#Winter Factions

[ceph-the-ghost-writer]

Heads Up, Seven Up

Tagged by @k--havok! Gently tagging @angsty-prompt-hole @pertinax--loculos @izzyspussy @thatndginger @thespacelizard @kaiusvnoir & @ghost-town-story (from whose Spotify Wrapped ask these lines spring)

How-To: Post seven lines from something you're writing. Tag seven other people to play.

One sported the elaborately embroidered white and gold vestments and towering, pointed hat of a…bishop? Yes, if his memory of chess pieces served. A sinkhole yawned open in Isaac’s middle when he recognized Quinn’s tall form in line behind the bishop, continuing the clergy theme with a humble brown friar’s robe. Eir long red hair was tied back in a loose tail, green eyes dulled in undeath. Motley was in attendance as well, of course. It lived up to its name in tights and a tunic stitched together from random pieces, just like its skin. The bells on the ends of its jester hat gave a soft jingle each time it moved.

[s1ithers]

i would love to hear you thoughts about nobility in da! it has aaaaalways bothered me how the portrayal is kind of a mixture of all the worst cliches from different centuries, incredibly shallow and turned into comedy. the winter palace mission in dai made me physically cringe...but enough about me! throw it all at us!

no yeah, exactly what you said. it's one of the things that really falls off after da:o, the sense that they actually function as the ruling class, like in 2 you have the viscount and then pretty much all the rest of the nobles you meet are goofballs one way or the other, messere, please stop kicking the wall, hawke just rolling their eyes at having to go to fussy parties, etc.

and ofc i'm not sitting here like We Must Respect the Aristocracy, but if we're cribbing from history they should be glorified warlords, right, to have the ppl who supposedly rule this society pose so little threat or obstacle to the player character, it just kills any stakes that whole aspect of the worldbuilding might've had. and obviously there's plenty to satirize about how a system like that puts unsuitable people in charge! BUT. i'm not giving the game any credit for social critique when it hands out the same kind of wealth & titles to the player as your just reward lol

imagine the subplot we could've had about hawke having to navigate hightown if their new cohort weren't a bunch of stuffed shirts sneering over their stinky cheese or whatever...... i cry

[xalaeth]

The Golden Winter Wonderland!

The Iscaria Presents

❄️🎄The Golden Winter Wonderland!🎄❄️

 ~Festive Fun for all the Family~

Event Dates and Location:

Saturday 16th December - Monday the 18th December

Greatwind Keep - (Theramore Isle, Dustwallow Marsh OOC)

Argent Dawn - EU

(Musician and TotalRP 3 is recommended!)

What we currently need: 

Vendor Stalls:

5/6 Spaces Available!

Contest Entries:

The Gingerbread Showdown! - 4/6 Spaces Available

The Grand Hunt! - 13/15 Spaces Available

The Dance of the Holly King and Queen! - Unlimited Space!

And of course! You! You do not have to have a stall nor enter a contest to come along and join in on the fun!

If you are interested or have any more questions; do not hesitate to throw me or @arensica a DM for more or an invite to the Discord! 

We hope to see you all there!

Sidras

More information regarding the Events and Map is below the cut!

Map of Greatwind Keep:

Vendors:

1 -

2 -

3 -

4 -

5 -

6 - Rainblossom Brewhouse

Event Schedule:  

Start Time - 20:00 SVT

Saturday: A Warm Welcome and the Gingerbread Showdown.

The Gingerbread Showdown is a cooking competition! All contestants will head into the Grandhall and prepare their finest, most delicious Gingerbread House they can present before the Judges. 

Whoever wins walks away with the Figgy Apron, 1,000 gold and the title of Gingerbread Champion!

Welcome Speech - 20:30 SVT

The Gingerbread Showdown: Takes place in The Great Hall - 21:00 SVT

The Gingerbread Showdown Ends at - 21:45 or when Rounds are Over

22:00 Judges return from deliberation and winners are announced

Sunday: The Great Winter Veil Hunt!

The Winter Veil hunt has been a part of the tradition of Winter Veil for many years, ensuring there is enough food to survive the long and bitter winter months.

Contestants will meet at the Main Gates and enter the frosty forests. Whoever brings back the biggest kills wins the Holly Bow, 1,000 gold and the title of The Winter Huntsman! 

Hunt Begins at 20:30 SVT - Meet at the Main Entrance

Hunt Ends at 22:00 SVT or Rounds are Over

Monday: The Great Winter Veil Feast and the Dance of the Holly King and Queen!

The Dance of the Holly King and Queen is a Transmog/Art Work based competition. All who enter will place one Transmog Screenshot/Artwork per entered Character into the Discord's Competition Channel.

The theme of the Contest is Winter Royalty. Anything and everything that reminds you of Winter Veil or the Winter Season is welcome and encouraged. Even show up as Mr and Mrs Winter if you want to! 

Winners will be decided by Discord members and in-game voting, One for the King and One for the Queen. (Deadline for entry ends on the 14th of December!)

The Winners of the Competition will receive the Cowl of the Winter Ruler, 1,000g and the Title of 'the Holly King/Queen '

The Dance of the Holly King and Queen: Takes place in The Great Hall 20:30 SVT

The Great Winter Veil Feast: Takes place in The Mead Hall 21:30 SVT

Winners of the Dance are Announced

Toast and Thank You 22:00 SVT

The Final Goodbye: Takes place on the Steps of the Mage’s Tower 22:30 SVT

[monsterdramahub]

Will I have Sapphire Regency (aka “the ice faction”) redesigned and with a blog by winter?  Time will tell.

[vertyd]

ask for a nuclear winter i’ll give you a nuclear winter mf

raw under cut

just an ncr propaganda poster idk i’m thinking about making more for each faction

[brandyschillace]

THE BOOK IS A GO!

Transgender History out 2025

Good morning—GOOD NEWS! Going on 2 years ago, I published my article in Scientific American about #transgenger + #hormone history 🗃️🧪🏳️‍⚧️. I finished the book in Oct, and my editor just wrote to say she loves it and it will publish next winter!

This book almost didn’t happen. It was so hard to write. It *hurt* to write. Watching the news and reading history, it felt the same—rise of fascism and attacks on minorities and LGBTQ. But it’s done, it is written.

THE INTERMEDIARIES tells the story of that science—itself often strange and remarkable—as well as the man, his band of revolutionaries, and the Institute for Sexual Science, both center of the homosexual and trans community and base of operations for the first LGBTQ rights movement of the 20th century.

Sexual and gender nonconformists, what Hirschfeld called the intermediaries, had a right to live, a right to thrive. They also had a right to joy. Science would lead the way, but this history unfolds as an interwar thriller—patients and physicians risking their lives to be seen and heard even as Hitler began his rise to power. They faced abuse, blackmail, and political machinations; they responded with secret publishing campaigns, leaflet drops, pro-homosexual propaganda, and alignments with rebel factions of Berlin’s literati. It’s a story about pioneers. And about hope.

And it all started here:

[riacte]

I feel like Ren and Martyn miss their Dogwarts days in different ways because it’s like… Ren missed what it was. Being king. Having a loyal right hand man. Having an army. Protecting his friends. Building a strong fortress. Having a purpose to fight for.

It’s like how Ren was so sad in his first days in Last Life because he was all alone, then went and dramatically declared his loyalty to the Fairy Queen Lizzie not unlike how Martyn declared his loyalty in Third Life. With the Fairy Fort, he had a faction to fight for, a queen to protect. He felt like he belonged somewhere. He liked building his watchtower, liked making the secret basement, liked organising meetings with his faction. He may not be King anymore, but he’s still furiously protecting his friends.

Then came Double Life. Ren was ecstatic that his soulbound was BigB (“best friends forever, baby!”) because they could belong to each other. Ren set up an intimidating fortress (“Box”) to protect them, not unlike Dogwarts’ walls. He desperately wanted things to work with BigB (even though he found a secret soulmate in Martyn), and even did marriage therapy with him. They were loyal to each other. Ren very much liked the idea of people being loyal to each other. Of course, he ended up tangled up with Martyn in every life anyway, because he provided him with what Ren liked. Loyalty, theatrics, and trust.

But Martyn? Martyn missed who it was.

Even in the Southernlands, Martyn always kept an eye out for Ren. He gave Ren netherwart, put out his fire, and for what? In Double Life, Martyn did kind of try to be allies with his soulbound, but he wasn’t very good at it. Martyn didn’t miss being loyal to a partner. He missed Ren. And while Mean Gills was more functional than DL Martyn and Cleo, Martyn still backstabbed (a willing) Scott in the end. And spent his entire red life with the Red Winter scarf around him. And monologued about being an unguided hand, how he cried so hard when Ren died it shattered his soul, and his last thoughts before he died was literally Ren at the altar.

So maybe Ren never left Dogwarts as a faction, an organisation, and home. But it was Martyn who truly never left Ren’s side. Ren missed having a home. Martyn missed Ren, because Ren was home.

[oleworm]

[HOUSE OF THE DRAGON / FIRE AND BLOOD SPOILERS]

[Picture and text by my friend, though I share their vision and wish GRRM hadn't disposed of Aegon II so quickly. So much potential!]

“My soul is too much charged with blood of thine already.”

An AU in which Aegon II adopts Rhaenyra’s son, Aegon III, as his own heir, only that instead of dying, he lives for a while longer, slowly shaping Aegon III in his own image.

This is a nature vs. nurture type of a situation: a son of Daemon and Rhaenyra, Aegon III becomes a product of Aegon II and his family in every way but by his birth. I would want their relationship to be strained, deep and vile, a tortured drama in the style of The Lion in Winter. “You love nothing. You are incomplete. The human parts of you are missing. You are dead as you are deadly,” type of a parent-child dynamic, full of rage, misery and longing, with both performing the role of a surrogate for the true loved one that their faction has killed. One becomes the son to his worst nightmare, and the other—a de facto father to the blood of his real son’s killers, to his own blood, too, because ultimately, they do share the same blood, like poison poured from the same cup.

Fun detail, but though the “you love nothing” line comes from Richard in The Lion in Winter, it’s his father Henry II who could serve as a prototype to Aegon III. The son of Matilda (Rhaenyra), he was proclaimed heir by king Stephen (Aegon II) shortly before his death, putting an end to the Anarchy. Stephen, however, did live a fairly long life. In this AU so does Aegon II, purely out of stubbornness and spite.

The quote comes from Macbeth.

[dlartistanon]

Shining and Nightingale: Connection, Plot Beats, and How Their Story Makes (Even) More Sense If You Read It As Romantic

Introduction

Belonging to the Followers faction, Shining and Nightingale were among the first 6* operators introduced at launch. With damage mitigation as their niche, Shining is a single-target medic who specializes in reducing incoming physical damage, while Nightingale is an AoE medic whose specialty lies in reducing incoming Arts damage. This post will delve into everything we know about them and how it's so gay, oh my god

Design Analysis

Upon first glance, you notice how they compare and contrast each other visually: Shining is dressed mostly in black, Nightingale in white. Shining has long, thin white horns that gently jut outwards, while Nightingale has thick, black horns that fold inwards. Shining keeps her hood on by default, giving her a mysterious and secretive appearance. She has dark brown eyes, Liz has light blue ones. Shining’s outfit is tattered and ragged, really giving off the vibe of a wanderer (a “roaming doctor”, as she puts it), in stark contrast to Nightingale’s clean and put-together attire. If you squint, Shining almost looks like a harbinger of death, whereas Nightingale is angelic. Both of them wear the insignia of the Followers, a Terran version of the Caduceus. Shining wears it on a necklace (and is the actual leader), while Nightingale has it etched onto her clothes. One of the black straps on Nightingale’s outfit also reads “The path to light is dark”.

The predominant colors in both their respective skins are the complementary blue and orange. Just as black and white are opposed, so is the contrast between blue and orange. Within Shining's Silent Night, there are flickers of red-orange accents in the form of crystals, while in Nightingale's Elegy, there is the vibrant blue of her bluebird and its wings/feather. Despite Shining’s skin being a summer/beach outfit, the overall atmosphere is foreboding, given the moonlit background, presence of crows/ravens, and color choices. The backdrop in Nightingale’s is very characteristic of Gothic settings.

The strongest theme tying both their designs (and stories) together is The Gothic, an atmosphere and aesthetic best exemplified and symbolized by moody, somber colors (often black) and the gnarled, twisted branches of dead trees found in both their designs, as well as pertinent cast. (We will discuss more on their narrative ties to The Gothic)

Nightingale is featured (alongside Myrrh) in the song “Spring’s Pulse”, while Shining’s song is called “Winter Absolution”. Spring and Winter are opposing seasons, different times in which life either flourishes or hibernates. Green and red (as well as blue and red) are contrasting colors, highlighting life and death. As well as white and black, often symbolic of purity and sin.

Additionally, one of the Latin verses in Shining's song translates to:

"Sing, my tongue, redemption. Of my flesh, the mystery sing. Of the blood, all price exceeding. Shed by my immortal being. Destined for the world's redemption. From a noble womb to spring."

Profiles/Voice Lines

For the longest time, the most we could gather from their past was that Nightingale was a victim, a prisoner, forced to heal others while captive and that Shining had rescued her before they came to Rhodes Island. She has a host of ailments that mere Oripathy can't be the sole cause for, including amnesia. Through other clues, we eventually learn that Shining had a connection to someone called "Confessarius" ("Confessarii" when referring to a group), something she is noticeably evasive and uncomfortable about.

Later, the mystery slowly began to unravel as many theorized that Shining herself was involved with Nightingale's imprisonment, evidenced by Liz drawing the similarities between Shining and her captors. A shared past dripping with intrigue.

It was these seeds that provided a tantalizing story of atonement, of redemption, from someone who had committed a terrible transgression against another, complacent in her pain and suffering, whom she eventually grew to care about--so much so that Shining decided to sever all ties to her former compatriots, slaughtering many and freeing Nightingale, running away together. Shining, disgusted with her actions, spending the rest of her life atoning for her sins, of which she feels she can never be forgiven for.

The juxtaposition of Shining, unyielding with her sword, covered in the blood of her once-fellow Confessarii, and her being exceedingly gentle with Nightingale as she leads her to someplace safe, away from that room, her captors, that tower, where they (she) can’t hurt Liz ever again. The fanon that Shining was complicit in what made Nightingale the way she is, and that she is currently atoning for those sins, was largely embraced by fans.

Nightingale’s Operator Record #1 - A Song and a Blue Feather

The Op Rec is a good showcase of the Followers dynamic (with Liz as the Lady and her two knights), but it also serves to show more of Liz's personality. We only get a very baseline interpretation of who she is as a person via her official file, but seeing her interact with Nearl and Shining gives us a clearer picture of just how strong-willed she is. She goes against Shining's warnings in order to soothe the pain of an Infected child, particularly because his father was inadvertently exacerbating his condition through what Liz calls "a cage of love" (foreshadowing?).

Throughout, we learn more about Liz's Arts, specifically that they give her empathic qualities and come with the drawback of shortening her lifespan every time she heals. The game-breaking ability to reverse Oripathy symptoms comes with equivalent exchange. Liz takes on the pain of others in order to make them feel better.

Near the end of the record, Liz asks if Shining is mad and to not blame Nearl for helping her. Shining's original call to avoid the town was born out of being concerned with Liz's health, but she admits that she should've respected Liz's decision. This is a stance that we then see get repeated in their future appearances in both side stories and the main plot--Shining prioritizing giving Liz agency, when she previously had none. Even when it results in Liz's condition worsening, something that Shining struggles with accepting at the same time, communicated through her asking Liz if her feeling more pain was necessary.

Nightingale’s Module #1 - Closed Hope

The module basically states outright that Nightingale views herself as a burden for having to rely on Shining and Nearl to help her navigate through life. This is another example of Liz's strong-willed personality peeking through.

"But for me, results speak loudest. Because I endured a little more pain, others can be born anew. This is very good. But… if I could be like ordinary people, without this physical pain, that spark of hope in my heart would surely shine a little bit brighter. Unfortunately, as I am now, I can only rely on others to survive. Like a light crystal in a lantern. Even if the lantern door is open, even if the light can bring warmth to others, the crystal itself is still fixed inside. It is fixed there, because it has no ability to move on its own. 'Nightingale, Nightingale––' I hope that one day, I will also be able to spread my wings and fly… just like the bird next to me. 'Nightingale, wake up already––' Until then, I must impose upon them yet more to take care of me.

...

'What's the matter, Shining?'"

In her Op Rec, she had even told Shining that if her legs had cooperated with her, she would not have asked Nearl for help, and that she would've gone out to heal that boy on her own. It's letting us know that she longs to be independent, and that she can't idly sit by as a passive observer when she has the ability to help others. Liz won't even let her own disabilities stop her from doing what she wants.

It's not a coincidence how Shining's presence in her module is represented by the analogy Liz uses to describe her predicament. Shining rescued her = the cage door is open. However, the crystal itself can't move = Liz's debilitating condition. Shining played her part in putting Liz in the cage to begin with. Shining is not only her savior, caretaker, and companion, there's a darker undercurrent as well.

Near Light

In Maria Nearl, Nightingale and Shining get a brief mention and cameo around the time Nearl crashes into the Major stadium. A connection can be made with Liz's Op Rec in which we evidently see that she and Nearl have a more physical (and arguably openly affectionate) dynamic compared to Liz and Shining. Before Nearl leaves to help her sister, we a get a brief look into her and Liz's parting conversation, in which Nearl assures Liz that she'll be okay and that Liz still has Shining with her.

In Near Light, where they get more screentime, we have the iconic Nearl and Nightingale slow dance underneath the streetlights. In the CG itself, Shining can be seen hanging back, sporting a smile. She calls Liz beautiful unprompted, which results in Liz getting a little bit flustered, already so from dancing with Nearl.

Beyond these instances fleshing out the NearLiz leg of the triangle, it's also a purposeful depiction of Shining intentionally distancing herself from Liz, presumably due to her guilt for her past actions. And how that can be extrapolated into Shining feeling as though she is unworthy to partake in that same kind of intimacy. This self-loathing mentality is once more reflected in Nearl the Radiant Knight's second Module--here's a rough translation:

"I suddenly felt a little regretful - after all, I have always hated my bloodline. I have never tasted the beauty of home and the meaning of family. She deserved to have it all, deserved to be noticed and blessed and I deserved not to be a part of it."

However, at the end of Near Light, we get the scene where Shining makes a decision to go back to Londinium with Nightingale, preparing us for their subplot with Confessarius. This exchange hangs over them like a cloud, as well as further cementing Shining's firm resolve to always remain by Liz's side, no matter her own misgivings about everything else. Even if the rest of the world is muddled in her eyes, the only thing that stays clear and in view, is Nightingale. Nothing else matters more.

Chapter 10-18

The depth of Shining’s feelings for Nightingale is truly something to take note of. "My place is always at your side" is practically a textbook subtextual/indirect confession. "I will always be at your side... for as long as you’ll have me." Because we must know that Liz has a choice. She will not impose her own wants onto Liz. Should the day arrive where Liz no longer wants her, Shining will honor it, as much as it hurts.

The way Shining navigates and conducts her feelings towards Liz in this manner is very reminiscent of the medieval concept of courtly love, which is essentially a kind of romantic love without ever imagining it to go any further. The lack of consummation is not only expected, but ideal. That the love existing in and of itself is satisfying.

The scenes where we see Shining holding back help supplement this reading. It also plays well into how the Followers are basically the "knight in shining armor" idea codified into three individuals with corresponding dynamics. For bonus points, courtly love has ties to spirituality, which coincides with another aspect of Shiningale's story with identity, fate, and their conflict with Confessarius.

The fact that Shining 's most immediate plans for the future all have to do with Nightingale is only the tip of her unending devotion. "I’ll stay with you, and go wherever you want to go, as long as you want me". And for Liz to quickly ask if Shining will come with her wherever she wants to go suggests that the love is reciprocated.

Chapter 11-10

Through a series of revelations, we discover that the current head of the Confessarii is Shining's father, who is possessing the body of her younger brother. And that Nightingale was an experimental subject whose physical body is a construct, making her the equivalent of an artificial human/homunculus.

The whole scene we see just how both Confessarius and Salus view Shining, Nightingale, and their relationship. As randmsapphic puts it, the method in which they talk about Liz as an object with a purpose and that Shining's attachment to her is nothing short of a phase speaks volumes as to how dismissive and strangely self-assured that Shining will come to her senses and do the right/rational thing and bring Liz back to help her. They entertain the notion of saving Liz by way of pushing Shining to return to them, because they are the only ones who can save her. Instead of immediately resorting to threats, they rely on manipulation, pulling the "family" card, preying on and weaponizing Shining's guilt and desire to help Liz. It's not subtle--this dynamic could very easily be seen as the reactions homophobic relatives would have.

In particular, Confessarius's fixation on bloodline purity is insanely creepy and not only comes off as very homophobic, but ableist as well. Him suggesting they can build Liz a new body is coercion to get Shining to obey him (which also implies that he thinks Shining's attraction to Liz is purely physical). Salus emotionally abusing Shining by saying that all of Liz's pain is Shining's fault. Attempting to shame Shining by claiming she abandoned her family for a stranger. Does it not have the vibes of homophobia saying that Shiningale's love/relationship isn't real and will never work?

Chapter 12-10

The way Shining utterly ties her sense of self-worth to Nightingale, literally describing herself as Liz’s sin… she will not refer to Liz with possessive pronouns, but will do it to herself for her. The longing, the guilt, the resolve, the codependency… is incredibly yuri. Back in Chapter 10, Shining has an exchange with the Nachzehrer King where she says the moment she was born, she had carried sin. After the dinner in Chapter 11, she tells a Confessarius soldier (before cutting him down) that she hates herself most of all.

Of all the ways to describe her relationship with Liz, Shining decides on "I am her sin". There is poetry in how she refrains from using any kind of possessive language about Liz. Shining belongs to Liz, but Liz belongs to no one. "I am hers, and she is everything to me". It goes back to how she somewhat keeps her distance despite the overwhelming devotion. "I cannot touch her with these sinful hands".

Shining truly exemplifies devotion. Whoever was responsible for writing Shining’s dialogue is pulling out all sorts of stops to have her express her love for Liz in every way without outright making her say the words "I love Liz".

Chapter 13-9 (unfortunately tumblr has an image limit so i can't cap the entire subchapter; you really should read it yourselves for that delicious Shiningale goodness)

Kal'tsit: The way you look at Nightingale isn't just with compassion. You're not just her doctor—she's healing your fears too. Her body has its issues, but she's a member of the 'Followers', as well as your companion, and not a delicate flower that needs your protection.

Nightingale: I'm fine, Shining. You don't have to look after me so meticulously.

More examples of Liz's strong character! A dynamic becomes even more interesting when the one you thought was less-dependent turns out to desperately need the other. By this point, you should know that Shining places Nightingale incredibly high up her list of priorities. The narrative makes it no secret. They continue to hammer home that, despite being her caretaker, just how much Shining is dependent on Liz. Liz has already internally talked about how she hates having to rely on Shining and Nearl because of her ailments. In her other appearances, she makes it even more apparent with her dialogue. While Shining mends Liz’s aching body, Liz is the one who soothes Shining’s hurting heart.

Confessarius: Poor 'Liz'. She think it's all her fault, because of the momentary kindness you showed her.

When you remember that Liz's Arts make her empathic to pain, it takes on another layer of meaning when she wants to take away Shining's suffering. It's reasonable to assume that Liz also had an attachment to Shining, even if you see it as such because Shining "brought her to life". But the vibe you get from her dialogue shows a strong affection and compassion for Shining. Arguably instinctive, considering the "nature" of who Liz originally was. A wandering spirit, a memory, a soul that was drawn to Shining because she felt her crushing pain and wanted to help her. An intangible presence given life by an achingly lonely and hurt individual.

Another post by randmsapphic suggests that Liz's "childhood memories" of her and Shining were in fact fabrications that Shining had imposed onto Liz, in some desperate attempt to have a connection with another person, which this scene confirms. Shining was so happy with Liz's creation that she quickly became attached to her. Is this a sort of twisted love/affection that was born out of Shining's self-loathing? Or her being born into a very dark and messed up lineage in which her fate is a doomed one, and so she latched onto Liz as a means of escape and a way to feel close to someone? It may have started off as such, but by the time we reach this point, the love grew to be genuine.

Remember in Liz's Op Rec, where she described the father hurting his son by keeping him in a cage of love?

The bluebird losing its strength the farther it travels away from home is a metaphor and reflection for how the Confessarii treat Liz, their experiment. This is the basis for her captivity. Combined with Shining's sudden shift into a cold demeanor when she had previously been warm to Liz, this only served to psychologically and emotionally damage Liz, as well as compound Shining's guilt for having continued to follow the wishes of her family.

At some point, prior to deserting, Shining had wiped Liz's memories, perhaps out of said guilty conscious, or a means to a fresh start, or even her own way to stop Liz from feeling any pain associated with those memories, but she was still afraid of what would happen should Liz recover them, which had been happening little by little. Shining had resigned herself to believing that Liz would hate her, would want nothing to do with her, if she ever found out the truth. She had to wrestle with the very real possibility that attempting to save Liz could mean losing her, or being separated from her. Shining never once saw Nightingale as a burden; she was only ever happy that Liz exists.

Credit to randmsapphic again: Every time Shining draws her sword, it's a viscerally unpleasant reminder of her eventual destiny. It's both the only way to truly free Liz, and is the bind that keeps her shackled to a doomed fate. When Confessarius offers her the sadistic choice between killing him (thus giving up her soul) or return Liz to captivity... what should she do? There is no choice here.

The way Confessarius keeps (creepily) phrasing it as Shining “giving birth” really does paint him to be a disgustingly vile patriarchal figure set on destroying not only Shining’s autonomy, but her life and relationship with Liz. How a woman is treated as an object, her worth limited to only serving as a breeding ground for the next generation. This read continues to make even more sense because remember the Confessarii dinner scene? The way they talked like they expect Shining to come home after having had her fun with Nightingale reeks of how society views lesbian relationships as not real/practice for men/just a phase. The proverbial Class S? Shiningale really is just Arknights-flavored Class S Yuri. If a Shining Alter has her pick up her sword again, it could very well symbolize her reclaiming her bodily autonomy and fighting for her love, and for the chance to have a life outside of what the patriarch(y) wants for her.

The more I read about the Shiningale in Chapter 13, the more I’m thinking that this can’t be anything else but yuri. Even the role Confessarius is playing as a villain/obstacle they have to overcome. A man getting between them by manipulating their feelings for nefarious purposes?

Liz telling Shining that she prefers her current name, how it encapsulates so much of who Shining is as a person; she's not just a means to an end for the Confessarii, she's more than what they've instilled in her since her birth. The Followers are all light-themed, and Shining is no exception. She broke Liz out of her cage and showed her the world. And Liz is the light of Shining's life, as was mentioned all the way back to her voiceline.

Liz telling Shining that she's always loved the name that she gave her... that she holds dear any and every part of Shining that's a part of her. Her gently chastising Shining for making the decision to sacrifice herself to save Liz... Don't give yourself up for me, especially without asking me. That's not what I want. For all the times that Shining made sure Liz knew she had a choice, this was the one time she didn't. Couldn't. And Liz won't have that. Whatever trials that await them, she wants to face them together with Shining.

The way Confessarius described Shining’s feelings towards Nightingale as “your rebellious love for her”. He knew that she would love Liz and factored that into his plan/manipulation of Shining. I don't know about you but… I don’t think there’s any other way to interpret that. No heterosexual explanation.

Realistically speaking, we know actual gay characters can’t make it past the censors unless it’s tragic (see Scavenger) or unrequited (see Tomimi). But Shiningale have like… playable immunity. It’s “implicit” enough to not trigger the censors but at the same time how can you not see it as romantic?

Their relationship is basically up there with Talulah/Alina. And I'd even go so far as to say that it's more explicit than Talulah/Alina. To my knowledge, they never used the word “love” to describe how Talulah felt about Alina. Just "friend". I know there's a point where subtext gets ridiculous enough to become maintext, but then that leads you to question why some get the "friends" label while others are allowed to use "love".

Could it be platonic love? Sure, of course you can love your friends. But would you pledge your entire life to a friend? What's so "rebellious" about loving a friend? (Interestingly, I think the JP translation calls it "immoral love", which is even more eyebrow-raising) Regardless, love exists between Shiningale. Confessarius knew it, and factored it into his schemes. He counted on Shining to love and cherish her. Shining loves Liz, that much is undeniable. And Liz loves her back, enough to stop Shining from sacrificing herself to save her. He's literally weaponizing the love they have for each other.

Shiningale and The Gothic

I had mentioned before that both characters' designs as well as the narrative beats of their story have Gothic literature elements. I want to make a list of the ones I could find that relate to them as characters and as a narrative:

A focus on medical conditions, doppelgangers (the "pure" Confessarii looking like each other), forbidden power/knowledge, the dichotomy between light and darkness, imprisonment, rebellion, isolation/seclusion, gloominess or a gloomy setting, the grotesque/macabre, terror/horror, justice vs revenge, good vs evil, fear and suspense, the supernatural/paranormal, female victims, prophecies/curses/omens, mystery and secrets, involvement of the clergy/religious figures (confessor/absolver of sin), the dead don’t stay dead/hauntings, romanticism

The Gothic hero is “weakened by love”, they either rescue their love interest or pine away in despair

Significance of blood (relations) and inheritance, the duality of giving and denying life

An examination of family structure, patriarchy, hereditary suffering

Dreams/nightmares, memories

Secrets, past sins, sins of the father, darkest deeds

Driven by love, duality of man (appearance)

Dwelling on the melancholy, of wistfulness and regret, but not overcoming kindness

Concept of “othering” from society (Shining split herself away from her blood family to be herself and with Liz, her chosen family

The protagonist’s passionate love is torn between his desire to achieve the beloved and the family’s disapproval, control, and choice. Gothic novels also tell the tales of love in vain. The lovers are parted due to the conspiracies of the people opposing them being together

Gothic sexuality is usually somewhat repressed—women are expected to be pure and somewhat helpless while men are expected to be quietly predatory. It's also patriarchal, with men making moves and women reacting to them

Homosexuality = the love that dares not speak its name. Repressed sexuality, forbidden desire

Female Gothic protagonists are often committed to justice, unwilling to compromise their values, loyal, respectful of others, curious, intelligent and devoted to their faith. Some are gentle, kind, likeable, clever, witty, quiet, supportive, thoughtful, hard-working, independent and strong. Others are courageous, witty, brave, determined, knowledgeable and socially competent. On the flip side, some are also strong-willed and outspoken to a fault. They’re often socially awkward, depressive, melancholy, brooding, solitary and selfish. Some are jealous, fiercely territorial, deceitful, powerless and deceptive. Others, like their male counterparts, are prone to violence

Male Gothic protagonists are often conflicted, solitary, tortured, brooding, and secretive, self-loathing, wracked with guilt, have a self-hate of their own existence

Female-centric Gothic stories often trend towards obscured/anticipated fears, focuses on persecuted women and the domestic space she risks entrapment within/disturbed spaces

Food for Thought

Ryuzakiichi has a knight original character. Tell me... this doesn’t just look like Shining without horns? THE RESEMBLENCE IS UNCANNY.

Knowing this, I'm convinced that he split the concept of a "knight in shining armor" into two characters: Nearl and Shining. Nearl embodies chivalry. Shining embodies devotion.

The followers dynamic can best be summarized as two knights swearing fealty to one lady, but what's interesting is that while Nearl is the most obvious depiction of a knight, it's actually Shining who serves the role even harder, because she is quite literally Liz's knight. Which tracks with how Shining looks nearly like a carbon copy of his OC. She's the one who rescued the princess from her tower, while simultaneously being the "wicked witch" who put her there in the first place. And just like a Gothic hero, is tormented and sees herself as a monster.

Comparison to the main plot of Shadow of the Colossus. The driving force is that Wander commits acts (largely agreed to be treasonous) in order to revive Mono. The relationship between Wander and Mono is left up to interpretation as to whether it's platonic, familial, or romantic, but most fans of the game seem to theorize that Mono is indeed Wander's love interest.

Normally I despise turning the Followers into a nuclear family unit in any direction (especially people saying Liz is a minor and infantilize her to be the designated "child"), but for a moment, seeing Shiningale looking at Nearl’s portrait, my brain interpreted them behaving like Nearl’s (substitute) parents being proud of her accomplishments.

This was not helped by stuff like Shining’s teasing ("Look at you, our knight acting snarky"), Liz asking if she and Shining were also Nearl’s family, and some apparent discussion about Mlynar being a "bad end" Margaret who lost his own light (his brother and sister-in-law, Margaret’s parents).

If Shining and Nightingale are to Nearl as Schnitz and Yolanta were to Mlynar, then that might also explain why he dropped his jerk behavior for one second just to compliment how the two Sarkaz were good for his niece. If Nearl had never met Shining and Nightingale, her own light might’ve gone out too...?

IN CONCLUSION

Shiningale are complementary in so many ways. It really feels like several aspects of their characters are tailor made to match; you can’t have one without the other, their development is tied together… soulmates. Hopefully this post helps encourage you to consider their story in a certain lens if you hadn't before.

To quote a CN post I saw on the matter after Chapter 13 was released (rough translation): "Shining's sword pieced Nightingale's heart, and Liz came alive. Liz's existence helped give Shining emotions. Liz became Shining's redemption. Shining renounced her old name and Liz cherishes hers, a transformation of two people choosing to fight and change their destiny. Although Liz is physically fragile, her spirit and will are very strong. Although Shining has excellent swordsmanship, her self-hate and inner turmoil weigh her down. They are truly complementary in every sense."

They each want to take away the other's pain. Shining doesn't want Liz to die. Liz doesn't want Shining to die for her. They are each other's mutual salvation.

[anthurak]

Takeaways from the Volume 9 Epilogue:

--

One thing I really like about Oscar’s ‘If there was anything I wish I could borrow from you…’ monologue is that it laid out/confirmed something I’ve always felt was a major aspect of Oscar’s dynamic with Ruby that I nonetheless feel a lot of the fandom has missed: That Oscar very much sees Ruby as a mentor and an example to follow, and how their dynamic is specifically a foil to what we saw between Ruby and Ozpin. That Ruby acts as a mentor and example to Oscar in the same way Ozpin was to Ruby, and that Ruby is a far BETTER mentor and example to Oscar than Ozpin ever was to her. Which, as an aside, is a dynamic I can’t help but feel a lot of people have been misinterpreting as ‘ship-teasing’ and is one of the main reasons I’ve simply never been able to see Oscar as any kind of viable love-interest to Ruby. Frankly the dynamic of ‘Ruby is the mentor and example to Oscar that Ozpin couldn’t be for her’ is simply so much more INTERESTING than any kind of romance could ever hope to be.

--

Even in animatic form, Winter basically going overdrive on the maiden powers was a sight to behold. And her own monologue had all the self-deprecation we were expecting. Our girl is clearly holding on by a thread and it’s going to be REAL interesting seeing how she reacts and adjusts to her sister not actually being dead. As in, I can imagine a situation where Winter tries to throw herself into a heroic sacrifice with the belief that Weiss would make a better Maiden than her.

Also, Winter’s monologue giving major focus to how Penny is super-super-dead-dead-and-definitely-not-coming-back-for-really-realsies, as she is talking to the sister who she ALSO believes is DEFINITELY also dead? Specifically with the words that Penny is gone, when Penny’s last words to her were that she’d be ‘part of you’?

Yeah, there is no way in hell we’ve seen the last of Penny XD

--

The CROWN. Like it was only a few shots, but as someone who read the CFVY Books (which you totally should if you haven’t, they’re great), holy shit I was NOT expecting them to pop up here.

I mean, in hindsight it makes perfect sense that they’d be involved in Volume 10. They’re basically Vacuo’s equivalent to Vale’s criminal element and the White Fang splinter faction as Salem’s co-opted insurgency group, with Jax and Gillian joining Roman, Adam and Jacques as the latest of Salem’s unwitting patsies. It’s definitely going to be real interesting seeing the crew deal with them. Like it’s really fun to imagine Team RWBY in particular being kind of exasperated at seeing Jax’s probably doing a whole ‘With Salem’s help I shall be King!’ shtick after everything they’ve seen with Roman, Adam and Jacques.

Oh and if you don’t know, Jax has a mind-control semblance, so him trying to use that on Yang could actually lead to a sneaky callback to the Justice League crossover, ie; Yang doing a ‘Yeah, I’m not doing THAT shit again.’ XD

--

Qrow’s whole vibe through this is fascinating. Like his section may have been the one we already saw, but after seeing the abject depression and growing despair of all the other characters, Qrow actually being OPTIMISTIC hit so much harder.

--

Raven showing up at the end is… interesting.

I’ll admit that ever since we saw that specific clip a few months back, I’ve been rather conflicts about Raven showing up to deliver RWBY+J to Vacuo, particularly after Ruby’s tree vision. Like for one it felt a bit random and unnecessary. The tree already deposited the Ever After team outside of Vacuo so they didn’t exactly need help getting there. Not to mention that it kind of clotheslines the story-thread set up by Ruby’s vision; that she now has a reason to track Raven down to get the ANSWERS to what happened to Summer. Finally, it’s just kind of… random? Like where did Raven even come from to get the team?

But now having seen the clip with its intended context, I’m definitely more on board with it. Particularly hearing from Kerry and Eddy that the original ending for the penultimate episode had RWBY+J going through the portal to arrive at their memorial stone, and met by a ‘Mysterious Figure’, ie; Raven. Here it feels like were getting more set up to get answers later as to what Raven was doing at the memorial.

And really, now that I’ve thought about it more, this method kind of puts the thread of Ruby going to Raven for answers even MORE into focus. Like the story reintroduces Raven in the present right after Ruby got a vision basically saying ‘hey, Raven is important’. And now going into Volume 10, we’re pretty much perfectly positioned for Ruby to pull Raven aside for those all-important ‘Why were you fucking my mom? What happened to my mom?’ questions.

--

Finally… yeah that ending hit me a LOT harder than I was expecting. Like that ending was HOPE in its purest form and it was honestly beautiful to see. Particularly right now with the future of the show seeming so uncertain. I’ve personally been optimistic about RWBY’s future (in a manner not unlike Qrow’s vibes I suppose lol), but damn the hopefulness of that ending hit especially hard, and was something I’ll admit I needed. And I imagine the rest of us could use as well.

We'll be getting Volume 10. And 11, and 12, and however many more it takes to finish this story. At this point, I have no doubt of that.

[fogwitchoftheevermore]

ok so. forgive me for a second but i've been abnormal about skizz and ren since the hiatus between third life and last life and holy shit this season is already not helping.

let's talk about skizz, ren, undying loyalty, and golden apples, shall we?

so the thing that you need to understand about skizz is that he is loyal to a fault. impulse literally says this exact thing about him in limited life, and skizz himself says himself: "you know me and my factions, i never turn." the second thing is that the first person their loyalty manifests for in third life is ren. he and ren run into each other on the second night when ren is getting accosted by mobs outside skizz's door and skizz gives him a place to stay the night. ren decides to trade skizz for his leather, for the upcoming enchanting buisness, and gives skizz a golden apple in exchange. skizz thinks this is wildly more than he deserves but is very thankful. skizz doesn't say it here, but this is the moment he swears his loyalty to ren.

throughout third life, he is willing to do or get basically anything for ren. the two of them literally die together to the tnt trap. when ren dies on the alter and everyone thinks martyn betrayed him, skizz is the first person to get there in the morning. he's in half broken gold armor and borrowed tools from bigb and he still tells ren "get behind me", still tries to protect him from martyn. when skizz is on red, he goes a bit crazy, but he channels that bloodlust into protecting ren. he kills jimmy in the red desert, he kills cleo when she tries to attack ren, he chases down impulse when he betrays dogwarts and dies trying to kill him.

when skizz dies in third life, he's got an unused golden apple in his hotbar. after he dies, he remembers the first time he met ren, etho, and martyn, and he spends quite a bit of time on his memory of ren and ren appears in his first memory of etho. after he dies, ren wields a blade named in his honor.

skizz spends third life loyal to ren- he dies for him and he dies with him.

in last life, ren and skizz end up on completely different sides, and it very quickly gets bad because when ren becomes boogey, he kills skizz. he lures him into a trap. he tells skizz he loves him. skizz literally says "i am broken hearted" when ren kills him. ren holds no regard for the relationship they used to have and yet skizz cannot help but compliment ren's skill with the trap, outright says he can't be mad at ren.

and then it only gets worse because skizz tries to storm ren's tower with impulse after they've gone red. and that! doesn't go well! and while skizz is retreating, while he is eating the golden apple in his hot bar, ren shoots him dead.

and that is the last time they've spoken. two years ago.

because skizz isn't in doublt life. and ren isn't in limited life.

and when skizz's time comes in limited life, he ensures he doesn't have a golden apple in his inventory this time. this time, he hands the apples off to his teammates, where he knows they will go to good use. and then he hands etho a diamond fucking axe (red winter is coming) and asks him to execute him for the sake of their alliance. ok! sure! fill ren's role more explicitly, why don't you!

and that first session of secret life genuinely only made it worse. when skizz is talking to tango and cleo about their alliance, skizz says he wants to give leadership over to someone else: "i want to be more of a soldier than a leader this time." cleo says she'll fill the roll of leader- she doesn't take orders well - and then seals their alliance by giving tango and skizz a golden apple each. because of course she does.

and well, we all know that didn't really work out, so that's one person off the list that skizz can fill the dogwarts shaped hole in him with, so then he goes to bdubs. he says he'll lay his sword at bdubs' feet. he says he'll win bdubs with his loyalty. he calls bdubs "my leige", jesus christ dude, you couldn't be less subtle unless you straight up called him ren's name.

skizz has been (whether accidentally or on purpose is up to you) trying to recreate the experience he had with dogwarts, and particularly what he had with ren, since the moment dogwarts fell. he can't have it with ren because he missed his only chance in last life, so he'll fill the void with whoever he can. his fellow soldier. ren's successor. ren's new kingmaker. anyone. and it's never gonna work. i need ren to come back for like, 900 reasons, but i especially need him to come back so skizz can have a shot at making it to spring.

[thesummerestsolstice]

In my post about the strange residents of Rivendell, I mentioned a Feanorian die-hard and an old bodyguard of Thingol. I recently hit a thousand reblogs– which is amazing! So in honor of that, I'm writing their stories out. This is part one, I'll get the rest out over the next couple days.

The Feanorian Die-hard: Hrivossa

Maedhros' right hand at Himring, a dedicated captain with an axe and a burning hatred of Morgoth

Laiquendi former thrall, captured during the First Battle of Beleriand; when the Laiquendi king Denethor was killed

Was refused entry to Doriath after escaping from Angband– at this point, most escaped prisoners were thought to be sleeper agents sent to get information for Morgoth

Wandered for the next few years, mostly alone, occasionally finding Elvish towns that feared her because of the marks of Morgoth's torture and thought her one of his puppets

Ended up stumbling across one of Maedhros's orc hunting parties in the Early First Age, and jumped at the chance to actually fight Morgoth

Maedhros was also one of the only lords willing to help former thralls at that point; he gaze Hrivossa a new home and purpose, fighting alongside him against their shared tormentor

It's not hard to understand why she became so loyal to the Feanorian cause

This is also when she took the Quenya name Hrivossa, "winter wall," because she was as frigid and unbreakable as Himring's walls

(her original Nandor name is mostly for her close friends)

Between Denethor's death and hiding in Doriath with Melian instead of doing anything about Morgoth, Hrivossa absolutely hates Thingol

She's generally a cold person around strangers, but she warms up around her friends, and her wits and tongue are as sharp as her sword

Part of the general morbid humor culture that built up in First Age Himring

She does not have a soft spot for the Sindar claiming that the Silmaril belongs to them now

She does have a noticeable soft spot for small half-elves who keep pestering her for stories about what life was like in Beleriand before the sun and moon

She fought with Maedhros until the bloody, bitter end, being forcefully brought into the custody of Valinor's forces late in the War of Wrath

She was the leader of the Feanorian faction who chose not to submit to the Valar's judgement, or to willingly go to Aman to do penance

They generally made themselves trouble while in custody

To avoid any more ugly conflict, Elrond eventually took responsibility for this faction, becoming their lord (though Elrond did NOT become Lord of the House of Feanor) and promising to keep them from committing any more violent acts

Hrivossa and the others, all of whom had lived in Amon Ereb and helped raised Elrond, found this agreeable

All of these elves are still very much see Elrond as their Lords' child, who must be protected at all costs, so there's that

And that is the story of how Elrond became responsible for the remaining Feanorians, but only the really fucked up ones

Seriously, they don't do any other murders, but they do cause all sorts of other trouble

Also, how Elrond inherited one (1) extremely determined bodyguard

[featherlesswings]

OFMD was honestly over for me (and a lot of other fans) with the way season 2 ended. We loved it. We devoted a year and a half of adoration, creativity, energy, etc to it. And the sudden drop into dark drama in season 2, even before the loss of Izzy, made some of us nervous. To reference The Gay Pirate Podcast, they made our singular show that was a safe haven away from Prestige TV™️ into the same thing everyone else was doing. We no longer felt safe to laugh and love and get attached to characters. There was definitely a faction of fans who decided they wouldn’t watch even if a third season did happen, because they felt so betrayed. So for me, and for a lot of others, it was over in October. Hugs to all of you who are mourning the fresher loss, I’m sending you all virtual oranges to stave off scurvy and winter blues. Thank you for creating this beautiful fandom, and letting me be a part of a fandom as it happened live, for once.

[medievaljournalist]

! - Quest completed: 'Theres No Place Like Gnome'. [Scythe of Winter's Withering] has been deposited in your inventory.

! - Warning: your reputation with faction 'Prosperous Nation of the Elfs' is critically low!

! - Notice: incoming friend request from user GabeDrinks

! - Warning: a Keebler Korps. death squad has been dispatched to your location!

[flowersforchoso]

Epiphany (ft. bi-han)

bi-han could be likened to a bitter winter: frigid, harsh and unforgiving. traits privy to all and sundry. his dominating presence seemed to make the air around him dense, the sheer aura of grit capable of obliterating anyone who got close.

principled. cut and dried with an indomitable will driven by his convictions. all of these contained in the physicality of an imposing figure. bi-han was a mighty man. and he communicated this self-awareness through his confident gait.

however, he faltered. somewhere along the line, a nagging gnawed his mind, one he tried to ignore at first but soon grew into a sensation surrounding the icy fort of his heart, holding it captive. he neither had the time nor desire to process emotion, it was an obstacle that needed to be nipped in the bud as soon as possible. and that he did, by suppressing them, akin to a baptism that only kept one underwater

little did he know it achieved the opposite effect, which crept up in the most unexpected ways. a stitch in time saves nine is what he practiced as soon as he perceived a trivial problem, proceeding to relegate it to the dark recesses of his mind in hopes its flames extinguished, but soon realized avoidance was no solution.

the feelings persisted, which took his mind back to the genesis, and finally recognized the petty emotion for what it was.

jealousy

yes, bi-han was jealous. of the fact that you never bade him farewell like you did the others, a treatment only reserved for him. he doesn't understand why it bothers him so much when you didn't flash your signature smile as he was leaving the inn which served as a refuge during missions. he is well aware that he is not the most friendly person in the room. yes, he was impolite. yes, he was aloof. yes, he was cold, but that shouldn't detract from your kind demeanour. a consequence he earned, which made you demure around him. something you were not with tomas or kuai liang. an intentional switch that surprisingly stung. nobody liked differential treatment, not even a cold-hearted bastard.

his mind goes further back to an offhand comment your father, the owner of the inn, made. it was a mere expression of gratitude to the lin kuei grandmaster for his protection and to strengthen relationship with the faction.

"...and if you ever need a wife, my daughter is available. the young ones need to be married off eh?" your father had jest which was only received by his stoic visage.

bi-han ruminates on the thought. a wife was something he never really considered. the lin kuei was all that he needed. every other thing was unnecessary. regardless, he couldn't deny the idea enthralled him, which he nursed in fact.

of course, the union would be retaliation since he was as petty as he was jealous.

[aspoonofsugar]

RWBY Volume 9 Epilogue: The Five Stages of Grief Again

As @greenteaandtattoos's friend noticed, volume 9 epilogue has its five narrators embody the five stages of grief:

Negation - refusal to aknowledge the truth, while clinging to a preferable reality.

Anger - lashing out on others in an attempt to channel one's pain and frustration.

Bargaining - being ready to negotiate, to give something in order to avoid loss. When death already happened, it is about exploring what ifs scenarios.

Depression - sadness, desperation and refusal to engage with others. It often comes with low energy.

Acceptance - coming to terms with one's loss and finding a new stability.

This isn't surprising, as volume 9 as a whole uses this motif. In particular, Ruby herself goes through the 5 stages twice. First to grieve over Penny and then to face her emotions towards Summer. Finally, RWBYJN reach acceptance (the main theme). Acceptance of death, loss, pain, change and of themselves. All in all, RWBYJ's journey in the Ever after is a metaphor for the process of grieving. Well, the epilogue shows us how the other characters have been dealing with this emotion.

So, here comes NORWQ as the 5 stages of grief:

Nora = anger: tbf she is the most difficult to pintpoint, as she fits the pattern less than others. Still, her section focuses on how Vacuans and Atlesians are both reacting with anger at the new status quo. Vacuans are frustrated that Atlas brought its own problems into their Kingdom. Atlesians are furious nobody came to help them. Nora herself enters into a short confrontation with two angry Vacuans and clearly projects her own past into the conflict. What's wrong with orphans? What's wrong with her?

Oscar = negation: our Little Prince is the only one that believes Ruby and the others might be alive. He even looks for an answers into books (mirroring how RWBYJ is grieving through a fairy tale). On a personal level, he and Ozpin are both fighting the merge, so they are negating a transformation, which is bound to happen.

Ren = bargaining: Lotus boy is trying to replace Jaune as the glue who keeps the team together. He is conscious of everyone's feelings and problems, but is not sure on how to handle them. Moreover, his section deals with how Salem's faction goes through a bargain. Sure, it lost some people in Atlas, but Tyrian and Mercury free the Crown, so that new forces are ready to fight for the Evil Witch of the West.

Winter = depression: our Winter Maiden is dealing very very badly with Penny and Weiss's lost. She blames herself for everything and is far away from accepting Penny's final teaching: "I won't be gone, I will be a part of you". Winter is struggling to honor both Penny and Weiss's legacy. If anything, she feels she isn't the right person to do so. Her section is also the most somber on a macrochosm level. As a matter of fact through her we discover Vale was destroyed by Salem and we see how the refugees are not handling their new situation well.

Qrow = acceptance: Qrow is Winter's opposite, as he is the closest to find acceptance. On a personal level, he shows he has integrated with Clover. He has embraced his friend's optimism and has learnt to love himself through him. This is why his semblance evolved and he is now able to bring both good and bad luck. This new found balance lets him find hope even in the bad situation the world is in. He sees how people are showing kindness and realizes Ruby's message is the first step into uniting Remnant.

Of course, our five narrators all foil each other in different ways. I have discussed Qrow and Winter here, so let's see what to say about Nora, Ren and Oscar.

RENORA = LONELY TOGETHER

Nora and Ren are going through an inversion of their dynamic. Nora is now repressing her feelings and avoiding Ren's attentions and offers of support. Ren instead is grieving openly and is trying to be open with his feelings.

Nora isn't even able to speak directly with the person she lost, but narrates talking to no-one in particular. She mostly speaks about the macrochosm and uses plural forms. "We buried our friends", "I think everyone lost someone that day", "For us it was a relief, but for the Vacuans", ""What if we can't go on, what if we are too scarred?". She is in a sense the embodyment of everyone's grief. At the same time, she is so disconnected from her own trauma, that she can only read it while projecting it on the world:

Ren: Nora, she is putting the world on her shoulders.

Ren instead is the one more focused on the feelings of the people around him. Through his point of view, we discover how the other main characters are doing. We realize Nora is too focused on the macrochosm, while Oscar has trouble with the microchosm (he just isn't himself). Ren is trying to balance out the two dimensions. He is grieving for Jaune and is inheriting his legacy. At the same time, he understands that just like his friends are fighting to overcome anger and pain, so is the world. By doing this, he once again draws a parallel between Nora and the World:

I think the epilogue of volume 9 (or the prologue of volume 10?) sets up Nora as a strong symbolic character in Vacuo. She is Vacuo itself, struggling with pain, grief and anger. She is Atlesian orphans, nameless children too scarred to go on. Ren's role will probably be to step in and remind her how beautiful she is.

OSCAR = STAGNATION

Oscar's conflict permeates both the microchom and the macrochosm. It is synthesized by this phrase:

Oscar: "You always believed in the best. You saw people for who they really were. Some of us don't know anymore."

Here, Oscar is speaking both:

Of himself, who is slowly and painfully merging with Ozpin

Of the world, which finds itself in "uncharted territory"

Oscar is uncertain. Of who he is. Of what to do. So, he looks up to Ruby, who was always certain and could "see the world through better eyes".

At the same time, Oscar's situation strongly suggests he is stagnating. He refuses to accept RWBYJ's death (he is right, but it isn't a healthy reaction). He fights the merge unsuccessfully. He can neither go back to the person he was before nor can he progress towards a better version of himself. Basically, just as Ruby is finding the path back to herself in the Ever After, Oscar is losing himself in Vacuo. This is (just like in Renora's case) an inversion to their previous dynamic. Back in Atlas, Oscar was the one progressing, whereas Ruby was stagnating. Right now, they start their stories in Vacuo in an inversed situation.

OTHER POSSIBLE FOILINGS

Of course, the epilogue/prologue offers several possible foilings that could be explored in volume 10. Here are some (but they aren't all).

Ren and Winter are both talking to the "sibling" they entered a conflict with in volume 8. Both grew distant from Jaune and Weiss, only to reconcile later on. Now, they realize how much Jaune and Weiss did to keep their respective families together. They celebrate their legacies and wonder if they might be able to live up to it. This might also foreshadow some foiling of Jaune and Weiss themselves, once they come back.

Qrow and Oscar are both talking to Ruby (to be fair, Qrow speaks to everyone, but thematically Ruby is her interlocutor). However, Qrow has managed to integrate (with Clover), while Oscar fights integration (with Ozpin (understandably so)). At the same time, Qrow focuses on how Ruby has changed the world, whereas Oscar focuses on how Ruby has changed him.

Nora and Qrow open and end the epilogue. Nora is the one who struggles to grieve the most (she is the only one who never visits the memorial, after the cerimony). She insists she must move on, but also wonders if she will ever be able to. Qrow instead is the one who deals the best with the situation. He finds serenity while at the memorial and grieves in a hopeful way thanks to the murales realized by the community. Both are very involved with helping people and the refugees. Nora is shown helping children and states she wants to help Velvet before eating herself. Qrow keeps going into meetings with Theodore, he spends time with Robyn and the kids and helps the Schnees giving out free food. Still, Nora is clearly wearing herself out, whereas Qrow genuinelly finds hope and energy. Nora is symbolically one of the orphans trying to carry the world. Qrow is instead a mentor, who has learnt he doesn't have to face the world alone.

OTHER THOUGHTS

Happy to see the Crown. I think Jill and Jax have the potential to foil Emercury to an extent, so I am happy to see them (it's them, right?) with Merc. It is also something I had always thought that Tyrian and Mercury's mission to Vacuo might have been to find some new allies there. The Crown were the obvious choice.

I feel neutral about team CFVY appearing so much in the epilogue. My guess is that they are set up to be minor foils to RWBY, kind of like the Happy Huntresses and the Ace Ops were in Atlas. I think the books give them enough set-up to solve their arc in a quick way, while commenting on those of the main characters.

I was surprised about the revelation of Salem attacking Vale. I wonder if she found the crown. I doubt it, so far and I think Glynda missing is clearly set-up as a future plot-point. In any case, we'll see. I am open to everything.