#because there are so many different dynamics there

[arkadijxpancakes]

Yes. The Weasleys had too many kids. An analysis. (Part 2 of 2)

So, where were we? Right. The Weasleys have so many kids that it fucks with their family dynamic and with the mental health of everyone involved. Last time, we looked at Molly and Arthur during the war. We ended in 1981, which means that all kids are born, now. Molly is still nursing. (It’s common to nurse kids up to two or three years, while slowly weaning them, so I assume that this is what Molly does.) She’s finally done with becoming pregnant every other year, however. And it’s about time, because her workload is bigger, than any single person can handle. And while it will decrease over time, it will stay enormous for the next couple of years.

1982 – Bill (who will be 12 at the end of the year) starts Hogwarts. It’s his first lick of freedom. There is no babysitting-duty at Hogwarts. All he has to do is stay out of trouble and earn good grades. Other than that, he is free to do what he wants. He will be the only Weasley-sibling in Hogwarts for two years. Because of this, his parents probably have enough money in reserve to buy him a full Hogwarts-kit without resorting to second-hand-stuff too much. (He might get second-hand books, but his robes and wand are probably new.)

At home, life is still hard for Molly. She has one less kid to take care of, but the kids who are still in her care are a handful. She still needs to teach Charlie. Percy got 6 over the summer and is a little nerd, so she is likely teaching him, too. Fred and George are still chaos incarnate. (And they are just getting started, really.)

Bill’s duties (chores around the home and watching his younger brothers) get passed down to Charlie. Percy might try his hand on this, too, because he is still in direct competition with the twins and Mum gives him attention when he helps her.

The war is over and the Weasleys start to feel the effects of this. As Death Eaters are captured and sentenced, the Wizarding World starts to feel safe, again. The stress eases off (but Molly is probably still grieving.) 

Arthur’s work schedule slowly goes back to more normal levels, allowing him to spend more time at home. However, he missed out on a big chunk of his children’s childhood. It’s also hard to return to his role as a parent, because at this point, the roles of the family are pretty much established: Molly is in charge and does most of the work. Some of the easier chores are passed down to her kids (first Bill, now Charlie, later Percy). This includes watching over his younger brothers while Molly takes care of her toddlers. It’s kind of hard for him to integrate himself into this dynamic. (Just imagine him doing the laundry or the dishes – it’s very likely that he has a different way for doing this, which could easily disrupt Molly’s workflow or simply just annoy her.) 

I think he will mostly stick to the stuff he did when Bill and Charlie were little. So he’s taking his kids out for trips on the weekends. But this is difficult, too, because it’s not Bill and Charlie anymore, but Charlie, Percy, Fred and George. Their dynamic is entirely different, and it’s hard to keep an eye on all of them, while also satisfying their needs equally. (Especially because Percy, Fred and George start to clash.) As a result, the trips are probably not as frequent as they once were.

It’s also possible that Arthur picks up his Muggle-hobby at this point. (Picking up this hobby causes him to spend at least some evenings in his shed, tinkering with Muggle-stuff instead of helping his wife. I imagine him to fade into the background a little bit, while he leaves the household and child-rearing to his wife.)

1984 – Charlie starts Hogwarts.

There are now two Weasley-Siblings at Hogwarts, but things are still pretty chill for them. It’s still just Bill and Charlie, after all. Bill is probably considered trustworthy enough by his teachers to receive a time-turner, so he can take all electives Hogwarts has to offer. (I do wonder how much Molly’s expectations are playing into this. She clearly expects her children to do well at Hogwarts, both in terms of grades and behavior. At this point, he is either a massive nerd like Hermione, trying to perform well to fulfill his mother’s expectations, or both. He is also setting a standard for his siblings here, whether this is on his own accord or because of pressure he receives from Molly.)

At home, Percy (now 8) takes over Charlie’s duties. He tries to control Fred and George. It’s likely that he fails miserably. They are just too close age-wise for this to work. 

Fred and George are 6 now and start to play rough. Last year, Fred turned Ron’s teddy bear into a giant spider (which probably caused Ron to develop arachnophobia). Next year, they will try to talk Ron into making an Unbreakable Vow with them. So keeping an eye on them is getting harder, not easier.

At this point in time, Scabbers exceeds the life span of his species. Rats can get up to two or three years old. (And Rowling knows this. This information is included in book 3, when Ron takes Scabbers to the pet store to have the witch there check on him.) This is Scabbers third year with the Weasleys, so his time is up. No one seems to notice, though. I don’t blame Percy (or the other kids) for this, but Molly and Arthur should notice that they don’t have to replace a rat or have a talk about how Scabbers is happier in the great rat heaven. They don’t and I wonder why. My suggestions are: a) They are either not paying any attention to Percy and his pet (which would suck) or b) Scabbers is turning into Peter and uses a wand (his own or Molly’s) to confund them as needed (which would suck even more).

1987 – Percy starts Hogwarts.

At the end of the 1986/87 school year, Bill (who is a prefect now) takes his OWL in all 12 courses Hogwarts has to offer. It’s possible he returns his time turner after this or keeps it until his graduation to deal with his NEWT-workload. He now starts his sixth year. Charlie is in his fourth year and is already on the Quidditch team. Molly is very, very proud of both of them.

Percy is a wee first year and doesn’t have to watch out for any younger siblings for once. He can focus on learning instead. He is probably the first boy in the family to end up with hand-me-down robes, as he has a similar build as Bill and Bill has probably outgrown his first set.

Scabbers is six, now. So he has lived twice as long as a normal rat would. Still, no one has caught up to the fact that he is awfully old for a rat. It’s very likely that he accompanies Percy to Hogwarts. (It should be noted that Hogwarts only allows cats, owls and toads as pets, so Percy probably got a permission to bring a rat instead. However, no one at the school notices Scabber’s age either.)

Life at home is still chaotic. Fred and George are 10, Ron is 8 and Ginny is 7. Molly is probably teaching all of them. Her workload is slowly going down to a more manageable level, but keeping the twins in check is still a challenge.

She probably doesn’t expect Fred and George to do chores and watch over their siblings. (At least not in the same way she expected from her older kids.) Mostly, because she can’t trust them to do it. (Remember the Unbreakable Vow? Yeah, that.) Additionally, Ron simply has no authority over them, so that’s not an option either.

1989 – Fred and George start Hogwarts.

In his seventh year, Bill was made Head Boy. By now, he took his NEWTs and left school. He probably returns home for a little while, before he takes the first chance he gets to fuck off to Egypt and play with cursed tombs. (We should probably talk about English wizards, Egyptian treasures and colonialism here, but that’s a completely different can of worms.)

Charlie took his OWL and is now in his sixth year. He’s still on the Quidditch team and should be Quidditch Captain by now. He’s also a prefect. So between them, they got all the big achievements Hogwarts has to offer: Prefect (both of them), Head Boy (Bill) and Quidditch Captain (Charlie). Bill also got 12 OWL, which is an achievement on its own. Molly will measure her other children against this later.

Speaking of Molly: While her home life is going to relax a lot this year, her expectations are still around. She is still expecting her kids to do well in school. Considering that Fred and George are now at Hogwarts, the old demand “Watch over your younger siblings!” is back and in full swing. I can’t see Charlie doing it – he has his head full of dragons and Quidditch and lived five blissful years in Hogwarts without the need to look after anyone all that much. Sure, Percy was at school, but he has already learned to look after himself. I don’t think Charlie will start with this now. Not unless the twins interfere with his prefect- or Quidditch-duties or are completely out of line.

Percy is a different story, however. He is in his third year and still taking after Bill. Just like Bill he takes all electives, so it is likely that he also gets a time turner for this. At this point, Percy has ingrained the idea that he needs to perform exceptionally well at school and Bill set an incredible high bar to reach, but he is willing to do just that. He also spent a lot more time at home dealing with the twins. Molly’s expectations for him to be a good boy and to look after his younger brothers will now put pressure on him again. He will probably try to control their chaotic behavior, but they are 11 now, and they will listen to him even less than before.

For Fred and George, this is heaven. They finally escaped the watchful eyes of their mother and have a whole new world to explore. So many secret passageways and even more victims to play pranks on. Percy is annoying, but they can play pranks on him, too. They will soon steal the Marauder’s Map from Filch’s office, which will open up even more possibilities. It’s great. 10/10, no notes.

Life at home is finally manageable. It’s just Molly, Ron and Ginny (and also Arthur and his Muggle-stuff). This is probably a nice time for Ron, because there are no older siblings around to steal his limelight. However, at this point he has the family dynamic internalized and his self-esteem is pretty low overall.

1991 – Ron starts Hogwarts.

By now, Charlie has left Hogwarts. It is unlikely that he actually finished his education, however. When Harry becomes a member of the Gryffindor team in Philosopher’s Stone, Fred says: “We haven’t won since Charlie left, but this year’s team is going to be brilliant.” Had Charlie finished his education, he would have left in summer 1991. The quote is from autumn 1991. In this case, the quote would make no sense, because there were no matches for Gryffindor to lose between Charlie leaving and Harry becoming Gryffindor’s new seeker. So he must have left before then, probably sometime in his sixth or seventh year, after his seventeenth birthday.

It’s important to note that we don’t read about any fights over this. I can’t imagine Molly being happy with this, but he must have had her permission. (Otherwise we would know about it. Molly can’t shut up about the failures of the twins, she would not shut up about Charlie’s failures either.)

Percy is in his fifth year and a prefect. By now he is the career-driven rules lawyer we meet in canon. He will end this school year by taking all 12 OWL – just like Bill. (When Ron is made prefect in OotP, Molly makes sure to tell everyone that he is now a prefect, just like his older brothers, and she seems very comfortable doing so. I assume, Percy heard his fair share of this, when he was made prefect.)

The twins are in their third year and members of Gryffindor’s Quidditch team. By now, they have earned themselves a reputation as pranksters.

Ron is the sixth Weasley-kid to enter Hogwarts. While his older siblings might have gotten some second-hand stuff, everything he owns was basically handed down to him: Bill’s old robes, Charlie’s old wand and Percy’s old pet rat. To be clear: none of those things make much sense to hand down (or at least not to Ron).

Bill’s old robes should have gone to Percy after Bill left Hogwarts. They should be of a similar height, while Ron (as an eleven-year-old) should be somewhat smaller. Instead of handling it that way, Percy got new robes as a reward and Bill’s robes were handed down to Ron. This is clear favoritism on Molly’s part. It’s no surprise that Ron (who already feels overlooked by his parents) feels upset about it.

Giving him Charlie’s old wand makes even less sense. We know, that the wand chooses its wizard. Charlie’s wand did not choose Ron, so it would not perform as well for him. In addition, in book 1 the wand is described as follows: “He rummaged around in his trunk and pulled out a very battered-looking wand. It was chipped in places and something white was glinting at the end.”

That thing is basically falling apart. That was either a lot of wear and tear during Charlie’s time at Hogwarts (considering the fact that we have not heard anything about this with other wands, this is unlikely) or the wand was already a hand-me-down when Charlie got it. In either case, giving Ron a wand that has its core more or less poking out, doesn’t sound very safe. I wonder why Arthur and Molly decided to do this. Did they expect Ron to have a great learning experience with a damaged wand? Did they want Ron to use the wand until it eventually did break, saving them another year or two before they had to buy a new one? (And yes, they would indeed need to buy him a new one in his third year, but they had no way of knowing that. Unless there are prophecies for that kind of shit. And even then. The fuck?)

Money is tight, of course. But is it really that tight? They could afford to get Percy an owl, after all. And buying a wand for their son is an expense they've had 11 years to plan. I understand getting second-hand robes and cauldrons, as they see a lot of wear and tear. But this should not apply to a wand in the same way. This is just really, really odd.

And then there is the elephant – and with elephant I mean rat – in the room: Scabbers. Firstly, that rat should be dead for at least seven years by now. No one seems to notice. No one cares. What the fuck.

Secondly, why is Percy giving his pet to Ron? There just isn’t a great explanation for this. Scabbers has been his pet for ten years. TEN. Percy should be attached to his pet like glue. After all, he has Scabbers since he can remember. Why is he willing to part with his rat? The only reasons I can think of:

1) He does it because Molly asks him to. She is clearly playing favorites, here. Not only does he get new robes when he becomes prefect, but he also receives his very own owl as a gift. It’s possible that this owl comes with strings attached, and Percy is required to give Scabbers to Ron to get the owl. Which would be a pretty fucked up situation for every child involved and should’ve been handled differently.

2) Percy wants to get rid of Scabbers. He doesn’t know about Scabbers’ Peter-shaped secret, of course (otherwise he would’ve reported this). But it is possible that he feels, on a subconscious level, that something about Scabbers is off. Not in a dangerous way (again, he would’ve reported this), just in an unpleasant way. (This would still be odd. Especially when we consider that no one noticed Scabbers age.)

3) Scabbers has decided that it’s time to jump ship. Percy just turned fifteen this year. He is old enough to grow suspicious of his seemingly immortal rat. It’s possible that he cozied up to Ron to manipulate both boys into making the switch. Or he turned into Peter and confunded some Weasleys. Who knows. He’s still a Death Eater and mass murderer on the run, after all.

1992 – Ginny starts Hogwarts.

The flock has left the nest. Molly’s work is mostly over. It’s just her and Arthur who stay at the burrow. She still takes care of the household, but the responsibility for her kids rest on other people’s shoulders, now. There is nothing left to do, except knitting, sending care packages, worrying about her kids careers and hexing the occasional howler. Molly could get a job now or pick up a hobby or two. I mean, she does read Gilderoy Lockhart’s shitty books. She is a fan of his, after all. But she doesn’t seem to enter any community over this (no fan club, no reading circle, no nothing. It’s just her). And there are no other hobbies outside of that. 

Apropos community: We don’t really see her having a community. She is a pretty important side character, but the books never mention that she has friends or other contacts outside her family. It seems like she is focusing on her kids and only on her kids.

Which would explain her meddling. Because Molly meddles a lot, when it comes to her kids and their futures. She keeps putting pressure on Percy to look after his younger siblings – this will expand to Harry after she gets to know him. Percy (still a good boy) does as she wishes. It’s not healthy, neither for him nor for his relationship with his siblings (who are mostly annoyed by him), but Molly either doesn’t notice or doesn’t care. In the future, she will be very cross with Hermione after reading Rita Skeeters articles about her. She will also be upset about the twins' career choice and Bill's choice of girlfriend…

And yeah, that’s basically it. At this point, the family dynamic is firmly established and ingrained in her children’s heads. Percy is already set up to explode in the near future. Being Molly’s Golden Child is neither good nor healthy, especially considering all the pressure that comes along with it. His relationship with his siblings isn’t all that great, either.

Fun fact: We don’t know if anyone ever told him about Scabbers’ Peter-shaped secret. If it did happen, it was probably pretty traumatic. That shit-show was his pet for ten fucking years and he handed it down to his younger brother. That’s nightmare fuel, even if Peter never hurt any of them.

The twins have firmly established themselves as troublemakers. At least some of their “jokes” really aren’t funny and border on cruel, neglectful and/or harmful. (Remember the Unbreakable Vow? Yeah, still not funny. In 1993, they also tried to lock Percy in a pyramid. Yes, I don’t think they wanted to hurt him, not really, but that thing was still a cursed tomb. Things could have gone wrong, and at that point they were old enough to know better. In their last year they tested their joke-sweets on younger students who were neither adequately informed nor old enough to consent for something like this. Yes, they tested the sweets on themselves first, but something could still have gone wrong because of allergies and all that stuff. And after they left Hogwarts and started their joke shop, they do sell love potions to students, complete with options to smuggle that shit into school. Additionally, instead of going bad/losing their potency, those love potions get stronger with age. This alone is a horror story waiting to happen.)

Ron is affected, too. His self-esteem is pretty low when he starts Hogwarts and it will stay that way throughout the series. This will inform a lot of his decisions (especially the bad ones) in the future. 

We don’t know much about how all of this affected Bill, Charlie and Ginny. Bill and Charlie just aren’t as involved in the narrative, and Ginny stays kind of… bland and love interest-ish… throughout the story.

So… yeah?

Am I saying that the Weasleys did not love their kids? No, of course not. Especially Molly shows her love regularly. (Her love is more like a water hose than a watering can, however. Very intense and focussed on a single spot at a time, instead of reaching all her kids equally.)

What I am saying is that the Weasleys, as a family, are pretty dysfunctional. Many factors are playing into this – Molly’s and Arthur’s dynamic as a couple and as parents, the number of their kids, the war, etc. It’s impacting all of them negatively. Molly is stressed out, Arthur is out of touch and some of their kids lose their trust (either in their parents, in their siblings or in themselves.) It also makes their love feel conditional. The twins feel this whenever Molly is comparing them with their older (more well-behaved) brothers. Percy feels this when he comes home with that promotion and is demoted from Golden Child to family-traitor within a heartbeat. Ron has internalized it and desperately seeks attention and affection elsewhere.

They still love each other, but it’s a difficult position to be in for most of them.

And the worst thing: I don’t think Rowling notices any of this. She did not intend the family to be as dysfunctional as it is. She keeps portraying the Weasleys as this great, loving family who took Harry in when he needed it the most. And of course they did – but that’s not all there is to it. There are so many issues that go unresolved in the books. Molly never learns to back off. The responsibility for the conflict between Arthur and Percy is placed entirely on Percy, despite Arthur being at fault, too. The twins never really learn that a prank can go too far. Ron doesn’t really solve his self-esteem-issues. Rowling does start to give him some character development regarding his self-esteem-issues multiple times, but he always seems to revert back over the course of the summer holidays. 

The family really deserved more effort to go into the writing.

Note: This analysis is not meant to say that stay-at-home parents are bad or that Molly should have gotten a job while having seven little kids at home. What I am criticizing is the way we treat care work. Because it is work, and a lot of work. A stay-at-home parent is often on call 24/7. A stay-at-home parent never really gets to take a break, never can take a day off, and never just can leave their work for another day. But they do deserve breaks and days off, just like any person with a day job. And that is where their partners and the rest of their families come in.

And this is the other thing I wanted to criticize here: The way we glorify living as a nuclear family. It’s said that you need a village to raise a kid and I do think this is true. Having more people involved in child-rearing (be it relatives, neighbors or professionals like teachers) is a boon. Families had access to this for millennia. Raising your kids with the help of your family and your village was normal, up until very recently. And it’s a shame that the Weasleys seemingly had no help like this. And yes, I do see the fault with Rowling, who wrote them that way. She basically took the concept of the nuclear families of the 1980s and 1990s and slapped it onto the family, without any world building at all.

(Please also note, that I consider stay-at-home parents to be different from tradwives. When I use the term “tradwife”, I am specifically referring to stay-at-home mothers who do not just take care of their household and their kids, but who also commit themselves to having as many kids as possible and who tend to take on other duties (like homeschooling) as well. The most common examples of this are probably families who belong to fundamentalist Christian churches or cults.)

[kentuckyfriedmegumi]

i’m PISSED about the way gege handled megumi’s character and i wrote an entire 1k-word analysis/rant on it

i think what makes me especially mad in the way that gege has handled megumi’s character is just in how much set up we were being given. yes, megumi was taken over and suppressed for 50 chapters, but we see how he haunts the narrative.

yuji is CONSTANTLY fighting, working to get him back, it is his MAIN focus in this entire fight. yes, he wants to kill sukuna, but it’s BECAUSE he wants megumi back.

“wake up, fushiguro.” (chapter 251)

i’ll do it as many times as it takes! “wake up, fushiguro!” (chapter 263)

in addition to the long, drawn-out “save megumi” arc, we had megumi’s growth as a character before then. he starts off as someone who does not see value in his life. he would rather sacrifice himself to save his friends bc he believes that their lives are worth more than his.

we see this in how willing he is to throw away his life and summon mahoraga. he’s NOT suicidal, it’s just that he would rather that HE be the one to die than anyone else that he cares about when it comes to a deadly situation (sukuna, finger bearer, etc.)

haruta is an entirely different thing, he was already dying. people who think he was stupid for summoning mahoraga on haruta don’t realize he was literally on the verge of death when haruta pulls up and slashes him from behind.

megumi’s mindset is also PERFECTLY defined in the baseball episode and in his flashback talk with gojo in the OoBO. he’d rather play support and sacrifice himself than have someone else sacrifice themselves for him. he needs to learn to be more selfish, greedier, if he ever wants to grow as a sorcerer.

but that contradicts with how he wants to live. he’s living for tsumiki, he’s a socercer for tsumiki. he doesn’t care about getting strong or being the best, he just wants to do what he can to support her, so he doesn’t mind if he’s the sacrifice play.

until yuji. yuji comes in and he dies in the detention center, and we see meg slowly morph into this desire to become stronger. he wants to be strong so he can save people, which is something that he never really cared about doing before, but he doesn’t know how.

then we get to the exchange event, the fight with hanami, and him getting taken out by the bud curse, and he realizes that he NEEDS to be stronger so he can save people like yuji and tsumiki. this is the start of his arc and after his fight in OoBO, he never summons maho again til shibuya

after shibuya (bc there wasn’t a TON of meg development-focused stuff in that arc), we see he’s had a MAJOR growth in his abilities and CT. he’s a lot more confident in how he fights, he’s very dynamic and cunning, and he’s using the shadows in a new way.

but on the other side of it all, he’s struggling a lot internally. tsumiki is awake, but she’s been roped into the CG. he’s wavering and he needs support. he’s stronger now, but he’s not strong enough. he wants to save tsumiki, but he doesn’t know how.

“so start by saving me, itadori!” (chapter 143)

after megumi is taken over sukuna, we see him fight back. he does originally and he suppresses sukuna’s technique in order to protect yuji. however, sukuna acts specifically in a way to sink his soul and submerges him in darkness.

this is the lowest point on megumi’s character. it leads directly into chapter 251 where megumi has entirely given up. he sees no purpose in living, his entire reason for being a sorcerer is dead. yuji tries to pick him up but sukuna cuts them off and we’re left with megumi no longer wanting to live.

this makes his recovery THAT MUCH more important. this makes his character arc SO MUCH more impactful. this is why whenever we get to ch. 266, and yuji and megumi FINALLY talk, it’s a beautiful convergence of their emotions as they talk about their loss and why they feel the way that they do.

this is why it entirely pisses me OFF that after we finally, FINALLY get megumi back, he is immediately sidelined with the rest of the B cast. we don’t get any post-battle discussions, we don’t get a continuation of “i’ll be lonely without you,” we don’t even get a proper conversation between him and yuji.

all of this buildup, this setup, this constant tension between megumi and yuji saving each other and yuji doing literally anything and everything to get megumi back, it all comes to a boiling point, it’s about to spill over the pot, and then it just… ????

i actually get so SO mad thinking about the way that megumi’s character has been concluded. unless this final chapter really does touch on him, his outlook on life, and his motivations now, megumi’s character was just entirely wasted and thrown to the side of the sake of other conclusions and new plot introductions.

we don’t even get a further explanation of “i’ll try to live for someone else.” we know it’s for yuji, we know he comes back because yuji tells him he’ll be lonely. but megumi deciding to live for another person is just putting him back at square one. UNLESS we learn that it’s different.

maybe meg is living for yuji but without the self-expectation and pressure he had when he was living for tsumiki. maybe he realized that even a simple life is worth living, so he will use yuji as a crutch as he finds his purpose again again.

something. ANYTHING. any sort of convo that indicates that megumi has NOT retracted into his old self. it probably is the case where he chooses to live for yuji, but is determined to live for himself, but JESUS can we not get a convo about that????

in conclusion, megumi’s character has been so BEAUTIFULLY written. he is so tragic with so many complex motivations and ideas. and we get all this converging together at the very end and it just… disappears. it’s immediately sidelined. how fucking frustrating is that.

[bokettochild]

So the thing about a lot of Prince! Legend reveal fics is that they miss out on all the juicy bits of the aftermath. Warriors thinking of Legend as like this secretly honorable, noble person who should be protected as he carries the precious blood of Hylia

And then Legend tells Warriors to piss off and wins a battle competition for best trick shot kill and Warriors has to reconcile both images of Legend in his head

Legend meanwhile sees Wars treating him differently and is paranoid about waking up with a knife in his back bc he's a stain on the Royal legacy due to being a boy/raised as a commoner/rude

And then Sky wants to connect to Legend as family and Legend wants to stay away from any reminders that he's royalty

And his Hyrule! Have the guards gotten over the mind control and respect him but he doesn't trust them still? The royal knights he grew up knowing and trusting until his first adventure? Do the villagers of each town acknowledge him? Do they know there's a prince but not that it's Link? Do they think of him as a rags to riches story or as a class traitor?

There's so much good shit I don't see explored a lot in the prince!legend headcanon that I would love to see and so I'm excited about you seemingly want to focus on this rather than just the shock value

I'm so glad you're excited! I actually haven't seen the poll results yet, but the reception in the comments/tags has been overall very positive and encouraging, so i think i'll probably be writing this thing LOL

There is a lot of change I want to explore with the fic, but while fluff is a must, I probably will touch on the heavier aspects of what Legend's being a prince would mean for him, Hyrule, and the systems in his world in general.

I sort of like the idea of his lineage being an open secret to those who knew him growing up because he's a dead-ringer for the late queen, and since he never knew that, he's never made an effort to hide it. While there might be some who think of him as a class-traitor, I don't think it would be that many of them, since he does work for a living, doesn't live like a prince by any stretch of the word, and never puts on airs or treats the people of Hyrule like they're below him. He's hard working, helps anyone who asks, and generally is a decent guy, so the people who are most affronted at his existence would probably be other nobles/religious folks.

Wariors and Wild will probably both be having a lot of conflict with trying to reconcile the ornery vet to a prince, especially when he is still very much a teenager, but I think, since Sky and Legend are pretty close already in cannon, they'd come out okay.

My take on Sky probably doesn't care much about the royal part of things, just that Legend is family, and considering most of Legend's family was killed by Ganon, I think he'd enjoy having that.

Anyways, the shock factor will probably play a role, at least at the start as everyone finds out, but yes, I want to go beyond just the initial realization we all like playing with and actually dig into the world-building and dynamics and how Legend's being a prince effects all of that!

[bathtubbbbbbbbb]

I’ve attempted to explain this thing in my head a few times but I always end up up going on a tangenty ramble putting more emphasis on one thing than the other so bear with me which I show you some pictures & hopefully they’re better at articulating what I wanna articulate. (Btw I just quickly got these off of Pinterest so the image quality is inconsistent)

Anyway, so…

(Can’t be seen here but Grayson has a beauty mark under her right eye)

..hopefully you guys are picking up what I’m putting down. Further more…

..surely other people have sorta thought about this.

And the Vi & Vander parallels are abundant, as well as the Silco & Jinx parallels, but to me & many other fans that “you were my brother” line from Vander to Silco was interpreted more as a “brothers in arms” sorta thing not literal brothers — & the.. undertones in Silco & Vander’s dynamic is further cemented by them paralleling Jayce & Viktor — & that thing that Silco said in response “you still don’t understand” sure reads to me as “well ya to YOU we might have been brothers but i felt differently..”.

Anyway the point of this is that Caitlyn’s parallels to other characters are not talked about enough, I think because she parallels a lot of unlikable characters or characters that are considered “evil”, like there’s some pretty heavy handed paralleling with Jinx too. I just want people to talk about it more, to me it makes Caitlyn so much more of an interesting character that she’s sorta grouped in with the “villains” of Arcane character design wise & motivation wise, all those characters, Marcus, Silco, Jinx, wanted the same things as her, justice, results, to prove themselves, & went about achieving them in very similar ways to Caitlyn.

[merp-blerp]

TW: Discussion of sexual assault and suicidal ideation

I've been seeing some debate about Calypso and whether or not she sexually assaulted Odysseus and I want to throw in my two cents.

I'll say straight out of the gate that I don't currently like her much. I feel pretty icky about her personally.

Comparing Ody's behavior in Epic prior to "Love in Paradise" vs during the song feels so... clearly different. He seems very traumatized by whatever has been happening on that isle. It almost feels out of character for him to consider dying instead of fighting to get home alive like he had been, but putting myself in his shoes I can see how he came to that through what's textually known. He has been trapped on that isle for 7 years—that's nearly a decade, with no way to get out, everyone he knows and loves dead or far away with no way to know where he is or if he's alive. While I obviously would never think that's a good decision, I can see how he got to the point of wanting to end it. And if he's been sexually assaulted like he was in The Odyssey, I understand it more due to how that can warp a person's mental health.

I've seen some say, "Calypso is just a sweetie who doesn't know how to love properly" (paraphrasing of an actual comment I've seen). Even if she really just doesn't know how to care for a mortal, as many of the gods seemingly don't, I think she understands her power over mortals with her "Bow down now to the immortal Calypso" comment. She also understands that Odysseus doesn't want her, with the first part of her response to Ody's threats being "Oh handsome, you may try". She knows that he may try to escape by killing her (even though she can't die). Honestly, why would she feel the need to trap him if she didn't know good and well that he would want to escape her? She knew what she was doing was something that would make him want to run. Calypso being a goddess automatically gives their dynamic a power imbalance of course. Even though the assault is only implied, the fact that she's trapping Ody against his will, super infatuated by him, and still says "Soon, into bed we'll climb and spend our time", makes me feel like the indication is clear. What's stopping her from trying to have "sex" with him (sex isn't sex without consent)? She's already ignored all his declines. She seems to think that forcing her "love" onto him will make him love her. Yes, she uses lovey-dovey language so I doubt it would've appeared violent, but sexual assault doesn't have to look violent and the perpetrator doesn't have to appear aggressive. It's telling that I've seen some say, "Save that energy for Antinous" because Antinous is much more obviously bad, but this kind of thing isn't always obvious. That kind of assault is still extremely traumatizing whether it's sugarcoated as if it's love or not. It's dismaying that some reactions to Calypso bypass her potential assaulting or "She's weird, but she seems to care for him!" And since the sexual part of the assault is technically subtext (for now, who knows about later), I'll say that even if Calypso didn't sexually harm him, she still forces physical and verbal intimacy onto him and traps him so he can't leave. We see that. That's still assault. The only reason why I don't feel similarly about Epic's version of Circe is that her intent wasn't to have sex with Ody but to distract and throw him off with talk of sex so she could stab him as he's vulnerable; Circe never wanted to have sex with Ody in actuality. Calypso's intent was romantic intimacy and she didn't care if Odysseus said no, she completely bypassed it. Calypso saying "You're mine, all mine" feels as threatening as Circe's "I've got you" was meant to be.

Anything can change between now and the next two sagas. It could either be fully confirmed or denied that sexual assault took place. I actually don't expect either, as I don't think Jay would go too deep into such a traumatic concept in Epic, but then again I also didn't expect suicidal ideation to be brought up at all and it absolutely shocked me when it was, so I could be wrong. But whether it's confirmed or not, I don't blame any Epic fans who don't like Calypso or even hate her over what she did and what it's implied she did. It's icky watching some fans tell others they shouldn't hate Calypso because of this or that as if this isn't a sensitive and complex topic. It's creepy. I don't think we should tell people not to hate a character associated with sexual assault. The sexual assault might be subtext, but subtext is important and sometimes is implemented intentionally. Not every part of a story is going to be given to you at face value. Just because "Epic didn't say that" doesn't mean that the implication doesn't matter. People interact with stories in different ways, so you can disagree with others—no one can take that from you, but you don't get to tell someone they can't feel a certain way about a character. I don't like saying this because I really shouldn't have to put it in this perspective for it to be understood, but I can't help but feel like if Calypso and Ody's genders were swapped some people would treat this implication differently. Sexually or not she hurts him.

Normally I don't like taking lore from The Odyssey and automatically applying it to Epic, as Epic has changed a lot of rules from The Odyssey because Jay wants to tell this story his own story. For example, I personally choose not to assume Eury and Ody are brothers-in-law in Epic like they are in The Odyssey because that hasn't been stated in Epic so far. But to me, the implications of Ody's sexual assault are there enough for me personally to think that it might take place in both stories. Jay seems to want Epic to be accessible to many people, so it doesn't surprise me that this element of The Odyssey was brought up in a more subtextual/"hinted at" way.

Calypso is a very interesting character, maybe the most out of all the Epic antagonists so far for me, but we don't have to think of her as not doing anything wrong in order to enjoy that character, her songs, her cute physical character design, or Barbara Wangui's beautiful voice.

[The remainder of this post contains potential spoilers for the unreleased (to date) Vengeance Saga under the cut]

Another defense of Calypso I've seen is that in the snippets for "I'm Not Sorry for Loving You", Ody says he loves Calypso, but not in the way she wants him to. This could mean they're friends and therefore doubt about the sexual assault could be cast.

It's hard to assess this because the saga's not out yet, but it's worth remembering that abuse can come out of care, in a complicated way. You can care for someone so much you end up hurting them, usually out of wanting to control them. Calypso seems to fit that concept. And most Epic snippets don't give full context, naturally, so who knows why Ody says this at the moment. Maybe he means it, or maybe he's bluffing to guarantee he'll get what he wants (which is to be set free in this instance), like when meeting Athena, or to appease a god, like when "apologizing" to Poseidon in "Ruthlessness". And of course, victims don't have to hate their perpetrators if they choose not to. Odysseus can care about Calypso and she can still have hurt him really badly. Both of these things can be true.

The way I read it, Calypso doesn't love Odysseus like she thinks she does. She's infatuated by him and cares for him enough to not be obviously cold like all the other obstacles Ody faced initially are. She declares that she loves him as soon as he wakes up on her isle without knowing him at all. She didn't even know his name. The washed-up person on her isle could've been anyone and she likely would've "loved" them. Calypso only loves Ody because he stops her loneliness, not for who he is. When she begins to state that she loves him she doesn't even know him. Over the 7 years, she seems to have potentially gotten to know him a bit, saying "I know your life's been hard", but Odysseus himself asserts that she doesn't really know what he's been through. You can call someone (against their will, let me remind you) "my dear, my love for life" all you want, but that doesn't mean you love them. Ody's her first companion in years if not ever, of course she cares for him on a basic level. She won't kill him or let him jump off a cliff. But she doesn't love him or treat him like a human and obey his boundaries and wants. She treats him like an object or pet she owns and has to guard.

In "I'm Not Sorry For Loving You" Calypso says that Ody is all she's ever known because she was abandoned. It's understandable that she would latch onto a living creature after being alone for so long. But that's not necessarily love, at least not to me. If I love someone I wouldn't bypass their refusal to do something. And I wouldn't trap them with me and not let them go, even when they're about to jump off a cliff because they see no way out. I'm not sure if Calypso means to bring malice, she at least says she "bring(s) no pain", but she does regardless or if she intends to. Calypso hasn't had anyone in her company, let alone someone to love, for so long, maybe in her whole life. That's why she doesn't know what love is, so of course when she catches fickle feelings for Odysseus she assumes that's love and has no clue what to do with her "love", as she admits in "I'm Not Sorry For Loving You". Calypso's actions are understandable, but that doesn't mean they're excusable or not abusive. What she does to him is understandable, but selfish and only serves herself, which isn't what you do to someone you love. Note that the way I use understandable here does not equate to forgivable, it just means conceivable. And her apology to him really waters down the magnitude of her actions, saying she "pushed" him, "came on too strong", and that her love might've been "too much" for Ody.

I apologize for this being such a long rant, but I wanted to cover all the excuses for Calypso I'd seen and speak my mind on why I think they're misguided at best.

[dvilsdesire]

The many faces of Raphael

So I headcanon that Raphael can be seen as two very different people, depending on who is dealing with him. I truly believe that Raphael acts a lot. It is the nature of a devil, to understand their company and possible opponent, to lean into what it is that he could use against someone, and in turn, to lure them in for his own gain. To be manipulative and attractive, to get inside their head and to get under their skin so they can't stop thinking about what he can GIVE them in return for whatever it is that Raphael wants.

Raphael is a devil, and he is a smart devil, with wit and charm to top off that personality of his.

However, the opposite side of that charm and wit, when he is within company and attempting to manipulate someone, is someone far more cold.

Behind closed doors, Raphael, whilst he is still charming in his own way, and intelligent, is also far less performative, straight to the point, and often cold and blunt. Whilst he still has a very creative vocabulary, there is simply no NEED for it behind closed doors, and it would be wasted energy (unless he's getting something out of it).

This also comes down to the power that Raphael holds and can wield. For mortals on the Material Plane, Raphael is generally in control and much stronger. He can manipulate and control the situation a lot easier than he can in the Hells--for he is the only devil in the room (generally speaking), and he can use that to his advantage. Most mortals are terrified of his kind, and he can use that against them, trapping them and making sure to manipulate the situation so he is their only choice. He is a master at trapping others and even making them feel like they are making their own choice, when really... it's the only choice they actually have left because he's likely taken out the competition.

In the Hells, it's obvious that Raphael is not popular (especially if we can go off Haarlep's letter in endgame). As a cambion child, he would have been looked down upon because of that. If we lean into the theory that he's a nepo baby, it means devils would have hated him even more because of the privileges he was given above others, when that's not supposed to be how the laws of Baator work (though this is a theory I'm sort of... 50/50 on considering those laws).

I honestly think most devils see Raphael and think he's incredibly annoying to deal with, a fucking nerd loser who likes to sing (Yurgir pretty much confirms that Raphael sings even if it's for torture purposes), and is... as what most of the fandom has stated, a theatre dork.

This is where I see Raphael's power shift change in how he acts. If he knows he has the advantage over someone, he is that charming and pompous actor, grandeur in nature. However, when that power shifts, I believe Raphael is far less theatrical, and behind closed doors, he likely is a lot cooler and colder in nature.

I consider his relationship, in particular, with Haarlep, to be something far more domesticated (though not without its power games of course, and Raphael's constant need to attempt to stay in control, though Haarlep is far too good at twisting that control).

The art of a devil is being able to manipulate and gain control, to keep that control and bend anything to his whim. Raphael will always see himself as in control, will always be selfish, and will always be a cruel and sadistic, evil devil. Everything he does, he does for his own gain and benefit, whether or not it's control, power, souls, whatever else, and in doing so, he picks the best personality to go with what will get him what he needs, what people will find attractive in him.

But I do believe that behind closed doors, he drops some of that facade as it's simply not necessary, and especially when he is within the Hells, when that power dynamic can change as other devils are around him he must follow the laws of Baator.

[splashstar01]

MBTIs of BBC's Merlin & Arthur Pendragon

Arthur Pendragon (ISTJ)

Introverted (I): Now I know many people see him as an extrovert. I argue he plays extroverted out of necessity. Although Arthur is often in the spotlight due to his royal position, he tends to process emotions and decisions internally. He’s reserved about personal feelings, often keeping a stoic exterior, particularly in moments of vulnerability. His introversion explains why in season 4 finale (the show only has 5 seasons), he told Merlin that Merlin was still his only friend, despite the fact that all the Knights of the Round had already been established! He clearly differentiates knights who would willingly give their lives from real friends. Arthur is so private that he doesn't even tell his wife things. In season 5, she casually said, "Arthur never tells me anything." Arthur only really lets Merlin in. (Because he loves Merlin, duh. lol)

Sensing (S): Arthur is pragmatic and focused on the present. He has a strong sense of duty and tradition, often valuing tangible results and sticking to established systems, like the chivalric code and the duties of being a king.

Thinking (T): He makes decisions based on logic and duty rather than emotions. Arthur strives to do what is right for Camelot and tends to focus on rationality when dealing with political and military matters, even if it means setting aside personal attachments.

Judging (J): Arthur values structure and order. He is disciplined, prefers routines, and is committed to fulfilling his responsibilities as a king. He can be strict, both with himself and others, expecting everyone to uphold the same level of duty.

Merlin (ENFP)

Extraverted (E): I have heard some parts of fandom say Merlin is introverted.... But Merlin has to be the friendliest, most outgoing and open character on the show! Merlin effortlessly connects with others. He’s warm, often initiating interactions with various people across all social classes, and enjoys forming deep bonds with those around him. Basically, the complete opposite of Arthur. Arthur's top knights, Lancelot and Gwaine, became knights for Merlin, because of their friendship with him! Merlin at his best is a happy, bubbly dude!

Intuitive (N): Merlin looks beyond the surface and sees potential and possibilities. He is often focused on his vision for the future, specifically the destiny he believes Arthur must fulfill, and tends to think about the broader implications of events.

Feeling (F): Merlin makes decisions based on his emotions and values. He is compassionate and deeply cares about the people he loves, even risking his life to protect them. His empathy drives many of his actions, as he is guided by his heart rather than just logic.

Perceiving (P): Merlin is adaptable and flexible. He thrives in chaotic situations, often relying on his quick thinking to solve problems on the fly. Unlike Arthur, Merlin isn't tied to structure and routine, preferring to go with the flow and adjust his plans as circumstances change.

Even being complete opposites (they don't have a single common letter in their MBTI), Arthur and Merlin's personalities complement each other in a way that makes their relationship dynamic, powerful, and balanced. Despite their differences, these contrasts are what strengthen their bond, making them effective as partners and allowing them to grow as individuals.

How their MBTIs shaped their love story:

1. Arthur (ISTJ) – Duty vs. Love

Arthur’s ISTJ personality makes him deeply rooted in duty and tradition, which often conflicts with his personal feelings. As a king-in-waiting, he’s bound by the rules and expectations of Camelot. This sense of responsibility prevents him from openly expressing his affection for Merlin, a commoner and servant.

Suppressed feelings: Arthur’s introversion and thinking function push him to hide his emotions, especially his care and affection for Merlin. His loyalty to his role as prince often conflicts with his deeper, unspoken feelings for Merlin. Arthur’s rational side forces him to focus on the kingdom, keeping his emotions hidden beneath his duty to the crown.

Traditional values: As an ISTJ, Arthur’s sense of tradition keeps him from crossing the boundaries of class and status. His love for Merlin, if fully acknowledged, would defy these societal norms, and his reluctance to embrace that love fully reflects his fear of breaking those structures.

2. Merlin (ENFP) – Love as a Driving Force

Merlin’s ENFP personality is more openly emotional and driven by personal values. His feeling and perceiving traits allow him to express affection, even though it’s subtle and often masked in humor or banter. Merlin constantly shows his love and devotion to Arthur by risking his life to protect him and ensuring Arthur’s destiny as king.

Boundless loyalty: Merlin’s deep emotional attachment to Arthur is clear, as he constantly sacrifices his own desires, hiding his magic and risking his safety to ensure Arthur’s survival. His ENFP idealism drives his belief in Arthur as the Once and Future King, and this belief is tied deeply to Merlin’s personal love for him. The idealism of an ENFP is evident in how Merlin sees the bigger picture of Arthur’s destiny but is also fueled by his personal love and emotional bond.

Unconditional care: While Arthur struggles to show emotions, Merlin’s extraverted nature makes it easier for him to express affection through acts of service. He remains unwavering in his commitment to Arthur, which highlights the ENFP’s ability to love deeply and unconditionally, even when the other person may not fully reciprocate outwardly.

3. Their Banter – The ENFP vs. ISTJ Communication Style

The teasing and banter between Arthur and Merlin highlight their different communication styles. Merlin’s ENFP warmth and humor frequently bring out Arthur’s softer, more human side. Arthur’s ISTJ personality makes him reluctant to openly express affection, so their teasing and sarcastic exchanges become a way to communicate affection indirectly. The playful insults act as a cover for their deeper bond.

Arthur’s respect for Merlin grows over time, despite his reserved demeanor, and Merlin’s ability to challenge him emotionally helps Arthur soften. Their banter is more than comedic relief; it shows how they communicate their care for one another in a way that feels safe and acceptable.

4. Trust and Emotional Vulnerability

Arthur (ISTJ) is slow to trust others with his vulnerabilities, given his reliance on structure and duty. But over the course of the series, he opens up to Merlin more than anyone else, showing a side of himself that he hides from everyone, including his wife and family members (like Morgana and Uther). Merlin’s warmth and loyalty gradually create a space where Arthur can be emotionally vulnerable.

Merlin (ENFP), in contrast, is more expressive and emotionally open from the beginning. His challenge lies in getting Arthur to see past his role as a servant and accept him as an equal in friendship—and potentially in love. Merlin consistently puts Arthur first, and Arthur, in return, eventually trusts Merlin above all others, including knights and advisors.

5. Protectiveness and Sacrifice

Arthur’s ISTJ sense of duty makes him protective of those he cares about, even if he doesn’t vocalize it. His actions speak louder than words, as he consistently risks his life for Merlin. This protectiveness is a manifestation of his deep, unspoken love for Merlin. However, Arthur often couches these actions in the context of duty—saying he would do the same for anyone in Camelot—when, in reality, Merlin holds a special place in his heart. He was about to abort a mission, causing hundreds of deaths, all for Merlin. Also, in one scene, as they were fleeing from a monster, Merlin fell and Arthur went back for him, a mere "idiot" servant. In that same scene, a knight fell (knights are the bread & butter of Camelot), but Arthur just kept running with Merlin....

Merlin (ENFP), with his focus on emotions and the bigger picture, sacrifices everything for Arthur. His feeling-based decisions make his love for Arthur a central motivation for everything he does, even if it means hiding his magic and true self. This constant self-sacrifice for Arthur’s sake is a key expression of Merlin’s love, a classic ENFP trait—giving up his own needs for those of someone he cares deeply about.

6. Destiny and Fate – The ENFP Belief in Idealism

Merlin’s ENFP idealism sees Arthur as not just a king but the Once and Future King, destined to unite Albion. This belief in Arthur's potential drives Merlin’s unwavering devotion, and his love for Arthur is inseparable from his belief in their shared destiny. Merlin’s visions of a better future are rooted in his love for Arthur, and it’s his idealism that keeps him fighting for that future.

Arthur (ISTJ), being more grounded, is less concerned with abstract concepts like destiny and fate at first, but over time, Merlin’s unwavering belief in him helps Arthur grow into the king Merlin always knew he could be. Arthur begins to rely on Merlin’s intuition and instincts more and more, eventually embracing the destiny Merlin foresaw for him. Though Arthur may not openly express it, he comes to understand that Merlin’s faith in him is born out of deep love.

7. The Final Goodbye – An Emotional Climax

The emotional 'I love you': In the final episode, Arthur’s ISTJ stoicism breaks as he finally acknowledges the depth of his bond with Merlin. When Merlin reveals his magic, Arthur is hurt and betrayed at first (typical ISTJ reaction to broken trust), but eventually, he softens, realizing that Merlin has been protecting him all along. In his final moments, Arthur shows his vulnerability, thanking Merlin for everything—a rare moment of emotional openness for him. He simultaneously mouths 'I love you.'

Throughout the series, Arthur’s ISTJ sense of responsibility made it difficult for him to prioritize his personal feelings over his role as king. But as he faces death, duty and love become inseparable. His final act of trying to kiss Merlin shows that, even though he had been bound by the expectations of the crown, in his last moments, his love for Merlin overrides those constraints. His inability to express affection easily is part of his ISTJ personality, but in his final moments, he sheds that restraint, finally allowing himself to express what he’s likely felt for a long time. For Arthur to mouth 'I love you", even silently, is monumental. It’s a complete surrender of the emotional guard he’s maintained, signifying not just love but trust, vulnerability, and a breaking of the social norms and responsibilities that have constrained him. The fact that he chooses to say it at the very end shows that he always cared deeply for Merlin, but only now, when there’s nothing left to hold him back, can he express it.

Arthur, having always struggled to communicate his feelings, finally mouths the words "I love you" when it’s too late to make a difference. This is reflective of his ISTJ personality—he needed to be pushed to the very brink of death before he could allow himself to be emotionally vulnerable and express his love. The timing makes this moment all the more tragic because Arthur had to die before truly opening up.

The almost-kiss: Arthur’s instinct to pull Merlin in for a kiss reflects the ISTJ desire to do things physically, practically, and decisively, even in the most emotional moments. It also shows how Arthur, who had been in control of so much of his life, wanted to take control of this final expression of love. Yet, his inability to complete the kiss mirrors his inability to fully express his love for Merlin throughout their time together—blocked by the weight of his responsibilities as king.

For Arthur, to attempt to kiss Merlin in his final moments is a gesture of complete vulnerability. An ISTJ like Arthur rarely breaks emotional barriers, but in this moment, he lets go of everything—the crown, his duties, his stoic exterior—and reaches for the person who has always been there for him. It’s the ultimate sacrifice of his own emotional walls.

Arthur’s attempt to kiss Merlin shows that he is finally willing to defy the traditions and expectations that have held him back for so long. As a prince and then a king, he was expected to follow societal norms, but in his final moments, he’s free of those chains and can express his love for Merlin without fear of judgment or duty holding him back. The kiss is the ultimate acknowledgment of the love he had hidden behind his royal duties.

Throughout the series, Arthur has hidden his true feelings for Merlin behind duty, status, and responsibility. His inability to express affection easily is part of his ISTJ personality, but in his final moments, he sheds that restraint, finally allowing himself to express what he’s likely felt for a long time. As he faces death, duty and love become inseparable. His final act of trying to kiss Merlin shows that, even though he had been bound by the expectations of the crown, in his last moments, his love for Merlin overrides those constraints. Arthur, true to his ISTJ nature, often preferred action over verbal declarations of emotion. By attempting to physically pull Merlin in for a kiss, Arthur shows that his love for Merlin transcends words—it's something he feels deeply and wants to express through connection, even when he doesn't have the words to say it outright.

Merlin's internal turmoil: As an ENFP, Merlin had always worn his heart on his sleeve, even when his love for Arthur was expressed through loyalty, service, and protection. The fact that Arthur finally mouths "I love you" just as he's dying would shatter Merlin’s heart, as it represents the culmination of everything Merlin had been hoping for but never dared to fully expect. Merlin, the dreamer and idealist, had believed in Arthur’s greatness, and now, in this moment, Arthur’s love is revealed, only for it to be taken away immediately in the "bury (or kill) your gays" trope.

For Merlin, the attempted kiss is heartbreaking because it represents the closeness and intimacy they could have had if circumstances were different, as Merlin said, "I always thought if things had been different, we'd've been good friends." ENFPs, with their emotional expressiveness, seek connection and intimacy in their relationships, and Arthur’s attempt to kiss him in his final moments is a bittersweet acknowledgment of the love that Merlin had always known was there, but could never be fully realized. The fact that they were so close to expressing that love makes the loss all the more devastating for Merlin.

A Tragic Love Story Cut Short

The final scene where Arthur mouths "I love you" and attempts to kiss Merlin before dying is the ultimate expression of their hidden, unspoken love. Arthur’s ISTJ personality, which had kept his emotions guarded for so long, finally breaks, allowing him to express his true feelings. Meanwhile, Merlin’s ENFP nature, always driven by emotion and idealism, is left devastated by the cruel timing of this revelation.

Their MBTI types add layers to this tragic love story. Arthur’s love, expressed at the very end, shows how hard it was for him to balance duty and emotion, while Merlin’s eternal grief reflects the ENFP’s idealistic belief in love, crushed by the harsh reality that they were too late. Their love was always there, simmering beneath the surface, but in the end, fate allowed only a fleeting moment of acknowledgment before tearing them apart.

After Credits/The Once & Future King:

1. Merlin’s ENFP Hope and Eternal Longing

Driven by Idealism: Merlin’s ENFP personality is defined by hope and idealism, traits that keep him believing in Arthur’s eventual return. Even though Arthur died, Merlin’s unwavering belief in the prophecy—that Arthur will rise again—fuels his determination to keep waiting. For Merlin, his love for Arthur and his faith in the prophecy are intertwined, so he continues to hold onto the belief that their story isn’t over.

Endless Loyalty: ENFPs are known for their loyalty to people they care deeply about, and Merlin’s waiting for over 1,500 years is the ultimate expression of that loyalty. He never moves on, because his heart and soul remain connected to Arthur, and he believes that their bond transcends death and time itself.

Living in Grief and Hope: As a feeler, Merlin experiences the full emotional weight of Arthur’s loss, but his belief in Arthur’s return sustains him. The fact that he has to wait so long makes his grief even more intense, but the hope that Arthur will rise again keeps him going, even after centuries of loneliness. His ENFP nature ensures that his love for Arthur never fades, and he continues to hold onto the possibility of their reunion.

2. Arthur’s ISTJ Rest and Duty to Return

Waiting for the Right Moment: Arthur’s ISTJ personality means that, even in death, he is waiting until the precise moment when he is needed most. His sense of duty to Camelot and to Merlin persists, even after death, as he waits for the time when his kingdom—or Merlin—truly requires him. The prophecy reflects Arthur’s ISTJ nature, as he will return to fulfill his duty, not a moment too soon or too late.

Faith in Merlin: Even in the afterlife, Arthur’s deep trust in Merlin remains. Although he is resting, there is an unspoken understanding that when he rises, Merlin will be by his side, just as he always has been. Arthur’s loyalty and sense of responsibility mean that he trusts Merlin to carry on until the moment of his return.

The Final Act of Duty and Love: Arthur’s rise will be his final act of duty as king and as a friend and lover. His ISTJ sense of purpose and structure drives his eventual return, knowing that Merlin and the kingdom will need him again. When he does come back, it will be out of love for Merlin and a deep sense of responsibility to his people.

3. A Love That Survives Time

Merlin’s Endless Vigil: For over 1,500 years, Merlin has waited, watching the world change, but his love for Arthur remains constant. His ENFP personality clings to the belief that the prophecy will come true, and when Arthur finally returns, it will be the culmination of centuries of waiting. Merlin’s idealism, rooted in his deep emotional connection to Arthur, sustains him through time. He doesn’t seek out other connections because, in his heart, Arthur is the one he’s waiting for.

Arthur’s Timeless Love: Even though Arthur is resting, his love for Merlin isn’t diminished by time. When he returns, his ISTJ loyalty will kick in, and he will fulfill his promise—coming back to be with Merlin and to save the kingdom when it’s needed most. His return is not just a matter of destiny, but also a testament to the bond he shares with Merlin, one that surpasses life, death, and time itself.

4. The Ultimate Reunion

The Prophecy Fulfilled: When Merlin and Arthur finally reunite after over a millennium, the moment will be one of overwhelming emotional release for both. Merlin, with his ENFP emotions, will have spent centuries holding onto hope, and Arthur’s return will be the answer to his deepest longing. The reunion will allow Merlin to finally let go of the grief he’s carried for centuries, knowing that Arthur is back by his side, just as he always believed he would be.

Arthur’s ISTJ Return to Duty: Arthur’s return will be a moment of intense duty and purpose, but also of love. His ISTJ nature ensures that he will rise again when Merlin (the last remaining piece of Albion) needs him most. Their reunion will be both the fulfillment of a prophecy and the completion of their love story.

5. Symbolism of Eternal Love

Waiting as a Form of Love: Merlin’s long wait for Arthur shows that love isn’t confined to one lifetime. His waiting is a manifestation of his deep, undying love, and it reflects the ENFP’s capacity for emotional endurance. Even though he’s spent centuries alone, his heart remains tethered to Arthur, and when Arthur finally returns, it will be a moment of profound emotional catharsis.

Arthur’s Duty Transcends Time: Arthur’s ISTJ sense of duty extends beyond the grave, showing that his bond with Merlin is eternal. His return will not just be about fulfilling his destiny as king, but also about being reunited with Merlin, the person who has always been by his side. This reunion will be the ultimate proof that their love and duty to each other cannot be broken by death or time.

Conclusion: A Love That Defies Time

The prophecy of Arthur’s return turns their story into an eternal love saga. Merlin, driven by his ENFP idealism and emotional depth, waits for centuries, believing in the prophecy and holding onto the love he has for Arthur. Arthur, waiting in Avalon, as the prophecy foretold, remains loyal to his duty and his love for Merlin, waiting for the moment when he is needed most.

When they are finally reunited, it will be a moment of ultimate emotional release, where centuries of love, hope, and loyalty finally come together. Their story is one of timeless love, with their bond surviving beyond life and death, waiting to be fulfilled in a future where they can be together once again.

[werewolfsister]

PSA: COMIC DRAMA

I've been slowly receiving critical, entitled, and passive-aggressive messages about the way I've been writing my comic! I wanted to address this behavior.

That being said, the majority of my readers have been nothing but positive! And when they spot a problem, they're kind about it. I really appreciate this; thank you to those who choose to be civil.

I'm making this post to address some issues, complaints, and questions I've seen. Let's take a look & see what we can discuss!

READ MORE UNDER THE CUT!

🦈-> I want you to use my character in your comic, but you're not using them! Sometimes, a character doesn't quite fit my vision for the comic-- even when they're designs that I love! I really do try to use as many people's characters as possible. I think it adds to the world & makes the comic feel more full of life! But I can't accommodate everyone's desires.

🐟->You're using my character in your comic, but you're not giving them enough screen time! Similar to the above issue, sometimes I don't think focusing on a particular character for any longer will serve the story well. Ultimately, I have final say on what happens in the comic. My advice is, if you feel your character isn't appearing enough, make your own content! Draw, write, craft, etc like I mention farther down below!

🐠->You said you were going to use my diplomat/character(s), but you only drew them in 1-2 panels. Why aren't you using them more? Similar to the points above! I was never planning on going into a TON of depth with the diplomats-- the comic focus also drastically changed, as I mention below.

🐡->You're using characters in the story that I don't like! Ahh that is too bad, but! In that case, you can always take a break from the comic & come back later to check if the characters are no longer being used, or maybe stop reading the comic altogether. However! If you have concerns with how the character is portrayed because of legitimate sexual/violence/illicit/illegal issues, then that's another issue entirely and you should let me know.

🪼->I thought this story was about rescuing Kenne, but now she's not even in the comic! I don't like the way this story is going! This is a big issue some people are having and I completely understand. There's been a lot of things going on behind the scenes that I haven't explained, which must be generating a lot of confusion. Originally, @kenneduck and I were collaborating closely on this comic. Recently, the dynamic shifted, and we're now working on the comic separately. @kenneduck is now responsible for the part of the story that heavily features her characters, i.e. Princess Kenne's perspective of the rescue, her rescue effort, and what's happening in the Domain of the Luminous trench. I am now working on a different angle of the story-- the diplomatic efforts of Zora's Domain in their attempt to negotiate for Princess Kenne's return. So, the story is still the same... the focuses have just changed and split!

🦑->You reblogged my fan art and/or linked it in your comic directory-- does that make my content canon? Oooh, this is actually kind of a tough one! Normally, if something is in the comic directory, I consider it to be canon to the story. So, if you've drawn something, and I add it to my directory for a comic chapter, I'll consider it to have happened in real time. THERE'S AN EXCEPTION! And it may be confusing, so I'm genuinely sorry! If you have drawn something where you are heavily modifying someone else's character--this means cosmetic changes, giving the character children/spouses/family, killing the character, altering their personality-- WITHOUT THEIR PERMISSION, then I cannot accept that as canon. It's still fantastic that you drew/wrote/created something and I will probably put it in the MISCELLANEOUS section of the comic directory. I'VE MADE MISTAKES ON THIS! So, I've since updated the directory. And, sorry for all confusion on this issue! If you've made something & intended it to be canon, let's talk about it!

🐳->I want to collaborate with you on your comic, can I do that? That's awesome! Maybe in the future, but right now I'm not taking on any more partners. Maybe you can make your own separate additions, with your character(s) like I mention below!

🐙>I want to make fan art, can I do that? You absolutely can. Go for it. This was originally meant to be a very interactive comic, so draw/write/create away!!!

🦀->I want to draw my character(s) doing something in the world of your comic, can I do that? You absolutely can. Go for it! Like I mentioned above, however, I may or may not deem it canon to the events of the comic. But even if I don't, I'll add it to the MISCELLANEOUS section of my comic directory! ...as long as you don't alterate someone's character without permission! If you've made something & intended it to be canon, let's talk about it!

🐬->I want to make a character based on a Domain you created/idea you drew/etc., can I do that? Of course! Go for it. I love seeing what people make!

I know this is a lot of text, but it's better to be comprehensive! Please, keep in mind, I'm just one hobby artist making a comic for fun, with the spirit of interactivity and collaboration in mind. But it's impossible to keep that spirit going when people feel entitled and demand things of me that I am not obligated to give.

I queue out my pages several weeks in advance with the help of the people I'm working with, so what you see in the comic is the product of a lot of thought and work. You're getting something for free here, y'all. It ain't so serious!!!!

Anyways, thanks for reading this! And for reading the comic! Peace out ✌️

[farshootergotme]

Thinking about the Bruce-Dies scenario...

You know, that is going to be a definite whole mess for Damian.

The way we've imagined the timeline in the comments, Talia dumps Bruce in the Pit, amnesiac Bruce stays a while with the League, meets Damian, is told this is his kid...the whole heartwarming stuff...

And then Bruce - somehow, maybe something triggered the memories - finds out what Talia did. Finds out his sons and Alfred (dad) have been mourning him these two years, his sons have been fighting for Gotham alone, they almost died way too many times and she kept him from them...

I think it's 100% that Bruce bolts. And about 80% that he'd take Damian with him. No way he'll trust Talia with his kid, not after what she did (she might have reasons, but no reason is going to suffice for Bruce, given what happened)

Well, there's the return, everyone is overjoyed...except for Damian. The kid has had his entire life upended. His father now hates his mother, he has two brothers - three, assuming Tim is tagging along - to compete with for father's attention, he's in a completely different world with different rules...

That's true. It'd be a big change for Damian plus the culture shock. And that's not considering how young he'd be since he's around 7 years younger than Tim(?) and Tim would be about 15 years old, so that'd make Damian 8 yo (ironically the same age as Dick when he lost his parents, which makes me think he'd be, again, perfect to help him adapt to this new environment as he did at his age. He can relate to suddenly being taken away from the place and people he's known his whole life to out of nowhere be part of a completely different dynamic that's nothing like his old family.)

At first I think it'd be specially a mess because of the shock it must be for the others to see their presumed dead father suddenly walking up to them, carrying a child and telling them he's been alive for the past two years without his memories.

So, at least for two months, Damian wouldn't be able to properly get used to this new life. He'd probably even try to escape and go back to the LOA (possibly as he also tries to convince Bruce to come back with him). But, in the end, he'd be stopped everytime.

From then on it'd be a matter of how long it takes for him to warm up to the others and how much effort they put into trying to get Damian to like them.

And since Damian would've been raised by both his parents in this alternative, I think he'd be much less... Deadly? What I mean is that he'd be less likely to attempt to kill his brothers since, unlike in the original universe, he doesn't have to prove himself for Bruce to see him as his son as Bruce would've already accepted him by then. However, he would be hostile due to what you mentioned about having to share Bruce's attention with the others.

I'm honestly not sure how this would unfold, so I'm taking any suggestions.

[beatlesficrecs]

Fic: kissing the blarney

by tikk

Link to fic

Summary:

In which the band make a joke about kissing the blarney stone for luck. And Paul is the blarney stone.

Then the joke becomes a game, which turns into something more important, a ritual, a lifeline, a superstition. And it's not like they believe in it, but it's not like they don't. It becomes an emotional connection, threading them together. Something to hold on to within the fame and the noise. Something warm and loving. But delicate...

Why I like this fic: It's genuinely so enjoyable, and makes you feel so many things! I really enjoy is personally because I can relate to the creation of a bit that changes the way a group of people share affection.

It's silly, it's fun, and I always love when there is a "mclennon" fic that doesn't function as one, or that includes George and Ringo in a way that acknowledges how they fit into that dynamic differently!

@zilabee

[quil12]

Tell me why I have two active fics that I should be working on, but I decided to spend the past few hours writing the first 5k of an entirely different one...

[egophiliac]

Since book 7 part 5 (the part where we meet Meleanor/Maleanor 👀) is coming to EN this month, i would love to see your take on lilia’s proposal to meleanor! i mean they were like little kids right? it couldn’t have been that serious…i think the only reason she even brought it up again is because she could tell lilia still genuinely loved her…(even if he didn’t realize it himself?) but, oh well! Let’s think about silly childhood shenanigans to numb the pain! ^_^ (orz)

oh shit?! get ready for a doozy guys, it's comiiiiiing ᕕ( ᐛ )ᕗ

I chickened out of posting the whole thing (look, I get VERY carried away when it comes to these wacky kids and their Tragedy), but I do believe that it probably ended with Lilia getting embarrassed and just shoving the first thing he sees into his mouth to try and cover for it.

(we're just lucky it wasn't a frog this time)

[makiswirl]

can i just say. and this is probably a niche hill to die on. that i am so gobsmacked every time someone vaguely hints at the idea that jotaro doesn't care meaningfully for the other crusaders, usually particularly kakyoin and joseph, when those two actually tend to be the ones he reacts to being hurt the hardest

like he cares for his loved ones!!!! that literally plays into his character motives in every single part he shows up in!!! stop lying to me!!!!!!!

[stop-breaking-my-heart-telltale]

What can I say? They're my favorite.

[al-luviec]

juvie buddies

[gingermintpepper]

I continue to be in the foulest of moods so here are some Zeus + Apollo headcanons because they make me happy :)

(Important note: this is largely specific to my original work and is not me making inferences from mythical or historical texts)

Zeus and Apollo spar. Like a lot. Like a lot. A big reason why Apollo gets so good at boxing is because he usually sparred with his father as a young god and getting hit with one of Zeus' punches is!! Not advisable. He focused on becoming fleet-footed to combat Zeus' more solid fighting style which was definitely helped by his dancing. Conversely, Hermes would later develop wrestling partially as a response to Apollo's annoying fleet-footedness in combat.

Zeus decides to tie his mind to Apollo's when the strain of Apollo's visions become too intense for him to handle alone. When Apollo first returns from his exile after slaying Python, his visions are so severe that he suffered from 'time-blindness' where he could only percieve the future and was completely unable to see the present. Zeus shoulders some of that strain until Apollo becomes strong enough to handle prophecy on his own - though Zeus is careful not to give Apollo absolute prophecy lest he get overwhelmed again.

Despite their closeness, or maybe because of it, Zeus and Apollo argue quite a lot. Usually it's banal things like administrative work or squabbling over which of them should get the larger portion of a hecatomb, but they do argue about how prophecies should be carried out quite frequently too. There's a general agreement for Zeus not to bring up Apollo's children after how messy Aristaeus' anointing was (and how angry Apollo was at Zeus' disagreement with his decision to make his firstborn son a god) but the odd occasion where it cannot be avoided is usually when they have their most grave spats.

One of Zeus' greatest regrets is his relationship with Ares, partially because Ares grows up seeing him dote and teach Apollo with his full attention. There is... a lot of himself that he sees in Ares. A lot of Kronos too and the part of Zeus that is a warrior before he is a king has done his best to keep the boy at arms length entirely because of that familiarity with the face staring back at him. It's another of the things he and Apollo have argued ceaselessly about. Naturally, Apollo has attempted to bridge that gap many times and while Ares is still quite close with Artemis, when it comes to Apollo, he is particularly sensitive.

Zeus is the one that ultimately decided that Apollo should never marry. Due to Apollo's love-curse and his already concerning tendency to be overly attached and committed to his mortal affairs and offspring, Zeus decided that marriage would be doom to Apollo's spirit and proclaimed him unfit for the ceremony and its status. Instead of the expected argument, everyone was quite surprised when Apollo merely bowed his head and accepted such an outrageous decision.