#I wrote down a LOT.

[m0thisonfire]

I would love to hear more about Caramele! What are his likes and dislikes? What's his backstory? [I am giving you permission to infodump. Go wild.]

AH OKIE OKIE- GONNA WRITE EVERYTHING DOWN WHILE I STILL HAVE MOTIVATION

I’m going to put his likes and dislikes at the end of this wall of text, and there is a lot, a lot to get down. Just think of one of those walls of texts that have the pinned up photos, on top of me still learning all the Graveborn lore. So it’s gonna be fanon and my stuff mixed with canon.

Also I started answering this and then went to check something on the lore site, and everything got deleted, so I am still suffering over that-

But to begin:

Caramele was born in a small out of the way country town simply called ‘Stone’ somewhere in the Lightbearer empire, named after the huge stone statue of an unnamed hero that watches over the village. There isn’t anything really remarkable or noteworthy about Stone except for the Blacksmith shop and the widowed Baron who lives there with his son. The only ‘remarkable’ things would be the barrows that are scattered around the town and territory, and the ancient magic that the land seemed to be ‘blessed’ or infused with.

A few of the townfolk can channel a little of the magic to grow crops and flowers, and heal their sick and injured to a very small degree. Nothing that can be used in battle or war, so isn’t really considered powerful magic outside of usefulness.

The Barrows, on the other hand, nobody goes near those unless it’s to pay respect to the dead. Stone would have been built around the time of the First Hypogean War, before Annih went AWOL and created the Hypogeans, so the gravesites belong to powerful mages and soldiers from long, long ago. And in the folklore that was passed down from generations, the barrows would have been protected by ‘Barrow Wraiths’, monsters/protectors of the crypts, created to hunt down grave-robbers and desecraters that would threaten the dead and items within. Not strictly ‘Graveborn’, but certainly not living either.

One such barrow would be nearby the shop in the woods.

Caramele’s family is very keep to themselves for many reasons, but his mom Winnifred, and himself, were always the social butterflies of the family, the ones to often go to the town and pick up orders for his dad. He enjoyed his community, despite the occasional odd look he would get from outsiders due to his albinism, but the locals were more than accepting of the Smiths’ son. Rubin Smith is much more introverted than his wife and children, a big and imposing man of few words and fewer friends, but takes pride in his work and family. Caramele also has two older siblings that spend most of their time hunting and foraging, twins named Addison and Aven. Almost everyone in the family knows how to work the forge, and even then Winnifred helped around the shop keeping it clean and organized. The twins hunted, their mother ran the house and gathered orders, and Caramele helped his father in the forge.

When Caramele would be around ten, disaster would strike.

Remember the Baron’s son I mentioned? Well, turns out, he is a not good person. A very unstable not good person. As in, the kind of unstable not good person you would never trust with Divine magic or sharp objects, which, unfortunately, Leon le Menteur had access to both. In abundance, enough so that when he grew up he went into the Heresy Inquisition in the Lightbearer Temple. Which, in itself, is a bad idea. On top of the fact he is one sadistic guy who would target anyone ‘different’. Different like Caramele.

Leon would be twelve at the time, Caramele ten, and a vicious plot would be unfolding in the Baron’s manor that no one even knew of. Under the cover of being a guest at the noble’s party, a stranger (Vedan) would be paying two grave-robbers to infiltrate the Barrow near the blacksmith’s shop, looking for a powerful spellbook he would use later on (Isabella’s book).

Long story short, the grave-robbers infiltrate the crypt and successfully grab the book, return it to the stranger, end up getting poisoned via wine to erase witnesses, and unintentionally woke up one of the Barrow Wraiths through their desecration and thievery.

The stranger would escape into the night never to return to Stone, yet there would be one life he would indirectly change forever.

While the thieves were stealing the book, Leon would have trapped Caramele in the woods nearby as an ill gotten joke before returning to the Baron’s party. And as the night got late and his family got worried, Winnifred would have gone out by herself to find him.

She found Caramele and helped him. The Barrow Wraith found both of them before they could escape.

When Caramele did eventually reach home after his mother sacrificed herself distracting the Barrow Wraith, his outlook on life would be changed drastically. He would be more reserved, friendly, yes. But he would be wary, even outright hostile to most nobles well into early adulthood, especially Leon. Nevermind the Barrows, he would live the rest of his life terrified of the dark and dead.

His family fell into silent suffering despite the seemingly indifferent yet sad demeanors. Rubin became more reclusive, barely speaking outside of his home unless it was for orders or favors for his neighbors. The twins were still lighthearted and goofy, but they would be adverse to speaking about their mother. Caramele, now spending most of his time in the forge to distract himself and becoming quite antisocial, would immediately change the subject with a pointed tone, growing as quiet as his father.

How did the boy every become a Circus Ringmaster, you may ask?

Thank his siblings for that. Noticing their little brother growing more reclusive as he aged, on his fifteenth birthday they begged their father for tickets to take him to a circus. They had hoped something new and exciting would help their brother out of his depression, and Ruben surprisingly agreed. At first, Caramele was less than enthusiastic when they arrived to the huge circus tent.

And then, once they sat down among the crowd, the show began. And for the first time in five years, Caramele would feel Wonder. Whimsy. Curiosity and genuine excitement. And he smiled, for the first time in years.

And he knew exactly what he wanted to do for the rest of his life.

After the show, he searched for the Ringmaster and begged, pleaded to be mentored so he could join the circus too.

The Ringmaster at the time was planning to retire soon anyway, and was more than delighted to mentor the teen to take his place as the new leader. Since the circus traveled often and Caramele was stuck in Stone for the moment, the Ringmaster devised a way to mentor him from afar, writing down spells, tricks, and physical exercises for the boy to practice while the circus was traveling. Every year, around Caramele’s birthday, the troupe would return, and for the two weeks they were near the town, the teen was scored and directed in his abilities.

To Rubin’s relief and pride, his son began branching out, becoming more open and social like he had been before. Caramele spent more time outside the forge practicing his magic and honing his skills. The magic in the land helped him, having grown up on the blessed territory allowed Caramele to wield his magic easily, and eventually it began growing in strength the more he practiced. He trained, and he trained hard, impressing his mentor and the troupe with his dedication and growing passion. He even began performing the tricks and magic for other children and adults in the village, growing more certain in his path with every joyful smile and laugh he received.

The light he could see in others was slowly chasing away the darkness he had seen before, the darkness inside of him.

Alas, I can’t let this man be happy for long, so of course Leon does something drastic again.

At this point, Leon is well beyond obsessed with his childhood (crush) target, and once again corners Caramele in the woods. It would be a week before Caramele’s twentieth birthday, before his debut on the stage and before he took over the circus. Leon, who would be soon sent out to Ranhorn to officially be integrated into the Heresy Inquisition, was less than happy with the idea of Caramele being anywhere the Baron couldn’t keep track of him. So he threatened, pleaded, bargained, offered anything to keep Caramele in Stone until Leon could return for him.

Of course, Caramele refuses. Leon takes offense. A scuffle breaks out, and one right hook later from Caramele, Leon snaps and attacks him. Fortunately, Aven and Addison find them before more damage can be done and chases Leon off. But a shock of Divine magic rendered the nerves in Caramele’s hands shot and painful to move.

The circus arrives early, and the Ringmaster is devastated when he discovers Caramele’s condition. Not as devastated as Caramele though, fearful of being stuck in Stone forever, surrounded by Barrows and the Baron. The Ringmaster is fearful himself, and decides to take Caramele into the troupe early to attempt to help him.

The ceremony to give Caramele leadership goes on as planned, though the Ringmaster revealed there was something he had been keeping from the man until the time was right.

A book of magic in the older man’s possession that was bound to every ringmaster that took an oath to protect it, a book that held magic both damning and approved of. Runes that bent the world to the user’s will, conjuration, alteration, and destructive spells alike. On top of healing spells and illusions that would aid in keeping the circus safe.

The book would be bound to Caramele, and in turn Caramele would be both protected and the protector of his troupe, and the innocent he performed for.

Curious and intrigued, Caramele took the oath binding him to the book's magic. When he was finally given his uniform, already enchanted and imbued with runes from the Ringmaster, he could tell he was given a responsibility larger than he previously assumed. Slipping on his showman’s gloves, enchanted at the last moment due to the newest development, his nerves were soothed and even assisted, little to no pain plaguing him. A relief for his performances.

Ruben, the twins, and the newly retired Ringmaster were present for Caramele’s first performance a week later. Leon was as well, though he left in a fit of rage before the show was over. It was a success, and despite the mysterious book now in his possession, Caramele had never felt more at peace watching the happiness he brought others.

One would assume this is a happy ending. Despite it all, he got to find happiness again. Afterwards, he travels with his troupe all over Esperia, performing for folk and factions of all kind and bringing light and joy where he could.

He kept his circus in top shape, taking in the outcasts and those who had nowhere else to go. As a blacksmith, he could keep the equipment and important fastenings repaired and stable. He was used to wounds and injuries from his time in the forge and his siblings’ hunts, so he could easily stitch and fix minor wounds from accidents. He tested everything himself before shows to ensure top performance and safety for his group, and took genuine joy in training and practice with them. His dedication was admirable, his passion, undeniable. It was everything he ever wanted.

It did not last long. Tragedy number three struck, and struck hard after five years on the road.

It was a day he decided to train by himself in the woods. He wasn’t far from the tent, his troupe stationed near the house of Raine. The estate was a ways off, but Caramele had heard tales of their family. At twenty-five and traveling for years, he mellowed out towards folks and aristocrats, and even hoped that the Raines would attend.

When he heard rustling nearby, he would assume it was an animal of some sort, and be unbothered. When he heard the sound of a young girl groan in pain, he would stop what he was doing and rush to the sound.

It’s here he would first meet Silvina, near death but clinging to life. He would be filled with concern and worry for her, and would approach to help her up, return to the tent, and attempt to heal her. He would not have been able to account for the necromancer that had tracked her…

Caramele’s cause of death was a stab through the back, piercing his heart from behind and being left to bleed out by the necromancer’s surprise attack. Neither he or Silvina would be found by the troupe, and he would be assumed missing for many years to come.

Yet his resurrection causes… intrigue for many Graveborn once they discover his existence.

The necromancer did not resurrect him, no. Only Silvina. And yet, somehow, Caramele was slowly turned into a similar being as her by some unknown force. Not Quaedam, though Caramele would still be under his ‘guidance’.

When he awoke, he was met with the sight of the full moon above him. The next sight was Silvina standing over the body of the necromancer, and a dagger pointed at the newly resurrected Ringmaster. With a little convincing and a gentle hand, he manages to coax Silvina into a calm so he can figure out his situation.

A Graveborn. He was less than thrilled with that, considering his fear of the dead, but oh well. His forced optimism took the second chance as a second chance.

Afraid of returning to his troupe and overwhelmed with his situation and recent resurrection, he offered to travel with Silvina to help her get home safely. Silvina reluctantly allows him to tag along, and eventually, Caramele stands before Vedan’s castle.

On Isabella’s insistence and Silvina’s recounting, Vedan begrudgingly lets him stay with them until he gets his bearings. Of course, they eventually get used to the Ringmaster’s presence, and ‘until he gets his bearings’ turns into ‘You can’t leave, actually. Ever. The girls like you too much, so I won’t let you’.

At first, Caramele and Vedan clash. Hard. Vedan reminds Caramele too much of Leon, and Vedan doesn’t care. Because this guy is a blacksmith turned circus man. Why would someone like Vedan care about what he thinks?

… Until the day came when Vedan realized he somehow began co-parenting with Caramele. Until Caramele realizes that Vedan, in his own way, is completely different from the noble that tormented him growing up.

As time passes and Caramele gets used to being a Graveborn, Vedan integrates him into the ranks and brings him to Bantus.

And that’s usually where Caramele can be found when Vedan and the girls travel there. The man can either be found in the Count’s castle, or somewhere in Thoran’s castle, rarely anywhere else.

While most Graveborn fight and are used to break enemy ranks, Caramele is one of the more ‘essential type’ Graveborn. Not a mindless drone, yet not a fighter either. He usually works in the castle forges repairing everything and anything he can in his free time, or spends most of his time helping other Graveborn. Works in the infirmary with Niru, helps Silas with his experiments, runs papers for different officers, strategizes with Grezhul over battle plans, works in the library keeping records of different things… stays by Vedan’s side as a sort of ‘second opinion’ in the Bloody Priesthood, though he himself isn’t part of it.

His optimism eventually fades into cynical optimistic nihilism, still smiling, yet indulging in much darker humor and becoming more tolerant of the actions of Graveborn around him. Day in, day out, day in, day out… it wears on one's brain, and Caramele goes from initially horrified by those around him, to indifferent and sickeningly amused. He lives to serve, and still uses his passion to perform for his faction and bring a glimmer of joy into the ranks as best he can, though he is often sassy, sarcastic, and very stubborn on his morals and certain matters.

He gets along with the other factions, and is quite peaceful despite his demeanor. There are many things that make him unique as a Graveborn, such as him being able to remember his life as a Lightbearer and being able to walk around in the sun, dubbing him a ‘daywalker’. There are many theories about this from the medical and scientific Graveborn, from his abilities and memory, to the kind of Graveborn he and the girls are, to the fact he seemed to be one of the pactless Graveborn.

The working theory is that the oath Caramele took to bind the book to himself somehow keeps him from Quaedam’s influence and allows him to retain his humanity, though he can interact with the avatar of death just fine. A theory Shemira helped formulate was that he could walk around during the day because of the runes in his uniform. No one wants to test that theory in case Caramele does burst into flames without his unform.

Another working theory is the magic Vedan used in the ritual to turn himself into a Graveborn may have affected Isabella, Silvina, and Caramele’s Graveborn forms. The book, from the barrow in Stone, influenced Isabella’s undead form somehow. Silvina as a Lightbearer being in close contact with her sister at all times seems to have influenced her undead form as well. Caramele is not enthusiastic about this theory, because that would mean even as a child, he would have probably been cursed to this form because of the Barrow Wraith he had been in contact with.

Another reason he does not like that theory is because why the fuck was Vedan in Stone? When, where, why, and what does that mean if Vedan has a book from the gravesite Caramele knows the Barrow Wraith that killed his mother was from? Does Caramele even want to know?

He does not, he finds, because thinking on this actually tempts him to be aggressive and quite murderous. It does not help with his bottled up temper either-

For the current day and age during Afk Arena’s current events, Caramele is more temperamental, yet still subservient, beginning to actually pick fights and itch to fight the Hypogeans. He only takes orders from Vedan, Thoran or Theowyn, Grezhul, or Quaedam himself. Even then it’s begrudgingly and with an unbelievable side of sass.

As a technical Barrow Wraith, Caramele’s prone and main instinct underneath his humanity is to serve and protect his ‘barrow’. Isabella protects her book and sister, Silvina protects her sister and Vedan, Caramele takes it upon himself to protect the Arcanists Union and their home. As a Support Tank, this comes naturally to him, and the growing urge to defend as the Hypogeans grow near leaves him viotile towards intruders and enemies.

——

Likes:

Candies. As a Graveborn, Caramele insists on hard candies to keep himself focused or to zone out while fixating on something. It doesn’t matter to him he can’t really taste it, it’s sweet enough and that’s okay with him.

Coffee. Quaedam save this man, Caramele cannot get through the night without three to five cups of coffee, at least.

Sleep. He sleeps during the day, sleeps during the night. He is dead set on this schedule because it’s what he’s used to. Hence why he needs ungodly amounts of coffee if he’s forced to function at night. But sleep is, to him, temporary death, an escape.

Performing. He still loves making people smile, be it Graveborn, living factions, or Isabella, Silvina, or Daimon. His passion is still what makes him… him.

Smithing. It eases him, reminds him of home and his family. He’s damn good at it too, and takes pride in his work.

——

Dislikes:

A majority of the Graveborn. This man may be all smiles and pleasantries, but he despises the fact most of the Graveborn willingly turned themselves, and/or turned others against their will. He has exceptions, and hears out everyone’s stories. But for the most part, he’s suspicious of everybody.

His height being pointed out. Look, Caramele is only 5’3. He hates being called short. The one time Torne pointed it out, he never did again because Caramele stole his kneecaps and hid them in one of the kitchen cabinets. No one risked calling him short after that.

The dark. Caramele hates the dark. Hates the shadows, hates the things in the shadows, is terrified of the Barrow Wraith from Stone finding him again. At night, he sleeps with a candle.

Mirrors. Caramele. Cannot Stand. Mirrors. He misses how he was before, despite his albinism setting him apart from most people. He can’t stand seeing himself as a Graveborn, an undead, with ashen skin and glowing green eyes, and horns and a tail, so similar from the monster that killed his mom yet so different… he avoids mirrors whenever he can.

Eating humaniods. Caramele will not touch or eat anything considered humaniod or part of a faction. In his opinion, dead is dead, and goes out of his way to avoid eating people, choosing to eat animals instead. He does not trust a plate of meat given to him by anyone in his faction, and will not eat it.

[lazylittledragon]

ok someone please correct me if i'm wrong but am i weird for thinking those 'audiobooks don't count as reading' posts are ableist as fuck????

[princess-of-morkva]

thinking about. how merlin brings out the best in arthur and on the other hand arthur brings out the darkest parts of merlin. how arthur always tries to be better and do the right thing because merlin believes in him and he wouldn't want to disappoint him. because he believes merlin is good and he wants to be good for him. how merlin always ends up making the worst decision in his desire to protect arthur, doing things he never thought he'd do. how from saving arthur's life because that's a right thing to do, he goes to putting his life above any of his own morals.

[inklore]

can we bring back fun fics? ya know when they weren’t taken too seriously, where we were simply writing them to feel that ooshy gooshy feeling and laugh and feel. nowadays i feel like all that matters is how intense the smut is, and trust i love smut. i am its number one fan. but i feel like its become a means to popularity, only writing it because it’s following a status quo of readers who only care about fics when it includes filth. like its not wrong to want the filth. we all love the filth. but please bring back the silly little plots. give me one bed, give me unrealistic fake dating, give me a wild crossover with fandoms that shouldn’t work together but do, give me something crazy like aliens invading or dinosaurs! like all of those things can lead to tooth rotting fluff or shaky knees smut. just bring back the feels! the silliness! the reasons why we all stay up until all hours of the night devouring these works of art!!

[ryssbelle]

I forgot the set up so all yall get is the punchline

[woo-wahhhh]

[ too much energy ] "kaji..."

"what?!"

"did you seriously just walk into my shop, before class, and already injured?" you scowled back, rolling your eyes as you regarded his relaxed figure in the doorway. a part of you marvelled how he looked perturbed by your disbelief than he was of the blood freshly running down his arm. "you have way too much energy this early in the morning, dude."

"look, clown me all you want, but let's get one thing straight," he grit out. he jabbed a finger vindictively at you, followed by the insanely loud clacking of his stupid lollipop against his teeth. "i didn't get into a fight."

"colour me impressed," you couldn't help but quip sarcastically, though you motioned him to come closer to where you were rummaging under the counter. you were grateful that being so early, no one had come into buy flowers yet, since it would be a bit of a jump scare to find a man bleeding out.

"shut up," he hissed, glaring perpetually while he took a seat behind your counter, and sticking his arm out. it was amusing, how someone could look annoyed yet so charming in the same action. you almost wanted to comment on the his childish appearance, but you had a feeling he'd slap his headphones on and dash out if you did.

"well?" you prompted, pulling out a first aid kit and setting it on the counter. "what happened to your arm then?"

you could feel his hawkish gaze trail after your every move, scrutinizing each action with such intensity, you couldn't tell if he was pissed off or if he was under an enchantment.

"that granny lost her cat again," kaji said simply.

this boy, you cursed internally as you pulled out disinfectant and bandages. "and?"

"what do you think happened?" he scowled, canines flashing as he grit his teeth at the sting of the ointment. "it fucking scratched me when i caught it." he shook his fringe out of the way, perhaps to properly express his annoyance.

"you look much more handsome when you're angry," you blurted out, reaching up to push his hair back without thinking too much– after all, he was your boyfriend. but more importantly, it was much to his incredibly visible chagrin– by habit, he flinched, automatically trying to grab at his headphones, but he couldn't shake off your grip on his arm, leaving him to clutch one side like a damsel in distress, eyes wide and horrified.

but he calmed down quickly enough when you didn't pay him mind, too accustomed to his shenanigans, humming lightly as you focused on the bandages and keeping the heat from dancing up your spine. there was a simmering tension between you; unspoken, though his eyes were dead set on your nimble movements, the distinct weight of his gaze telling you he wouldn't look away, or more properly, he couldn't.

once you finally looked up from your finished work, you noted his eyebrows were knit together, the permanent glare on his face still written in stone, but his tone was somehow gentler than he let on. "look me in the eyes if you're gonna say stuff like that."

silence ensued, of course, your eyebrows quirking up as the obvious dangled from your tongue.

"kaji, you just looked like you were about to bolt outta here,"

"well, yeah, how else am i supposed to act when you say that?"

"i- i don't know," you stammered, suddenly hyperaware of how he wasn't looking away, how his eyes were practically tracing over every contour of your face with the intensity that could burn. "maybe- maybe act a bit more touched?"

"touched?" he echoed, a bit of incredulous sneer in his voice as he hopped off his seat. the abruptness of it all startled you as your back unwittingly hit the counter, and before you could make your own grand escape, he placed an arm on each side of you, effectively caging you in.

the sudden change up from the incredibly flustered kaji to this steamrolling behaviour made your head spin as you gaze up at him with wide eyes that were only met with a grey, smouldering gaze with the intensity of a storm.

"here," kaji swiftly popped out the lollipop from his mouth, holding it to you. you hesitantly took it from his hand, the question of "what the hell, dude?" bubbling at your lips when without a warning, he grabbed your face and kissed you.

short and sweet, but somehow still awfully fierce for that early in the day– you expected nothing less from ren kaji.

"now what was about?" you giggled as you pulled back, dotingly reaching up to smear your lip gloss onto his chapped lips. an act of giving and receiving, one could even say, since he'd left you with the sickeningly sweet taste of caramel on your tongue. "do you like it when i call you handsome?" you teasingly chimed.

"shut up," kaji grumbled once again, pushing his hair back and pressing his forehead against yours. "you looked cute and i just felt like it, that's all." maybe to someone else, that wasn't a fulfilling response, but you knew how straightforward kaji was, and that he wouldn't lie about something like that.

"well, if you're feeling like it then," you whispered, your lips bumping into his as you spoke, "you should kiss me again."

"demanding," kaji huffed out, though he hoisted you up onto the counter anyways without breaking a sweat, a small, but cocky smile on his face when you grabbed onto his shoulders for dear life.

"oh my god, at least warn me!" you complained. maybe you really should have kept an eye on the door, but with his figure before you, and slotted between your legs and the his hand gently coaxing you forward by the nape of your neck, it was hard to care.

"you have way too much energy to yap in the morning," he chided indignantly, but the way he was already leaning up suggested otherwise.

"hey, you're the one who–!"

"morning, (name)! did kaji already pop by– oh,"

"w-w-we'll just– uh– s-see you at school, k-kaji!?" enomoto managed to croak out before they both scurried away with mildly red faces, reminding you less of the teenage gang members they were and more of children.

you almost fell off the counter, had it not been for kaji's reflexes, but the damage had been done, and the lollipop he'd entrusted you with fell to the floor with a dull thud as enomoto and kusumi blinked at the two of you with horrified expressions.

"hey boys," you greeted casually with a wave.

"oh my, we've made a scandal, darling," you joked– regrettably, or so you thought later in the day when the rest of the tamon team's second years started cooing at at poor kaji. perhaps it was a lesson to not be so energetic in the mornings from then on.

[hoshiina]

pairing: hoshina soushirou x gn!reader (no prns)

request: Hii im the anon who ask for the wips and i saw the blurbs you have. IM VERY MUCH HOOKED with the third ones where hoshina loves reader's smile🥹 relating to that maybe i would like to add(if you want, but feel free to do seperate if you want) soft moments with hoshina x reader who felt like she being the most pessimistic person regarding love(not anti but just felt like she doesn't deserve it) so she is on denial when hoshina make a move on her

notes: reader is usually rather energetic, talkative reader, hoshina thinks you are "beautiful" at some point, TYSM FOR THE REQ!! sorry it took so long omg

wc: 1300

Something was wrong— terribly wrong. There was no way someone would want you, let alone your vice-captain who could have anyone in the world. Not your vice-captain who did everything with such care and looked after everyone so preciously. And definitely never your vice-captain you were terribly in love with.

There must be some mistake. Or else he wouldn’t have just said what you thought he said.

“Pardon me?” you asked.

He looked a little flustered and you had never seen such an expression on him, confusing you further. “I love you,” he said again, softly. “I’d love to know if you’re in a relationship.”

The way he spoke so carefully added to how nervous it made you feel— it was so different from how he usually talked to you. Now, you were lost to say the least, because you couldn’t think of one reason why he would like you, let alone romantically. Under normal circumstances, you’d assume you were being played with or that this was a silly prank or dare, but you knew that Hoshina wasn’t one to do something so horrible. So what was happening?

“I am not…” you said, still confused, but the visible relief in his eyes made your heart tighten. Oh gosh, is he serious?

“I’m… thrilled,” he said, and he wished you goodnight and left. While you were terribly flustered to know he liked you back, there was a voice in your head that wouldn’t stop making you feel anxious. Something felt so odd to you— to be loved back. To be loved back by him. You enjoyed talking to people so you talked to him often, but never had you thought he'd think of you like that. Having a naturally talkative personality, it was true that both of you had fun talking to each other, but you had accepted that your love was unrequited ages ago. When would he have possibly fallen in love with you? The more you thought about it the more impossible it sounded. As thoughts of him circled your head, it’d be morning before you knew it.

It'd be hard for him to point out exactly when he fell in love with you, because he was in love before he knew it. Before he knew it, he'd catch himself following you with his eyes. He adored watching you work, because you made everything look exciting. Of course, he saw how you groaned at the paperwork you had to do, but he'd see how the little things would put a smile on your face.

He liked the work he did, he liked all of it quite frankly. From neutralizing kaiju all the way down to the research he had to do— rarely did he think something was a chore to do, but if you were around to laugh at something silly he found or mutter about the binders and binders of files that the 3rd division just doesn't have space for anymore, he'd start looking forward to these moments.

While he knew you were like this with everyone, he hoped that you were happiest with him. It would mean everything to him if you looked forward to doing seemingly mundane work with him too.

However, while he loved so much about you, there was one moment specifically that made him realize he wasn't moving on. His heart would be yours forever at this rate. You'd look so horribly tired after all this work, and yet, if someone needed help with anything at all, you'd still smile and ask them what's wrong. You'd find the energy and speak to them so kindly. You might not have the energy you usually had, but you'd be so happy to help. Even if they couldn't tell how exhausted you were, he could. He knew how much you did for everyone in the division, and he thought you were stunning when you did so. You were the most beautiful when you had that lovely smile on your face that seemed to light up his world.

He loved you so dearly.

You loved talking to people, so there always seemed to be something for you to talk about. A new finding you wanted to share or a terribly random thought that popped up in your head. While you naturally talked to most of the people in the division, you looked forward to talking to Hoshina the most. The way he'd always listen so intrigued at your dumbest thoughts and laugh at the smallest things you said meant more to you than one would probably think.

And if you shared your daily happenings with him, he'd share his with you too. To say you loved these moments would truly be an understatement. Nothing could possibly make you happier.

However, you knew he was like this with everyone. His laugh would always manage to keep the morale of the division up and he'd never miss potential problems in the condition of any of his officers. You knew he was a sweet person, but also the best one could ask for in a vice-captain. You weren't special— he was like this to everyone. You knew better than anyone else.

You couldn't imagine anyone falling for you, let alone the kindest person you'd ever meet in your life. Let alone the person you'd probably love for the rest of your life.

Yet, here you were, alone with him this afternoon working away through paperwork and it was quiet. Eerily quiet. He was the first to break the silence.

“I rather dislike the rain,” he said, looking out the window. “It’s been raining all day.”

You paused to look outside as well. “No, you’re right. I don’t mind the rain, but I hate how dark everything is.”

“Yeah,” he said. More silence.

“Sorry, I’m awkwardly nervous now,” he said, eyes fixed on his work. “I didn’t mean to make things… weird.”

You could tell he probably didn’t want you to, but you couldn’t help but look his way. Your eyes widened and your heart filled. You weren’t afraid to say much, but you were afraid to talk about this. However, you thought you’d be able to if you were talking to him.

“I just… can’t imagine that you’re… in love… with me,” you said, looking down at your paperwork. “Sounds too good to be true. I know... sounds unlike me, right?”

Immediately he looked up at you, shocked to say the least. You could tell he probably wanted to ask why, but he thought for a moment more.

“What… would I be able to do to show that I am?” he asked. “You’re the one I love… you always will be.”

Your eyes widened. “I just… don’t know why,” you said honestly. “Why me?”

“Because I love you,” he said. “I love a whole lot about you, but I love being with you. I enjoy spending time with you and watching you enjoy the life around you. Is that too simple?”

It took you a second to reply, but you felt a lot better. “No, not at all,” you said. “Because I feel exactly the same way.”

“You’re kidding”

“Absolutely not”

“I’m going to kill you if you’re lying,” he said.

That made you laugh. “You know I wouldn’t,” you said, and yes, he knew you wouldn’t.

“Hey, Hoshina,” you said, avoiding eye-contact. “If I get worried… will you tell me again?”

“I’d tell you until you get sick of my voice,” he said while getting up to kiss your forehead. “I love you so much.”

[sandushengshou]

Pushing Daisies | 2x04 “Frescorts”

[applecranberryjuice]

Something something it's a metaphor. Hair as a form of communication but also as passage of time and also as a way for letting people in and also as a detail etc etc you get it

Actual explanation in the tags btw

I'm really nervous about this comic actually, is not the best. It doesn't make sense, and the art is mid, but I put love in it and I think that's enough

[lo-fi-charming]

so i've been keeping up with TMP as it's airing, which has been fun, it's actually really nice to experience this kind of story weekly since i came into TMA late and listened up to the s4 finale in like, a month or two. i've been enjoying the new characters and statements, and while i was worried i'd have trouble actively listening (my attention span/executive functioning can be really variable when it comes to podcasts), it's been surprisingly easy for me to actually listen to each new ep the day it drops publicly

all this to say im enjoying the show! but i've found myself feeling increasingly frustrated with a couple things i keep seeing when it comes to discussions of it

to me, it seems... there's been a pervasive reluctance to take TMP as what it is. and i do understand that. it'd be stupid to pretend TMP doesn't exist exclusively because of TMA and that show's success, that it's a successor that was pitched as being similar. it's a story being written by the same people (plus guests), in the same universe (roughly), going for about the same tone and maybe themes.

i just feel like it's a bit of a shame, though, that so many folks seem unwilling not to carry TMA with them when they're engaging with TMP

i don't know where or when it was said, but i swear there was a comment made by jonny and/or alex about how TMP will have some commonality with TMA in terms of world-building, but also, people who listened to TMA first may find themselves theorizing in the wrong direction because we're judging things based off what is no longer concrete, reliable information; things are going to work differently in the world of TMP, and since we have preconceived notions on what is relevant or how things work, that's going to influence how we engage with information presented in TMP if we let it. and that's not even considering the fact that they've been explicit in conveying the idea that TMP was written so you can experience it fully without having listened to any of TMA at all!

i'm very much someone who tries to engage with media on its own terms, largely taking things at face value until i'm given reason to suspect otherwise. that's something i'm trying my best to still do with TMP, even though obviously, i've also listened to TMA and am basing some of my thoughts and personal theories on what we know from that

but that's what i mean to say i guess, it's something you have to actively choose to do. and it feels like, just based on what i've been seeing in fandom spaces, that a lot of people are having a bit of an odd time with TMP because of a reluctance to do that?

i think the easiest way to explain what i mean is to point to a general acceptance, already on the level of fanon it seems, to interpret the computer voices as Our Jon and Martin (+ Jonah/Elias, maybe). now obviously we have the actual real world reason why their voices are present in TMP, because of course jonny and alex were going to come back as voices in the show in some way. and i 100% agree it's a perfectly logical conclusion to then interpret their inclusion as being related to Jon and Martin somehow. i'm personally very into the theory that it is in no way them - not in any way that matters - but specifically their voices that have been stolen (by the Web?) as a means to help spread fears in other realities. but that's really not how i've been seeing people play with the concept? it seems largely 1:1. and again, i totally understand where people are coming from with that - especially when you consider how it can be a super fun concept for horror and angst, or even just the fact that folks want an excuse to carry their favorite characters into this new show and still play around with them. i promise i don't mean to bring this up as a means of making anyone feel bad or like, chastised for interpreting things a certain way and playing in the space!

it's the biggest example of what i mean though, and was a huge point of frustration for me when we were first being presented with TMP. it's not just that i don't want the voices to be Jon and Martin proper (i am very into their Ambiguous End, i believe it's best to leave that as a space for fans to play in); in all honesty, i think it's kind of a shame and maybe even a bit boring (im sorry!) to be engaging with TMP this way

and it's not just stuff like that - i've been seeing a fair amount of people expressing frustration and feeling disappointed with how TMP is hitting, but i mean, i feel like that's inevitable when you're going into it expecting More TMA? i saw at least one person basically say "ive been waiting for it to make me feel the way TMA made me feel, and it hasn't yet", and i really just feel like that's setting yourself up to be dissatisfied! beyond the fact that we're only 5 episodes in and the story has barely gotten a chance to happen yet, a huge element of this new show is that it's being approached as a largely collaborative effort, it seems, with lots of guests coming in to help shape the story and more writing and plotting influence that isn't jonny

obviously it's fine to not be super into that! undoubtedly it's a question of taste. but you do have to acknowledge that that's the case and adjust your expectations accordingly, or else you're not going to have a great time

i really like TMA, i had a great time with it, but even if TMP is a sequel to its parent podcast, it's not the same thing - and personally, i don't want it to be! i do hope that's a sentiment that is able to be more widely felt by some fans as we gain more distance from TMA while TMP is airing. i just think more people would be able to enjoy it that way, and come up with more interesting theories and interpretations of things! but those are really just my own personal thoughts

[aq2003]

really love how throughout a lot of smith and jones martha is really skeptical and apprehensive towards ten (+ one of my favorite exchanges between them - "what, people call you 'the doctor'?" "yeah?" "well, i'm not. far as i'm concerned, you've got to earn that title."), not taking everything he says at face value, even doubting the fact he's an alien until over halfway through the episode.. And like. i really truly think the thing that wins her over isn't him kissing her or any of the other insane mixed messages he manages to send, it's this scene here, where he /earns that title/ in her eyes:

(+ david's bit in the commentary, where he says: "[the doctor] has actually sacrificed himself, and - i would say, that that final act of selflessness is what finally, eventually, welds martha to him. [...] and she now returns it. she returns that act of selflessness.")

this is what their relationship is built on. it isn't about martha being the second-best replacement to rose or a rebound or whatever. bc it isn't really about rose. it's about doctor-in-training martha meeting someone (quite literally, "the doctor") whose ideals she aspires to, and doing her best to be the same person to him as he is to everyone else. it's about ten in return admiring her intelligence and inquisitiveness and how she cares for human life, recovering his compassion, letting himself lean on her for support - and then remembering at the most inopportune moments that he's supposed to not need anyone and be on his own forever. And around in their little nightmare loop they go where they save each other over and over until one of them breaks

i've seen ppl look at martha and go "why she does she admire/why is she so in love with ten if he acts like that to her?" or something along those lines and like. it's not just the fact she's in love with him (in fact i'd argue she actively tries to push it aside post-gridlock). it's the fact that she knows he's the kind of person to put everyone else's lives/well-being over his own. she trusts him to save her when she's in trouble even though it's been like two days at most that they've known one another bc she recognizes that same "deep all-encompassing drive to help others" in him. and she also recognizes, much much earlier than him, that he needs someone to save him, especially when he's unwilling to save himself. and yeah for a bit she thinks he returns her feelings and is just playing hard-to-get, but she realizes pretty early on that this probably isn't the case, and i think that realization fully solidifies here:

(this is when she's listening to ten talk abt gallifrey). And idk it might just be me but i think this expression isn't just her empathizing with his loss. it's also guilt, for wanting something from him that he's clearly unable to give when he's wracked with so much grief. (and you see it in the next episode, where tallulah asks if they're together and martha says for certain that they're not, and that he doesn't know about her feelings for him. she keeps everything to herself bc she now knows that when he shut her flirting down at the end of 3x01 it was the genuine reaction of someone who a) isn't interested and b) is scared of getting close with someone else again)

freema described their dynamic as "she's keener than him" and i think about this all the time. martha doesn't really take what ten throws at her. what she does instead is constantly poke holes in his already-failing front of "i will show someone the wonders of the universe so i can ignore what is wrong with me". what she does is stand up and fight him when he tries to go off on his own. what she does is put aside her well-being in favor of helping someone - just like what she saw him do for the people in the hospital when they first met. tldr, that's the doctor and his doctor and rip martha you would've loved who's gonna save u now by rina sawayama

[a-a-a-anon]

appreciation post for Lise Mayer!! she co-wrote The Young Ones (and The Bachelor Boys book, additional material like when they did Comic Relief, etc), which is well known. but she also wrote for other things in the alternative comedy scene like Rik Mayall and Ben Elton's comedy tour (source: BBC Breakfast Time interview)! and, something I didn't know until recently: she co-wrote/wrote for Kevin Turvey! she's not credited in his television appearances, but see below for sources.

i really loved the podcast episode she did with Alexei Sayle about TYO, you gain a lot of insight into her perspective! she also mentions misogynistic treatment like being asked to go make tea when they were doing script readings, not getting invited to a big BBC party because it was presumed she'd be Rik's plus-one, and getting groped at the BBC bar. it pissed me off on her behalf and partly prompted this post.

some specific accolades/accreditation/fun facts:

Rik crediting her with writing/conceiving the Kevin Turvey non-joke "All right, biting political satire: What do Lech Walesea and Menachem Begin have in common? They’ve both got foreign names! What do you mean it’s not funny?" (x)

Alexei Sayle in Thatcher Stole My Trousers crediting Lise with co-writing Turvey: "Lise was, like Linda for mine, a vital part of Rik’s career, co-writing both The Young Ones and Rik’s character Kevin Turvey..."

a 1987 source for Lise co-writing Turvey: "The assumption that women do not write comedy scripts was one with which Lise Mayer, co-writer of The Young Ones television series, has also had to contend. She started writing for Rik Mayall’s Kevin Turvey in the television series A Kick Up the Eighties..." (x)

Rowland Rivron (comedian who toured with The Comic Strip gang and lived with Rik and Lise) in What the f*** did I do last night?: "[Lise] also had the unenviable job of standing at the side of the stage when Rik was performing, and jotting down anything he said that was unscripted. If it got a laugh, it would be woven into the next night’s routine."

the only time i've ever seen a Rik Mayall/Ade Edmondson/Lise Mayer writing credit: for a poem called Distance which was collected in this anthology! Rik and Ade seem to have acted it out (or at least a version of it) in this 20th Century Coyote performance

Rik on Lise writing TYO: "‘She discovers different things: the comedy of embarrassment and awkwardness – she draws out the cheating and stealing that goes on in the house.’" (x) (Lise also says her "favorite comedy was always the comedy of embarrassment" in the Alexei Sayle podcast)

Rik: "... Lise Mayer wrote this great scene where I find a tampon in a handbag and it's my birthday party and I think it's a present because my character is Rick, who is such a git, he didn't know." (x)

Helen Lederer in Not That I'm Bitter, writing about being on The Young Ones: "[Lise] was known to be the brains behind it all, particularly the more surreal elements…"

she and Rik chose the bands (x)

Lise: “We’d have a table read at which point we’d discover that the script ran over an hour long, and then I’d have a sleepless night editing it.” Alexei: “You did that?” Lise: “Usually me, yeah…” (she later explains they'd present the script Monday and rehearsals were Tuesday, Wednesday-so she literally had one night to edit!) (x)

facts from the blu-ray commentary tracks:

Rick's yellow dungarees in Interesting were based off a picture of Lise in a similar pair

Lise wrote an essay about the tampon joke in Interesting so that the BBC didn't cut the scene (though they still edited it)

Paul Jackson (producer) credits Lise with arguing "you are seriously telling me that we cannot refer on television to something that happens to 50% of the population for about 30 years of their life? and we're not allowed to even refer to it" to make an executive back off about the tampon joke in a meeting

Lise came up with Neil's flowerpot covering in Nasty

Vyvyan/Vivian's name comes from Lise having lived in Vyvyan Terrace, Bristol

Lise thought of the cast switching costumes in Bambi (one of my favorite moments!!) (/end of commentary track facts)

this is guesswork, but i've seen Ben Elton and Rik Mayall's handwriting and i'm pretty sure the editing/handwriting on the bottom left on this script must be Lise's, which gives insight into what/how she wrote: (x)

i feel like it's easy for people to overlook or minimize Lise's impact, something that happens to female creators far too often. i hate when women's identities are framed around their association to a man-girlfriend to Rik in this case-which was the norm whenever i saw Lise discussed in articles/books/online discussions about TYO. it's important to know she was a writer and co-creator with her own identity and (underappreciated) contributions. The Young Ones (and Kevin Turvey, and things we don't even know she goes uncredited for) would not have been the same—or wouldn't have even existed—without her!

[faelingdraws]

a PSA about the chatlog iterators and how you can use them in fanon content

[gingermintpepper]

As usual I read your tags always and so you said Apollo did not ask for resurrection of Asclepius and Hyacinthus so i just wanted to share this. About Asclepius death I read it on theoi.com, that earlier authors don't make him resurrect as a god but that's a later development mentioned only by Roman authors like Cicero, Hyginus and Ovid. But still Apollo has a role in Ovid's version

Ovid, Fasti 6. 735 ff (trans.Boyle) (Roman poetry C1st B.C. to C1st A.D.) : Clymenus [Haides] and Clotho resent the threads of life respun and death's royal rights diminished. Jove [Zeus] feared the precedent and aimed his thunderbolt at the man who employed excessive art. Phoebus [Apollon], you whined. He is a god; smile at your father, who, for your sake, undoes his prohibitions [i.e. when he obtains immortality for Asklepios].

So here it is actually because of Apollo the decision was taken to resurrect him as god. And with Hyacinthus, I don't think I've read about Artemis playing the primary role. I know in Sparta there was a picture of Artemis, Athena and Aphrodite carrying Hyacinthus and his sister to heaven.

This is not on theoi.com but I saw on Tumblr it's from Dionysiaca by Nonnus

Second, my lord Oiagros wove a winding lay, as the father of Orpheus who has the Muse his boon companion. Only a couple of verses he sang, a ditty of Phoibos, clearspoken in few words after some Amyclaian style: Apollo brought to life again his longhaired Hyacinthos: Staphylos will be made to live for aye by Dionysos.

So since he is singing inspired by amyclean stories it probably means in that place it was believed Apollo was the one to bring back his lover to life.

Apollo as god of order was very important so i think it shows how special these people (and admetus too) were to him that he decided to go against the order for them 🥺

ANON!! Shakes you like a bottle of ramune!! BELOVED ANON!!!!! I'm littering your face with kisses, I'm anointing you with olive oil and honey - you absolutely made my night with this because, not only did I get the pure serotonin shot of having someone interact with my tags (yippee, wahoo!!) I also got to have that wonderful feeling of "oh wow, have I misunderstood something that was integral to my understanding of this myth/figure this whole time or is this a case of interpretational differences?" which is imo vital for my aims and interests as someone who enjoys mythological content and literature.

I'll preface my response with this: Hyacinthus is by far the hardest of these to get accounts for because his revival itself, as you very astutely point out, is generally accounted for in painting/ritual format which muddies the waters on who interceded for what. I wasn't actually familiar with that passage from the Argonautica - and certainly didn't remember it so thank you very much for bringing it to my attention!

That said, what I've come to understand, both about Hyacinthus and about Asclepius is that in the accounts of their deaths, Apollo's position is startlingly clear.

For Hyacinthus, it is established time and again that Apollo would have sacrificed everything for him - his status, his power, his very own immortality and divinity. Ovid writes that Apollo would have installed him as a god if only he had the time:

(Ovid. Metamorphoses. Book X. trans. Johnston)

Many other writers too speak of how Apollo abandoned his lyre and his seat at Delphi to spend his days with Hyacinthus, but they also all agree that when it came to his death - he was powerless. Ovid gives that graphic account of Apollo's desperation as he tries all his healing arts to save him to no avail:

(Ovid, Metamorphoses Book X. Apollo me boy, methinks him dead. trans Johnston)

Bion, in one of his fragments, writes that Apollo was "dumb" upon seeing Hyacinthus' agony:

(Bion, The Bucolic Poets. Fragment XI. trans Edmonds)

Even Nonnus in the Dionysiaca speaks constantly of Apollo's helplessness in the face of Hyacinthus' fate where he writes that the god still shivers if a westward wind blows upon an iris:

and when Zephyros breathed through the flowery garden, Apollo turned a quick eye upon his young darling, his yearning never satisfied; if he saw the plant beaten by the breezes, he remembered the quoit, and trembled for fear the wind, so jealous once about the boy, might hate him even in a leaf...

(Nonnus, Dionysiaca, Book 3. trans Rouse)

And the point here is just that - Apollo, at least as far as I've read, cannot avert someone's death. He simply can't. Once they're already dead - once Fate has cut their string - all Apollo's power is gone and he can do nothing no matter how much he wants to. And this is, as far as I know, supported with the accounts of Asclepius as well!

Since you specifically brought up Ovid's account, I'll also stick only to Ovid's account but in Metamorphoses when we get Ovid's version of Coronis' demise, he writes that Apollo intensely and immediately regrets slaughtering Coronis. He regrets it so intensely that he, like he does with Hyacinthus, does his best to resuscitate her:

(Ovid, Metamorphoses Book Two. Apollo's regret)

And like Hyacinthus, when it becomes clear that what has happened cannot be undone, Apollo wails:

(Ovid, Metamorphoses Book Two. Apollo wept.)

Unlike his mother, Asclepius in her womb had not yet died and so, with the last of Apollo's strength, he does manage, at least, to save him.

(Ovid, Metamorphoses Book Two. Apollo puts the 'tearing out' in Asclepius.)

But it goes further than even that because Ocyrhoe, Chiron's daughter, a prophetess who unduly gained the ability to directly proclaim the secrets of the Fates, upon seeing the baby Asclepius, immediately prophesies his glory, his inevitable death and then his fated ascension:

(Ovid. Metamorphoses, Book Two. Ocyrhoe's prophecy. trans Johnston)

Before she too succumbs to her hubris and is transformed by the Fates into a horse so she can no longer speak secrets that aren't hers to share.

These things ultimately are important because it establishes two very important things: 1) Apollo can't do anything in the face of the ultimate Fate of mortals, which is, of course, death and 2) even when Apollo is Actively Devastated, regretful, yearning, mournful, guilty or some unholy combination of all of the above, when someone is dead, he accepts that they are gone. Even if he is devastated by it, even if he'll cry all the rest of his days about it - if they're dead? Apollo lets them go. In Fasti, when Zeus brings Asclepius back, he does not say Apollo asked him to - Zeus, or well, in this case Jove, brings Asclepius back because he wants Apollo to stop being mad at him.

(Ovid, Fasti VI. Apollo please come home your father misses you. trans. A.S Kline)

Even Boyle's translation which you used above in your findings hints that Zeus made Asclepius a god because he wanted Apollo to stop grieving. (i.e 'smile at your father', 'for your sake [he] undoes his prohibitions')

And like, Apollo was deeply upset by Asclepius' death - apart from killing the Cyclops in anger, in book 4 of the Argonautica, Apollonius writes that the Celts believe the stream of Eridanus to be the tears Apollo shed over the death of Asclepius when he left for Hyperborea after being chastised by Zeus for killing his Cyclops:

But the Celts have attached this story to them, that these are the tears of Leto's son, Apollo, that are borne along by the eddies, the countless tears that he shed aforetime when he came to the sacred race of the Hyperboreans and left shining heaven at the chiding of his father, being in wrath concerning his son whom divine Coronis bare in bright Lacereia at the mouth of Amyrus.

It all paints a very clear picture to me. Apollo did not ask for either of them to be brought back. Though bringing them back certainly pleased and delighted him, they are actions of other gods who are moved by Apollo's grief and mourning and seek to mollify him. Him not asking doesn't mean he didn't want them back which I think is a very important distinction by the by, but it simply means that Apollo knows the natural order of things and, even if it hurts, he isn't going to press his luck about it.

Which, of course, brings us to Admetus. And I'm really not going to overcomplicate this, Admetus is different because, very vitally, Admetus is not dead. Apollo can't do a thing once Fate has been carried out and Death has claimed a mortal but you know what he absolutely can do? Bargain like hell with the Fates before that point of inevitability. And that's what he does, ultimately for Admetus and Alcestis. He sought to prolong Admetus' life, not revive him from death or absolve him from death altogether and even after getting the Fates drunk, he's still only able to organise a sacrifice - a life for a life - something completely contingent on whether some other mortal would be willing to die in Admetus' place and not at all controllable by Apollo's own power.

All of these things, I think come back to that point you made - that Apollo's place as a god of order is very important and therefore these people are very special to him if it means he's willing to go against that order but, I also wish to challenge that opinion if you'd let me. Apollo's place as a god of order is very important and therefore, I would argue, that it is even more important that it is shown that he does not break the divine order, especially for the people that mean the most to him. The original context of my comments which started this conversation were on this lovely, lovely post by @hyacinthusmemorial which contemplated upon Asclepius from the perspective of an Emergency Medical personnel and included, in their tags, the very poignant lines "there's something about Apollo letting go when Asclepius couldn't that eats my heart away" and "you do what you can, you do your best, but you don't ever reach too far" and I think that's perfectly embodied with the Apollo-Asclepius dichotomy. Apollo grieves. He wails, he cries, he does his best each and every time to save that which is precious to him but he does not curse their nature, he does not resent that they are human and ultimately, he accepts that that which is mortal must inevitably die. There is nothing that so saliently proves that those who uphold rules are also their most staunch followers - if Apollo wants to delight in his place as Fate's mouthpiece, he cannot undo Fate. And, if even the god of healing and order himself cannot undo death, what right does Asclepius, mortal as he is, talented as he is, have to disrespect it?

The beauty of these stories isn't that Apollo loved them enough to bring them back. The beauty is that Apollo loved them enough to let them go.

[seriousturd]

Little doodle of old school Chris and Ro