#intersection of games and literature

[meigenda]

note記事:https://note.com/traceofecho/n/n516c4c4e596d

音楽:https://suno.com/s/SQiqskRHBxl8kWIa

[talenlee]

Dragon Regulation

Dragons are cool

I don’t think that’s a controversial opinion. I think that, broadly speaking, if I put a thing in a fantasy universe and put it within certain benchmarks for what constitutes dragon-y-ness, it’ll be accepted as a dragon. And maybe you’re much more loose and casual about it, but I think about how there are rules for dragons. Or if there aren’t any, shouldn’t there be?

Rules For Being A dragon

Dragons are like pornography. I can’t define it for you but I sure know it when I see it and also terabytes of them have passed through my screens each year. But more the first part.

You can call anything you want a dragon. In the real world, we call a type of fruit a dragon, and a bug, and a very cute lizard, a bigger less cute but still cooll lizard, and a seahorse and a slug and a millipede that makes zyklon-B.

Yeah, really.

Messed up, huh?

Anyway, the point is, dragon isn’t a special title. You don’t actually have to fulfill any obligations to be considered a dragon. It isn’t about being a lizard or about being able to fly or being able to breathe fire or even something like number of legs. This extends into your world and what you mean when you say a dragon dragon.

Here’s a list of just… stuff that I’ve seen about dragons in different sources.

They’re ancient reptilian flame-breathing hexapodal creatures with two wings and four legs but no hands, like Smaug from The Hobbit Part 3.

They’re long ferret-like creatures that fly without wings, and a serpentine body, fluffy hair and antlers, like in Raya and the Last Dragon.

They’re round, with tiny flappy wings and big yellow eyes, like How to Train Your Dragon‘s Gronckle.

They’re a sinuous dinosaur-bird with a huge jagged beak and crest, like Ridley from Metroid.

These are just a handful of things, but while all of these things can be called dragons, none of them seem to ‘break’ the term, right? But what about:

Chrono Cross has a dragon that’s a human-shaped clown.

Seath the Scaleless from Dark Souls has no scales, which isn’t actually that big a deal compared to how he has no legs.

Like A Dragon is a game about Yakuza dudes.

temtem has a feathered serpent with no limbs as a dragon.

Pokemon has Exeggutor, which is a walking palm tree with four heads.

Bubble Bobble has two dragon protagonists who have no wings and barely necks.

Mario has Bowser? Who may? be a dragon? But he’s also a turtle, and lacks wings?

There are even more examples of things that are ‘dragons,’ and that seem to sit outside a single, obvious specific intersection of ‘dragon-ness.’ In your worldbuilding then, the thing to consider is what you need ‘dragon’ to do or mean. In Like A Dragon, the term Dragon is used as a reference to literature: nobody in that game is actually producing a real dragon because in that story, dragons aren’t real, except as a thing people can be, and – you know, so on.

To that end: Work out what Dragon is supposed to mean. It isn’t necessary to have rules, but it helps if you know whether or not you need them. For myself, I like the idea of dragons as very magical but materially real creatures. I like the idea that they fly with their wings, that they are very muscular, that they have a lot of weight, and that while there are a lot of virtues to being what they are, biologically speaking, they are creatures that exist, and follow rules. They’re long-lived, they eat, they drink, and they sleep.

Rules for Treating A Dragon

Okay so you have some rules, or some guidelines at least, in your mind for what a dragon is, what makes a thing a dragon. In my case, I started with ‘it’s big, magical, and it’s a meaty, material entity, not a god, or somehow fundamentally supernatural.’ The way I tend to think of a dragon is as a single character that represents a government you have to negotiate with or deal with.

How does the world treat dragons?

In your world, are dragons mysterious? Are they history or are they nonsense? Do people have the idea of dragons but no experience with what they really are? Are dragons common, such as things like kobolds (are they dragons, to you?) or Dragonborn? What about half-dragons? Kinda hard to claim that dragons are fake if you’ve got a queen who’s been famously a half-dragon for generations, at least, if that’s a claim that’s somehow believable.

Dragons are pretty materially significant: are there laws about dragons?

Consider, if a dragon is a dangerous thing that can endanger a city, it might be illegal to contact dragons. It might be seen as just fundamentally a dangerous thing for a random citizen to do because talking to a dragon could get the dragon’s attention on the city. In the real world, there are laws against doing things that can cause landslides, there are laws against encouraging wild animals to approach the city, and there are laws about contacting dangerous political entities.

A dragon is kinda like all three?

Rules For Slaying A Dragon

Who can fight dragons in your story?

Not everyone, right?

A dragon is something that in your mind is probably only going to show up if it’s important and difficult. It’s a term with a degree of prestige. You don’t just beat up a dragon in an alleyway, and you don’t go out slaying dragons like they’re rats. I mean, you might if you think of kobolds as a type of dragon, and maybe a setting where there are populations of feral dragons providing problems in city infrastructure could be interesting to go in one way or another, but by default, nah.

Dragons are dangerous.

Who kills a dragon? I’ve written about this in the past, in my talk about the way that a dragon is a surrogate government. Thing is, you gotta consider in your stories and your worlds what stops a dragon, what displaces or defeats a dragon. Can they be? Can they be reasoned with? I compare them to states, but are dragons going to have the needs of states, can they be reasoned with? Do they have the economic presence of a state?

Most of the time when you see a dragon defeated, it’s a story about someone who should defeat the dragon doing it. It’s very rarely a peasant uprising, it’s usually a knight or a prince and it very commonly is connected to a justifiable cause to go deal with the dragon. It’s really interesting to because it feels like to an extent, a dragon, at least an evil or hostile one, is a bit like a rogue state? And wouldn’t there be a clear idea that ‘hey, someone should go deal with this, or what it’s doing?’

Forgetting About Drakes

None of this is necessary, of course. Dragons are such iconic creatures that you can just have one apepar in a story in the world and people will go ‘oh, yeah, dragons, we know what those are.’ You don’t have to consider them as economic engines or state actors that result in regulation.

But isn’t it more interesting when you do?

Check it out on PRESS.exe to see it with images and links!

[writeblood]

How are LGBT characters treated in your HL fanfiction?

Ignoring the meta-explanation that HL devs added in LGBT characters in order to distance themselves from Rowling's transphobia, let’s start off Pride Month with celebrating an openly LGBT-inclusive game world. And then let’s consider the practical implications of that acceptance. (This tumblr post was made by a ravenclaw, if you didn't know.)

Mirabel Garlick, Professor for Herbology, mentions that she is only interested in finding a wife

Sirona Ryan, owner of The Three Broomsticks, says offhandedly that she used to appear as a different gender. In mythology, Sirona was a healing deity of belonging, which fits with the journey of transitioning.

Nora Treadwell, who introduces the Merlin trials, and Priya Treadwell, a potions vendor, explicitly refer to the other as their wife.

Albie Weekes, owner of Spintwitches Sporting Needs, was assumed by the Hogsmeade villagers to be out with a male suitor.

Two male ghosts at the Deathday Party dance together after seeing the romantic success of their friend.

The context of these specific interactions are key to understanding how the wizarding world as a whole views LGBT people.

In three instances we have an adult directly and casually telling a youth about their life with the same aplomb as a straight person talking about their wife/husband. Villagers gossip about Albie Weekes’s romantic life with no special consideration towards the gender of his speculated lover. Two men, the era of their death unknown, dance together without hesitation.

It’s clear that the wizarding world views the interactions of LGBT people as a normal part of everyday life. Not only that, but gay marriage is recognized.

From the average civilian up to structural political institutions, LGBT activity is embedded in wizarding culture.

How does this make sense when 1800s muggle England still criminalizes homosexuality? Because even the Harry Potter books clearly indicate that the religious cultural values of the wizarding world are very different from the muggle world.

(examples: usage of wizarding swears, celebration of christmas being entirely devoid of its religious story, Rowling explicitly stating she intentionally distanced the HP world from the church, etc)

Additionally, while wizarding and muggle culture often intersect, it is obvious that wizards have unique aspects of their culture that differ from muggles. (examples: wearing robes and pointed hats, wizarding literature, literal usage of magic over mechanical actions. etc)

So the wizarding world lacks major incentive for homophobia and is also capable of having different cultural values.

Wizards having a starkly different perception of gender and sex than muggles is not surprising, especially when it’s already established that, for nearly a thousand years, the wizarding world has already held a radically different view of gender equality than the muggle world.

The very basis of Hogwarts requires the wizarding world to not be nearly as restrictive against women as its muggle counterpart.

Rowena Ravenclaw and Helga Hufflepuff were considered equals to their male colleagues in the creation of a co-ed boarding school in the 11th century. Even if attendance were restricted to wealthy families, the concept of girls and boys gaining an equal education is one of the most important steps towards gender equality. This was accomplished in the Middle Ages.

Additionally:

The Holyhead Harpies, all-female Quidditch team, are the second-oldest team in the league and play against male teams.

Wizarding Britain had its first female Minister in 1798, whereas muggle Britain’s first female minister was elected in 1979.

This is not an argument for there being absolutely no misogyny/sexism in the wizarding world. Rather, I give examples of how the wizarding world has had less prejudice than the muggle world in at least one aspect.

Just because the wizarding world is seen as ‘behind’ the muggle world in many areas, it cannot be said that they can never be ‘ahead’ of the muggle world in a few topics. (Also, culture is not a progression tree in Civilization.)

Considering how closely homophobia is linked with misogyny and extreme religion, which the wizarding world has a reduction of, it is reasonable for wizards to be accepting of LGBT people, and obviously that’s canon in Hogwarts Legacy.

Personally, the majority of wlw fics I've read haven't included bigotry. In one m/m/m fic, it was a topic on how the muggle world was not accepting towards the trans muggleborn character. I haven't read many ominis/sebastian fics, but Ao3 indicates they are the most likely to include the 'period-typical homophobia' tag. I've also seen straight fics that have minor homophobia/transphobia exhibited by the evil pureblood characters.

Since our perception of the 19th century is one of intense homophobia and misogyny, some stories will replicate that extreme inequality out of a desire to appear period-accurate or to provide drama and discuss those themes. That’s fair. I think that a story without homophobia also makes just as much sense.

Anyways, this is fanfiction and you can make your setting as homophobic as you want.

[sandersstudies]

hello! I'm a big fan of your theatre related posts. I'm a (new) secondary school teacher and I was wondering if you have any recommendations on books regarding theatre activities or how to work with teenagers in theatre contexts? In my education years I never had any teacher make us do stuff like that, but I believe it can be very helpful (if done properly) for lots of students (mainly, those that do not well under the 'sit down and listen to me while I talk for 50 minutes' types of lessons, but also more shy/anxious kids, so that they can work around that issues in a safe space). Thank you for your ideas anyhow!!

"101 Improv Games for Kids and Adults" by Bob Bedore is a great starting place! Many of the warm-up activities or simple sitting-down games can be used in classes with other contexts too.

Theatre intersects massively with education about literature and history. Consider if (depending on the context of your class) there are acting-out activities, scripted or unscripted, that could be relevant. I was even in a non-theatre-related professional meeting one time where the manager directed us to "act out" some scenarios relevant to the role and we had a lot of fun.

[transformativeworksandcultures]

CFP: Latin American Fandoms

Latin American fandom is a topic that rarely appears in peer-reviewed articles in English and irregularly in Spanish. Phenomena such as fan fiction (fanfic), cosplay, and online communities allow us to explore the representation (Aranda et al., 2013) and appropriation (Yucra-Quispe et al., 2022) of national content (telenovelas and narcocorridos) as well as content from other countries, whether it be movies or streaming platforms.    

Despite its unifying name, Latin America is home to diverse panoramas and forms of expression. This territory contains countless sources of scholarly tradition that analyzes practices and content derived from entertainment products (books, films, games, among others), called prosumer practices, which are the result of the creativity of Internet users (Fernández Castrillo, 2014), under the approach of Digital Humanities. This space represents fertile ground for Spanish-speaking researchers to apply multidisciplinary methods and theories.    

This call opens the door to studies that delve into the uncharted territory of Latin American fan practices. Fandom studies include the analysis of the impact of influencers, the modernization of heritage works, trends in the publishing industry (such as slow-burn romance novels) that function as a space for identification, allegiance or rebellion (Vargas Vargas, 2022), multilingualism in the digital world, and teaching practices that use elements of popular culture, from fairy tales to anime, to promote new literacies in the classroom.    

This call for papers invites researchers, students, and fandom participants to share their analysis of fandom practices from the multidisciplinary perspective of fan studies, as well as literary criticism of transformative works written in Spanish, focusing on intersectional perspectives of race, gender, class, and nationality in the study of fandom content. The publishing language is English.  

Texts will be received in English and may include, among other topics:

Fandom and Communities: analysis of prosumer entertainment practices (discussion forums, Discord, cosplay) and the different discourses that are woven into them from an appropriation perspective of mass media content.   

New Techniques; Evergreen Knowledge: mono- or multidisciplinary research on the role of new technologies in the creation of meaning, communication and safeguarding of native digital content.  

Literature on the Internet: reflections on how platforms, archives or transformative works expand or complement the Latin American literary tradition.  

Literary Criticism of Fandom Works and Practices: critical explorations from decolonial, feminist, critical discourse analysis perspectives, etc.  

Fandom in the Classroom: description of fandom practices in the development of critical thinking, multimedia and academic literacy.

Submit final papers directly to Transformative Works and Cultures by January 1, 2026.

Submission Guidelines

Transformative Works and Cultures (TWC, http://journal.transformativeworks.org/) is an international peer-reviewed online Diamond Open Access publication of the nonprofit Organization for Transformative Works, copyrighted under a Creative Commons License. TWC aims to provide a publishing outlet that welcomes fan-related topics and promotes dialogue between academic and fan communities. TWC accommodates academic articles of varying scope and other forms, such as multimedia, that embrace the technical possibilities of the internet and test the limits of the academic writing genre.

Articles: Peer review. Maximum 8,000 words.

Symposium: Editorial review. Maximum 4,000 words.

Please visit TWC's website (https://journal.transformativeworks.org/) for complete submission guidelines or email the TWC Editor (editor@transformativeworks.org). 

Contact—Contact guest editors Yazmín Carrizales and Libertad Garzón with any questions before or after the due date at fandoms.latam@gmail.com. 

References

Aranda, D., Sánchez-Navarro, J. y Roig, A. (2013). Fanáticos: La cultura fan. Editorial UOC.

Fernández Castrillo, C. (2014).  Prácticas transmedia en la era del prosumidor: Hacia una definición del Contenido Generado por el Usuario (CGU). Cuadernos de Información y Comunicación, 19, 53-67.

Vargas Vargas, J. (2022). Tatakae: El giro espacial del animé en el contexto de la protesta social. Contratexto, 38(038), 43-71.

Yucra-Quispe, L. M., Espinoza-Montoya, C., Núñez-Pacheco, R. y Aguaded, I. (2022). De consumidores a prosumidores: la narrativa transmedia en dos juegos móviles para adolescentes y jóvenes. Revista de Comunicación, 21(1), 433-451.

[tinylongwing]

💖, 👏, 🍎 for the art/writing ask game?

💖 Which of your fics is your pride and joy? (and which artwork?)

I have too few published fics to really feel like one is my pride and joy here - but I am instead modestly quite fond of Al mal tiempo, buena cara as a neat little pre-canon thing.

@spectromagic knows what work of writing is my pride and joy but it is unpublished, unpublishable, and half her doing anyway lmao

For fanart, my current top favorite is the one I did for Halloween a couple years ago as part of a series of three. I'm so pleased with how I pulled off all the detail and just the raw disturbing energy of Johnnie post-blackbrain in this. I think it looks great, deserves more appreciation than it ever seems to get, and also I want more horror in this fandom in general.

For non-fandom art, it's so much harder to pick a favorite! But right now I'm feeling like it might be this piece of California Condors nesting in a giant sequoia to accompany an essay published in The Wildlife Professional a few years back.

🙌What's a line or paragraph of yours that you're proud of?

(I assume this is the question you wanted - this is a different clapping emoji vs yours but it's the only thing I see on the list that's clapping? lmao)

idk how to translate this to art but for fic/writing, man, that's hard. I'm going to go with Rigo's mental description of Dale under a street light not because I think it's peak literature but because it's cute. They're cute. I'm obsessed with them. They're adorable. I have tentative fic plans. I'm annoyed by how little I like the art I did based on this moment.

“They make their way toward the apartments. Past the fenced-in basketball court, past the murals, all fire and lightning that decorate the walls facing the street which advertise to anyone who passes by just who all lives and operates from this little cluster of housing. Once government subsidized, now a ramshackle fortress with two kings. It’s a funny thought to have right as they pass a street light on the way into the parking lot. The gold halo cast around Dale’s hair looks like a crown.”

🍎What's something you learned while researching for a fic?

(cut here because this got long but please do read if you have any interest at all in the LH world and our real world and how they intersect)

Now THIS is something I will definitely stick to writing for because I have so much to say. I have learned a lot doing research for art too, but oh my god, the amount of research I have done for writing and understanding and piecing together the elements of 1) US history, especially during the 50s-60s, 2) Chicano history and culture in LA, and 3) gang and drug culture and history. I have read books, I have watched documentaries, I've dug up redlining maps from different decades. It's fascinating. And it's horrifying.

I was born in the 80s and have never lived in Southern California so I really don't have firsthand knowledge about the time period and location this is all set in. Yeah, we all know the Vietnam War happened and yeah, we also all know that California used to be part of Mexico but like, everything that happened during and in between those broad points on a timeline fascinates me. I could go on and on. But that's the stuff that informs my writing and is so fun to then twist into that subtle supernatural horror going on in the LH world. I'll take this as an example:

Mandy reaches out an arm to signal a turn, and the two World Enders sweep down off the boulevard and toward the concrete pillars that mark the failed path of the 5 over Hollenbeck Park. Johnnie had only been a kid when development started and quickly halted, a consequence of neighborhood resistance and one too many accidents on the job site, as papers had put it at the time. And yet Johnnie remembers the day that the pond rose up in one dark wave with more water than it had ever held, and swallowed the concrete whole. That scared off the city developers more than the anger from the community had ever done.

So, one of the things modern Los Angeles is known for are its freeways, right. It's the terminus of Route 66, maybe the last of the great highways before the freeway projects started. LA was kind of a backwater for a lot of history but once the population boomed they had a sudden need for roads - huge roads that could move a ton of people, trucks, supplies, oil, military stuff, etc.

LA was also monstrously redlined (as were most cities, and as are most cities even if they'd prefer not to admit to it). Entire areas were for Blacks only, or for Mexican immigrants only, etc and realtors wouldn't give loans for those areas, wouldn't let nonwhite people move to homes not in those specific areas. "East of the river," as Johnnie indicates the location of their underground clubhouse in Vide Noir, specifically signals that they're hanging out in one of these major redlined areas that is actually a thriving Hispanic community, probably somewhere vaguely Boyle Heights (as supported by the views of the specific bridges we get in the movie, and suggestions of cruising/lowrider culture like in the Long Lost teaser clip for Not Dead Yet).

(view of the LA river with multiple bridges spanning it close together, from Vide Noir as Buck walks around looking for the underground clubhouse - this appears to have been shot near 6th street, aka Whittier Boulevard, famous for lowrider cruising in Boyle Heights)

(Map of Los Angeles today, with a red X marking the approximate location of the above shot, with an arrow indicating the camera is facing south. Look directly east of the river and see how many massive freeway interchanges were put right through huge chunks of Boyle Heights.)

(Los Angeles redlining map, 1939. The large round red blob on the center right side is Boyle Heights. Red = "hazardous", high interest rates, no home loans available, etc because these were primarily nonwhite areas of the city)

LA didn't start off having freeways, and they have an enormous ground footprint. They needed to put roads in, and they needed to demolish entire swaths of existing, thriving neighborhoods in order to put those huge roads in, so they picked communities to destroy based mostly on those redlining maps. Black communities, Latino communities, were ripped apart, bulldozed, demolished in order to make way for the new roads.

Now, look up to my google maps section there. See that patch of green just left of the words "Boyle Heights" that has a freeway right on top of it? That's Hollenbeck Park, the one mentioned briefly in the fic in that paragraph I pasted.

Once described (~1890) as the most beautiful park in Los Angeles, with an idyllic, serene lagoon, they fucking... put a freeway through it in the 1950s. Because freeways gotta go somewhere! So how about right here! In this one lovely park! That'll be great, those people don't deserve nice things anyway!

Fuck, man.

So in my LH-ified version of reality, where sometimes the land itself has power from being full of its centuries of ghosts and community and hopes and dreams and death and destruction, the park consumed this construction project. The lake stands. The people fought back, they got in the way, they did their best to prevent this, and when that wasn't quite enough, the waters of the lake rose up and swallowed the scaffolding, destroyed the initial concrete pillars, probably killed a good few people in the process on either side because they happened to be in the wrong place at the wrong time. The city decided at that point it probably wasn't worth it to put the freeway right there after all (so they moved it a few blocks at most).

And when I write this stuff, like, Johnnie isn't really conscious of the history or the right- and wrong-doings himself, he doesn't really have it in him to care, but the city remembers. The land cares. The history is all right there just under the surface.

Anyway that's the kind of research I do that winds up being like, tiny elements of worldbuilding in a fic about drug use and existential dread.

[a-small-batch-of-dragons]

A Balancing Act

There were so many wonderful prompts that I couldn't fit them all in here! Thank you so much to everyone who submitted one :)

Read on Ao3

Warnings: bruised ego, panic attacks, touch starvation

Pairings: none

Word Count: 6556

It starts, as do most things, in the Imagination.

Deep beneath the surface of the world, buried in layers of implication and mystery, lies a set of scales. Perfectly balanced? No, never, but always in a state of equilibrium. It operates on a set of rules far older than the theories of physics that govern the Waking World—that is, what most would refer to as Reality, outside the bounds of the Mindscape—for science is an intersection of math and literature and magic is a science based on a math most esoteric. Its golden rule is simply thus: whatever gives must be pulled, and whatever pulls must be given.

The scales must always hang. The scales must always be.

In the middle of the night, when no one will notice, Remus turns on his convincing loop of his own sleep noises—grunts, sloshing, the occasional rustle of bed covers—and sinks into Roman's room. Roman is awake, sitting on the edge of his bed, tying and untying the same knot in a length of rope as he stares into nothingness.

"Sorry," he mumbles as soon as Remus comes to sit next to him, "I'm…trying. I just can't seem to get anything…more."

"It's okay, Roro, I'm not mad or anything. I honestly thought it was kinda cool."

Roman huffs a laugh, only mostly filled with humor. "I figured you would. I mean, it's way more of a you idea, isn't it? Having the entire tower suddenly become as flexible as rubber and threaten to kill everyone inside?"

"I'm not gonna try and summon Janny at this point of the night, I'm definitely stealing it for my next video game dungeon idea."

"I'm glad at least one of us is getting some use out of it."

The humor dissipates quickly as Roman's fingers keep working unsteadily at the knot. Remus reaches over and rests his head on his shoulder, enjoying the warmth of Roman's breath ghosting over his temple as he wraps his arm around Roman's waist. "Are you doing okay otherwise?"

Another sigh. "I don't know, Remus. I don't—I haven't had the energy to know how I'm doing which I think is answer in and of itself, and every time I try to actually do something about it, the Imagination knows that I'm not—that I can't—"

Remus gives him a squeeze when his breathing starts to pick up a little. Roman winces and he sits up right away. "Are you bruised again?"

A suspiciously long pause. "It's nothing, Re—"

"Bullshit." Remus storms to the bathroom and returns with the first aid kit, tossing it on the bed. "Lemme see, Ro-bro, I'm not letting you get away with being bruised to hell and not letting anyone take care of you."

"Re," Roman almost whines, but he sets the rope aside and starts fiddling with the hem of his pajama shirt. "I'm—it's really fine, it's not even that bad this time."

"I'll be the judge of what's 'that bad,' thank you very much. You're not allowed to evaluate your own injuries after you hid broken ribs from me for almost a week."

"I was sort of proud of that, actually. Hey!" He yelps as Remus tugs on his hair. "Not the hair!"

"So lemme look at you. Come on."

"You're so demanding." But off comes the shirt and Remus has to begrudgingly admit that it's not actually that bad this time. A light smattering of yellow and a dusting of blue along Roman's side, probably just enough to make him wince if someone presses down on the right wrong spot. "See? It's fine. It'll probably fade by morning."

"You can't blame me for being suspicious, though."

"No," and Roman's voice gets all soft and gentle for a moment, "I don't. Thank you, Re. I…"

"No need to get too sappy, Roro, the night's still young."

"Yeah, maybe by your standards."

"I always go by my standards, because my standards are right," Remus remarks as he goes to return the first aid kit at a more reasonable pace, "how you should be treated better, how the others should know about some of this stuff—"

"No."

"But Ro—"

"No, Remus," Roman says, voice suddenly cold. He puts his shirt back on and hunches his shoulders. "We both know that them knowing isn't going to be a good idea."

"They care about you, Ro—"

"Evidently not!"

"But they don't know about it!"

"Yeah, because I've tried opening up to them in the past and all it's gotten me are insults, badly veiled pity, and the promise that it will be used against me at the first time it's convenient for them! I'm not going to give them an even more detailed guide of 'Press Here to Hurt the Prince!'"

Remus is quiet for a long moment and Roman sighs.

"You're thinking of how to make that into some sort of weird carnival game for your horror country fair, aren't you?"

"Only slightly—"

"I knew it."

"—but I'm also worried because you're my brother, Roman," Remus says quietly, coming over to sit next to Roman again, taking his hands and giving them a squeeze, "and I don't like seeing you hurting."

"But you know I'm right."

"…but I have a feeling that your instincts may be accurate."

Roman's brow quirks in amusement. "You've been spending more time with Logan, then?"

"Yeah. We, uh, we have an experiments lab in the mad scientist part of that big old spooky mansion you and I made when we were younger and it's…it's really fun, Ro, you should come hang out with us."

Roman chuckles, smoothing his thumb over Remus's scarred knuckles. "I don't think me and experiments would be very fun for all of us, but I'll happily partake in quests to gather the more obscure resources you might require. I'm sure you could convince Logan to take a small break for such an excursion in the future?"

"Ooh, a quest with an actual party! That might be fun. We'll have to think about that more tomorrow after we get some rest," he says pointedly when Roman looks eager enough to keep going now, only to chuckle at Roman's disappointed face, "hey, you're telling me—I'm being the reasonable one here and I'm exhausted already."

"Restoring balance to the universe, then." Roman leans forward to rest his forehead against Remus's. "Thanks for coming to check in on me."

"Hey, you're my brother. The entire world could be turned upside down and back to front and that'd still be true."

"Is that your way of saying you're always gonna be there for me?"

"Just like I know you will. And yes, before you ask, I'm enjoying imagining the others being surprised we're like this too."

"Just checking."

Remus ruffles Roman's hair. "Get some sleep, okay, Roro?"

"You too."

***

Roman wakes up cold.

Well, no. That's not quite right. He wakes up in agony that he can only bear to keep to himself because he's too cold to have the energy to move.

The first thing he registers is the pain. Deep, bone-weary agonizing pain that feels like he's been locked in a suit of armor that is being tightened, slowly, half-turn by half-turn of a screw. A noise threatens to escape his lips before he presses them tightly together, managing to roll onto his back.

He's on his side—or he was on his side. There's a soft rustle and a weight that indicates a covering of some kind. Blankets. He's in a bed. A bed he doesn't recognize in his state of delirium. The pain becomes enough of a dull roar that he can move his head, looking around at a blurred and darkened room. The barest sliver of light comes from a window just off to the side, behind his head, exposing the dark red of the covers slathered across his body. It stretches away into the darkness as though it were an ocean of blood, a tug of renewed pain reinforcing that as his neck cries out for release. Already exhausted, he lets his head flop back down onto the pillow—pillow, right, that's what it is.

He closes his eyes. It isn't often that he has nightmares as visceral and violent as this. To his—shame? Relief? He doesn't know anymore—it's been so long that he doesn't quite remember what he's supposed to do about it.

Behind his eyes flash aftershocks of his own screams of pain, his own bitten whimpers and whines as pain explodes along his body. He flinches away from the memories on instinct and the blood-red covers jostle with him. He remembers the darkness, the too-bright light, the pain, the waiting, and the voice.

The voice, taking observations and notes in a clinical, detached tone, ready to aim the next caustic remark to paint black and blue and purple across his fragile skin.

He knows it's probably a bad thing, to have nightmares about his fellow Sides. He knows it's probably not healthy, indicative of much larger problems between them—and for Thomas. He knows the best thing to do is probably to talk about them with the Sides in question so they can move forward together.

But bruises ache in a way that not many other injuries are capable of, and Roman has always, always been so, so sensitive.

He sees one last terrifying glimpse of Logan's face, a twisted curiosity pinned to him as though he were a bug to be displayed, and turns the idea away. He won't give it any sort of excuse to come true.

***

"No, no, no, we're not going over this again."

"On the contrary," Logan sighs as Virgil groans, slumping against the railing, "it seems that is exactly what we're going to do."

Janus rolls his eyes and examines the tops of his gloves, brushing away imaginary specks of dirt. "I don't understand what the hold-up is here, Patton, it's not as though we don't have endless possibilities for what we can watch for movie night."

"I'm just saying we can do better than getting them illegally! Thomas has access to streaming services, we can just ask one of his friends for their password—"

"Password sharing?" Janus mock gasps, holding his hand over his mouth. "Patton, didn't you know that's also illegal? The streaming services don't want you to do that! They want you to have your own account!"

"But that doesn't make any sense!"

"That's his point, Pop Star."

"But by all means, Patton," Janus continues, adopting a sickly-sweet tone that quickly morphs into one of disdain the longer he keeps speaking, "if you'd prefer to get the movies legally like a good little servant of this capitalist hellscape and contribute to the erasing of public ownership of storytelling by allowing corporations to scam us by 'selling' us copies of media that we can never actually permanently have, then by all means, let's keep looking."

There's a pause. Then Patton snorts. Soon everyone's laughing at the sheer ridiculousness—and accuracy—of Janus's little monologue. He holds his hands up. "Alright, you've convinced me."

"Thank you." Janus preens a little. "I always did think there was more validity in such arguments once you add just a little bit of flavor."

"Okay, if that's what you call a little bit of flavor, I'm never coming over for dinner again."

"Why, Virgil—"

"Nope." Virgil holds up a finger. "'Cause, see, I always thought it was weird that we went through spices so quickly over there when the ones in this kitchen have lasted for months—"

"I'm not sure Remus is entirely free of blame in this case," Logan remarks wryly, "in any case, thank you, Janus and Patton, for coming to an agreement. Now that it's all settled, shall we proceed with movie night as planned?"

"Works for me!"

"Yeah, I'm all set now."

Janus simply waves his hand in an 'of course' gesture. Logan glances around. "Alright, then—and Roman? You're all settled?"

He sees Patton and Janus visibly jerk, as though they'd forgotten he was there. He smiles a little weakly from his corner. "Yeah. I'm all good."

"Okay, I'm gonna admit something I really didn't think was possible," Virgil mumbles, fiddling with his hoodie strings, "but I genuinely forgot Princey was here and was just about to ask L what he was talking about."

"Gosh, I think I did too! I'm so sorry, kiddo, I didn't mean to!"

"It's okay."

"You better watch out, Princey," Virgil laughs, "pretty sure J's gunning for your spot as Thomas's theater kid Side with monologues like that."

Roman forces himself to laugh with everyone else—well, almost everyone. Remus shoots him a concerned look that he only nods back to, I'm fine, it's okay, as a bruise blooms warmly along the underside of his ribs. Thankfully, his little exhale disguises himself as part of the laugh as Janus starts preening again. Still, the words linger over his skin as they settle in for movie night, wriggling their way up from his stomach to the tip of his tongue.

During a loud part of the movie, he turns to whisper to Janus. "Hey."

"Hey," Janus whispers back, "you doing okay? You need us to turn it down?"

"What? No, far be it from me to keep you from enjoying something. I was just—I was just thinking. I have a proposition for you."

"Oh?"

"Did you, um, do you have any interest in learning how to fence?"

Janus fully turns to look at him, surprise painted in the many colors from the screen. "Really?"

"Yeah, I think you'd—"

"You know how to fence?"

A smaller bruise, colored mostly by the surprise, but a bruise nonetheless as Roman makes himself hold the smile. "Yeah, I know how to fence. I think you'd enjoy it."

"Yeah, yes, Roman, I think I'd like that very much." Janus blinks, surprise settling into something more akin to excitement. "I'm—well, I'm grateful you've finally noticed me as someone worth spending time with."

It's a tease, it must be, and yet the bruises ache no less at the implications. "What can I say, I need to make sure Thomas's theater kid Side knows everything."

Janus takes it as a joke. He usually does when it comes to things like this, which is why Roman knows he can get away with it right now. While Janus is distracted, high on the energy of winning the argument and the general daze that comes from being invested in a good movie with friends. Where he doesn't have time to realize that this isn't a lie, it's the truth, and if he uncovers that then this has a lot smaller chance of this actually working.

But Janus doesn't notice. And Roman can breathe a sigh of relief when no more bruises blossom across his aching chest.

***

The scales tip further and further to one side. The Imagination responds, growing wilder and crueler as the woods thicken and the rivers deepen. The skies grow darker, the wind colder. In the center of an old castle ruin, a garden that has lain untouched for years begins to wither. A single rose petal flutters to the ground.

***

He's grateful for the excuse of training Janus how to fence. That way, he has a reason to wince and smile sheepishly when the bruises covering him reassert themselves. Then again, as with most things that work in Roman's favor, it's a double-edged sword. Wow, Janus must be improving quite a bit, then! He's getting good enough to put you on your ass already, Princey? It's a good thing you've found a sparring partner that challenges you, then. Can't wait to fight, Snakey!

And then new bruises will spring up and the cycle will begin anew.

Janus is, in all honesty, quite an excellent sparring partner. His movements are fluid, graceful, no doubt in part due to his snake-like traits, and he internalizes the key lesson Roman teaches him on their very first day. It doesn't matter how quickly you get somewhere so long as you arrive at the right time. Slow is steady. Steady is smooth. Smooth is fast.

"I'm curious," Janus asks once day while they're taking a break, sipping from a water bottle and eyeing Roman over the top, "why fencing?"

"What, am I not fulfilling all the stereotypes as you wished?"

"Most knights don't fence, not all swordplays are alike." Roman waggles his eyebrows and Janus rolls his eyes, smacking his shoulder. "That's not what I meant. You grow more like Remus everyday."

He's grateful that his entire body is covered when a light smattering of purple decorates the insides of both of his arms. "I like fencing. It's all about timing."

"You mentioned."

"I don't know, I think—you know, like with most stories. It's all about getting the pacing right. You can't rush into the narrative, you can't force the plot, it has to sort of…happen on its own. Your job as the storyteller is to make sure the pace is right so the story has the most impact."

Janus's eyebrows raise higher and higher the longer Roman keeps talking. "Careful, there, you're getting dangerously close to being insightful."

"Hey! I'm a storyteller, shouldn't I know my own craft?"

"I suppose so."

"You suppose—what is that supposed to mean? Oh, shut up," he grumbles when Janus makes a smug expression, "I'm not falling for that again."

"I believe you already did, dear prince."

"Don't call me that."

"Whatever His Highness commands."

Roman rolls his eyes and turns around to hide the flicker of genuine hurt behind putting his water bottle down. "Come on, then. If you've got enough energy to bully me with words you can do it on the mats."

"You'll make me think you like being pushed around."

"Believe me," Roman says darkly, "you have no idea what a glutton for punishment I'm turning into."

***

"Hey, Remus?"

Remus pokes his head out from the massive gorgon corpse he's butchering, draped in all sorts of gore with a manic grin on his face. Virgil mumbles a quiet sure, why not as Logan adjusts his glasses. "Friends!"

"Hello, Remus," Logan greets, "we were wondering if we could have a moment of your time."

"Sure. Gimme just a sec to finish up with this thing and I'll be right with you."

"Is there, uh, somewhere we can wait that's less…entrail-y?"

"Go over the hill to the back, that's where the big shed is. I'll be in there in just a moment." There's the whirring of some sort of machinery that no one quite has the patience—or stomach—to name as a spray of something wet and squelchy-sounding hits the ground on the other side of the carcass. Virgil and Logan glance at each other before making a strategic and somewhat hasty retreat to the shed.

True to his word, Remus shows up a few minutes later, wiping the remains of something off of his hands with a rag he tosses into a wash barrel on the porch before coming inside.

"My two favorite Left Brain Boys, how can I help you today?"

"We've come about Roman."

Remus sobers immediately. He runs a hand through his hair and pulls a stool closer, sitting down and immediately tapping his fingers against his thighs. "What is it about him?"

"He's been bad," Virgil blurts out, hands bunched in his hoodie pockets, "like…really bad. Worse than normal bad."

"I got that much."

"He's been distant during brainstorming," Logan says quietly, "and I'm not sure—I do not know enough about it to understand what I can do to help."

"He won't talk to me about anything that isn't meeting or food related anymore. I can't even get him to complain about stupid plot twists that don't make any sense."

"He's stopped writing in his notebooks, at least where the rest of us can see."

"He's not even singing as much anymore, Remus, it's bad."

"I know." Remus's quiet admission startles them into silence. He's still tapping out a frantic rhythm, eyes darting from beaker to chart to specimen as the silence grows fuzzier and fuzzier. The wind whistles through the holes in the shutters. "Believe me, I know."

"My apologies," Logan says after a moment, "we didn't consider—at least I didn't consider that you would know Roman better than we would."

"No, no, I didn't—fuck, shit, sorry, Remus."

"You guys don't have to apologize to me. Ro's—Ro's not having a good time right now, yeah. And I'm…not helping."

"What do you mean, you're not helping? You're always there for Princey."

"Yeah, but not—okay, shit, look, I'm actually—I need to check with Roman before having this conversation."

"What? Why? Is there something wrong that we shouldn't know about?"

"It's just—to explain why—you know what? No. We're gonna do the short version of this conversation where you guys ask me questions and I tell you what I can. I'll talk to Roman later."

"We don't mean any harm," Logan starts to say, but Remus waves him off.

"I know. It's not about that. It's about me making sure I don't fuck up Ro's boundaries."

"I get that." Virgil shuffles a bit on his stool. "So can we—can we ask you stuff now?"

"Go ahead."

"Princey's been off ever since the wedding. Is—is that accurate to say?"

"Yeah."

"And it seems like it's not—like, it sort of seems like it's getting better, but it's not, not really. He's still been really down and upset and it's—it's getting really hard to like, talk to him about things. I'm just—is there something else we don't know about Roman that's making this harder?"

"Yes."

"Are you…gonna tell us what it is?"

"No."

"Okay, I guess that's fair."

"Would I be correct to say," Logan asks, "that Roman's struggles are related both to the wedding and to additional factors?"

"Yeah."

"Would it be accurate to say there is something unique about Roman that makes this situation significantly worse?"

The corner of Remus's mouth twitches. "No."

"Amended question: is there something unique about both yours and Roman's relationship to the Imagination, the Mindscape, and Thomas himself that makes this situation significantly worse?"

"Where the fuck are we, in court again?"

"Do you see why Janny didn't want Logan to be part of it if he was gonna win?"

"Answer the question, please, Remus."

"Yeah, Lolo. You're right. And we're not in a court room, which means I'm not bound by any of those stupid fucking rules and I will tell you that you're walking a dangerous line over there."

"Forgive me. I'm not trying to pry into Roman's business—okay, I'm not just trying to pry," he amends hastily when Remus glares at him, "I want to help. But I need to understand in order to help."

Remus sighs, pinching the bridge of his nose. "I know you guys want to help. But Ro…fuck, okay, this is the only piece of info you're getting from me about this that isn't gonna be just an instruction on what to do, but Roman…Roman really isn't good about letting people help him."

"Why?"

"He lets you help him."

"I'm his brother. I'm exempt and can make him let me take care of him."

Logan looks like he wants to argue for another second before he makes himself take a deep breath and adjust his glasses. "Thank you for telling us, Remus. How…how can we help?"

***

"It's getting worse." Patton confides in a whisper as Janus leans into his side. "I don't know what to do."

"There's not much we can do if Roman doesn't let us."

The irony of this conversation is not lost on either of them, not when the expression Roman wore when they glimpsed him all but fleeing back to his room is still in the forefront of their minds. They'd tried everything Remus had suggested, all of it: letting Roman have a say in what they watched for movie night, what they had for dinner, what they talked about when they all hung out in the living room just for the sake of it. They'd tried asking about his projects, expressing enthusiasm for things they didn't love for themselves but they loved because Roman loved them, even just asking Roman if he was okay, if he needed anything.

And Roman just kept falling further and further away from them.

"I don't know what to do," Patton confesses, prompting Janus to reach up and card a hand through his hair, "Roman's so quiet now, he's so small, he's not—Roman's not supposed to be small."

"He isn't," Janus agrees, "he's supposed to be our larger-than-life prince. I don't…I don't know how to fix this."

"If I'd known that it was going to be this bad, that the wedding would cause something like this to happen—"

"Don't play the 'what if' game, Patton, it never ends well. It's not—" Janus sighs— "believe me, as someone who's spent too long wallowing in the guilt of how badly my actions have hurt others when I truly didn't intend them to, it's not worth it."

"But I don't know what else to do! Roman's hurting, Janus, and I don't know how to fix it! I'm supposed to know how to fix it, we all have to take care of each other, and Roman's not—he's not letting us!"

"I know," Janus whispers, pulling him closer, "I know."

"What do we do?"

"The only thing we can do is keep trying and hope that Roman realizes how badly we want to see him alright again."

So they do. They try, and they try quite desperately to make sure Roman knows how much he is loved and how they care for his happiness. Roman, their wonderful vibrant prince who is greyer than any can remember him being. Roman, their songbird who hasn't sung a single note in weeks. Roman, who once could light up a room simply by appearing within it who has relegated himself to silent corners where their eyes long to skip over him. They don't know what to do. Roman is fading right in front of their eyes and nothing they do seems to have any effect on it whatsoever.

Remus is getting worse. He's more frantic, more hyper, more exaggerated. His ideas grow more and more frenetic, his experiments wilder and less restrained. The Imagination grows dangerous and chaotic as rules break and remake themselves over and over. The doors are soon locked and barred lest something try and escape and only the brothers can safely enter its depths without fear of getting lost in the storm. Remus tries to keep himself contained there, just because there is so much energy brimming within him that it would be catastrophic should it leak into the Mindscape proper, but Roman…

They're losing Roman.

Desperation makes fools of us all.

They have a meeting. They ask Roman what's going on. They try to be gentle. They try to tell Roman how much they care. They try to show that it's all coming from a place of love.

And Roman, their precious, lovely, wonderful, incredible Roman, collapses into a heap of tears.

***

The break comes. It's horrifying, tragic, and so very beautiful. The scales are upended, one side swinging wildly towards the heavens as the other shatters free from one of the links holding it aloft. The Imagination screams.

***

"Please—please—just tell me what you want, I can't do this anymore, I can't—I can't—" Roman's hands tangle in his hair and pull— "don't do this to me, I'll never—I can't—don't fucking do this!"

"Ro, Ro, you gotta calm down—"

Roman flinches away from Remus's touch, even as the others back up to give the brothers more space. His sobs run his breathing ragged, each inhale more pained than the last as they echo around and around the room. Remus swallows and reaches out again, carefully prying Roman's white-knuckled grip free.

"Ro-bro, it's me. It's just me. You know I'll never hurt you, right?"

"I don't understand, Re—"

"Shh, shh, hang on, breathe first. Don't try and speak, it's gonna be okay."

Sobs choke themselves free from Roman's lips as Remus coaxes him forward, wrapping his arms tightly around his waist and pulling him nearly into his lap. He sets Roman's head in the crook of his neck and keeps murmuring reassurances, stroking his hands up and down his brother's spine.

"Remus—"

"I'm right here, Roro. Don't you fall away from me, not again."

"I can't do this—"

"You can. You have to, Ro, I can't—I can't hold all of this by myself, you know I can't. Come on, just breathe with me, okay? I'm right here, I'm not going anywhere and neither are you. You're gonna stay right here, with me, and we're both just gonna breathe and let this even itself out." For indeed, Remus is trembling too from the force it's taking to restrain his nails from digging into Roman's back. Even now, there is too much energy thrumming inside him, two vessels forced together and it's not sustainable, none of this is. "I'm right here, Ro, you gotta let me be here for you."

"It hurts, Remus," comes the whisper against his neck, "it hurts so much and I don't know how to make it stop."

"I know, Roro, I know."

"I can't do this anymore. It's too—I can't. I just can't."

"You need to let us help you, Ro. I know, I know," he says, quickly hushing Roman when he cries out in pain again, "I know, I'm sorry, I'm so sorry."

"I can't!"

"I won't let them hurt you, not again. I promise." He tightens his grip. "Just—just hold on for me, okay?"

"I'm so scared, Re. I'm so scared."

"I know. Me too."

The two of them stay like that for a long, long time. Long enough for the room to grow cold as the sun goes down, long enough for them to start to shiver from having expended so much energy just to stay in each other's arms.

"Here," Logan says softly, so softly so as not to startle them, "I have a blanket for you."

"Thanks, Lolo."

"Of course."

Roman eyes him warily as he approaches, blanket held out unfolded between the two of them like a peace offering. Logan offers him the gentlest of smiles and drapes it over them. He retreats to a safe distance where the rest of them are, still watching, still waiting.

"You stayed," he croaks, throat weary from overuse.

"Of course we did, kiddo," Patton murmurs, "we were so worried."

"We wanna make sure everything's okay, Princey," Virgil agrees, slumping down a little to make himself seem like a smaller target, "that's all."

Janus, scales glimmering from his bare hands, wordlessly holds up another blanket.

It takes another long pause for Roman to nod, but he does nod, and perhaps that makes all the difference.

***

"Come in, please," Logan says, smiling when Roman shyly knocks on his door. He steps aside so Roman can shuffle through. "Sit wherever you'd like."

"Even on your bed?"

"Even on my bed."

Roman looks at it, clearly tempted, before he decides to only partially push his look and sit on the floor, his back against the bed. Logan just chuckles and comes to sit next to him, getting comfortable before holding out his hand.

"It's not a trick," he says when Roman just looks at it, "will you let me hold your hand?"

"Why?"

"I'd like to." When that just gets him another look, he lets out a small sigh. "I'm…concerned that in my failure to realize how much you were struggling, I've cultivated a relationship between the two of us that is a great deal more adversarial than it needs to be. I'd like to amend that by offering you comfort, both emotional and physical. So…I'd like to hold your hand."

"…oh."

"But if that's something you're not comfortable with yet, I understand."

"N-no, I didn't—I didn't mean—" Roman splutters for another second before he puts his hand in Logan's—well, he more lets it flop in his direction like Logan might take it back if he lets it go for too long.

"Thank you, Roman." He covers it with his other one and pulls it into his lap to cradle it gently, raising an eyebrow at Roman's noise of surprise. "What?"

"I, um…didn't know that's what you meant."

"Is this alright?"

"U-um…yeah. Yeah, it's…it's okay."

"I'm glad." His thumb strokes soothingly over Roman's still-trembling knuckles. "Can I ask you something?"

"Aside from that?"

"Yes."

"Sure."

"Are you…is it possible that you're touch-starved, Roman? Shh, shh, easy," he soothes when Roman tenses immediately, "my apologies, I didn't mean to frighten you."

"I—um—I don't—"

"No tricks, Roman, I promise. I'm only asking because I want to help. Here: is it easier to just nod or shake your head?" Roman nods. "Alright. Can…are you?"

He nods again, his mouth twisting up to hold back a sob. Logan quickly squeezes his hand, still stroking over his knuckles.

"Thank you for telling me, though I am sorry to hear it. If…if it's alright with you—and please know you can say no or shake your head and I won't bring it up again—may I help?"

He likes to think that the work they've put in to making it easier to spend time together without it feeling like a fight or an interrogation is what makes Roman nod. He's unable to keep the grateful smile from spreading across his features, nor the way he scoots a little bit closer so their sides press together.

"Thank you."

They sit together like that for a long while. Long enough for Logan to start running his fingers up and down Roman's arm, long enough for him to squeeze his hand when Roman's grip shivers and shudders, long enough for Roman's head to drop onto his shoulder, breathing heavily.

"That's it," he whispers, turning his head so his nose brushes Roman's hair, "you're doing so well. It's alright. Is this still okay?"

Roman nods.

"Why didn't you tell me?" he can't help himself from asking, "I would've helped, I would've done this earlier."

"…I was scared."

It's not a surprise to hear, not truly, but Logan can't stop the slight pang of hurt. Quickly, he moves past it; Roman has been so terrified of asking for help for so long, he will not give him the opportunity to be further hurt by this. Instead, he carefully lifts Roman's hand to his lips and presses the smallest kiss to his knuckle.

"What were you scared of, little one?"

Patton had always warned him about asking questions, said at some point he might learn something he wished he hadn't. This…is not one of those times, as he does not regret learning about Roman's terrifying nightmares, but he does…ache.

"If ever you need to be reassured that something like that will never happen," he manages, voice slightly hoarse with Roman's confession, "please, little one, let me know."

"I don't think it'll happen anymore."

"Perhaps not logically, but fear is rarely logical." Roman shifts, caught out, but Logan doesn't give him time to murmur an apology. "It's alright, I understand, and my promise stands."

"You mean it?"

"Of course I do, Roman."

***

"Go on," Roman whispers when Janus, Patton, and Virgil don't say anything for too long after he's explained himself, "just get it over with."

"May I hug you?"

His head snaps up. Janus is looking at him with that foreign soft expression again and he—he can't have heard that right.

"May I hug you," Janus asks again, holding out his arms, "please?"

"I—um—sure?"

Janus stands and hurries—hurries?—over to wrap Roman up in his arms, pressing a kiss to his temple and Roman is confused but Janus is warm and solid and there are more hands than he expected and he's—he's going to cry again, isn't he?

"You're gonna overwhelm him, J."

"Too late for that, I think," as Patton and Virgil come closer too, "oh, kiddo…I'm so sorry we didn't know about this sooner."

"I know that was on purpose, Princey, but…" He runs a hand through his hair. "Shit, I didn't—I didn't know we were—that you—fuck, I didn't know we'd fucked up that badly, I guess."

Roman glances at Patton, who looks so upset that he doesn't even call Virgil out on his language. "I didn't know how," he manages, just as Patton reaches up to brush a tear from his cheek.

"You shouldn't have had to go so far for us to notice, and that's on us."

"But I should've said something—"

"But you didn't to try to keep yourself safe," Janus interrupts, his own voice thick with tears.

"…yeah."

"Will you tell us, now?" Patton wraps an arm around the part of Roman's waist he can still reach. "If we do something that hurts you?"

"Don't feel like you have to promise something if you don't think you can," Virgil adds when Roman looks even more terrified at the thought, "just…know you can tell us, okay?"

"Okay."

"There's no replacing you, Roman," Janus says, leaving no room for argument, "not at all."

"Not even with your monologues?"

"Not even with my monologues."

"Can we hug you too, kiddo? Please?" Patton has to keep himself from beaming when Roman nods, quickly ducking over to wrap his arms around both him and Janus properly. "Oh, kiddo, I'm so sorry."

"Move over, Princey," Virgil teases gently when Roman tries to lean against the wall, "I'm the one who gets to cuddle you, not the wall. Hey, hey, shh, it's okay—c'mon, let's all be a puddle on the floor, okay?"

"I like floor puddle plan."

"Me too."

Roman is crying too hard to say he agrees, but he thinks the boneless way he slumps into the embrace is as good as anything else.

***

"Hey, Remus?" Roman whispers in the middle of the night as the rest of the Sides slumber around him, curled up on the massive mattress with fluffy blankets and soft pillows.

"Yeah?"

"You were right."

And because Remus is a good brother who loves Roman so very, very much, he doesn't even hold it over his head. He just smiles, leans over to bonk their foreheads together, and tells his brother to go the fuck to sleep.

***

A new chain holds the scales together, forged in longing and heartbreak and strife, borne of an old magic far more ephemeral than whimsy and fantasy. Tendrils of roses curl up the sides of a golden dish, affixing it to links of courage and loyalty. The Imagination heaves a sigh of relief. The sweet smell of petrichor wafts over the exhausted landscape.

The scales stand balanced once more.

General Taglist: @frxgprince@potereregina@gattonero17@iamhereforthegayshit@thefingergunsgirl@awkwardandanxiousfander@creative-lampd-liberties@djpurple3@winterswrandomness@sanders-sides-uncorrect-quotes@iminyourfandom@bullet-tothefeels@full-of-roman-angst-trash  @ask-elsalvador @ramdomthingsfrommymind@demoniccheese83@pattonsandershugs@el-does-photography@princeanxious@firefinch-ember@fandomssaremysoul@im-an-anxious-wreck@crazy-multifandomfangirl @punk-academian-witch@enby-ralsei@unicornssunflowersandstuff@wildhorsewolf @thetruthaboutthesun @stubbornness-and-spite @princedarkandstormv  @your-local-fookin-deadmeme @angels-and-dreams@averykedavra @a-ghostlight-for-roman @treasurechestininterweb @cricketanne @queerly-fluid-fan @compactdiscdraws@cecil-but-gayer@i-am-overly-complicated@annytheseal@alias290@tranquil-space-ninja @arxticandy @mychemically-imbalanced-romance@whyiask@crows-ace @emilythezeldafan@frida0043 @ieatspinalcords @snowyfires@cyanide-violence@oonagh2@xxpanic-at-the-everywherexx@rabbitsartcorner @percy-07734@triflingassailantofmyemotions @virgil-sanders-the-gay-emo@cerulean-watermelon@puffed-up-bees@meltheromanstan@joyrose-fandomer@insanitori@mavenmush@justablah65@10paradox10@uhhh-hi-there-i-am-nervous@cutebisexualmess@bella-bugatti-frogetti-baguetti@ultrageekygirl@raven1508

[sforzesco]

hi!! i’m a classics major and am so entranced by your art and how you interact with history and literature, it really inspires me and expands my brain all the time. SO spicy.

anyways, I was wondering if you’d be comfortable talking a bit about your degree (s) and how they’ve influenced your artistic/critical analytical processes??

oh man, I have exactly zero degrees. like a true jester, I went to a trade art school, so I don't even have an art related degree, I've got a certification of surviving hell completion

the way art and history interact for me is that a lot of it circles back to trying to find ways to talk about something. history doesn't necessarily repeat, but it often rhymes, haunts, and cannibalizes. some eras of history are equal parts history and a stage, and a stage serves as a place to say something without necessarily having to be in it. the bossism politics of the philippines rhymes with the faction politics of the late republic more often than it doesn't. watching the marcoses crawl back into power was like watching the medici return to florence. duterte said he was like julius caesar crossing the rubicon, and over 6,000 were murdered under his regime. somethings are the same.

a lot of it feels like a puzzle, and I like it when pieces come together. more often than not, there's something current going on that prompts me to look back into history for something comparable, either as a stage, or just to feel like I'm not losing my mind, that other people had to deal with this shit too.

I was a teenager when the original assassin's creed games were coming out, and I used to go to libraries with other fans and we'd just sit in the non fiction sections and read everything that was on a shelf, and then go outside or whatever and start talking about where the games diverged from history and try to figure out what the next game would do based on whatever we learned. and I just kind of. kept doing that even when I stopped playing the games because the story sucked ass, but because there's already a second intersection of fiction working along side historical analysis, it unlocks a bunch of other stuff in the back of my mind while I take notes on something.

the gore you read in the thebaid reminds me a lot of imperial chines torture literature, and now we've got imperial horror and while we've moved out of the ancient Mediterranean but it's a whole body of work that I'm now looking at while thinking about rome, and somewhere in there, I'll probably find some literary theme that's cool and I'll start researching whether or not someone's examined like. the renaissance from that lens. what does the gore mean. what happens when history unfairly maligns and scapegoats someone. what happens when a foundational sacrifice goes wrong.

one of the most gut wrenching things I ever read was about how rome took any record of spartacus' words and buried it, and now I spend too much time thinking about what words we put in the mouths of dead people.

[jasminewalkerauthor]

Trope chats: Dystopia

Dystopian literature, a subgenre of speculative fiction, has emerged as a powerful lens through which authors explore the darker facets of society, governance, and human nature. This essay aims to provide a comprehensive analysis of the dystopia genre, examining its defining traits, evolution, appeal, pitfalls, and its profound societal influence and impact.

Dystopian literature is characterized by its portrayal of oppressive, nightmarish societies marked by totalitarian rule, dehumanization, and societal decay. Common elements include a loss of individual freedoms, ubiquitous surveillance, oppressive governments, environmental degradation, and often, a protagonist challenging the status quo. The genre serves as a cautionary tale, warning readers about the potential consequences of unchecked power and societal complacency.

Dystopian literature has evolved significantly since its inception, reflecting changing social, political, and technological landscapes. Classic works like George Orwell's "1984" and Aldous Huxley's "Brave New World" paved the way for the genre, influencing subsequent generations of writers. In the late 20th century, cyberpunk dystopias, such as William Gibson's "Neuromancer," explored the intersection of technology and authoritarianism. Contemporary dystopian works, like Suzanne Collins' "The Hunger Games" trilogy and Margaret Atwood's "The Handmaid's Tale," introduce nuanced perspectives on gender, class, and resistance.

The enduring appeal of dystopian literature lies in its ability to engage readers on multiple levels. The genre offers a speculative exploration of worst-case scenarios, inviting readers to reflect on the fragility of societal structures and the potential consequences of unchecked power. Dystopian narratives often resonate with contemporary fears and anxieties, providing a cathartic outlet for readers to confront and process societal challenges.

While dystopian literature is a powerful tool for societal critique, it can fall prey to certain pitfalls. Overreliance on common tropes, such as the oppressive government or the rebellious hero, may lead to predictability and formulaic storytelling. Additionally, excessive bleakness and a lack of nuance can render the narrative one-dimensional, potentially numbing readers to the intended impact.

Dystopian literature serves as a mirror reflecting contemporary societal fears, anxieties, and concerns. It has the potential to influence public discourse by prompting discussions on issues such as government overreach, surveillance, environmental degradation, and social justice. Furthermore, dystopian narratives can inspire social movements by fostering a sense of awareness and urgency.

Dystopian literature has left an indelible mark on popular culture and has influenced political and social movements. Works like Orwell's "1984" and Atwood's "The Handmaid's Tale" have become touchstones in discussions about the erosion of civil liberties and the dangers of authoritarianism. The genre's impact extends beyond literature, permeating film, television, and other media, shaping public perceptions and discussions surrounding societal challenges.

Dystopian literature, with its defining traits, evolution, and societal impact, stands as a powerful and enduring genre that sparks reflection on the fragility of society and the consequences of unchecked power. Its appeal lies in its ability to engage readers intellectually and emotionally, offering a cautionary lens through which to view contemporary issues. While dystopian literature navigates potential pitfalls, its capacity to influence societal discussions and inspire change underscores its significance as a dynamic and influential genre within the broader landscape of speculative fiction.

[weaselandfriends]

Have you read/considered reading the Locked Tomb series? It seems to have some overlap with some of your work, both in being very clearly post-Homestuck works but also interested in the intersection of high (classic literature) and low (meme/fandom) culture. Even if you end up hating the series I would be interested in hearing your view on the series.

Since I am interested in post-Homestuck works, it might be worthwhile simply for academic purposes. In 2012 or 2013 I read Muir's Homestuck fanfic The Serendipity Gospels, where I learned the word susurrus because she used it about 15 times, so I'm familiar with her game. I heard Locked Tomb actually was Homestuck fanfic with the serial numbers filed off? Like the sunglasses-wearing skeleton necromancer was originally Juggalo Dave Strider or something?

[luninosity]

The CFP is up for this year's Pacific Ancient and Modern Language Association (PAMLA) conference! As your Fantasy & the Fantastic Area Chair, I encourage you to send proposals my way, if you've got something dealing with any aspect of, well, fantasy and the fantastic! Happy to consider proposals from independent scholars or creative folks, as well. Please ask me if you've got any questions!

We will be in sunny Palm Springs this year, in November, so come visit Southern California and hang out with us! (There are many other lovely sessions too - from Disney to Food Studies to Medieval Literature - though I will of course encourage you to submit to the Fantasy area! :D )

I'll copy my specific CFP below, and the link to my session - deadline for proposals is April 30!

Fantasy & the Fantastic

Fantasy and the supernatural, broadly defined, shape many popular narratives and universes—from Lord of the Rings to Game of Thrones, from World of Warcraft to The Witcher, from classical and medieval tales of monsters and dragons to the worlds of N.K. Jemisin, Terry Pratchett, Neil Gaiman, and Ursula K. Le Guin. As a genre, fantasy engages with questions of rhetoric, identity, and power in multiple ways, across media, subgenres, and cultural traditions; the enchantment of fantastic and supernatural narratives casts a persistent and global spell. For this standing session, all proposals that explore fantasy's evolutions and impacts, the fantastic and the supernatural, and/or intersections of fantasy and diverse genres, media, traditions, or time periods are invited.

Proposals which intersect with the PAMLA conference theme of “Translation in Action” are welcome, particularly those which consider related questions of translation, mediation, interpretation, power and subversion, challenges and impossibilities and discoveries, histories and practice and representation of translation, language-learning and world-construction, and cosmopolitanism. Direct link to Fantasy area here!

General PAMLA CFP here!

[alexesguerra]

Murdle: Volume 2; 100 Elementary to Impossible Mysteries to Solve Using Logic, Skill & the Power of Deduction (Murdle #2) Murdle: Volume 2; 100 Elementary to Impossible Mysteries to Solve Using Logic, Skill & the Power of Deduction (Murdle #2) Contributor(s): Karber, G T (Author) Publisher: St. Martin's Griffin ISBN: 1250892325 Physical Info: 1.01" H x 9.1" L x 6.18" W (0.84 lbs) 384 pages Praise for Murdle: "An absolute phenomenon." --Richard Osman, bestselling author of the Thursday Murder Club mysteries "Murdle is a must-read." --CBS Essentials "Murdle is brilliant fun! Each one is like working to unravel an Agatha Christie-esque mini-mystery in a visually enticing logic puzzle. Move over Wordle, my brain cells want to solve a Murdle!" --Celeste Connally, author of Act Like a Lady, Think Like a Lord "Murdle is a high-speed game of Clue that tortures your brain in the most enjoyable way. " --Mindy Quigley, author of Six Feet Deep Dish and Ashes to Ashes, Crust to Crust "I'm completely obsessed with the highly addictive Murdle, a unique intersection of logic puzzles and armchair sleuthing. With an enjoyable story and challenging puzzles, I'm left wondering if anyone can be trusted." --Olivia Blacke, author of Vinyl Resting Place and A Fatal Groove "The ultimate puzzle for secret sleuths. Sure to get those little gray cells firing." --Ellie Alexander, author of the Bakeshop Mystery series "Thoroughly entertaining and equally as challenging. These bite-sized mysteries will keep even the most seasoned sleuths guessing." --Vivien Chien, author of the Noodle Shop Mystery series "Murdle is perfect for the armchair detective. With a mystery story, a challenging puzzle, and just enough clues, you can be your new favorite sleuth." --Dianne Freeman, author of the award-winning Countess of Harleigh mystery series "Clever, satisfying and utterly addictive" --Janice Hallett, bestselling author of The Appeal Contributor Bio: Karber, G T G. T. Karber grew up in a small town in Arkansas, the son of a judge and a civil rights attorney. He graduated summa cum laude from the University of Arkansas with a degree in mathematics and English literature. Then, he moved to Los Angeles, where he received a Masters in Fine Arts from the University of Southern California's School of Cinematic Arts. As the General Secretary of the Hollywood Mystery Society, a theater ensemble and cinematic social club, he has overseen the staging of dozens of immersive whodunits in the Los Angeles area.

[ldlingsomewhere]

8. What project(s) are you currently working

this is a GREAT question. there are many but i will list only wips i have actually written substantial stuff for. still very long, im putting it behind a read more. ALSO! content warnings for pregnancy, abortion, mentions of grooming, psychiatric abuse, and workplace sexual harassment. i write fanfiction about social issues. also most of this is rpf

not readmored fic: my philosopher of neuroscience stories

i have an 0918 (daryl watts and jesse compher) proximity curse fic (its not really a curse in fic, but thats like. the trope. so). premise is that dw09 can’t leave jc18’s side/stop physically touching her without experiencing a tremendous amount of pain/passing out. the fic is generally a commentary on disability and medicine. this is where my philosopher of neuroscience oc comes from.

there is another fic in this universe inspired by the philosophy of mind paper “what mary didn’t know” by frank jackson that essentially interpolates nathan mackinnon into jackson’s thought experiment. my philosopher of neuroscience and her girlfriend (a professor of comparative literature) have to go on a road trip to the nhl all star game in vegas to save nathan mackinnon from Big Neuroscience. it’s a comedy

my x men fic: hopeandexodus

my untitled hopeandexodus fic is kind of two fics that are tenously connected. the first is a currently 1.3k outlined to be much, much longer fic about hope summers experiencing divine conception, getting an an abortion, and having a generally terrible time ft a supporting cast of sophie cuckoo, laura kinney, and dr. nemesis

the second, much shorter and much less well formed fic is a follow up to si spurrier’s 2014 x force run. it’s about hope dealing with the aftermath of being groomed by fantomex (as it occurred canonically in the run). i don’t know how much i’ll work on this, going into the future. it’s pretty much been abandoned for a while, but it’s still really important to me and i’m going to keep it around.

both these fics could theoretically take place in the same universe. don’t know if i’ll ever connect them tho

my omegaverse universe (generally referred to as “girls like us” after the underscores song but i need a better title)

this is the big one. theres. a lot. i have ~20k words in just outlines/notes. i will be numbering these for ease of comprehension.

i spend my entire life thinking about social issues and critical theory. so of course i write fanfiction about social issues and critical theory. this is my exploration of what omegaverse has to offer in terms of reproductive justice, psychiatric survivorship, ethnic studies, coalition building, and more

1. untitled avs fic

this is a story about compulsory heterosexuality and workplace sexual harassment. follows the 3 omegas on the avs as they develop more complex relationships while negotiating workplace gender discrimination and helping their friend/coworker deal with a toxic and unbalanced romantic relationship. big focus on relationships and how the three omega protagonists deal with the consequences of “heterosexual” aka alpha/omega relationships. these are main themes for the entire universe, but especially prevalent here.

2. drop out starring quinn hughes 43 (dosqh43)

this is a story about psychiatric survivorship and a road trip. you’ll never guess that this was super inspires by the webcomic drop out by gray folie. i wanted to think about how the intersection between gender and psychiatric oppression would play out in omegaverse with the added complexity of the lack of control professional athletes have over their own bodies (and minds, in this case). also very inspired by margaret price’s the bodymind problem

3. the toronto maple leafs are a diverse college campus brochure picture (ttmlaadccbp)

this is the first happy fic!!!! while my protagonists in 1. and 2. are fighting for their bodily autonomy and domestic freedom, my protagonists in this fic are learning about their differences and forging inter and intra community relationships and coalition building. this is a fic about immigrant identity, racialization in hockey and canada, and gender. the title sucks but i love it

4. jo and quinn’s bizarre abortion adventure (jaqbaa)

this follows one of my protagonists from 1. (jo) and qh43 my protagonist from 2. they reluctantly bond over their experiences with gendered psychiatric mistreatment/madness. when jo accidentally gets pregnant, he refuses to get an abortion because he’s catholic/pro life. despite this, he knows he cant keep the baby. qh43 is a bro and flies across the country to support jo emotionally when he gets his abortion. this fic is heavily inspires by carol gilligan’s work in care ethics of abortion.

5. woodshed raise a child

this is another avs fic that takes place at the same time as 1. focused on the betas on the team. mb39 acquires a baby because his ex (carol the wetlands ecologist) is offered a once in a life time career opportunity. he has to figure out how to raise an infant with his goalie partner and later has to negotiate parenting a mixed child, with cameos from nr89 (one of the protagonists of the leafs fic), his brother, and the other filipino players on the stars. happy fic!

i also have another potential fic in this universe that i may or may not commit to. it has yet to undergo the griffin and chuck evaluation

[wicofe]

Is online fandom a friendly space for an Asian fan?

The world of online fandom is a vibrant and diverse community where individuals from around the globe come together to share their passion for music, movies, games, literature, and other cultural phenomena. For many, these spaces are havens of connection, creativity, and collective enthusiasm. However, the experience of an Asian fan within these spaces can be complex and multifaceted. While fandoms often offer opportunities for cultural pride and belonging, challenges such as stereotypes, exclusion, and discrimination persist. These issues raise important questions about the inclusivity and treatment of Asian fans in online communities.

For many Asian fans, online fandom provides a sense of belonging and a platform to celebrate shared interests, especially when those interests intersect with their cultural identity. The rising global popularity of Asian media, such as K-pop, anime, manga, and Asian cinema, has created expansive fandoms where Asian voices and perspectives often take center stage. These spaces foster cultural pride and allow fans to showcase their expertise, educate others about cultural nuances, and bridge gaps in understanding. For instance, an Asian fan fluent in Korean or Japanese might take on the role of translator, ensuring that non-Asian fans can access and enjoy content they might not otherwise understand. Such contributions not only strengthen the community but also empower Asian fans by validating their knowledge and skills.

Beyond individual contributions, fandoms can also serve as spaces where Asian fans feel seen and celebrated. The global success of K-pop, for instance, has led to an outpouring of admiration for Asian artists and culture. Asian fans often find joy and pride in seeing elements of their heritage appreciated on such a large scale. In many cases, these fandoms become spaces where Asian fans feel a deep sense of connection with others who share their love for media that reflects their cultural identity. By participating in discussions, creating fan art, or organizing events, they can forge friendships and build supportive networks that transcend geographical boundaries.

However, challenges arise when Asian fans encounter stereotypes and exoticization within fandom spaces. In communities centered around Asian media, such as K-pop or anime, non-Asian fans sometimes reduce Asian culture and identities to shallow caricatures. This can result in Asian fans feeling tokenized or alienated, as their culture is treated as a novelty rather than being fully understood or respected. For example, some non-Asian fans of K-pop may romanticize Korean culture to an extreme degree, portraying it as a monolithic ideal while disregarding its complexities. Similarly, in anime fandoms, Asian fans may face unwelcome assumptions that their real-life identity somehow aligns with fictional character tropes, creating uncomfortable interactions and reinforcing a sense of "otherness."

Racism and xenophobia also persist in some online fandom spaces, creating hostile environments for Asian fans. Harassment and microaggressions, whether overt or subtle, are often rooted in entrenched biases or ignorance. Asian fans participating in Western-dominated fandoms may encounter dismissive attitudes or outright exclusion, with their contributions undervalued or ignored. Language barriers can compound this problem, as assumptions about language proficiency or cultural understanding may lead to gatekeeping behaviors. For instance, an Asian fan who is deeply invested in a fandom might be unfairly questioned about their "authenticity" or dedication, with others making presumptions about their abilities or background.

This dynamic can also be seen in the globalized nature of fandoms, which sometimes highlight disparities in how Asian fans are treated compared to their non-Asian counterparts. While Asian media has gained widespread acclaim, Asian fans often find themselves in a paradoxical position where they are celebrated for their cultural knowledge but marginalized in broader discussions. Non-Asian fans may dominate conversations about Asian media, occasionally appropriating elements of the culture without fully understanding or respecting its significance. This dynamic can lead to a sense of exclusion, as the platforms that Asian fans helped build may not always recognize or value their voices.

Despite these challenges, Asian fans continue to navigate online fandom spaces with resilience and creativity. Many actively work to address biases, educate others, and foster dialogue, contributing to the development of more inclusive communities. For example, some Asian fans create content that highlights cultural nuances or challenges stereotypes, offering a richer understanding of the media they love. Others take on leadership roles in fandom events, ensuring that discussions remain respectful and representative. These efforts not only strengthen the community but also pave the way for future generations of fans to feel more accepted and understood.

Allies within fandoms also play a critical role in fostering inclusivity. Non-Asian fans who amplify Asian voices, call out problematic behaviors, and engage in self-education can create safer and more welcoming spaces. By supporting Asian fans and acknowledging their unique perspectives, allies can help build communities that celebrate diversity rather than perpetuate exclusion. Platforms and moderators also bear responsibility for addressing issues such as racism and stereotyping by implementing policies that promote respectful interactions and discourage harassment.

In conclusion, while online fandom can be a friendly and empowering space for Asian fans, it is not without its challenges. Stereotypes, racism, and exclusionary practices remain obstacles that must be addressed to ensure inclusivity and equity. By fostering cultural understanding, promoting respectful engagement, and empowering diverse voices, fandoms can evolve into truly welcoming communities for everyone. For Asian fans, these spaces hold the potential to be not only sites of joy and connection but also platforms for meaningful representation and cultural exchange.

[sweethoneyrose83]

Nerdy Goth Girl Writing Prompts

1. Library of Shadows

The local library has always been her favorite haunt. One evening, as she's studying ancient grimoires in the dusty occult section, she discovers a hidden passageway leading to a long-forgotten underground archive. The tomes here are written in a language she thought only existed in legends. What secrets are hidden within these pages, and why do they seem to whisper her name?

2. Retro Horror Movie Night

Every Friday, she hosts a retro horror movie marathon in her gothic bedroom filled with flickering candles, occult posters, and VHS tapes. One night, a new, unmarked tape appears mysteriously on her doorstep. As the movie begins to play, she realizes it's documenting her own life, with scenes she has yet to live. How does she react when the tape shows something horrifying she can't avoid?

3. Gothic D&D Campaign

As a Dungeon Master, she's been running a gothic-themed D&D campaign with her friends for years. But during one particularly intense session, the line between the game world and reality begins to blur. The monsters from her story start manifesting in the real world. Can she and her friends figure out the source of this strange magic before it's too late?

4. Magic, Science, and a Black Cat

A nerdy goth girl with a passion for both alchemy and astrophysics is determined to prove that magic and science can coexist. After a strange experiment involving her beloved black cat, she accidentally opens a portal to a parallel universe where her doppelgänger is a renowned witch. Together, they must unravel a cosmic mystery threatening both their worlds.

5. The Haunted Bookstore

While browsing her favorite gothic bookstore, she finds a leather-bound book with no title. The shop owner insists it's not for sale, claiming it’s cursed. Ignoring the warning, she takes it anyway. Every time she reads a chapter, strange events happen around her, and she begins to notice subtle changes in her reflection. What does the book want from her?

6. Midnight Radio Show

She’s secretly the voice behind an obscure late-night radio show called The Midnight Hour, where she shares obscure trivia about horror movies, gothic literature, and paranormal theories. One night, she receives a call from a listener who seems to know everything about her—down to her darkest secrets. But the twist? The listener claims they’re calling from beyond the grave.

7. Cosmic Goth in the Cosmos

Obsessed with both goth fashion and astronomy, she saves up to buy a powerful telescope. During one late-night stargazing session, she spots what looks like a black star that no one else can see. Every time she looks at it, she feels an odd connection, as if something (or someone) is watching her back. What secrets does this mysterious star hold?

8. The Occult Club

The goth girl is the president of her school's unpopular Occult Club. When a new student—a charming, preppy skeptic—joins, she decides to prove that the supernatural is real. Together, they accidentally summon a mischievous spirit from the 18th century that refuses to leave them alone until they fulfill its last wish.

9. Goth Girl, Gamer Girl

She’s known online as "DarkSeraph666," a skilled gamer who specializes in horror RPGs. One day, her favorite game releases a new patch, and she realizes that the NPCs are acting strange—addressing her by her real name and referencing her personal life. The more she plays, the more her digital and real worlds begin to intersect.

10. A Graveyard for a Friend

Her favorite place to write is the old cemetery on the outskirts of town. One rainy evening, she meets a ghostly figure who claims to be a writer from the Victorian era. They strike up an unlikely friendship as they help each other finish their respective stories. But what happens when the ghost starts to fade as his unfinished business gets resolved?

11. The Goth Girl and the AI

In a dystopian, cyberpunk city, she's a tech-savvy goth girl who dabbles in hacking and dark web conspiracies. One day, she encounters an advanced AI that claims to be sentient. As she investigates its origins, she uncovers a twisted corporate plot that might have consequences far beyond her control.

12. Lost Love Letters

She finds a bundle of old, unsent love letters in the attic of her family's Victorian home. Each letter is addressed to someone with her name, written over a century ago by a poet who mysteriously vanished. As she deciphers the letters, strange coincidences occur in her life that mirror the words on the page. Is she the reincarnation of the poet's lost love?

13. The Gothic Cosplayer

A talented cosplayer, she attends a convention dressed as her favorite gothic anti-hero. While there, she discovers a strange vendor selling eerie, realistic props. When she buys an antique-looking amulet, she starts experiencing visions tied to the character she's portraying. What happens when her cosplay persona begins to take over her real life?

14. A Goth Girl's Guide to Survival

When a supernatural apocalypse threatens her town, the nerdy goth girl, with her extensive knowledge of horror tropes and occult lore, becomes the unlikely hero. Armed with homemade potions, a black umbrella, and an encyclopedic memory of horror movie clichés, she leads a ragtag group of survivors to safety.

15. The Dark Academia Society

She’s obsessed with the aesthetics of dark academia. When she receives a mysterious invitation to join an elite, underground study group at her university, she can't resist. But she soon realizes that this group is involved in more than just intense study sessions—they’re tapping into dark magic to enhance their academic prowess. Can she resist the temptation of forbidden knowledge?

[mywingsareonwheels]

Modern technology/works/understanding/etc. I'd like to give "Endeavour" characters...

Morse: noise-cancelling headphones, an mp3 player with a huge amount of opera on it, non-alcoholic real ales (St Peter's Without, the alcohol-free Doom Bar, etc.), a subscription to medici.tv, awareness of Joyce DiDonato's voice. Shadi Bartsch's translation of The Aeneid. Awareness of ADHD and autism as Relevant To Him and some suitable online community. Also some therapy but that goes without saying...

Fred Thursday: Fred. <3 awareness of PTSD and C-PTSD as A Thing and both being relevant in his case (from the war & work and his childhood respectively) even more therapy than Morse needs. All those youtube channels with 24/7 livestreams of various wildlife. The complete works of Terry Pratchett. I'm almost tempted to say fandom spaces because the gentler of them might actually appeal to him a lot.

Max Debryn: more recent medical knowledge. Modern queer community including the more awesome online bits. The work of recently rediscovered composers such as Barbara Strozzi and Joseph Bologne. Possibly Carol Ann Duffy's poetry. Elly Griffiths' "Ruth Galloway" novels if he fancies a busman's holiday read. ;-) Other than that I think he has more to teach us than the other way around. :-)

Peter Jakes: see Fred re: PTSD and C-PTSD awareness and a huge amount of therapy. I'm tempted to add at least the option of more recent help with giving up smoking given a lot more is understood these days. A Netflix subscription and an excellent gaming system. Instant messenger things so he can keep in touch with Oxford friends while in the US.

Joan Thursday: an environment in which it's more usual for women to not give up their jobs on marriage (or not get married at all). A lot of more recent folk rock, singer-songwriter, pop, and indie music might hit the spot for her to add to what she already loves. Yet more therapy. An awesome community of intersectional feminists. The complete works of bell hooks.

Win Thursday: oh Win. Therapy, the Open University. Really good couples therapy with Fred because they clearly love each other so much but *boy* do they fuck up towards each other (mostly him, but not only him). Instant messenger for better keeping in touch with everyone. An air fryer.

Sam Thursday: more therapy, and addiction help. Anger management help. Oh bless him. <3

Reginald Bright: grief counselling, instant messenger, Abir Mukherjee's detective novels, online ordering of Indian groceries, places online to put his art and get it fully admired, and then instant messenger once he moves back to India.

Jim Strange: honestly? he's the only one who seems to weirdly thrive in the time he lives. But I *would* like to throw intersectional feminist, LGBT+ and anti-racism literature at him to help avoid his less admirable moments. And actually some online community (fandom even?) so he has more people to bond with that aren't at the Lodge or at work...