the violent sobbing of his mother. Silence has never been so deafening. He hides in the comfort of his mind where she’ll laugh and talk again, forever because the guilt of knowing why the world’s gone silent is too much for him to bear.

His father thinks him cold and unfeeling because he won’t talk—won’t wail and weep like his mother or his friends, but painful tears struggle free from the corners of his burning eyes. They catch in his eyelashes, trickle down his cheeks—pained but silent. He feels the loss of her like losing a part of himself. It’s more painful than he could ever have the words to explain, so he doesn’t even try. His mother says that talking about it might make him feel better, but he doesn’t feel he has the right to that anymore, not after what he’s done. He silenced Mari and the world along with her, so he silences himself. 

(Continues Under the Cut)

*-*-*

Basil’s grief is destructive. It eats him alive from the inside until tears stream out of his bloodshot eyes like a faucet. He weeps unconsolably from the moment he gets up in the morning until he cries himself to sleep at night. He doesn’t think he will ever stop crying. He doesn’t think he deserves to.

Even thinking about Mari brings tears to his eyes to the point where he can’t even remember her—can’t even hold on to the good memories. The pages of his photo album are all colored out now as if that could somehow erase them. He doesn’t feel he deserves them anymore. He doesn’t deserve to remember her happy—to remember her as anything more than contorted, still, and lifeless at the bottom of those stairs or swinging limply in the wind from the limb of that tree outside.

It almost doesn’t feel real. A part of him still wakes up hoping it was all some horrible nightmare, but it wasn’t. It isn’t. Mari’s gone and playing a role in that means he doesn’t deserve to remember her. His grief will destroy him.

*-*-*

Aubrey’s grief is volatile—loud. She cries and screams as if the sounds of her wailing could somehow bring Mari back. But she knows that it won’t. Most days, she feels like she’s falling down a dark, bottomless pit without anything to catch her—without anything to hold onto. She can’t make sense of it—how something like this could happen. Why it would.

Her hands clinch into fists, throw things at walls of her room, pound into her pillow as she screams because she doesn’t have the words for the pain she’s feeling. Then, everything goes quiet, and she weeps.

The weight of a world without Mari is too heavy for her small, trembling shoulders. She’ll have to make them stronger.

*-*-*

Hero’s grief is overwhelming. It crushes him until he can’t breathe. He hasn’t been able to catch his breath since he heard she was gone. He feels like he’s drowning in pitch black darkness—dark water seeping into his nose and mouth if he tries to breathe, drowning out any cry for help he could possibly make. But he doesn’t make them. He doesn’t deserve to—not after he didn’t love her enough. If he had, maybe she’d still be here. The truth that she isn’t constricts and strangles like a chain around his heart, a crushing weight he’ll carry for the rest of his life. He crumbles under it.

Every time he thinks he’s finally stopped crying, the tears keep falling again. He can’t eat, can’t sleep, can’t do anything but stare blankly at the ceiling of his room, tortured by guilt, by “what ifs,” by questions of if there was anything he could have done, if there was any way he could have saved her. But he is too weak. He can’t even save himself.

He always believed the sun shined brighter whenever Mari smiled, but he knows that better now because losing her has completely snuffed it out. The world is dark now, and Hero drowns in it.

*-*-*

Kel’s grief is aching like the dulled pain of an old injury when it rains. There’s an empty space in his heart now and it pangs every time he finds himself turning to say something to her or wanting to show her something or tell her a story only to realize that she isn’t there and that she isn’t going to be there ever again.

He doesn’t cry as much as Hero or Aubrey or Basil, and he worries it isn’t enough—worries it means he didn’t care about her enough. But he knows he did. He had to because even if it doesn’t always bring tears to his eyes, something breaks a little in him every time he realizes he’ll never make her laugh or make her smile again.

He tries to think of what would make her happy, if there’s anything he could do to make her happy now. All he can think is that she wouldn’t want another person crying for her, so he tries his best to heal, to remember the good times, and to smile when he thinks of her, even if his smiles are a little bittersweet, a little empty now.

He worries that his friends don’t remember how to be anything but sad and grief-stricken. Worries he’ll never see his brother smile again, will never see Basil without bloodshot, weeping eyes, will never see Aubrey without gritted teeth and clinched fists as she blinks back tears, will never see Sunny again at all. Kel’s grief isn’t just losing Mari—it’s losing everyone. It’s watching them suffer without anything he can do to fix it. Left wondering if any of them will ever truly be happy again. Wondering if they even can be in world without Mari, even when he knows that’s what would make her happy.

He’s never felt so helpless, and maybe that’s what hurts worst of all.

[kiisaes]

yearly (it gets easier)

[ghostly-slut]

Omori whitespace doodle I did <3

TW FOR MILD GORE, IMPLIED SH/SUICIDE

Constructive criticism is welcome

[seyaryminamoto]

Fic-to-Art #48: Azula and her nieces

Now, I apologize, I absolutely forgot I hadn't posted this out here :'D but here it is now! Last year's final piece for my Fic-to-Art collection!

While I can't guarantee there will ever be anything 1:1 with this scene in Gladiator, I mainly wanted to capture the vibes of their dynamic. I continue to think the funniest damn thing that can happen to Azula and Zuko is for their sibling to be their kids' hero, so here's a representation of that, with Zuko's little girls being completely taken with their aunt. I really wanted Mari to look like the happiest little girl ever (her aunt has blue fire, just like Princess Jing!!), and I really loved the hyped expression across her face. She's such a bundle of energy, makes me happy just to look at her. Zi, comparatively, is always much more chill and laid back, which will absolutely result in some crazy sibling dynamics once the two of them grow older. Utterly different personalities can be a great source of chaotic chemistry :'D

At any rate, hope you guys enjoy this glimpse of family time with Azula and her nieces! If you would like to be part of the creative process behind these pieces, a $1 Patreon pledge is enough to make you eligible for suggesting prompts and voting on them monthly, as well as reading Gladiator snippets 6 days before the new chapter is published!

[sirenspells]

[Whisper Warnings AU]

Hero and Mari in this au are under some kind of curse where I can only draw them in shitposts

[shallowseeker]

forever thinking about brat!mary being all dramatic “i hAvE tO LeAvE hUnTing fOrEver tO bE SaFe!”

then two seconds later, “Wait, that’s my friend! Dad quick—to the Batmobile!!!!”

Samuel C. -> “?????? I hate parenting.”

Not only does she change her mind when faced with people in danger, but she expects her parents/caretaker to jump when she says jump. So very Sam of her.

You can really see glimmers of the woman who races out to finish as many hunts as she could before “retiring.” Or well, let’s be honest. It’s not out of character for her to probably sneak out during the marriage, too…

Mary (12x06): I’m retiring. Well, officially I’m already retired. I’m just tying up a few loose ends.

[acr1ms0n-d3scend]

Bisexual Hero believers, how are we feeling?

Brb while i might cook somethin hehehe

[asha-mage]

🌶️

The MCU's Spiderman is not a poor execution of Peter Parker's character concept. He's not even poor execution of Miles Morales's character concept.

He is a poor execution of Terry McGinnis's character concept.

Peter Parker and Miles Morales both have so many fundamental pieces to their characters that are just missing for the MCU's Spiderman. Familiar names are floating around him- Aunt May, Mary Jane, Ganke Lee- but the fundamental ideas that make up Peter or Miles arcs just are not there. Themes like Miles's family expectations, Peter's constant money struggles, and the balancing act of doing good vs trying to live your own life are all absent. Even the idea of power and responsibility isn't properly introduced until the THIRD MOVIE when that really should been the central theme from the beginning.

Rather the MCU Spiderman has way more parallels with Terry McGinnis. Both are young hot shot teenagers who end up being taken under the wing of established and experienced hero who is on their way out. Both have complex relationships with their mentor which in a lot of ways serves as the driving force of their character arcs. Both gain high tech suits which enable their heroism. Both are viewed (or at least supposed to be viewed in MCU Peter's case) as heirs to the legacy of this hero.

It falls apart when you get into how they are different. While Uncle Ben is implied to have existed and be dead by the time MCU Peter is introduced in Civil War it's never actually confirmed and never properly comes up. Meanwhile the death of Terry's father is essentially the inciting incident of Batman Beyond: it's what motivates and drives Terry and the murder and it's fallout are the main focus of the first two episodes of Batman Beyond.

What's more MCU Peter's relationship to Tony is grounded in the fact that Tony just shows up one day and essentially taps him to join the Avengers. Bruce by contrast initially tosses Terry out on his ear, and when Terry turns up seeking justice for his father Bruce can't offer him anything but 'go ask the cops for help', and when that goes exactly as poorly as Terry said it would, Terry breaks into the manor steals the Batsuit and goes to stop Powers himself. Terry has active agency in his own choice to be a hero, which helps define his relationship with Bruce and to heroism. While MCU Peter was doing his own superheroics prior to Tony showing up in Civil War (not that he ever does much of that in future movies) his relationship to Tony is defined by Peter's dependence on him and his quest for Tony(/the Avengers)'s approval. And because they don't even bother name drop Uncle Ben or flashback to him, we're left with the impression that the main thing driving MCU Peter is that quest for approval. His motivations are never more complexly explored, and we don't even really see him just running around Queens stopping muggings or car crashes or anything that hints he enjoys or feels the need to actually help people.

And I think that gets into the final and most important difference between the two. Gotham not only needs Batman, it visibly and obviously and terribly needs Batman. Batman Beyond leans into this because decades without a Batman have left Gotham a cyperbunk dystopian hellscape. The city needs someone to stand up to the darkness, to be a symbol of hope, to be aspirational. Terry taking up that mantel means fighting supervillains, yes- but mostly it means doing what the original Batman did. Solving murders, stopping muggings, rescuing people from burning buildings or fighting off street gangs like the Jokerz.

But even in the earliest MCU movies, New York only needs superheroes when the current world ending threat shows up. Otherwise the city is all bright shinny clean streets filled with haplessly content citizens. This is the only reason that Vision's position of 'Our very strength invites challenge' in Civil War makes any sense- because the only purpose of these Superheroes is usually to fight a threat they where somehow responsible for creating. And this problem hits 'friendly neighborhood Spiderman' the hardest because he only has a responsibility to use his great power to solve problems, if their are problems in need of solving. Most of Peter Parker's (and Miles Morales's, Gwen Stacy's, or any other Spiderperson's) day is not fighting alien armies or netherworld gods. It's stopping break ins, rescuing people from car crashes, or dealing with other small scale local threats, that none the less benefit from someone with his abilities to make them better. Either New York in the MCU is an ideal utopian city where the police have everything handled apparently (which ha!) or Peter is apparently not interested in stopping bad things from happening. He spends so much of the first movie basically begging Tony to give him superhero things to do, not realizing that he could go outside and find people that need help on his own.

In conclusion MCU Peter Parker isn't 'regular Peter Parker but not an underdog', or even 'Miles Morales but white'. He's 'Terry McGinnis but without any agency in his own heroism'.

[caffeinewitchcraft]

The Hero and Hope 4/5

Okaaaay, so there's 5 parts instead of 4! I realized that the last part was over 6k words, so we're splitting it into two! The last part will still be posted next Friday, so this will keep us on track!

Summary: The picnic has an uninvited guest that you're uniquely suited to greet.

-------

(part 1) (part 2) (part 3)

“Didn’t think I’d see anyone able to catch Marie,” the Lord says, brows raised. His golden eyes track Isla across the garden and he whistles when she jumps to tag his former knight. “That was not within the capabilities of a Villager.”

Ivan scans the crowd around them. Most of the townsfolk are too far away to eavesdrop and the ones close enough to potentially hear are engaged in their own conversations. “Careful, Brennan. If the Director hears you speculate…”

“Yes, the Director,” Lord Brennan sighs. He brings his teacup to his lips, but doesn’t drink. He contemplates Director Sarah where she crouches with a glass of water near Annie. “You know this is the first time we’ve met?”

It’d been a fight to get Sarah to agree to today at all. Ivan chooses his words carefully. “Your predecessor did not have the sort of…kind interest you do.”

The former Lord’s interest Sarah shared with them was a lot more horrifying. There’s a reason that Isla at only fifteen years old is the eldest at the orphanage.

“That’s one way to put it,” Lord Brennan agrees. He settles back into his seat and sighs in satisfaction. He watches the children gradually grow tired of their game and drift towards the dessert table. He grins when the townsfolk naturally make room for them, a few of them even fetching treats from the center of the table for the littler ones. “See my people together? It was very good of me to lure you and Marie to my territory.”

“You gave us a castle,” Ivan says. They weren’t so much lured as bludgeoned with generosity. Some days it feels like they blinked and ended up standing amongst fine silk and filigree.

“It’s a manor as far as paperwork goes,” Lord Brennan says.

“It has buttresses.”

“A very fortified manor.” Lord Brennan finally sips his tea and sighs again. “This tea is from our fields, isn’t it?”

“Yes, my lord.”

“It’s delicious.” The full canopies of the trees enveloping the estate rustle in the wind. The sun shines warmly overhead. Lord Brennan takes another drink. Delicious. “The land’s come a long way since we ousted my father, hasn’t it? Plentiful harvests, an established trade route, a new school. If it weren’t for the demons, my work would be done.”

“I would prefer you had no work then,” Ivan says dryly.

“Me too.” Lord Brennan sets his tea aside and rubs his eyes. “Any updates?”

“None,” Ivan admits, frustration leaking through his words. His face is still amiable and the disconnect between his tone and his visage is jarring. “We investigated the wolf tracks in the woods and only found carnage. No signs of the demons themselves.”

“So they are demons?”

“Regular wolves wouldn’t be able to evade a squadron of your knights, my lord.”

“Neither would demon wolves,” Lord Brennan says. He rubs his chin, brow furrowing. “I don’t like what that implies. Any sign of larger foes?”

Ivan doesn’t want to discuss this here. Marie’s eyes are on him, sensing his rising distress. He smiles and waves to her. “Besides the horned rabbit migration?”

“Is it a migration?”

“Isla saw five within the first four weeks of summer,” Ivan says.

The Lord’s attention falls on the teenager. She’s patiently letting one of the other children – Hera? The one who’d curtsied to him like a little noble – weave flowers into her braid. He tries to imagine her fighting a horned rabbit and his lips thin. “I’ll call for reinforcements from the capital.”

“Marie and I can—”

Lord Brennan waves Ivan off. “No, no, I’ve asked too much of you already. Aren’t the two of you too busy in your retirement already? I thought you’d be settled with a child by now.”

“It’s not good to rush these things,” Ivan says as he has the last three times Lord Brennan has asked. This time it’s Ivan who sighs. “It took Marie and I a good few months to win Director Sarah over after our misstep.”

“Asking about Destinies, was it?”

“Implying we’d value any child less for not being a knight like us,” Ivan corrects.

“There seem to be a lot of unusual Destinies in the orphanage,” Lord Brennan says. He’s not an Identifier but he’s got a good eye. Though no one can know for sure until a child either develops their mark or comes into their power at fifteen, he’s seen more than a few signs of a Scholar, a Guardian, and a Teacher. Once again he finds his gaze being drawn back to Isla. She’s got a child under each arm and is running from Marie again, the game having resumed after their snack break. “That one is a Guard, at least. Nobody else would have physical abilities like that.”

Ivan ignores the Lord’s comment. “It’s been worthwhile getting to know them all.” His smile turns a little more genuine. “They’re all good kids.”

“Surely you and Marie have an inkling of who’ll be a good fit?” When Ivan doesn’t reply, the Lord clicks his tongue. “You can’t choose all of them.”

Ivan’s voice is a study in nonchalance. “Can’t we?”

Lord Brennan opens his mouth only for no words to come out. At length, he has to laugh. His knights do like to keep busy. “You’d need a castle.”

“You did give us one, my lord.”

“I suppose I did.”

The two men lapse into a pleasant silence. It is good to see the townsfolk this cheerful. This town is the furthest from Lord Brennan’s own castle and he rarely has a chance to visit. The first time he had had been very different. The people still bore the wounds of winter in gouged cheeks and brittle smiles. Now he sees the glow of health everywhere he looks.

He contemplates the Director once again. She’d been the only one back then to not seem pleased to see him ride in on his white horse. Even now he can feel the chill of her scrutiny as she stood defensively between him and the orphanage. None of that chill is present today. Her smile is as sweet as his tea while she tends to a scrape the little Scholar sustained in this round of tag. “Ms. Sarah is very pretty, isn’t she?”

“I know we can’t adopt them all,” Ivan blurts out. He doesn’t seem to have heard Lord Brennan. His gaze is turned towards his own inner conflict which is why he also doesn’t notice the blush dusting the Lord’s cheeks. “It wouldn’t be fair to them. Marie and I decided to adopt a child who would benefit from what little we can offer. Military arts and luck.”

“I don’t think you’re being fair,” Lord Brennan says with raised brows. “You and Marie offer a lot more than a Knight’s experience. Haven’t you shown that already in your actions?” He’s not aware of everything his former knights have done, but he’s heard plenty from the children today. He didn’t think Marie had the patience to teach anyone how to read.

Ivan’s hands fist. “It’s not enough, it’s not—the little boy. Josiah. He’s so smart. I don’t even know where to start with him and even Marie says that he’ll soon outpace her—”

“Well,” Lord Brennan says, “Neither of you are Teachers, true, but there is a school for that--”

“And Annie wants to know why bread rises and why the sun sets and how many seconds are in a day—”

“All kids are curious—”

“Hera staged a whole theater production for my birthday and all we could do was clap—”

Is he missing something? “Isn’t that what you’re supposed to do?”

“We don’t know any actors or directors to introduce her to!” Ivan cries out. He quickly lowers his voice, but can’t hide the stress around his eyes. “What could we give to a child like her? Like any of them?  Marie and I are out of our depth. It would be so much simpler if one was a Knight!”

The Lord tentatively offers, “If Isla’s a Guard--?”

Ivan gives a cry of distress that he barely capture in the palm of his hand. “Isla! That girl feels like my daughter already, but…she’s been through so much. She doesn’t need a father who teaches her how to fight or a mother who teaches her how to withstand a siege! She deserves to never have to fight again. What could we offer her? What could we possibly give to her she hasn’t already learned on her own?”

A light goes on in the Lord’s head. He takes in the festivities with new eyes. The town’s Baker, Blacksmith, Teacher… His friends have invited every possible parent they could in hopes of providing for the children in ways they felt incapable of doing themselves. As noble as that was…“Ivan, being a parent goes beyond the skills you can give a child. It’s more than fostering talent or an offering an apprenticeship. It’s—”

A horse’s scream drowns out the Lord’s next words.

Ivan is in front of Lord Brennan with his sword drawn before the horses and their blood-splattered riders even round the side of the castle.

-----.

 You throw Annie and Josiah behind you the moment you hear the sound of hooves galloping towards the manor.

“Isla, what—” Josiah starts to ask and then cuts himself off as the innkeepers and their entourage burst into the party.

You smell blood before your eyes register the terrible red staining their fine clothing.

“ORCS!” Mr. Innkeeper screams over the frightened snorts of his horse. He stumbles down from his mount and staggers towards the Lord. “They overtook our carriage—please, my wife, she’s hurt—”

Mrs. Inkeeper is holding her side and seemingly barely holding onto the saddle horn. “Our guards won’t be enough to hold them off—”

“Inside,” Sarah hisses into your ear. She points after Hera who’s already shepherding the younger kids into the building. “Now.”

“—an army—”

“—fast—”

“—waiting for us—”

You move faster than you’ve allowed yourself since you arrived. This is no time to take care in hiding your abilities; there are roars coming from the forest unlike anything you’ve ever heard before. Your senses seem to dial up with your heartrate and you can hear the clash of steel against rock and flesh. You scoop Annie into your arms and leap after Josiah and Sarah.

Mr. Dallen’s face is pale as he ushers you all into the manor. He holds the door open for the townsfolk. The hall fills with the sounds of panic and sobs as fear washes through you like a tidal wave. There have never been orcs south of the mountains, there have never been demons bigger than a horned rabbit in the last twenty years, even when the Winter froze the river—

Mr. Dallen waves down Marie as she sprints to the large doorway. You think that he’s going to pull her inside to safety, but instead he thrusts her bow into her outstretched hands.

“Do not open these doors,” she commands. Behind her the knights are assembling into a formation, their Lord at the center. Ivan stands before them all, barking orders to ready their spears as the trees in front of them begin to sway. Marie pulls a dagger from under her skirts and slices the bottom half of her dress clean off. She kicks it away from her feet as she talks. “Take everyone to the basement—”

“Ma’am, the escape tunnel still isn’t cleared of debris—”

Marie swears so violently that half the townsfolk gasp. She grabs Mr. Dallen by the shoulder, her eyes flicking back and forth between him and her husband. “Then we will draw them away. The moment you think you can, run to the wagon. Get the children to—” She bites her lip. You can see the devastating truth flash through her mind. There isn’t anywhere to go. “Damnit. Bar the door and arm everyone you can.”

Mr. Dallen’s lips are bloodless as he nods. “My lady.”

Marie turns to everyone. Her voice is unlike anything you’ve heard come from her lips; it’s harsh and barking. A commander giving orders much like Ivan is doing outside. “Listen, everyone. We are in danger. Our best estimate is that 25 orcs are marching on the manor. There is no guarantee of survival. The moment this door is breached, it will mean the knights have failed. You must be prepared to fight. Do you understand?”

Twenty-five? Your hands ball into fists and your breath catches in your throat. You’ve heard of entire villages being wiped out by three.

“Then we’ll fight with the knights,” the Baker says. He pushes away from the center of the group and marches to the wall. He pulls down the crossed axes, keeps one, tosses the other to the Blacksmith. She catches it easily. “You’ll need everyone who can hold a weapon.”

Marie never voices her protest. You can see the strain of holding it back in her tense shoulders and her poignant silence. At long last, she nods. “You’re right. Stay behind the knights. They know how to handle the frontline better than you.”

There’s a flurry after that. The townsfolk divide in half. Those unable to fight slide back as those who can start scavenging for weapons. Mr. Dallen grimly pulls two long daggers from under his coat while pointing your neighbors to decorative swords, to ornamental spears, to the heavy coatrack just inside the parlor.

Grimly, you stride past Sarah, ignoring her hiss and darting hands. You can leave the weapons to the villagers, there’s a large knife on the dessert table you can use—

Marie slams a hand against your chest. You stagger back at the weight of the blow, breath knocked from your lungs. You’re more stunned than hurt as you gape at her.

“Children stay here,” Marie says. Her eyes narrow. “No exceptions.”

“But I’m—”

“We don’t have time to argue!” She pushes you further back, clearing the doorway for the armed villagers to run outside towards the knights. “You’re strong Isla, but this isn’t your fight. Stay here. Guard the door.”

The winter wind howls in your mind. You splutter. “But I—”

Marie spins away from you. “Director Sarah.”

Sarah’s arms slide around your shoulders. “Yes, lady.”

 The closing of the door feels like a blow in itself. You stare sightlessly at the unyielding wood as your emotions rage. How could she? You’re strong, you can do more, you can help, you’re the one who kept everyone from starving—

“We need to barricade the windows,” Director Sarah is saying to the townsfolk. Half of them gaze at her uncomprehendingly. Her hands slide from your shoulders slowly, as if testing that you aren’t going to leap outside. When you don’t move, she lets go entirely. “Isla, move the furniture. Hera and Josiah, find something to tie it down with.”

You move on autopilot. There are other hands alongside yours as you push the sofa and armchairs in front of the windows, the townsfolk coming together to defend the manor. Hera darts between you all and pulls the curtains closed, reclaiming the curtain ties to use as rope. She’s got a grim determination in her eyes that looks uncomfortably familiar.

Your attention is on the noise outside. The orcs are slow, but loud. The roars change to squeals and bellows of challenge. Branches break and there’s a terrifying, splintering crash as a tree falls. Metal rings as the knights raise their shields. You can see it all in your mind’s eye, the knights in a defensive line across the length of the garden, the Lord securely in their center. Ivan is shouting about this being what they’ve trained for, that there are more of them than there are orcs, that this city won’t fall—

And the Lord is speaking too, quickly and quietly to Marie. The escape tunnel? Damnit, I should have sent more men—

It will be fine, Marie says. Her bow sings as she holds it ready and you know the way her muscles flex and her eyes narrow from experience. We won’t let a single one of those monsters past us. We won’t--

The knights bellow alongside the orcs. Your heart leaps and your focus is jarred. You’re standing in front of the door again, your hands balled at your sides. Everyone can hear the battle now and the townsfolk scream when the orcs’ battle cries shake the manor.

“Quiet!” Is that your voice? It is. Your eyes slide to the frightened faces behind you. “You’ll distract the knights.”

Sarah steps up alongside you. “And let the orcs know exactly where we are.”

The villagers quiet into aborted whimpers and muffled sobs.

The battle rages, louder and louder. Are orcs big? They sound big. When you close your eyes you can hear the way their feet pummel the earth. Do they have weapons? Metal clashes. A knight screams that their hides are too thick. The Lord shouts back to aim for their eyes. A table splinters, a bow sings, there’s a liquid gasp—

BOOM!

You slam your hands against the door, muscles straining as another blow lands against it. The wood convulses under your hands and the lock creaks. The villagers scream.

“No,” someone whispers. “No, they found us.”

You’re eight and the snow spirits are howling for blood. Your shoulders ache with the effort to hold the door against the wind. The cold is biting at your fingertips and there is an old hope dying in your chest--

Small hands slam against the door next to yours. Hera is snarling and swearing, Josiah is crying. Sarah is telling the kids not to worry, Isla and Hera and Josiah won’t let them in –

They’re here. You’re not alone.

“GET AWAY FROM THERE!”

The orc’s bellow isn’t nearly as loud as Ivan’s roar.

The blow you’re bracing for never comes. Ivan goads the orc to follow him, to leave the manor alone, to eat the man readily available to him—

It does not sound like the knights are winning now.

“My Lord!” Marie’s voice is strained.

“Do not fall back, they’ll corner us—”

“Who is that? Who is—”

The crack under the door lights with a sickly purple. The smell of ozone seeps into the manor. For a moment there is a silence so complete you think you’ve been struck. What was that? Magic? You’ve never seen magic before--

Screams rocket across the field. The Blacksmith’s screams. The Baker’s screams. Marie’s rage-filled howls.

“DEMON KING!”

Your Destiny burns.

---.

(part 1) (part 2) (part 3)

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Thanks for reading! If you'd like read the last part of Isla a week early, please consider supporting me on Patreon(X)!

[richardsphere]

the Evilustrhater Kwagatama scene is just fractally bad.

The Evilustrhater Kwagatama scene just... sucks. It breaks down on any level of thought. 1-Only Kwami should be giving out kwagatama. (cause its literally the only bit of agency the little slave-gods have). Mari spends this "giving up her Guardian-authority" scene usurping Tikki's authority. (It doesnt matter if we're meant to "reasonably assume" Tikki gave permision for this. It still should've been Tikki handing it over.) 2-It further unbalances the team dynamics, by putting Rena into a position of at least nominal authority to, at some point in the future, take away Chat's ring, should she decide to do so. Ladybug continues to make decisions that effect the entire team, without consulting any members of her team. (Even Rena wasnt consulted on this decision, and has it foisted on her instead. But then, this might be deliberate if we're getting Ladynoir Conflict/Miraculous Civil War)

3-It erodes Alya's relationship with Trixx. At least on a symbolical level. By giving her a Bug kwagatama, before ever giving her a fox one, thus implying symbolically that her relationship with Tikki is better then her relationship with Trixx. 4-simultaniously it erodes the symbolism of the Kwagatama as trust between Kwami and Hero. Mari needed to be a hero for months living with Tiki side-by-side fighting evil on the daily before Tikki gave her a kwagatama. Adrien only got his in Reunion, thats a season 5 episode. Adrien had to die multiple times, faced multiple apocalyptic threats and prevented World War Three before he got a Kwagatama. (put a pin in that one btw, its going to be relevant later). Alya has only used the Ladybug Miraculous once, and that was seemingly enough. 5-It obviously undermines Fu's sacrifice. Setting up a "just own the magic friendship-necklace and you'll get your memories back" reveal immensely undercuts the weight of Fu's amnesia. To be clear, I was always expecting that they'd find some clever loophole to protect Marinette from said amnesia. But having it be a magic necklace that she's had since Season 2? Saying "the problem was solved before it was even introduced" doesn't so much reduce the threat, as it removes the threat entirely. I was at least expecting her to have to train with the Order or something, finish the training Fu never got to learn how to protect herself in advance, maybe a potion from the Book Fu never deciphered in time? or have someone else on the team figure out how to restore her memories after the fact. (IE: Felix could definitly make a "memory-restoring" senti, Maybe a cameo from Liirii "liberating" her from the chains on her memories.) But saying "Oh, you just needed your Kwami to trust you and you wont ever get Fu-ed" is just... shitty. 6- It casually implies that Fu went through not one, but two World Wars as the Turtle wielder, but never managed to earn Wayz' trust. after all, if he did he'd have a Turtle Kwagatama, and the show would've been much different. --Edit cause i somehow forgot 7- Do we really need a third back-up guardian. We already had the guy from Ephemeral, and Luka went to the order to train for that very same position.

[gnomewithalaptop]

Batfam Time Travel Fic Recs

Because @clarenceislazy requested it on my last fic rec compilation, here's a list of my favorite DCU time travel fics! They're all pretty Batfam-centric, but eh niche is niche what can you do

Damian fics:

A Good Place by LemonadeGarden - Damian gets sent back in time to a Batman who's never had a Robin. Very sweet, very fun.

The Rule Stands by Engineerd - After Dick's death, Damian has to deal with a time-displaced ten-year-old Dick Grayson. Love a good Dick and Damian bonding moment, PLUS this gets a happy ending <3

to stay in one place by Jezebunny - Injustice!Universe Nightwing!Damian time-travels/dimension-jumps to a timeline where Dick Grayson is still alive and his counterpart is still Robin. Ugh this is so angsty -- I have an unreasonable amount of love for Injustice Damian

looking for the shapes in the silence by popsunner - In a world where Dick died on the job, Damian falls through a hole in reality where Dick is still alive and finds that some things don't fit the way they used to. SUCH an amazing representation of complex grief -- literally every time I read it, I cry

Steph fics:

time slip by almondrose - A mistake in time leads to six Robins meeting. Honestly, this one is kinda cracky, and only barely qualifies as Steph-centric, but I still like it a lot

and we'll never be the same by almondrose - Steph and Tim go on a road trip to figure out the post-universal-reboot anomalies. This is more of a post timey-wimey-bullshit fic than a real time travel fic, BUT I think it's real cute regardless

Tim fics:

Tractors by lieu42 - Ooh this one is honestly so so fun! In a reimagined universe where DC's heroes operate out of the UK, Red Robin Tim finds himself right back in the year before everything went to hell. He has a duty to get back to his correct timeline so he can find Bruce, but with Bart and Kon still alive, there's a part of him that doesn't want to leave. Literally SO well written and trippy as hell -- this fic deals a lot with addiction, drug use, and grief, so definitely go into it forewarned. TimKon

not for very much longer by CreamOfTomatoSoup - ugh what CAN'T I say about this fic, apart from the fact that it's one of my favorite time loop fics of all time. Post Cult of Dionysus Bernard Dowd finds himself reliving the worst day of his life -- the day Darla got shot. Featuring identity porn, Steph as Robin, Original-Personality!Bernard, the grief of a childhood you can never return to, and the weirdness of having to interact with your significant other when he's currently a sixteen year old who doesn't know he likes dudes. Don't look at the incomplete warning -- it's not abandoned, just a wip, and I legitimately cannot recommend this fic enough. This fic made me read War Games. This fic made me a Darla Aquista stan. This fic made me ship timbern. Please read this fic.

Jason fics:

The View From Jade by lowflyingfruit - Jason Todd accidentally travels back to before Bruce took Dick in. I feel like this is on every time travel rec list, but what can I say: I'm a basic bitch

Two Dead Birds by InsaneTrollLogic - Jason Todd wakes up in the middle of his Mob Boss Era and immediately decides to rewrite his own history. This is very funky fresh of him, just in my personal opinion.

Dick fics:

So It Goes by 60sec400 - Bruce from Dick's Robin era receives a troubling call from Nightwing. Be warned -- this fic is angsty as hell. Implied major character death. Don't look at the incomplete warning -- it's a lie (the author has specified they intended it to work as a oneshot)

In This Or Any Other Universe by wildsofmarch - Dick-as-Batman ends up in Battinson-era Gotham. Again, I think this counts more towards the Dimension Travel pile than the strict Time Travel variety, but I'm still putting it here because I enjoy the hell out of it

a million dreams by CaptainOzone - In the seconds between the trapeze line snapping and their bodies hitting the ground, John and Mary Grayson find themselves transported twenty years into the future. SO GOOD I honestly can't stand it.

If you think I missed a fic you love (or if you've written any yourself and want to self-plug), feel free to drop a link in the reblogs! Especially if you know of any that center around Steph, Cass, or Duke -- istg I've scrolled through fifteen pages of the AO3 Time Travel tag, and I've found like maybe two fics that center around any of them. It's honestly a little ridiculous

[chaoticallyfluffy]

I have a migraine so here’s thoughts! If you see mistake no you don’t my brain is totally working normal and so good so shut your mouths 👍

Marvel has to arrest a circus lion for tax evasion right before the big show and the clowns are devastated so he puts tawny in a blonde wig to take over. he’s the most fabulous and gender neutral circus lion there ever has been.

Billy doesn’t know how to floss and is too embarrassed to ask anyone so he asks John Constantine because he’s the only person whose opinion of him means nothing to him. John refuses until he sees Billy try, then he’s so shocked by his utter lack of understanding that he starts explaining out of befuddlement without realizing he’s actually teaching the kid and Billy leaves satisfied

Billy is a good boy who eats his greens but he can’t afford them from the store so he just eats grass because no one taught him that he can only eat specific greens. He tried to eat green arrows hat once but choked on the feather and decided to only eat natural greens like grass because he heard people say organic greens are better on the news once

Billy sometimes gets migraines from not eating enough or by eating questionable things that make him act loopy and sometimes people think he’s high but he’s NOT he swears he’s not guys guys he’s not high stop he’s not- Mary stop laughing at him the noise hurts his head and he’s NOT HIGH-

Sometimes marvel will accidentally say something that means something inappropriate without realizing, like calling someone an ‘escort’ to mean someone who takes you places but the JL giggle because they know he has no idea what he just implied and it’s hilarious

Mary and Freddy sometimes work together to prank Billy while in their hero forms because he can’t retaliate when people think he’s their dad and they get to absolutely devastate him with a magnificent prank without consequences. Or at least without magical/divine consequences, Billy will definitely prank them back once they’re back in their human forms

Hope these made sense! I’m going to sleep and hope my brain gets better and stops being a Jerkface McButthole

[junk-and-scrapss]

Mouthwashing x Omori yeaahh!!

If I had a nickel every time my life had been consumed by a horror indie game about a guy committing a crime against a woman, which his blond-haired bestie tried to cover up (in a way), and attempts to away from its consequences which only makes his mental state worse + there’s an overly cheerful comic relief character with a fuck ass bob I’d have 2 nickels. Which isn’t a lot, but its still weird it happened twice

I'm sorry for comparing my sweet summer child with HE WHO SHALL NOT BE NAMED but it had to be done ok😞

I forgot to draw it but I basically just assigned Hero as Curly as well. Him and Basil two are literally just diff sides of Curly split into two anyway lmao

DONT THINK ABOUT WHAT JIMMY AS SUNNY AND ANYA AS MARI IMPLIES I DIDNT MEAN IT OMGG LAMAOAOA

[bluegarners]

there tends to be a kind of under estimation in regards to dick’s attitude towards his parents. they’re more often used as The Reason for his path of heroism, and that’s true enough, but it’s a very focused Reason that often fails to include the actual Loving Parents. i would argue that thomas and martha wayne get more attention in regards to their loving on bruce, and in certain time traveling corners on dick as well, but it’s rare to see that kind of respect paid to john and mary grayson. the parallels we can draw between bruce and dick pretty much end after dick is taken in. we can count: loving parents; stable family structure; only child; bright future; horrific murder of parents; witness to said murder; and plot for vengeance as the core parallels between dick and bruce. where they begin to diverge is the point in which bruce becomes the guiding mentor for dick in how to channel that sense of grief and rage (though bruce had alfred, alfred played no part in diverting bruce from his self destructive path and encouraged it)

to that end, there’s a lot of talk about martha wayne’s pearls and mary grayson’s robin, but even then talk seems to only center around dick’s hero name and never what about the history the name implies. “robin stands for hope”, okay what else? martha’s pearls symbolize the catalyst for bruce’s transformation into batman, but does mary’s robin do the same? i think not, bc going back to the divergence between bruce’s and dick’s origins, though bruce remains the defining fork in the road for dick, if dick were raised in extremely similar circumstances as bruce, bruce would have more or less fulfilled the role that alfred did for bruce- which was mainly distant but caring adult figure that served to simply agree rather than direct. a reasonable conclusion, should bruce have fulfilled such a role for dick, would have been that dick should’ve become bruce #2. obviously, dick didn’t and the reason for that lies in john and mary grayson

this may ruffle some feathers, but there is a point to be made in the difference between the wayne parents and the grayson parents. let’s do some quick if thens: if alfred was left in charge of bruce, then alfred holds some responsibility in how bruce turned out. if bruce grew up to be someone emotionally closed off, then bruce is an emotionally distant, closed off adult. if bruce is an emotionally distant, closed off adult, then it stands to reason alfred reflects the same. so, if bruce and alfred are both emotionally distant, closed off adults, then when they take in dick grayson, dick will grow up to be an emotionally distant, closed off adult. right?

well, we all know that’s not how it turned out, and all reason for such a conclusion reside solely in the short time john and mary grayson raised their son. “but bruce had about the same time with his own parents. why did he and dick turn out so different?” and again i point directly at the implied differences in the wayne’s and grayson’s child rearing! the waynes represented a very nuclear family, one that is generationally upper class and in very prominent leadership positions. tracking the assumed and typical rearing patterns for that kind of family, though it may be a foundationally loving one, it’s also one that is radically different from the type the graysons represented. power and job structure rested solely with thomas and martha; bruce had very very little to worry about or any responsibilities other than making good grades and being a generally good son. comparing such a dynamic to the graysons, the power lines begin to blur a little. john and mary are employees, not leaders or heads of anything. however, they work in an extremely team oriented and cooperative environment- their earnings depend on everyone and themselves. though a prominent act in haly’s circus, they are not a completely solo one, and even then, it is a team, FAMILY act. since his birth, dick has been raised in an environment that focuses heavily on teamwork and perseverance. he took on enormous responsibility in being a part of the flying graysons, which likely wasn’t something he was being forced to do, young as he was. taking on a JOB as young as 9 years old, one that tests his physical, mental, and emotional strength sets him drastically apart from bruce when he was the same age. but let’s go back to john and mary again

no parent on earth would ever want to put their child in such a dangerous position as performing on the trapeze. and yet, john and mary did. why? dick’s initiative and his parents’ trust and strength. if john and mary believed that they lacked in some way that could put dick in harms way, i find it impossible to believe they would have ever let dick join them. dick did not learn his strength and endurance from bruce. dick already possessed those qualities before meeting him, otherwise dick would have never become robin and joined batman so quickly. the graysons set an ENORMOUS example for dick, one that set the tone for the rest of his life. taking into account the “it takes a village” familial structure that dick was raised in while with haly, dick would have learned that the strength of individuals COMBINED is what makes a person strong. even the formation of the flying graysons relies on trust in each other, that they will be caught in the next leap and that they can do these amazing stunts without fear of failure BECAUSE of the Faith they have in each others abilities. in addition to that, an environment that encourages strength and teamwork must also encourage FAILURE. one cannot learn from perfection- only through mistakes does one grow, and dick grew EXPONENTIALLY. dick grew, at the age of 9, to PRODIGY levels of talent and acrobatics. john and mary set an example so strong and so steadfast that it fostered dick’s stone-solid character for the rest of his life, even after they were gone from it

dick would have not survived his parents’ deaths were it not for the way they had raised him. it is why dick can move on and grow from it, whereas, as we’ve seen a dozen dozen times, bruce has failed to ever move on. coddled and adored as he was, bruce never had to face a challenge that his parents wouldn’t have gladly taken care of for him. the waynes did everything for their son because they loved him enormously, and what parent in the world would force their child to do difficult things- especially at 10 years old? of course bruce never had to confront things like failure or hardship before, his circumstances in life simply wouldn’t have allowed for it, and that is why bruce was so incapable of handling his parents’ deaths. thomas and martha did not prepare bruce for difficulties in any department, whereas john and mary introduced problems AND solutions to dick very early on. the SOLUTIONS bit is what set up dick for so much success- that’s the key difference between the two. dick had both parents AND guides, while bruce just had parents

dick would not have become a light in the world while with bruce were it not for john and mary grayson and their love and dedication towards their son. the credit for dick’s achievements as a hero may fall to bruce most of the time, but even bruce recognizes that he had zero part in the formation of dick’s strength of character. dick’s continued success and perseverance has EVERYTHING to do with those first 9 years he was with john and mary, and not a single one of the innumerable tragedies dick has endured has ever been able to disavow that

[pynkhues]

I would LOVE to read your analysis of louis as byronic hero as apposed to his reading as gothic heroine. lots of the latter and zero of the former in the fandom.

Sure! Mmm, okay, so –

What are we talking about when we talk about Gothic Heroes?  

When we talk about gothic heroes, we’re really talking about three pretty different character archetypes. All three are vital to the genre, but some are more popular in certain subgenres i.e. your Prometheus Hero may be more common in gothic horror, whereas your Byronic Hero might be more likely to be found in gothic romance. That’s not to say they’re exclusive to those subgenres at all, and there is an argument that these archetypes themselves are gendered (in many ways, I think people confuse Anne being an author of the female gothic with Louis being a gothic heroine, but I’ll get into that later), but this is also not necessarily something that’s exclusive.

Anyway, I’m getting ahead of myself, haha, so the three gothic hero archetypes are:

Milton’s Satan who is the classic gothic hero-villain. You can probably guess from the name, but he was originated in John Milton’s 1667 poem, Paradise Lost. He is God’s favourite angel, but God is forced to cast him out of heaven when he rebels against him. As an archetype, he’s a man pretty much defined by his pride, vanity and self-love, usually fucks his way through whatever book or poem he’s in, has a perverted, incestuous family, and a desire to corrupt other people. He’s also defined as being “too weak to choose what is moral and right, and instead chooses what is pleasurable only to him” and his greatest character flaw, in spite of all The Horrors, is that he’s usually easily misguided or led astray. (I would argue that Lestat fits into this archetype pretty neatly, but that’s a whole other post.)

Prometheus who was established as a gothic archetype by Mary Shelley with Frankenstein in 1818. Your Prometheus Hero is basically represented by the quest for knowledge and the overreach of that quest to bring on unintended consequences. He’s tied, of course, to the Prometheus of Greek myth, so you can get elements of that in this character design too in that he can be devious or a trickster, but the most important part of him is that he is split between his extreme intelligence and his sense of rebellion, and that his sense of rebellion and boundary pushing overtakes his intelligence and basically leads to All The Gothic Horrors.

And the Byronic Hero, who as the name implies, was both created by and inspired by the romantic poet, Lord Byron in his semi-autobiographical poem, Childe Harold’s Pilgrimage which was published between 1812-1818. The archetype is kind of an idealized version of himself, and as historian and critic Lord Macaulay wrote, the character is “a man proud, moody, cynical, with defiance on his brow and misery in his heart, a scorner of his kind, implacable in revenge, yet capable of deep and strong affection.” Adding to that, he’s often called ‘the gloomy egoist’ as a protagonist type, hates society, is often self-destructive and lives either exiled or in a self-exile, and is a stalwart of gothic literature, but especially gothic romance. Interestingly too, in his most iconic depictions he’s often a) darkly featured and/or not white (Heathcliff being the most obvious example of this given Emily Bronte clearly writes him as either Black or South Asian), and b) is often used to explore queer identity, with Byron himself having been bisexual.

Okay, but what about the Gothic Heroine?

Gothic heroines are less delineated and have had more of an evolution over time, which makes sense, given women have consistently been the main audience of gothic literature and have frequently been the most influential writers of the genre too. The gothic genre sort of ‘officially’ started with Horace Walpole’s 1764 novel, The Castle of Otranto and Isabella is largely regarded as the first gothic heroine and the foundation of the archetype, and the book opens even with one of the key defining traits – an innocent, chaste woman without the protection of a family being pursued and persecuted by a man on the rampage.

The gothic heroine was, for years, defined by her lack of agency. She was innocent, chaste, beautiful, curious, plagued by tragedy and often, ultimately, tragic. Isabella survives in The Castle of Otranto, but she’s one of the lucky ones – Cathy dies in Wuthering Heights, Sybil dies in The Picture of Dorian Gray, Justine and Elizabeth both die in Frankenstein, Mina survives in Dracula, but Lucy doesn’t. There’s an argument frequently posited that the gothic genre was, and is, about dead women and the men who mourn them, and Interview with the Vampire certainly lends itself to that pretty neatly.

Of course, the genre has evolved, and in particular by the late 1800s, there was a notable shift in how the Gothic Heroine was depicted. The house became a place of imprisonment where they were further constrained and disempowered, she was infantilized and pathologized and diagnosed as hysterical, and as Avril Horner puts it in her excellent paper, Women, Power and Conflict: the Gothic heroine and ‘Chocolate-box Gothic’, gothic literature of this era “explores “the constraints enforced [by] a patriarchal society that is becoming increasingly nervous about the demands of the ‘New Woman’.”

This was an era where marriage was increasingly understood in feminist circles to be a civil death where women were further subjugated and became the property of their husbands. This was explored through gothic literature as the domestic space evolved into a symbol of patriarchal control in the Female Gothic.

Female Gothic vs Male Gothic

Because here’s the thing – the female gothic and the male gothic are generally understood to be two different subgenres of gothic literature.

While there are plenty of arguments as to what this entails, the basics is that the male gothic is written by men, and usually features graphic horror, rape and the masculine domination of women and often utilises the invasion of women’s spaces as a symbol of further penetrating their bodies, while the female gothic is written by women, and usually features graphic terror, as opposed to horror, while delving more specifically into gender politics. More than that though, its heroines are usually victimized, virginial and powerless while being pursued by villainous men.

The Female Gothic as a genre is also specifically interested in the passage from girlhood to female maturity, and does view the house as a place of entrapment, but she is usually suddenly “threatened with imprisonment in a castle or a great house under the control of a powerful male figure who gave her no chance to escape.”

That’s not Louis’ arc, that’s Claudia’s arc twice over, first with the house at Rue Royale, then with the Paris Coven, and Lestat and Armand aren’t the only powerful male figures who imprison her.

Claudia as the Gothic Heroine

Claudia in many ways is the absolute embodiment of the classic gothic heroine. Even the moment of their meeting is a product of Louis’ Byronic heroism – his act of implacable revenge against the Alderman Fenwick which prompts the rioting that almost kills her. She’s a victim of Louis’ monstrousness before they’ve even met, and while he saves her, he arguably does something worse in trapping her in the house with both himself and Lestat, holding her in an ever-virginal, ever-chaste eternal girlhood, playing into Lestat’s Milton-Satan by enhancing the perversion of family and ultimately infantilizing her out of his own desire for familial closeness.

Claudia has no family protection before Louis and Lestat – a staple of the gothic heroine – she is completely dependent on them in her actual girlhood, and again in adulthood, never developing the strength to be able to turn a companion, to say nothing about the sly lines here and there that further diminish and pathologise her (Lestat calling her histrionic, Louis making her out to be a burden, etc.). This is all further compounded again with the Coven, and when the tragedy of her life ultimately leads to the tragedy of her death.  

Louis as the Byronic Hero

Not to start with a quote, but here’s one from The Literary Icon of the Byronic Hero and its Reincarnation in Emily Bronte’s Wuthering Heights:

“Generally speaking, the Byronic hero exhibits several particular characteristics. He does not possess heroic virtues in the usual, traditional sense. He is a well-educated, intelligent and sophisticated young man, sometimes a nobleman by birth, who at the same time manifests signs of rebellion against all fundamental values and moral codes of the society. Despite his obvious charm and attractiveness, the Byronic hero often shows a great deal of disrespect for any figure of authority. He was considered "the supreme embodiment [...] standing not only against a dehumanized system of labor but also against traditionally repressive religious, social, and familial institutions" (Moglen, 1976: 28).

The Byronic hero is usually a social outcast, a wanderer, or is in exile of some kind, one imposed upon him by some external forces or self-imposed. He also shows an obvious tendency to be arrogant, cunning, cynical, and unrepentant for his faults. He often indulges himself in self destructive activities that bring him to the point of nihilism resulting in his rebellion against life itself. He is hypersensitive, melancholic, introspective, emotionally conflicted, but at the same time mysterious, charismatic, seductive and sexually attractive.”

Louis as he exists in the show to me is pretty much all of those things, and I think to argue that he’s a gothic heroine not only diminishes Claudia’s arc, but robs Louis of his agency within his own story. Louis chooses Lestat, over and over again, he’s not imprisoned by the monster in the domestic sphere, he is one of the monsters who’s controlling the household, including making decisions of when they bring a child into it and when Lestat gets to live in it – he wanted to be turned, he wanted to live with Lestat in Rue Royale, and while there are certainly arguments to be made about their power dynamic within the household in the NOLA era, importantly Louis actually gained social power through his marriage to Lestat, particularly through The Azaelia, he didn’t lose it in the way that’s vital to the story of the gothic heroine.

Daniel Hart even said it in a recent twitter thread about Long Face, but there is an element of Lestat and Louis’ relationship that is transactional, and to me, for that to exist, they both have to have a degree of control over their circumstances and choices in order to negotiate those transactions. Claudia is the one who can’t, she’s the one who’s treated effectively as property, and she’s the one who lacks control over her circumstances.

While you could perhaps argue the constraints of the apartment in Dubai lend more to the gothic heroine archetype, I’d argue it as furthering the Byronic trope again by being representative both of Louis’ self-destruction and self-imposed exile. As Jacob has said a few times, Louis does seem to have known to a degree that Armand was involved in Claudia’s death on some level, and it’s that guilt and misery that has him allowing Armand his degree of control. The fact that Louis was able to leave Armand as easily and as definitively as he was I think demonstrates that distinction too – after all, to compare that ending to Claudia’s multiple attempts to leave the confines of the patriarchal house, both in Rue Royale and Paris, which were punished at every turn – first by her rape, then by Lestat dragging her back off the train, and then by the Coven orchestrating her murder.

Louis gets to leave because Louis can leave, he has both the social and narrative power to, and the fact that he does is, to me, completely at odds with the gothic heroine. Louis can, and does advocate for himself, Louis is proud, moody, cynical. Defiance is a key part of his character, just as his exile from NOLA society due to his race, and his chosen rejection of vampire society in Paris, is. He’s intelligent and sophisticated, travels the world, and has misery in his heart, guilt that eats him up, and self-destructive tendencies. That’s a Byronic Hero, baby!  

[pathologicalreid]

Margot you hate Maeve? :(

Whyyy? She‘s so pretty and has a nice voice and at the end of the day I support Womens rights and wrongs so hating her do keeping her ex-fiancé as a secret is not a solid reason to me! (lowkey joking but still whyyy?

long winded answer to this question below the cut

i do hate maeve! but i love beth riesgraf (if you ever want to see her in another show she’s in leverage her character’s name is parker and the episodes are in full on youtube)

maeve is a mary sue! she’s brought into the show and presented to viewers as a “perfect match” for spencer. we’re given a few phone calls periodically from their 8 months together and it’s just not enough to convince me as an audience member that spencer was in love with her. she’s even referred to as the love of his life which just gets further ruined as the show goes on (re: in season 15 when spencer implies he’s been in love with jj for 15 years).

they have no chemistry! and if you’re thinking “but margot you only see them talking on the phone” and to that i would say exactly! i have dms with mutuals with more chemistry than reid and maeve ever had. i’m observing their relationship with what i’m given as a viewer, and spencer had more chemistry with austin (52 pickup), dylan (hero worship), and dorian (rock creek park) than he did with any of his canon love interests (i’m adding max to the conversation)

i’m not convinced she was very good at her job 😭 b-12 and magnesium for chronic migraines is a fucking crazy recommendation from a geneticist because we see spencer going to all of these specialists and anyone who has ever had a chronic illness will tell you that a blood panel like that would’ve been the first thing they looked at!!! i know they weren’t technically doctor-patient, but there’s still some wonky power dynamic that i don’t like!

one of my biggest quarrels is that she had a stalker. she was dating an fbi agent who was part of this renowned unit. she never asked for help. in fact she refused to let him help even after he offered to bring the case to the team!!!! i had a stalker (years ago dw) and i absolutely would’ve accepted any help offered to me at the time!

maybe if they had given us more of them before the events of zugzwang she could have grown on me! if they had included their conversation about the blindfold so that we could see it again when diane brought it up we could’ve connected those dots and felt more involved in their relationship.

tl;dr, i don’t hate maeve as a person but i do hate her as a character, if that makes sense