#dark deception theory

[zikadraws]

it takes four doug has "been through the system of 'several lives'"? do you mean he's been killed by the monsters and respawned a few times, and if not what did you mean? im always a fan of aus that incorporate the respawn mechanics that the games theyre for brush over :3c🍿

Oh man isn't that one hell of a question, that I was totally prepared for ! And since you asked it you're now legally required to sit through my painfully long take on this. Enjoy.

(Fair warning : Long post ahead. And you even get drawings. Click For Quality bcz phone pictures.)

Well it's actually relating to a theory/headcanon of mine that I came up to try for the respawn system to make sense in-game, because I too love when the mechanisms in-game are a thing that's accounted for and explained in the "world building*. And the respawn system in Dark Deception always left me perplex. Allow me to put the problem :

So we, as the player get a certain amount of Lives, represented by skulls, that we can use to try again from the last loading point before a Game Over (in which case I think you have to do the level since the very start.) We get more Lives the more we progress through. So far so good. It could not be accounted for and I'll be content enough with that, HOWEVER. When you die while still having 'Lives', Bierce pulls out a snarky comment like "Oh you got killed by a freaking statue, that's bloody hilarious". But, when you die after running out of Lives and get a Game Over, she will say "You died... HAHAHAHAHAHA" (like the sadistic asshole she is), and that, invariably and only in case of Game Over.

(And, very importantly : when you lose a Life, you don't lose your progress, you don't lose any Shard (depending on the difficulty ofc lmao.) So that means there is no time rewind for Lost Lives : it's a thing that's happening and counts as part of the trial. (The Game Overs, however, are on us.)

Which implies that she's somehow aware that the Game Over means Actually Dead, and that the other times was a "Oh dear, you got yourself fucked up again didn't you." and that we could try again. So this implies that the "several lives" system is something that just occurs with Mortals, and not only Doug since it doesn't phase her.

Now it's kinda infuriating because other than the Joy Joy Gang with the Game Over no one else really says anything about this, so. How would that system, that's implied to be acknowledged, be explained in the Dark Dimension, and why is it not talked about ?

Well I think I developed a plausible enough theory, and I believe the reason, for that and a few other mechanics, could be the Soul Shards. Allow me to explain.

-----

So we all know the Soul Shards right. Each of them holding power, and supposed to have once been an unfortunate Mortal that got ripped to bits in Malak's Realm. So far so good, however : "Soul Shard" implies that what we collect is only a fraction of the entirety of the victim's soul, which means the rest must be trapped in Malak's Realm. Enslaved, consumed or just wandering, you'd expect these poor sinners (those who did not cave or qualify into becoming Monsters) to want to do the best they can to help the next victim, with whatever power they hold as captive spirits.

So I believe they are the ones to give the Mortals more than one chance. How they do it is unclear, they might 'zap out' the corpse and reanimate it from a certain point of power, because this action takes a lot of their energy, and it needs for them to focus their collective power in certain emplacements -the Respawn Points for us. However, as it takes a lot out of them, they can only revive so many times. That's also why we gain more Lives through the levels : the more Shards we collect, the more people we get on our side to focus their energy to revive us.

As you can see I've given them a humanoid form because I felt they needed one. Anyways, they follow us around. (A lot because we're literally collecting them, I suspect.) When we die, the death screen advice is spoken by them, as pictured here.

I like to think they're also the reason why there is writing on the walls in certain locations (such as the Hotel, the Golden Manor and the Sewers), giving advice and warnings. I don't think it's blood, so it's probably something easier for them to produce. Those must be erased whenever they're spotted.

Anyways, they do more than that.

You see the chorus that you can hear in the background music ? Well I don't know if you ever noticed, but it appear to be singing warnings and injonctions, such as "Keep on moving" in "Maternal Instinct" or "Run for your life" in the teased ost "Silent Shopper" (I think). Here's my illustrated theory on that : Malak forces them to be the ominous background ambiance, so they choose to subtly try to screw him over and encourage us whilst doing so. (There is canonically whispering from the victims according to E, so I think this chorus might be part of this aspect of the lore.)

There are more than one type of Soul Shard, by the way. Depending on their level of spite, their energy, their personality and their desire to get back to their tormentors, they can sometimes appear as Stun Balls or Spotting Shards. Those are rare though, as most powerful souls are harvested ASAP. 

(They might also be the reason you don’t suffer from exhaustion from running, idk.)

Also, once they've been collected their spirits stick with us even through the levels they're not from and even in the Ballroom, which allows for scenes like this one.

(Sorry about the colors lol still figuring out the scanner)

Anyways, that was basically the long and the short of it, though assuming the spirits follow Doug throughout the entire thing, I’ve came up with a few bonuses. Plus some cozy Tammy thing for your comfort.

So yeah long story short this pretty much explains how come Doug has gone through more than one life. He’s more or less aware of that fact, but he’s a lot in denial of the whole process and pretend the deaths never happened in the first place and that the voices he hears are indeed the other victims crying out to him and nothing else. Each death makes him more cautious, more reactive, more alert, and also more impatient. He takes the advice and what help there is to take, however he tries not to talk to them. Too much to take in and he kinda has to focus on his own problems. It helps that Bierce seems to royally ignore them. They do *not* like Bierce, by the way.

In total, Doug has died about four times so far. He IS kind of lucky, in the end of the day. That or he might actually be talented, who knows.

-----

Okay, so that was my explanation ! Hope you had the patience to read through all of it, and that it makes sense to you. Also enjoy the Soul Shard content, I’ve done these a while ago.

Alright, thanks for your ask. You’re welcome and have a great night ✨🤗💖

[darkdeceptionfanhax]

I’ve brightened the image of Dark Star a little and found this secret

“Set me free”

My theory for this is that DS is a human recruited by Bierce some time before Doug and Elise. DS is also the only human (like) character in the stages other than Agatha, the reaper nurses and the Matron and funny enough most seem rather content with it, but DS not. Note that if there are multiple of them “s” is placed at the end of it, (like; clown gremlins and dread duckies) this makes DS a single character. DS and Agatha are also the only single human characters in their stages, and Agatha was even a human once.

[listen-to-the-inner-walrus]

i dont know why i clicked on a video breaking down all the body-language reading bullshit when i know itll piss me off, and ill click off before it finishes so i dont break something.

[alex-frostwalker]

Imma add some predictions before Chapter 5

I feel that the Mannequins act similar to the Endoskeletons from TJoC Story Mode because of the title.

Some of them are dressed up, half are not or have incomplete body parts

Also they'll jump off the balcony in order to reach you when they finally know your location

(If you are on the lower floor)

Like climb from the sides in order to get to the lower floor

or the boss of it are just a mashed up Mannequins together and other Mannequins assist it similar to the previous boss fights like gathering over you.

I feel there is gonna be a storage level where there are more Mannequins and traps.

Thats about it.

[merakiui]

while in captivity, floyd encounters a human and unintentionally pair-bonds with you during a moment of biological vulnerability.

(cw: gender neutral reader, nsfw, omegaverse/abo, heats, captivity)

The marine lab has recently acquired a unique specimen—unique in that he is half-human and half-fish, hailing from deep, dark, indescribable depths. An eel merman, to be exact. You’ve only ever glimpsed merfolk in outdated textbooks and fairytales, the latter of which depicted them as whimsical beings capable of feats beyond scientific understanding. Magic. Although in the realm of biology, such folly is never entertained and so what the world calls ‘magic’ other fields built upon the foundations of research refer to it as a ‘miracle’. In your eyes those words are interchangeable, but then the idea of a miracle is far easier to digest than the concept of magic.

Merfolk have always been elusive, covert creatures, hence why there is hardly any conclusive data on them. In fact, they’re so secretive that they were believed to be mostly extinct—a figment of dreams and hallucinations. Most of what humans know stems from the tattered notes of long-gone sailors, their presences nearly lost to time itself, and for a while all anyone ever knew were four key details:

They are spread throughout the sea, living out their lives in frigid fathoms. 

They are hypnotic and deceptive. 

They are predatory. 

They rarely interact with humankind unless absolutely necessary (e.g. to hunt or observe).

But with plenty of promising technological advances, some of the theories and myths surrounding merfolk have been bolstered or disproved, respectively. Merfolk are just as diverse as the rest of the animal kingdom. Some live in solitude. Others thrive in groups. Some make their home out of caves and grottos. Some dwell within the labyrinths of volcanic rock formations. It is every marine biologist’s dream to come face to face with one of these mysterious creatures, if only for just a few minutes to glean more information.

That dream is made reality today.

The eel mer was discovered off the coast of a tiny island, entangled in fishing lines and plastic litter. His large, winding body, snake-like in its sleek build, was littered with scars and scrapes. There was a hook lodged up in the folds of his gills. Despite his thrashing, his tail swishing wildly in the sand and nearly knocking down three researchers like they were bowling pins, he was wheezing and gasping, drained of energy and air. When the first bucket of seawater came down upon his dry gills, he settled briefly, wide, crazed, mismatched eyes flicking from face to face. Likely assessing the situation or counting the amount of bodies, the report claimed.

He fell still after that, and it took two teams of ten people to load him onto the lift so he could be flown to the lab.

After he spent a week in recovery, where he healed surprisingly fast, he was transferred to a much larger and wider tank, its depths far deeper than the average swimming pool. He doesn’t swim to the surface much, and he only ever pokes his head out at night, scanning his surroundings with intelligent, keen eyes. And then he turns and disappears below. It’s a pattern he’s stuck to for weeks now. No one really understands it, and they haven’t had the opportunity to try. He’s uncooperative and unpredictable. It’s much too dangerous to send a diver down there.

So they transfer you to his enclosure, assuming you might have more luck. You’re not sure and you can’t make any promises of potential success, as you’ve only ever interacted with marine mammals. A merman is…different. Not only because he’s half-man and, by that same logic, likely possesses a human brain that is capable of a higher level of thought, albeit one that is wired to suit his mer biology, but because he’s bigger. A lot bigger.

He could kill you.

You saw the documentation. The serrated teeth, the powerful claws, the dangerous jaw, the bulky, muscular build that cuts through water like a bullet. He is a predator in every sense of the word, and you’re supposed to look after him. Coax him to the surface. Get him to trust humans. Interact with him just inches from the edge of his tank and hope that he doesn’t get hungry or violent.

He might kill you.

But there are safety measures put in place for these things. Ethics to be followed and whatnot. It’s a slippery slope because he’s part human and therefore could possibly have the same level of intelligence humans have, in which case it would be wrong to trap him here. There may be ways to skirt around it with other animals, but he’s not like other animals.

For now, he’s kept here under the pretense of recovery and scientific study. The lab treats him like the big fish he is, going so far as to buy a shark suit in your size and instruct you to wear it even though you’re not going to get in the water. “It should prevent him from biting through,” they had said, “but it won’t lessen the force of his bite.”

“What good will that do? I can’t fight him off.” Though you knew it had nothing to do with anything, you added, “I’m an omega. Merfolk might not have the same sub-genders as we do up on the surface—or maybe they do; I don’t know—but if he were human he’d definitely classify as an alpha. Put that into perspective. I can’t. Fight. Him. Off. It’s biologically impossible.”

“So you poke his eyes. Dig your fingers into his gills. He should let go of you then.”

“That’ll hurt him,” you protested, clutching the suit to your chest.

“Not as much as he’ll hurt you.”

You suppose it’s a clinical priority. Survival of the fittest, but it’s the human who has to live. The lab could afford to lose you, but they don't want to. And if they did, they might put the mer down. Shoot him up with enough tranquilizers to keep him comatose. Maybe it only bothered you because, yet again, he’s half-human and no one on the team knows the extent to which he thinks and functions.

To simplify it, they consider him a shark. But like any creature, sharks learn and adapt as they go. Death is instinct.

He will kill you.

But you don’t want to think like that, which is why you put on your best smile and trudge into the enclosure he’s being kept in. The tank looms before you, seawater clear and beamed through with streaks of light from the harsh, glaring LEDs above. The deeper the water gets, the darker the shadows. You press your palm against the glass, observing the murky darkness with a frown. Somewhere in this tank, at a depth you can’t even imagine, is an eel merman. A big, strong, powerful, scary eel merman.

You swallow a steadying breath, curl your fingers into fists, and climb the spiral staircase to get to the attached platform. Your reflection follows you with each step, countenance set in grim confliction. Once you reach the top, you peer out at the surface of the pool, listening to the droning hum of water filters and other hidden machinery. There’s a very shallow part of the tank, a dip in the design that allows for the mer to lounge if he so pleases. You’re reminded of the dolphins in live shows, who slide up onto their stomachs to face an awestruck audience. You doubt that’s what he’ll use this ledge for. If anything, it could allow a researcher to kneel in the shallows while they interact with him at an intimate propinquity.

You don’t plan on being that researcher.

Instead, you pace a healthy distance away from the edge, holding a bucket of his breakfast in one hand and a notebook in the other.

“Um!” You cringe at your voice as it reverberates around you in a nervous echo. Cautiously, you inch towards the water. “I have your food!”

You wait three seconds, expecting him to come bursting up from the darkness like the shark everyone wants to delude themselves into thinking he is. The water remains still and unbroken. You wonder if your voice can even reach such a depth. If not the sound, the vibrations might. Or maybe he’s resting. It’s still relatively early in the morning. Perhaps his sleep schedule is thrown off. Yours would be if you were taken from your home and dumped in a manufactured version of your habitat.

You lurch forwards with the bucket and watch as a collection of shrimp, crab, and small fish soar through the air in a sloppy arc before landing and sinking into the waiting depths below. Nothing happens. The tension in your body ebbs away, and when it becomes clear that he isn’t coming up to greet you and feast on your offering you relax completely, collapsing against the wall with a great sigh.

If they really want to study him, they should just watch him on the security feed, you think, peering up at the camera in one corner of the room, its red eye fixated on you and the surrounding enclosure. He’s not going to come up during the day. Not when there are humans walking around.

Still, you wait your shift out, scribbling nonsense in your notebook and occasionally glancing up to gauge the state of the water.

The mer doesn’t show, so you resolve to try again.

Try you do, and try you have. 

It’s been one week of perfunctory routine, arriving and feeding him at the same time in hopes that he might understand what you’re doing and come up to investigate. Or, at the very least, recognize you’re a recurring figure in his chapter of captivity. You don’t intend on befriending him. You only wish to fulfill your duties as a researcher, however skewed they may have become. Even though you know you ought to be grateful the mer hasn’t caused any problems, you want something to happen. Anything! At this rate, you’d sooner tire yourself out playing with rowdy sea lions than sit around in silence while waiting for an appearance from him.

It’s a quiet Tuesday afternoon when the first beat of unrest hits.

The mer’s enclosure is kept at a comfortable temperature for humans; it’s the water that’s freezing below the surface. So when you step up onto the platform and peer into the chum-infested deep, the empty bucket now set aside, you feel warmer than usual. Odd, considering the room is normally so chilly. Not extremely so, but chilly enough to give way to a pleasant cold.

Tugging at the collar of your shark suit, you cover the distance to stand under a large fan situated just near the dip in the pool. Cool air kisses your heated skin, providing you with much-needed relief, and you peer up at the propellers that spin in endless circles. Around and around and around. Your eyes follow the motions until you dizzy yourself, and you step back on wobbly legs. Your foot misses the metal platform and instead slips into the ledge built in the tank. With a startled yelp you fall backwards, landing in the shallows on your rear.

“Of course,” you mumble, bitter with embarrassment. “Leave it to me to fall right into the predator’s tank.”

You scoot further up onto the ledge, staring at the water below. It’s quite calm here, where the shallows lap languidly at your waist. If you were delusional, you might think this was a jacuzzi pool that you could dip your toes in. It’s not. Of course it isn’t. Not when there’s a beast lurking just below. But while you’re here, you run your hands through the saltwater while your own body temperature rises as if it’s a hungry flame in a stone hearth.

You place your hands on either side of the ledge, intending to push yourself up and onto the platform, when something tightens inside of you. Your heart stumbles in your chest and you lose the strength in your arms at once. With a noisy splash, you flop back into the shallows, your compromised body rigid and shaky with a tingling, all-encompassing warmth. Horrified, you raise two fingers to your pulse to feel it stutter wildly beneath your skin.

Swallowing thickly, you lower your head onto your arms and wait for the feeling to pass. The seconds slip by and in that short amount of time your state seems to worsen. Your temperature is volcanic, your every sense restless, and you’re sweating through the shark suit as if you’ve just run a marathon and more.

“Not now,” you hiss, slapping your hands upon your face. “Please not now. Anything but now…”

You intend to haul yourself up and out for good this time, desperate to get as far from the pool before your brain is completely overrun by your encroaching heat and robust omega instincts, when fingers brush against your leg. Something chitters behind you, a low, slow sort of sound that is shot through with curiosity. You turn as if you’re frozen in ice, your heart in your throat and senses on high alert.

The eel mer is right there, clutching your ankle in a firm grip. Not to hurt you, but to keep you there. And you’re not at all in a hurry to leave. Not when those claws are so close to your calf, capable of shredding through to your very bones. Even with the shark suit, you worry. He stares at you with narrowed eyes, his head angled in a cute, childish way. He appears confused and rightfully so, considering you’re a creature he’s likely never interacted with so closely before. You mirror his befuddlement, your brows furrowed, lips creased in a thin line.

For a long while, the two of you watch each other. If you look past his predatory design, he’s quite pretty with his smoky teal coloration and dark stripes. Your gaze pans over to the water, where a long, powerful tail disappears below. The paranoid side of you says he’s going to drown you, but then he doesn’t seem outwardly malicious in his intentions.

“Um…”

He flinches at the sound of your voice, his head snapping up to your throat and then your lips. Your attempt to pull your captive leg back is thwarted when he lurches, rising out of the water to grab hold of your foot. You gasp and shake your head at him, your senses sharp and dull all at once. Your heat-addled mind just barely parses the threat of danger, looming and ever-present.

“Please,” you beg, your tone sticky and breathless. “Don’t…”

The mer tilts his head the other way. The fins where his ears might be if he were human shiver, as if listening to the desperation in your syllables. He chirrups, lips widening in a sharp-toothed smile, and then he’s dragging you towards him. Panic seizes your nerves and you dig your palms into the smooth basin in an effort to get away. His expression falls when he notices your struggle and he lifts himself onto the ledge with you, draping himself over your legs like an oversized rug.

“Wait… H-Hold on; get off!” You grunt and weakly prod at his chest. He doesn’t budge. “You… You’re heavy!”

His webbed hand closes around your waist, steadying you in the shallows, while his other arm cages you beneath him. Instinctively, you arch into his touch, your breath coming in tiny, frenzied huffs. He clicks at you, and words that you can only assume are meant to be gentle and soothing are produced in a sweet melody. It relaxes you more than you’d like to admit, a lyrical balm to your terror.

You squeeze your eyes shut and brace yourself for the worst. For the searing pain and the stinging agony. For the blood that will color the water a dark, foreboding red. For the sight of him merrily tearing into your jugular, his maw spattered with crimson. But none of that ever comes. He cradles your face next, his thumb running along your cheekbone, and slowly you peel your eyes open. His face is inches from yours, looking on with an intensity that’s almost primal.

Warily, you lift your arm out of the water and touch his hand. It’s much bigger in contrast to yours, but he’s handling you with such immaculate tenderness.

“You’re not going to hurt me…” you mutter, amazed. “You’re just curious.”

As if responding, he chitters. You nod even though you have no idea what he said. He doesn’t smell like an alpha or an omega or a beta. You’re not even sure if he’s capable of releasing pheromones, but if he were you’re certain it would have driven you much crazier than you already feel.

You hold his stare and reach up to pat his cheek, and he leans into your careful touch. Your hand soon trails down to trace his lateral lines, which earns you a pleased hum. You watch in awe as the gills on either side of his body flutter.

Led on by your own wonder, you follow the pattern to his waist and press your thumbs into his hip bones beneath smooth, slippery skin. “How fascinating… I wonder if it’s possible to take an X-ray. Would you allow—oh!”

Clumsily, he lifts you into his arms to embrace you, rolling his hips against the chainmail shark suit. Your breath hitches, and you fumble to grasp his broad shoulders.

“Ah, w-wait. I’m not… You can’t…”

He clicks thrice and lowers you into the shallows, his face scrunched in annoyance. You think he might’ve understood you, but then he’s palming between your legs and it occurs to you that he wants the suit off. Carnal delight shivers through you at the prospect of being wanted to such a degree, and though you know it’s the heat muddling your sensibility you can’t help indulging him just a little. You undo the zip at the back and slide it from your body, revealing your shoulders and bare arms for his wandering, mismatched hues. He leans in to nose at your scent glands, chattering happily as he inhales. You can’t understand a word, but he sounds pleased—even more so when he runs his hands along your arms, squeezing and petting in equal measure.

His tongue laves across your neck, and what fragile restraint you have left snaps. You cling to him like he’s your anchor, meeting his searching hips halfway with every awkward thrust that doesn’t quite connect as it should. You chew your lip, tamping down a torrent of filthy moans. Your mind is clouded with lust and instinct, and you dig your fingers into his hair, holding him against your neck while he continues to lick and nip.

It feels right up until the haze parts momentarily, allowing temporary sobriety when you spy the tip of something poking free of its encasing. Dazed and inquisitive, you reach between your bodies to prod at his slit, hoping to coax more of his prehensile cock from out of its folds. But then the door below opens and the mer lifts himself from off of you, his head turning in the direction of the sound at an alarming speed. You blink up at him, lazily following his line of sight. His lip curls up in a silent snarl, the beginnings of razored teeth peeking out, and then he slithers back into the water, his hands lingering on your ankles.

Despite the dizziness you sit up, your arm outstretched. “Wait, don’t go!”

I didn’t get to cum yet. You didn’t even claim me either…

He peers at you, neutral for all of a minute before swimming over to you. He presses his face into your palm, chittering softly. There are footsteps on the stairs, and he grits his teeth, withdrawing completely before turning and diving under in a spray of seawater.

You fall back into the shallows, panting like a starved, feral monster. A researcher comes to your aid, her expression equal parts shocked and disturbed. You don’t catch her questions, each one tacked onto what feels like a ceaseless rant, while she helps you to your feet. Something about danger. About heats. About omega biology. About how the researchers watched the both of you on the cameras, swelling with queries of their own.

“I’m not sure,” you mumble as you’re helped down the stairs, stumbling in a heat-drunken stupor. Thankfully, your fellow researcher is an omega like you and that relaxes the hypersensitive part of you—the part that fears being taken advantage of when you’re vulnerable like this. But the needier, greedier part of you wants the mer—wants his hands and mouth all over you, ripping you free from your suit and indulging in the bare skin beneath. “I think he...wanted to help…”

No one can explain his behavior. But it seems promising.

While you’re led from the room, the eel mer stalks you from the gloomy confines of his tank.

In the days following your heat, you return to the marine lab with your head on your shoulders and are immediately barraged with requests. Amongst all of them, one common demand stands out: You have to get him up to the surface again. Part of you doesn’t want to face the mer again. When you truly mulled over that day, tossed the memory of it around in your mind like it was a tennis ball, you were hit with shame.

It’s not…normal. Researchers do not tangle themselves in sexual situations with their subjects, especially when said subject was an eel mer from the Coral Sea. It’s unheard of. Luckily, the team of researchers you work with swears to secrecy. You were out of it and your judgment wasn’t in the best state. That’s the excuse they’re using. It works enough to push the humiliation from your thoughts.

You wonder if you should feel disgusted by the events. Rather, you didn’t mind it. For all of his rough, scarred, monstrous edges, he was gentle.

You press your fingers to your scent glands, recalling the feel of his tongue.

Today you’ve donned your usual work attire, foregoing the shark suit and any other protective gear the lab expects you to wear. Something tells you you won’t need it anymore. Not after everything that happened the day you went into heat.

Feeling rejuvenated and refreshed after your mini break, you trudge up the staircase with a food bucket, determined to finally fill your notebook with data. You’ve only made it up four steps when color flashes in your peripheral. You turn and find the mer is at your eye level, following you up the spiral staircase adjacent to his tank.

You pause and wave experimentally. He watches your hand move to and fro and then he mirrors your actions. He swims the rest of the distance to the surface, breaching it just as you make it onto the platform.

“Good morning, Mister,” you greet, bending down to empty the contents of the bucket into the water.

Disinterested, he watches bits of shrimp sink deeper. And then he looks back to you, his mouth opening and shutting. “Fu… Fu…” he forces out, his face scrunched in concentration.

“Fu…? Food?” 

He nods and then shakes his head, hissing at himself in what you think might be admonishment. 

“Fu…ro…”

“Furo?” You set the bucket aside and scoot closer to the edge. “What’s that?”

He tries once more before the syllables fizzle out on his tongue and, with a few frustrated clicks, he swipes a fish from the surface and stuffs it in his mouth. You giggle, and the sound has him tilting his head. Without a shred of apprehension, he meets you at the ledge. You watch him munch on the fish between his lips, content to observe in silence. He polishes it off rather quickly before procuring a handful, which he dumps onto the ground beside you. You shake your head at him, smiling weakly.

“Thanks, but no. It’s all yours.”

The mer shrugs and indulges without you.

“I should thank you for not hurting me back then,” you add. He pays close attention to your lips; you think he might be attempting to read them while listening. “Um… But don’t get the wrong idea. I’m not sure if merfolk are like humans, but we have this system… Or not a system… It’s more like…groupings? Secondary classifications?” You frown. How can you explain the complexities of sub-genders to a mer who doesn’t even speak your language? “Basically, I was in trouble and you helped me out. Kind of. In any case, thank you.”

He stares at you for a while, chewing and swallowing. You think he might swim back under once he’s finished, but instead he places his hands on the ledge and hoists himself up on his arms. He’s in your face next, all eager smiles and chitters.

“Fu… Furo. Furo…ido. Furoido,” he sounds out.

You read his lips in the best way you can before it finally clicks. “Ah! Floyd, right? Is that…your name?”

Floyd points to himself, makes a few upbeat clicks, and then nods. He’s pointing at you next.

“And me? Oh, my name is (Name).” You take your time sounding it out for him, and he repeats it with an awkward tongue. You smile and nod encouragingly. “That’s it. That’s me.”

He flops back into the water with a celebratory trill, a wild smile tugging at his lips. You watch him swim laps from you to the opposite end of the pool and back. Ditching the shark suit was the right call. You’re no longer uncertain. This time, you know for a fact that you’re going to be getting along very well with him.

And you look forward to fostering this flowering friendship.

[cha-melodius]

firstprince + 💘 please and thank you kindly ☺️

💘 fake relationship / mutual pining / dared to kiss  (HI ROOP. please enjoy some fake relationship silliness, inspired by the fact that it's a million degrees outside. read all the kiss ficlets)

“Hey, you wanna fuck with my homophobic soon-to-be-ex boss?”

In theory, yes, he’s always up for fucking with homophobes, but the wicked grin on Alex’s face should have told him that this would be a bad idea.

So of course, Henry agrees.

~~~

It’s a pool party. It’s a bloody pool party in the Hamptons and Henry is not going to survive Alex Claremont-Diaz in his ridiculously tiny swimming trunks. Those shorts are criminal, actually. He’s especially not going to survive Alex plopping down on the lounge chair next to him and passing a bottle of sun cream over his shoulder.

“Do my back, would you?” Henry follows Alex’s line of sight over to where his soon-to-be-former boss is frowning at them disapprovingly, and Alex tosses a cheeky grin back at him. “Baby?”

Absolutely no survivors, to be certain.

Henry dutifully takes the bottle and smooths the cream over Alex’s back, careful not to miss any spots, and if he lingers a little long in doing so, well, it’s just to sell the deception. He almost thinks he feels Alex shiver a little as Henry’s fingers brush along the waistband of his trunks, but that’s impossible—it’s ridiculously warm out. Then he allows Alex to put sun cream on his back, which is horrible, terrible, the worst thing that’s ever happened to him, in fact.

(He never, ever wants it to stop.)

~~~

Somehow, Henry lets himself be dragged into the pool and talked into a game of chicken. He’s led to understand that usually it would be a woman sitting on a man’s shoulders, but one of Alex’s coworkers is a terrifying woman with long, dark hair pulled back in a ponytail, and she’s very confident she can take Alex and Henry down. Her husband—a lovely chap and fellow Brit, who Henry spent quite a bit of time talking to earlier—gives Henry an apologetic look for what is about to happen. Alex is, of course, undeterred.

The battle is hard fought and, look—Henry isn’t opposed to being strangled by Alex’s thighs, but he didn’t imagine it would be like this. Eventually Zahra is victorious, sending Alex crashing into the pool, and of course he drags Henry along with him. They come up spluttering, and Alex loops his arms around Henry’s neck, pulling him close as they bob in the water, catching their breath.

“Hey,” Alex breathes, his face way too close to Henry’s. “Kiss me?”

Henry swallows hard and glances around, but he can’t see Alex’s boss anywhere. “Because your boss is watching?” he asks.

“Because I want you to,” Alex says, as if it’s that simple.

Maybe it is. Henry doesn’t let himself overthink it, for once; he leans in, wrapping his arms around Alex’s waist, and kisses him. Slides their mouths together, sweet and slow, restrained but just heated enough to promise more.

“Can I tell you a secret?” Alex asks when they part.

“Ok.”

“I didn’t just ask you to this to fuck with my boss.”

Henry’s heart is in this throat. “No?”

“No, baby,” Alex says laughing a little. “I want this to be real.” He pauses, his eyebrows crinkling uncertainly. “If… you do, too?”

Henry kisses him again, which he figures is answer enough.

[aita-blorbos]

(Spoilers for Magnus Archives)

AITA for burning my childhood house down

Hello, Jon.

Apologies for the deception, but I wanted to make sure you started reading, so I thought it best not to announce myself.

I’m assuming you’re alone; you always did prefer to read your statements in private. (slightly strained) I wouldn’t try too hard to stop reading; there’s every likelihood you’ll just hurt yourself. So just listen.

Now, shall we turn the page and try again?

WIBTA for starting the apocalypse

I hope you’ll forgive me the self-indulgence, but I have worked so very hard for this moment, a culmination of two centuries of work. It’s rare that you get the chance to monologue through another, and you can’t tell me you’re not curious.

Why does a man seek to destroy the world?

It’s a simple enough answer: for immortality and power. Uninspired, perhaps, but – my god. The discovery, not simply of the dark and horrible reality of the world in which you live, but that you would quite willingly doom that world and confine the billions in it to an eternity of terror and suffering, all to ensure your own happiness, to place yourself beyond pain and death and fear.

It is an awful thing to know about yourself, but the freedom, Jon, the freedom of it all. I have dedicated my life to handing the world to these Dread Powers all for my own gain, and I feel… nothing but satisfaction in that choice.

I am to be a king of a ruined world, and I shall never die.

I believe there are far more people in this world that would take that bargain than you would ever guess. And I have beaten all of them.

Of course, this desire did not manifest overnight. When RS (87, M) first gathered our little band – L, S, and the rest – to discuss and hypothesize on the nature of the things he had learned from R, I felt what I believe we all felt: curiosity, and fear.

But as he compiled his taxonomy and codified his theories on the grand rituals, I began to develop a very specific concern. RS was so obsessed with his ideas on balance, even as our fellows began to experiment and fall to the service of our patrons.

I began to worry that if one of them successfully attempted their ritual, then I would be as much a victim as any, trapped in the nightmare landscape of a twisted world.

At first, I attempted prevention, but the cause seemed hopeless. The only way to ensure I did not suffer the tribulations of what I believed to be an inevitable transformation was to bring it about myself. So what began as an experiment soon became a race.

Beyond that, I was getting older, and mortality began to weigh more heavily on my mind. How much in this world is done because we fear death, the last and greatest terror?

I convinced RS to work on Millbank, leading him to design it as a temple to all the Fears in equilibrium, such that my own modifications to the design of the Panopticon went… unremarked.

It. Took. Years. for the dread of the prisoners to fully suffuse the place, and I was an old man before I made my first attempt at the Watcher’s Crown, sat in the center of that colossal eye, the great ring of cells encircling me like a coronet.

It was… flawed, of course, as all RS’s rituals were, and none of the inmates survived as the power I attempted to harness shook the building almost to pieces, and the murky swamp upon which the prison was built consumed it.

But it left me a gift: For sat in that watchtower, I could see everything I turned my mind to.

It was a dizzying power, and one I discovered I maintained even as I found vessels to extend my life. Of course, I had to make sure the location was kept under my control while I worked on revising my plans, and so I moved the organization I had founded to assist in my research down to London, and the Institute as you know it was born.

I’ll not bore you with details of my bodies and failures through those intervening years. Suffice to say I kept busy, both planning my own next attempt, and doing my best to stymie those others who tried versions of their own.

Surely my interpretation of the Watcher’s Crown had been incomplete; there had been some element of the ritual I had overlooked.

It was not until I met G (70, F) that things began to really come into focus.

You see, the role of Archivist has been part of the Beholding for as far back as my research can go. This isn’t uncommon for the Powers; most of the beliefs around them are guesswork and fallible human interpretation, but there are certain throughlines and consistencies that can be spotted, regardless of the trappings.

But G was unlike any other Archivist. She simply did not care about compiling experiences or collecting the fears of others. She was driven to stop those who served the Powers.

More than once I thought she must secretly be of the Hunt – but there was never that sick joy in her, that thrill of predator and prey. She had simply decided that this was her position in life, and went about it with a practicality that even I found disconcerting at times.

I once asked her what drove her, what had started her down that path. She told me the Desolation had killed her cat.

I don’t know if she was joking, and, to be honest, I could never bring myself to look into her mind and find out for sure.

In any case, G’s ruthless efficiency in derailing and collapsing rituals threw into stark relief a question that had been bothering me for almost a hundred and fifty years: In the whole span of humanity, why had nobody ever succeeded?

Perhaps there were a long line of G throughout history, but I found that hard to credit. Could it be, then, that there was something in the very concept of the rituals that meant they couldn’t succeed?

She was clearly having similar thoughts in that last year, all of which culminated with the People’s Church.

When I saw that she was making no preparations whatsoever to stop it, I realized she was putting into practice a theory, and one she couldn’t afford to be wrong. She was going to wait, and see if the unopposed ritual succeeded, or if it collapsed under its own strain as mine had all those years ago.

Knowing G, I’m sure she had a backup plan if she had miscalculated – but she had not. The ritual failed. And all at once, I realized what had to be done.

You see, the thing about the Fears is that they can never be truly separated from each other. When does the fear of sudden violence transition into the fear of hunted prey? When does the mask of the Stranger become the deception of the Spiral?

Even those that seem to exist in direct opposition rely on each other for their definition as much as up relies on down.

To try and create a world with only the Buried makes as much sense as trying to conceive a world with only down.

Every ritual tied itself so closely to a single power as to render itself impossible. They could bring their patron close, but never sever it from the others, and eventually it would be violently pulled back into the place next to reality where they dwell.

The solution, then, is simple: A new ritual must be devised which will bring through all the Powers at once. All fourteen, as I had hoped I could complete it before any new powers such as Extinction were able to fully emerge. All under the Eye’s auspices, of course. We mustn’t forget our roots.

And there was only one being that could possibly serve as a lynchpin for this new ritual: The Archivist. A position that had so recently become vacant, thanks to G’s ill-timed retirement plans.

Because the thing about the Archivist is that – well, it’s a bit of a misnomer.

It might, perhaps, be better named: The Archive.

Because you do not administer and preserve the records of fear, Jon. You are a record of fear, both in mind as you walk the shuddering record of each statement, and in body as the Powers each leave their mark upon you.

You are a living chronicle of terror.

Perhaps, then, if I could find an Archivist and have each Power mark them, have them confront each one and each in turn instill in them a powerful and acute fear for their life, they could be turned into a conduit for the coming of this – nightmare kingdom.

Do you see where I’m going, Jon?

It does tickle me, that in this world of would-be occult dynasties and ageless monsters, the Chosen One is simply that – someone I chose. It’s not in your blood, or your soul, or your destiny. It’s just in your own, rotten luck.

I’ll admit, my options were somewhat limited, but My God, when you came to me already marked by the Web, I knew it had to be you. I even held out some small hope you had been sent by the Spider as some sort of implicit blessing on the whole project, and, do you know what, I think it was.

Of course, I had to bide my time, get a measure of you before I began to push, learn how you worked – So I decided I would wait until something came for you, and see how you reacted. Attacks upon the Archives were not uncommon during G’s tenure, and, while she was always prepared, I made sure you would not be.

I reasoned if you couldn’t survive a single encounter, you were unlikely to make it through all fourteen. So, when JP attacked, I watched eagerly, one hand on the gas release from the start.

You acquitted yourself well enough, so I decided to see how far you would get, though I waited until the worms were in you before I pulled the lever. I needed to make sure you felt that fear all the way to your bones.

The discovery that one of the Stranger’s minions had infiltrated the Institute in the aftermath was certainly a pleasant bonus. Even if that sliver of paranoia, that vague wrongness you couldn’t quite place wouldn’t count as a mark, it was only a matter of time before it confronted you in a far more direct and affecting matter.

Admittedly, given the advent of the Unknowing, I needn’t have bothered. But what’s the old saying about hindsight?

More important to me was Sasha’s encounter with the Distortion. If it had taken an interest, then I very much wanted it to cross your path.

So I found one of its current victims and convinced her to make a statement.

Poor H (~20, F). I actually had to put her in a taxi myself, she was getting so lost in those narrow London side streets.

It worked, though.

Between the stabbing and at least two desperate flights into its doors – you’re marked very deeply by the Spiral.

JL (~70, M) was a surprise, of course, and I was forced to improvise. I had no idea how much G would have told him, and he could very easily have derailed everything if you learned too much too fast.

I justified it to myself saying I was going to have to send you out into the world anyway, if you were to encounter more of the Powers, but I can’t honestly pretend it wasn’t a… rather rash move.

Still. I’d requested Detective T (~25, F) be assigned to the case when they found G’s body in the hope that having a Hunter in the mix would eventually lead to a confrontation, and setting you up as a killer certainly hastened that.

Then it was just a matter of feeding you statements to lead you to a few Avatars I thought were likely to harm you – but probably would stop short of actually killing you.

J (27, F) served her purpose exactly as I had hoped, as did our dearly departed Mr. C, marking you for the Desolation and the Vast.

Honestly, I had – nothing to do with M (23, F) and her Slaughter adventure, but when I saw the situation, I made sure to trap her here, so when her rage bubbled over you would be right there, a ready target.

I didn’t foresee the mark coming from surgery gone wrong, but it was a very pleasant surprise.

The Unknowing was a distraction, but not an unwelcome one. For this to work, you needed more than just the marks; you needed power. And that was something the Unknowing served to test, though it posed no actual danger in the grand scheme of things.

And it did serve another purpose, of course. It inadvertently pushed you to confront death, a mark I had been very worried about trying to orchestrate. If I tried too early, you’d just die. Too late, and you might be powerful enough to see the attempt coming, and maybe even understand why.

As it was, it was just right, and once again, you came through with flying colors.

By this point, your abilities were coming along in leaps and bounds, and I was concerned that meeting face-to-face might end up with you – (sigh) – Knowing something you shouldn’t.

I had initially planned to go into hiding, but when your colleagues surprised me with the police, well. It was simple enough to cut a deal.

All that remained, then, were the Dark, the Flesh, the Buried, and the Lonely.

I was a little put out when that idiot JH (???, M) misinterpreted my letters and attacked the Institute too soon, before you were even out of the hospital, but then – Ho, you should have see my face when you voluntarily went to him.

I couldn’t see what happened in there, of course, but given how you came out, I’m very sure it counts as a mark.

I suspected the coffin might turn up again, and once it did, it was simply a matter of getting any, uh… restraining factors you might have had flying off on a wild goose chase, and waiting.

Honestly, Detective T has been proving invaluable through this process. I’d been racking my brains for months about what I could use to lure you in.

And, of course, I knew the Dark Sun was just sitting there waiting. So when it came time, I just whipped up another apocalypse and sent you on your merry way.

Then all that remained was the Lonely.

Poor P (~50, M). He really should have left well enough alone. Or just done what I’d asked in the first place.

Ah well. He knew what I was attempting, and was very unwilling to cooperate until I made him a little wager about M (same age as you, Jon, M).

Of course, he had no way of knowing that, in addition to setting you up for the final mark, he was giving you all the tools you needed to escape from it.

How is M, by the way? He looks well. You will keep an eye on him when all this is over, won’t you? He’s earned that.

And there, I think, we are brought just about up to date. I have enjoyed our little trip down memory lane, but past here lies only impatience.

You are prepared. You are ready. You are marked. The power of the Ceaseless Watcher flows through you, and the time of our victory is here.

Don’t worry, Jon. You’ll get used to it here, in the world that we have made.

Now. Repeat after me.

You who watch and know and understand none. You who listen and hear and will not comprehend. You who wait and wait and drink in all that is not yours by right.

Come to us in your wholeness.

Come to us in your perfection.

Bring all that is fear and all that is terror and all that is the awful dread that crawls and chokes and blinds and falls and twists and leaves and hides and weaves and burns and hunts and rips and bleeds and dies!

Come to us.

I – OPEN – THE DOOR!

[sherwood-scribblings]

HUNGER GAMES (SUNRISE ON THE REAPING) THEORIES: the "sunrise" over the reaping is maysilee

I have been going so absolutely bats off the wall ever since the SOTR announcement that I spent a whole day formulating my theories into in-depth essays and backing them up with canon... here ya go.

So, after some analysis of everything we know about the saga, chapter 14 of Catching Fire, and how Collins writes so far...

I present my theory on the new hunger games book: that the "sunrise" over the reaping is symbolic of Maysilee Donner, the former owner of the mockingjay pin.

I think Maysilee is going to be a symbol of the goodness, kindness, light, etc, of humanity, in the face of the reaping, in the face of violence and war. Aka the theme of the entire series. Aka a symbol of defiance just like Lucy Gray and her kindness. I mean, losing all his metaphorical light is what causes Haymitch to become a drunk... And likely to become so protective over Katniss and Peeta.

I also think the cover is going to have a mockingjay and a sunrise. Cause, Suzanne Collins is VERY intentional about her titles. The themes she uses. The imagery. The covers. It's all part of the story.

HOW COLLINS HAS USED THEME BEFORE

TBOSAS was called "songbird and snakes" which was symbolic of the nature of good vs. evil.

There's essays everywhere about how the songbird represents good (in Lucy Gray) and how the snake represents evil (in Coriolanus Snow), how they are symbolically shown to have both natures by using both snakes and songbirds as weapons, but one nature ultimately prevails. TBOSAS is about the struggle between humanity's two natures, and how we can ultimately prevail in one or the other. The crest of the mockingjay and the snake, is symbolic of said theme. 

Songbirds represent everything Lucy Gray is—free, wild, untamed, kind, colorful, a singer, a performer, honest and moral and true and good.

Snakes represent everything Coriolanus Snow is—deceptive, cunning, ruthless, adaptable, charming, determined to survive, everything sly and wicked and game playing.

And yet, they are shown to have the inverse as well. Lucy Gray is also cunning, and deceptive, and determined to survive. Coryo is also caring (about certain people), honest (he's bad at lying, and in THG he agrees to never lie to Katniss), and enjoys the idea of freedom.

They wield both natures and this struggle is portrayed throughout the story. Hence: A Ballad of Songbirds and Snakes. Hence: a snake and a bird on the cover.

Suzanne Collins is also no stranger to complimentary characters.

Lucy Gray and Snow are inverses of each other, both similar and wildly different. They work well... Until the difference in their nature tears them apart. 

She makes use of complimentary characters to emphasize theme throughout her books, constantly. We see with Katniss and Peeta, how Katniss is war-torn, distrusting, afraid, how easily she could become like Snow, how her motivations for security could become corrupted into a ruthlessness to survive just like Snow was driven by his fear. She is difficult, jaded, and tormented, but underneath that she does have a heart of gold and wants goodness to prevail.

Peeta is her dandelion in the spring, her hope, representative of the goodness left in humanity, he seems soft but he is a lot stronger than his peers would think or give him credit for. She clings to him because in a world of darkness he serves as light, as a reminder that not everyone is selfish, that kindness and morality do exist even if she's inclined to think people just are out for themselves.

He is full of light and her darkness falls for that because she needs light and goodness to heal, to believe, to fight for.

He is her compliment, where she is afraid, a survivor and a fighter, and sometimes rude or selfish seeming, and struggles to show her emotions and how much she cares, more like Haymitch—

Peeta is kind, brave, soft, and charming, has a way with people's hearts, and yet also strong in his own ways and in his morals, determined not to let the capitol force him to lose his humanity. 

This nature of humanity, of goodness, of light, is reflected in other characters.

Prim is that role to Katniss as well. She is a soft girl, innocent, sensitive, tender hearted, kind, a healer, which is part of why Katniss loves her so much.

Prim is a reminder of humanity, which Katniss needs, and it's why Katniss chooses Peeta over Gale. Prim is also contrasted against Katniss. Rue likewise, is similar, she's a symbol of hope and kindness set against Katniss.

We see this utilization of complimentary characters all over— Haymitch and Effie, one being a crude yet intelligent and snarky arrogant tormented and drunken victor from District 12, the other being a prim and proper rich Capitol girl, airheaded, brainwashed, sheltered, yet endearing and caring all the same. They're polar opposites, but they work so well together, both as teammates and as friends. There's a reason the fandom ships them and sees them as the beer uncle and wine aunt of THG, as parental roles to Katniss and Peeta.

Suzanne Collins knows what she's doing. She knows how to write characters that compliment or parallel each other and how to weaponize symbolism and imagery for a powerful theme. (Katniss and Peeta, Lucy Gray and Snow, Haymitch and Effie, Katniss and Prim, Prim and Rue, Katniss and Snow, Rue and the mockingjay, Snow and Coin)

HOW THIS APPLIES TO SUNRISE ON THE REAPING

If she describes young Haymitch as arrogant, snarky, nonchalant, dangerous, smart, capable, etc... Maysilee is likely gonna be his compliment: kind, moral, gentle, soft, willing to call his more selfish means out.

She's the one who saves him and had the idea for the alliance. She's the one who split because she didn't want it to come down to killing each other.

I am convinced the reason Haymitch sets up Peeta and Katniss to work together as teammates from district 12, is because he did that with Maysilee.

He's doing what him and Maysilee failed to do. They agreed to break off the alliance, and look what happened. She died. Why do you think he's so insistent on Katniss and Peeta working together? That Peeta is keeping her alive, that she doesn't deserve him, that she should be more grateful?

Because he sees Maysilee in Peeta, and himself in Katniss. Haysilee (regardless of if they're a ship or platonic) is a gender reversed parallel to Everlark. Perhaps he's harder on Katniss because he sees himself in her, and kinder to Peeta because he sees Maysilee in him. For all we know, Haysilee could have even incited their own rebellion that the capitol snuffed out (suzanne said the main theme of SOTR was essentially propaganda and lies, covering up the truth for the masses).

MAYSILEE IS SOFT LIKE MADGE & PRIM

Further on why I think Maysilee will be a soft sunshine girl—because her niece, MADGE, is exactly that. Golden haired, kind, softened. Selfless. Everything the capitol tries to destroy. Everything the capitol sees as rebellion.

Madge likely got her soft nature from her mom or her aunt (Maysilee), who are twins. They also all have sunshine golden hair.

It's essentially implied Madge is like her aunt.

And guess what? Prim is a blond soft girl and it's implied she's like HER mom, who was close friends with Maysilee.

Katniss' mom was also a soft girl before the trauma shut her down. Clearly Prim gets her own sunshine healer nature from her mother, because Katniss is more is rugged and protective like her father. She fills in for protecting them when he dies, and even notes her mom is too soft and fragile to deal with certain hardships the way Katniss does.

If Katniss' mother is friends with Maysilee, not to mention their daughter and niece are both soft healer kind sunshine girls who seem to take after the rest of their family.... It's likely that Maysilee is like Prim and Madge. Birds of a feather flock together and all. Of course they would bond.

MAYSILEE IS A SYMBOL OF LIGHT

Here's more on why I think the sunrise is Maysilee. 

Madge gave the mockingjay pin to Katniss, from Maysilee. SHE WAS THE FORMER OWNER OF THE MOCKINGJAY PIN. THE WHOLE REASON THE REVOLUTION STARTED.

Maysilee is another form the mockingjay takes. Just like Lucy Gray, just like Rue—a symbol of hope and resistance. A tribute from District 12, so determined not to let the capitol change her true nature, to take her humanity and morals, that it lights the spark to create a fire.

Do you think Haymitch looks at Katniss, and sees Maysilee's pin? Do you think he sees the mockingjay prevail in the face of the reapings, and all he can see is her?

"Sunrise on the reaping" is a symbolic title. This is Suzanne Collins. This is how she writes. 

"A ballad of songbirds and snakes" summarizes the themes of that book, the nature of good vs evil. Lucy Gray is the songbird, Snow the snake.

"Sunrise on the reaping" translates to light, hope, new beginnings, in the middle of war and violence. 

Collins said this book was going to focus on propaganda, how the media LIES to people, puts them in the dark for easy submission, to not see the truth.

You know what you need to illuminate the darkness of a lie? To see anything at all, including the truth?

Light. You need the sun. A sunrise.

Real or not real? How do you see what's real if you don't have the light to see it by?

Sunrise ON the reaping. Not over. ON. 

A sunrise casts light ON the reaping. On the violence of the capitol.

Kindness and hope casts light on the bleak violence and darkness of the capitol. Our humanity is the one true form of resistance. It's the main theme of the series.

This book is going to be about casting light on lies and darkness. On the capitol. The book will be about light prevailing over darkness.

About kindness and hope being the truth that acts as defiance against violent propaganda. Against Snow's beliefs that "there is no hope for humanity, we are all dark and twisted."

This book will be the inverse of Snow and Gaul, of TBOSAS. If Ballad is about how humanity can fall into darkness and evil, Reaping is its compliment, it's about how humanity can be light and good.

All darkness -> light exists -> fire sparks

(Ballad)              (Reaping)        (Catching Fire)

(@ aurynauthor on Instagram summarized that for me<3)

Maysilee is the sun, the warmth to start a FIRE... Her niece gives Katniss, the girl on fire... Her mockingjay pin. 

Maysilee, perhaps, is the true mockingjay.

Katniss compares her death to Rue's, when she watches Haymitch's games. We thought Rue was the mockingjay, but... What if the mockingjay isn't just one person? What if the mockingjay is a symbol, something larger than life, something anyone with the kindness and heart and resistance to stand against evil can be? Like how Katniss and Peeta publicly honor and mourn their fallen tributes when they ought to be entertained alongside the capitol, who is aghast by such displays of emotion.

Maybe that light is some of what the capitol is covering up with propaganda in this book, but it escaped in the form of the pin and Haymitch's survival.

The mockingjay is everyone. Lucy Gray, Rue, Katniss... Maysilee.

Perhaps when Haymitch sees that pin on Katniss, he remembers. When the mockingjay becomes a symbol of resistance, when Maysilee's sunlight sparks the heat for a flame... Perhaps then Haymitch can understand why Maysilee saved him. Why he was the one to survive, and she was the martyr.

How her legacy and her pin lived on even after she faded from history, just like the mockingjay bird itself—small and insignificant, survived against all odds, becoming something stronger.

Maybe, even after her death, even when he forgets the good she taught him and he gets drunk to block out the memories of what happened afterwards, when he has to train up a girl with a mouth of fire and a mockingjay pin, and a boy with a heart of gold and the wits to survive, District 12 tributes, teammates, children he sees someone else in...

Even after the truth of what really happened on the 50th Hunger Games is lost to history and propaganda. Even after all the death and violence.

After all the darkness, the lies Snow preaches, that humanity will always fall into selfishness and survival and cruelty, that nothing and no one can prevail or be different.

Maybe Maysilee and her kindness was the sunrise on his reaping.

[spiral-man]

Hey dudes,

Just wanted to wish everyone a happy-

Hello Jon,

Apologies for the deception, but I wanted to make sure you started reading, so I thought it best not to announce myself.

I’m assuming you’re alone; you always did prefer to read your statements in private. (slightly strained) I wouldn’t try too hard to stop reading; there’s every likelihood you’ll just hurt yourself. So just listen.

Now, shall we turn the page and try again?

Statement of Jonah Magnus regarding Jonathan Sims, The Archivist.

Statement begins.

I hope you’ll forgive me the self-indulgence, but I have worked so very hard for this moment, a culmination of two centuries of work. It’s rare that you get the chance to monologue through another, and you can’t tell me you’re not curious.

Why does a man seek to destroy the world?

It’s a simple enough answer: for immortality and power. Uninspired, perhaps, but – my god. The discovery, not simply of the dark and horrible reality of the world in which you live, but that you would quite willingly doom that world and confine the billions in it to an eternity of terror and suffering, all to ensure your own happiness, to place yourself beyond pain and death and fear.

It is an awful thing to know about yourself, but the freedom, John, the freedom of it all. I have dedicated my life to handing the world to these Dread Powers all for my own gain, and I feel… nothing but satisfaction in that choice.

I am to be a king of a ruined world, and I shall never die.

I believe there are far more people in this world that would take that bargain than you would ever guess. And I have beaten all of them.

Of course, this desire did not manifest overnight. When Smirke first gathered our little band – Lukas, Scott, and the rest – to discuss and hypothesize on the nature of the things he had learned from Rayner, I felt what I believe we all felt: curiosity, and fear.

But as he compiled his taxonomy and codified his theories on the grand rituals, I began to develop a very specific concern. Smirke was so obsessed with his ideas on balance, even as our fellows began to experiment and fall to the service of our patrons.

I began to worry that if one of them successfully attempted their ritual, then I would be as much a victim as any, trapped in the nightmare landscape of a twisted world.

At first, I attempted prevention, but the cause seemed hopeless. The only way to ensure I did not suffer the tribulations of what I believed to be an inevitable transformation was to bring it about myself. So what began as an experiment soon became a race.

Beyond that, I was getting older, and mortality began to weigh more heavily on my mind. How much in this world is done because we fear death, the last and greatest terror?

I convinced Smirke to work on Millbank, leading him to design it as a temple to all the Fears in equilibrium, such that my own modifications to the design of the Panopticon went… unremarked.

It. Took. Years, for the dread of the prisoners to fully suffuse the place, and I was an old man before I made my first attempt at the Watcher’s Crown, sat in the center of that colossal eye, the great ring of cells encircling me like a coronet.

It was… flawed, of course, as all Smirke’s rituals were, and none of the inmates survived as the power I attempted to harness shook the building almost to pieces, and the murky swamp upon which the prison was built consumed it.

But it left me a gift: For sat in that watchtower, I could see everything I turned my mind to.

It was a dizzying power, and one I discovered I maintained even as I found vessels to extend my life. Of course, I had to make sure the location was kept under my control while I worked on revising my plans, and so I moved the organization I had founded to assist in my research down to London, and the Institute as you know it was born.

I’ll not bore you with details of my bodies and failures through those intervening years. Suffice to say I kept busy, both planning my own next attempt, and doing my best to stymie those others who tried versions of their own.

Surely my interpretation of the Watcher’s Crown had been incomplete; there had been some element of the ritual I had overlooked.

It was not until I met Gertrude Robinson that things began to really come into focus.

You see, the role of Archivist has been part of the Beholding for as far back as my research can go. This isn’t uncommon for the Powers; most of the beliefs around them are guesswork and fallible human interpretation, but there are certain throughlines and consistencies that can be spotted, regardless of the trappings.

But Gertrude was unlike any other Archivist. She simply did not care about compiling experiences or collecting the fears of others. She was driven to stop those who served the Powers.

More than once I thought she must secretly be of the Hunt – but there was never that sick joy in her, that thrill of predator and prey. She had simply decided that this was her position in life, and went about it with a practicality that even I found disconcerting at times.

I once asked her what drove her, what had started her down that path. She told me the Desolation had killed her cat.

I don’t know if she was joking, and, to be honest, I could never bring myself to look into her mind and find out for sure.

In any case, Gertrude’s ruthless efficiency in derailing and collapsing rituals threw into stark relief a question that had been bothering me for almost a hundred and fifty years: In the whole span of humanity, why had nobody ever succeeded?

Perhaps there were a long line of Gertrude Robinsons throughout history, but I found that hard to credit. Could it be, then, that there was something in the very concept of the rituals that meant they couldn’t succeed?

She was clearly having similar thoughts in that last year, all of which culminated with the People’s Church.

When I saw that she was making no preparations whatsoever to stop it, I realized she was putting into practice a theory, and one she couldn’t afford to be wrong. She was going to wait, and see if the unopposed ritual succeeded, or if it collapsed under its own strain as mine had all those years ago.

Knowing Gertrude, I’m sure she had a backup plan if she had miscalculated – but she had not. The ritual failed. And all at once, I realized what had to be done.

You see, the thing about the Fears is that they can never be truly separated from each other. When does the fear of sudden violence transition into the fear of hunted prey? When does the mask of the Stranger become the deception of the Spiral?

Even those that seem to exist in direct opposition rely on each other for their definition as much as up relies on down.

To try and create a world with only the Buried makes as much sense as trying to conceive a world with only down.

Every ritual tied itself so closely to a single power as to render itself impossible. They could bring their patron close, but never sever it from the others, and eventually it would be violently pulled back into the place next to reality where they dwell.

The solution, then, is simple: A new ritual must be devised which will bring through all the Powers at once. All fourteen, as I had hoped I could complete it before any new powers such as Extinction were able to fully emerge. All under the Eye’s auspices, of course. We mustn’t forget our roots.

And there was only one being that could possibly serve as a lynchpin for this new ritual: The Archivist. A position that had so recently become vacant, thanks to Gertrude’s ill-timed retirement plans.

Because the thing about the Archivist is that – well, it’s a bit of a misnomer.-

It might, perhaps, be better named: The Archive.

Because you do not administer and preserve the records of fear, John. You are a record of fear, both in mind as you walk the shuddering record of each statement, and in body as the Powers each leave their mark upon you.

You are a living chronicle of terror.

Perhaps, then, if I could find an Archivist and have each Power mark them, have them confront each one and each in turn instill in them a powerful and acute fear for their life, they could be turned into a conduit for the coming of this – nightmare kingdom.

Do you see where I’m going, John?

It does tickle me, that in this world of would-be occult dynasties and ageless monsters, the Chosen One is simply that – someone I chose. It’s not in your blood, or your soul, or your destiny. It’s just in your own, rotten luck.

I’ll admit, my options were somewhat limited, but My God, when you came to me already marked by the Web, I knew it had to be you. I even held out some small hope you had been sent by the Spider as some sort of implicit blessing on the whole project, and, do you know what, I think it was.

Of course, I had to bide my time, get a measure of you before I began to push, learn how you worked – So I decided I would wait until something came for you, and see how you reacted. Attacks upon the Archives were not uncommon during Gertrude’s tenure, and, while she was always prepared, I made sure you would not be.

I reasoned if you couldn’t survive a single encounter, you were unlikely to make it through all fourteen. So, when Jane Prentiss attacked, I watched eagerly, one hand on the gas release from the start.

You acquitted yourself well enough, so I decided to see how far you would get, though I waited until the worms were in you before I pulled the lever. I needed to make sure you felt that fear all the way to your bones.

The discovery that one of the Stranger’s minions had infiltrated the Institute in the aftermath was certainly a pleasant bonus. Even if that sliver of paranoia, that vague wrongness you couldn’t quite place wouldn’t count as a mark, it was only a matter of time before it confronted you in a far more direct and affecting matter.

Admittedly, given the advent of the Unknowing, I needn’t have bothered. But what’s the old saying about hindsight?

More important to me was Sasha’s encounter with the Distortion. If it had taken an interest, then I very much wanted it to cross your path.

So I found one of its current victims and convinced her to make a statement.

Poor Helen. I actually had to put her in a taxi myself, she was getting so lost in those narrow London side streets.

It worked, though.

Between the stabbing and at least two desperate flights into its doors – you’re marked very deeply by the Spiral.

Jurgen Leitner was a surprise, of course, and I was forced to improvise. I had no idea how much Gertrude would have told him, and he could very easily have derailed everything if you learned too much too fast.

I… justified it to myself saying I was going to have to send you out into the world anyway, if you were to encounter more of the Powers, but I can’t honestly pretend it wasn’t a… rather rash move.

Still. I’d requested Detective Tonner be assigned to the case when they found Gertrude’s body in the hope that having a Hunter in the mix would eventually lead to a confrontation, and setting you up as a killer certainly hastened that.

Then it was just a matter of feeding you statements to lead you to a few Avatars I thought were likely to harm you – but probably would stop short of actually killing you.

Jude served her purpose exactly as I had hoped, as did our dearly departed Mr. Crew, marking you for the Desolation and the Vast.

Honestly, I had – nothing to do with Melanie and her Slaughter adventure, but when I saw the situation, I made sure to trap her here, so when her rage bubbled over you would be right there, a ready target.

I didn’t foresee the mark coming from surgery gone wrong, but it was a very pleasant surprise.

The Unknowing was a distraction, but not an unwelcome one. For this to work, you needed more than just the marks; you needed power. And that was something the Unknowing served to test, though it posed no actual danger in the grand scheme of things.

And it did serve another purpose, of course. It inadvertently pushed you to confront death, a mark I had been very worried about trying to orchestrate. If I tried too early, you’d just die. Too late, and you might be powerful enough to see the attempt coming, and maybe even understand why.

As it was, it was just right, and once again, you came through with flying colors.

By this point, your abilities were coming along in leaps and bounds, and I was concerned that meeting face-to-face might end up with you – (sigh) – Knowing something you shouldn’t.

I had initially planned to go into hiding, but when your colleagues surprised me with the police, well. It was simple enough to cut a deal.

All that remained, then, were the Dark, the Flesh, the Buried, and the Lonely.

I was a little put out when that idiot Jared Hopworth misinterpreted my letters and attacked the Institute too soon, before you were even out of the hospital, but then – Ho, you should have see my face when you voluntarily went to him.

I couldn’t see what happened in there, of course, but given how you came out, I’m very sure it counts as a mark.

I suspected the coffin might turn up again, and once it did, it was simply a matter of getting any, uh… restraining factors you might have had flying off on a wild goose chase, and waiting.

Honestly, Detective Tonner has been proving invaluable through this process. I’d been racking my brains for months about what I could use to lure you in.

And, of course, I knew the Dark Sun was just sitting there waiting. So when it came time, I just whipped up another apocalypse and sent you on your merry way.

Then all that remained was the Lonely.

Poor Peter. He really should have left well enough alone. (cruel laugh) Or just done what I’d asked in the first place.

Ah well. He knew what I was attempting, and was very unwilling to cooperate until I made him a little wager about Martin.

Of course, he had no way of knowing that, in addition to setting you up for the final mark, he was giving you all the tools you needed to escape from it.

How is Martin, by the way? He looks well. You will keep an eye on him when all this is over, won’t you? He’s earned that.

And there, I think, we are brought just about up to date. I have enjoyed our little trip down memory lane, but past here lies only impatience.

You are prepared. You are ready. You are marked. The power of the Ceaseless Watcher flows through you, and the time of our victory is here.

Don’t worry, John. You’ll get used to it here, in the world that we have made.

Now. (cruel, cruel laugh) Repeat after me.

You who watch and know and understand none. You who listen and hear and will not comprehend. You who wait and wait and drink in all that is not yours by right.

Come to us in your wholeness.

Come to us in your perfection.

Bring all that is fear and all that is terror and all that is the awful dread that crawls and chokes and blinds and falls and twists and leaves and hides and weaves and burns and hunts and rips and bleeds and dies!

Come to us.

I – OPEN – THE DOOR!

[theredofoctober]

MANNA- CHAPTER THIRTEEN: TEA

Dark!Hannibal Lecter x Reader x Dark!Will Graham AU fic

TW for eating disorders, noncon, abuse, drugging, Daddy kink, implied child abuse and more

Read after the cut...

-

For a near week your deceptive submission endures, the hours newly tightened by a schedule your host has contrived to divert you from your anti-appetite.

Days rise from the borderless veil of time like castles from a dawn mist. Made a school child again, you sit before documentaries and foreign art films, take up a journal whose pages bear but glances of your internal woe.

You find yourself wishing that you could write with any particular talent.

As a girl you’d yearned to be an author, never daring to materialise the urge with any substantial effort. Now you can’t imagine you’ll ever be allowed so loose-penned a profession, if any at all, kept covetously home and infantilised until you cannot think beyond a fraction of words.

Why, then, does Hannibal go to such arduous lengths to educate you? Surely it is only so that—before the eyes of peers—you'll be the cultured averment of triumph through therapy.

In the soirees of your doctor's hopes you cleave, willing, to his side, bewitching the throng with smirking witticisms before sucking his cock with that same clever mouth when the last guest steps, merry and ignorant, into the night.

Already Hannibal aspires to materialise that abstraction. You find proof enough of it in the wardrobe he’s amassed for you, which expands as the days progress.

Some of his choices are attractive to you, reluctant though you are to consider this— long velvet gowns in puce, umber, black, blouse and skirt co-ordinations plucked from the runway, some still in boxes emblazoned with designer names.

Others of the selection offend you, however, in their bald intent for closed-door wear. Girlish dresses in light chiffon, corseted silk in flowering lace. Short necks and hemlines, some of them scarcely reaching the knee. Then there are sheer nightclothes stored in perfumed sheets, no practicality but for the sort of sleeping in which no slumber is to be had.

You’re to dress like some obscure young celebrity, a whimsical echo of an era thirty years passed. Still, there is an attempt in this incredible closet to appease you as well as to change, adapting your preferences to a style acceptable to Hannibal’s eye.

It’s of particular note to you that the garments are each the same size, implying that you haven’t gained significant weight since your last awareness of its value. Conceivably the labels might have been replaced, but it’s so unlikely a trick that the theory is quickly thrown out.

Hannibal is inviting you to trust his process with a peace offering of equilibrium, the second-best prize to starvation.

You are not such a fool as to take it yet, though in action you may appear to have done so.

When in the presence of your keepers you remain in unwavering character, an amplified, changeling copy of the child you'd once been. In this way you're allowed your little misbehaviours—pulling a face at food you do not like, or the shrugging rejection of an idle caress.

So long as you sit at meals, and don’t speak in any manner that threatens the illusion of family you are unharmed, and laden with unending gifts. It would be a winning childhood, had you been born into it through a far less insidious violence than that which brought you here.

Still, the awareness that you must simper and lisp for another month before you venture an escape soon wears upon your tolerance.

One Saturday morning, alone in your room, the silence of that cushioned cell amplifies your every thought to a piqued tenor.

You miss when hunger bled like smoke through your skull, ridding its halls of all but its fey shape. With a scalding clarity you behold what you are now: a homunculus, the issue of diablerie, cut small by men’s black magic.

You cast yourself amidst a tide of cushions and mimic your own words upon them in a bitter snarl.

“‘Yes, Daddy’”, ‘no, Daddy’. ‘Little one’. Oh God! It’s all so stupid. Stupid!”

An involuntary laugh chatters through you like a coin thieved from a beggar’s cup, hateful and maniacal. Yet you perform this anger as you do the docile coquette, the bounds between that self and your own a gradient that softens by the day.

It’s become rather easier to be a monster’s daughter than a woman, this you cannot deny. The longer you are extracted from the world the less you’ll remember of how to live within it, if you ever knew, before.

The misery of this thought proves too much to bear.

You cry until your head is as hot about the brow as a horseshoe turned white from the forge. The sobs wrench the muscles of your stomach in two pained halves, and still you weep until you laugh again, thinking how deranged you’d sound to any eavesdropper in the rooms below.

Afterwards you sit very quietly, like an ailing bride in a Victorian novel; you are, after all, very ill, and it suits you well to behave so.

Having nothing better to do, you switch on the television and skim through the channels with neither aim nor interest.

Thin, beautiful women populate the screen, their waists like darner flies, their wrists as narrow as your thumb. Even the history programmes feature experts with trim figures in sensible interview dresses.

Perturbed, you flick on and on until you find something on eighteenth century Paris, hosted by a grandfatherly old professor marked safe from scrutiny in the absence of compare.

You watch until your lids fall, thinking of catacombs full of monk bones, the cloying scent of ancient death, each as forgotten under dust as you are by all those who once loved you, and revered by those who never have.

In the afternoon Hannibal wakes you gently by turning the television off at the set.

“Are you feeling alright, little one?” he asks. “It’s unusual for you to sleep in so late.”

You hum in a noncommittal fashion, scarcely bothering to open your eyes.

Perhaps he’ll let you drowse the day away; you’d dream through all horrors like this, should your insomnia give you reprieve. A week, a month, a year sold to the sandman in exchange for peace— yet the dark would follow you there, also, antlered men in imagined night.

“You’ve been in bed long enough,” says Hannibal, peeling back your sheets with a brisk tug. “Up you get. Alana is visiting us this evening. She’ll have some questions for you.”

Weakly attempting to thieve back the blanket, you say, “I really don’t feel like talking to her. Can’t you do it? Please?”

“Jack won’t be satisfied with a second-hand report. Alana must see that you’re comfortable here. Not a particular incentive for you, but I can provide others.”

You open one eyelid, enticed by this readiness to bargain.

“So what do I get if I say yes?”

“A light dinner,” says Hannibal. “And—depending on your behaviour—perhaps another reward we’ll negotiate later tonight.”

At this you sit up; starving is a precious contraband in the doctor’s abode, worth more to you than every decadent thing under its rafters.

“Feeling better already, I see,” says Hannibal, through one of his charitable smiles. “Please stand by the mirror and allow me to dress you.”

Unbidden there comes the thought of his hand under your skirts, pressing inwards like a starfish sucking at a stone.

“Oh, come on, Dad,” you say, in flustered haste. "Really?”

“There’s a certain picture I’d like to create for Alana’s benefit,” he insists. “One of wellness and serenity. Your selections tend to imply something far more brooding and morose.”

With a testy little sigh you slip out of bed, rubbing your arms free of rising gooseflesh.

“You bought me those ‘brooding and morose’ outfits, remember, Dad? What does that say about you?”

“That I seek to please you,” says Hannibal, touching your mouth with playful thumb. “Today I hope that you’ll return the gesture.”

He holds aloft a pastel blue dress in transparent lace, a beaded line of detailing pointing downwards at the hips in a suggestive v.

“I don’t know,” you say, far more sharply than intended. “It’s short. And I don’t like the colour.”

“The shade will suit you,” Hannibal replies. “And you’ll wear a shift underneath for modesty, if that’s your concern.”

You don’t bother with reproof; he’s guiding you out of your nap-rumpled clothes and into the dress before you can think of an excuse he’ll entertain.

Unresisting, you only glance aside, breathing shallowly so as not to brush your chest against him as he adjusts your collar.

That Hannibal hasn’t made love to you since you shared a bed makes you think that he’s waiting for something, a moment fermented to sweeten the sex. He is, you warrant, as driven by pleasure as any man, being only of a tighter and more methodical restraint.

You can’t decide whether you’re glad of the wait or if you’d prefer he throw you down on your bed and ravish you now to have done with it.

Doubtless Hannibal considers an identical dilemma, turning you before him like a ballerina in a mirrored jewellery box.

“Even the greats couldn’t hope to replicate this image of you,” he says, as he inspects his work. “To attempt it would have them rending the canvas to pieces rather take credit for their failure.”

The compliment is long forgotten when, later, Alana breaches the house, her pretty face above her mulberry blouse like a lily in a violet bouquet.

Her casual manner in kissing Hannibal’s cheek at the door suggests a social visit, as does the gift of white wine under one thin arm. Still, she remembers her duty, taking you aside with a subtle professionalism within two minutes of having greeted her host.

Her kindness is a shingle in a cyclone, dashed away by the futility of its own existence.

“Dr Lecter told me you’re doing a lot better than when I last saw you,” says Alana, placing one of her graceful hands atop your own without comment as to its frigidity. “Are you feeling more positive now, or would you disagree with that?”

Slipping your fingers out from under hers, you say, “Well, I have a TV now. I’m allowed to do a lot more things I’m actually interested in. That helps. Thanks for that, by the way. I know you talked Dr Lecter into it.”

Smiling, Alana says, “I can’t take credit for that. He was already making preparations when I brought it up. He's racked up quite the shopping bill.”

The notion of Hannibal navigating the catalogues of online stores is ridiculous, somehow anachronistic, but then again you’ve witnessed him tapping at a sleek iPad, a jarring sight, on every occasion.

“How about mealtimes?” asks Alana. “I understand you’re working towards a plan that’s easier for you.”

“It’s still hard,” you mumble. “Tough. You know.”

Your eyes are on Alana’s patent court shoes, picturing a blandly organised rack of identical heels in alternate shades. Perhaps ankle boots for the colder days. Simple. Nothing flash.

Alana pauses, quickly assessing your disinterest in the exchange.

“Hannibal says he’d like you to agree to more therapy sessions,” she says. “He feels you’re opening up. I think we both know that’s probably wishful thinking on his side, but don’t shoot him down just yet.”

“I won’t,” you say. “Couldn’t anyway, right?”

Alana rearranges her discomfort into another closed-lipped smile. You can’t envision that lipstick ever moving, striped across her face as yours has been by both of the friends that she holds dear.

“So how are things between you and Will now?” enquires Alana, quite on cue. “Rumour has it you’re getting along like a house on fire.”

Truthfully Will has rather cooled since the night of the seizure, his envy retreating to the black of some inner primordial cave. He seems both caustically amused by your recent performance and cynical of its longevity, yet neither judgement is as severe as before.

The thought of your kindness sits with him, has been taken up with the cagy hunger of an orphan to a heel of bread. Piece by piece you’ve given him more of it in flirting words, but these he’s yet to take, turning each away with a smirk.

“Don’t try so hard,” he’d said, only a day ago, but when you’d thrown an idle foot across his lap as you read a book beside him he hadn’t removed it, only pretended to ignore the intrusion.

“Me and Will are okay,” you say to Alana. “That’s all.”

You must give away something of your successes in your expression, for Alana’s mouth twitches into a coy grin.

“Just okay?”

At that moment Hannibal knocks on the open door, a merciful trespass, setting you free of her.

*

As promised, you’re offered a modest salad while Hannibal and Alana make their way through numberless courses over the gifted wine.

At first you’re too absorbed in the mortification of eating in front of the other woman to pay attention to their mounting chemistry, dragging the same tattered leaf through streams of congealing oil.

It’s only as you’re making a fortress of cutlery across a lump of uneaten meat that you take full stock of the flirting at work before you.

Though attempts are made by both parties to fold you into the conversation they are mild at best, almost neglectful.

Alana glances up into Hannibal’s eyes in frequent, laughing enjoyment, touching his shoulder or forearm lightly; he, for his part, looks upon her lips and the curves of her form and speaks fondly to her, his voice hushed with a want of sex.

You’ve heard it often enough to know it, and should be glad to have his attentions otherwise distracted.

Yet your hands creep under the table, squeezing your thighs and stomach as though to claw out the matter you've ingested through your meat.

"I'm done," you blurt out, cutting across Hannibal's opinion of a recent classical performance he’s attended. "Can I go upstairs?"

It's with difficulty that you bite off the habitual 'Dad' that has replaced 'doctor' in your vocabulary.

Hannibal offers you a near invisible look of disgruntlement at the interruption, quickly mollified by Alana's fingers at his elbow.

"I'm sure we're boring you," she says. "Go on up and relax. You don't have to stick around just to be polite."

You glance at Hannibal, seeking his approval before you stand. His eyes, within so static a face, are black glass in their suspicion.

"I'll come up to speak to you later on," he says, at last. "If there's anything you need, don't hesitate to ask for it."

Rather than go immediately to your den above you linger to watch as the couple drink in the parlour, so close as to almost be in one another’s arms.

You see from Hannibal's relaxed posture that he is not ablaze with a fascinated love for Alana as he is for Will; he holds her merely with the affection of an old friend, and, too, with an uncomplicated desire.

He would never rape Alana Bloom; such violence, to Hannibal, is an entry into a cabal of which she has no part. Her value to him is as representation of his treasured comforts, and all that which Hannibal would not willingly change.

Alana is as used for her parts as you are, in her way, and oblivious to it, like some grinning scarecrow blind to the birds that snicker and creep at its back.

Yet as you watch her lean, murmuring, into Hannibal’s neck you feel a tooth of ice grind through your heart and turn away, feeling numbly for the bannisters behind you.

Almost on hands and knees you climb the steps to your bed, brought low by that astonishing cold.

Pausing at the bathroom you prostrate yourself at the toilet’s mercy, still unable to empty yourself of the pain and bile you'd evict to be naked of your jealousy.

In surrender you rest your head on the cool floor and remain there even after the compulsion to vomit subsides.

If you cannot flog yourself for your sins as the saints did then this will do, sprawled before the porcelain God of another degredation.

Presently the bathroom door creaks open, striking an unwanted rod of light across your face.

“Go away,” you mutter, wiping your face with an angry scrub of your knuckles. “I don’t want to talk to you.”

Hannibal looks at you with a minister’s pious severity.

"I see. So I was correct. You object to Alana and I having a sexual relationship. Any other father would sternly inform you that it’s none of your business, and as your therapist it’s even less so.”

Raising your head, you snap at him as fiercely as you dare.

“What about me?”

“My friendship with Alana is very different to what you and I share,” says Hannibal, and you snort, wiping a stream of clear mucus across your lips.

“I’ll bet.”

Hannibal turns his head at a quizzical angle, and you perceive the very second of his understanding like the unveiling of some trick.

“You must explain yourself, darling,” he says. “What is it about this that has upset you?”

The logical answer should be that you wish to save Alana from him, that you cannot watch her beaming, black-haired head roll out from under the axe.

Instead, you blurt out, “Don’t you get it, Dad? How it makes me feel? You’re supposed to understand me, and I’m pretty sure you do. You knew that it would hurt me. You did this on purpose the way you wave me around in front of Will.”

Using the sink to right yourself you get to your feet, standing on pathetic, defiant tiptoe so that you might gaze into the devil’s face directly.

“If you have to do this, then please, just me. Just me. I can’t stand it. It makes me feel sick to think about you and her together. Knowing you’ll touch me afterwards. Don’t do this to me. Please."

“I see,” says Hannibal.

He speaks with such calm that you deflate from your anger at once.

“Very well,” he says. “I can make an excuse for Alana to leave. Would that please you, little one?”

This time you don’t answer, only stare at him with huge and terrible eyes until he retreats to the stairway.

“Oh, god,” you say, under your breath. “Amy, you’d really hate me right now, wouldn’t you?”

You hear Hannibal and Alana talking in low undertones, the female voice a coo of thoughtful sympathy. In time Alana collects herself to leave, but only when her car propels itself quietly from the driveway does Hannibal come to you again.

By now you’re sitting at your dresser, making a humiliated attempt to recollect your dignity with cosmetics. You know that Hannibal will not like what you’d made of your face—the eyes painted black, your lips the colour of your heart, a sinking, well-bound stone.

Yet all he says as he stands behind you is, “Look at me, little one.”

Your hand shakes, blotting your eyelid with an errant apostrophe of mascara.

“Don’t want to.”

“I know. I’d like you to, even so.”

The gentleness of Hannibal’s voice is an agony to you. You’ve never hated nor been more drawn to him than you are now, this impossible spirit in the vessel of a man.

Stiffly you turn on your chair, meeting his gaze to find it truly repentant.

“I won’t make love to Alana again,” says Hannibal, and you know as you do the reality of elements that he does not lie. “I see that this triggers your fear of abandonment too greatly. But it might not be possible for me to avoid all romantic advances.

“There are rumours abound as to our arrangement already, and it will seem suspicious if I don’t take a lover. But I’ll do my best to be faithful to our family.”

He pauses, watching you battle to suppress your disgust for him, for yourself, for all things in the bracken of his design.

“For now, I’d like you to relax,” says Hannibal. “This level of distress will make you ill. I’m concerned that it already has.”

Taking you by a hand as clammy as mermaid skin he leads you down to the living room to serve you from a pot of fragrant tea.

Though its calorific value is likely near to air you catastrophize with immediacy, unable to touch the cup, let alone drink.

“I’m not doing it on purpose this time,” you babble. “I’m not, Dad, please, you’ve got to believe me.”

Hannibal raises a hand to caress you— that, and only that, and yet you shrink against the couch in expectancy of a blow.

An appalled look tightens Hannibal’s expression, a hypocrisy of which he seems endlessly capable.

“There, now,” he says. “I can tell the difference between unruliness and genuine struggle. You and I both know that tea is only leaves and water— why do you believe against logic that it will affect your weight?”

“I don’t know,” you say, with a helpless shake of the head. “I feel like if I drink it I won’t be able to stop myself. I’ll eat and eat until I’m... big, and then I won’t be able to go back to the way I was. Everyone will see me differently. Treat me like they used to. People can be cruel.”

“And none crueller than you are to yourself,” says Hannibal, and he eases the cup between your hands so that you must take it or scald yourself raw. “There is nothing shameful in having a body of any kind, and any who judge you for that would wear their foolishness like a flag for all to see. Nevertheless, I’ve balanced your weight here, and will continue to do so if that is what’s needed for you to believe in my intentions.”

He aids you to drink, lifting the cup to your mouth over and over until the last drop. From the bitter taste you know it altered by some drug.

For once you do not care.

The night has left you so ashamed of your bearing that you’re half joyful to be done with it, sinking back as euphoria transforms all things that touch you into nirvana.

Your fingers drape across your body in aimless exploration, stopping only as Will enters the room with Hannibal at his side.

The younger man’s eyebrows jump as you giggle and hide your hands behind your back.

“You’re smiling,” says Will. “And I’m not sure how I feel about the circumstances.”

“Our girl is relieved to see you, Will,” says Hannibal. “A familiar face is a balm for even the most taxing day.”

Will looks from you to Hannibal ponderously.

“Alana was here earlier,” he states.

“She was, much to our little one’s chagrin.”

“Do you have to talk about her?” you interrupt, in loose-tongued irritation.

Hannibal chuckles.

“We do not. There are other topics I’d find far more engaging.”

You watch from under heavy lids as the men discuss the Lover’s case in low, library murmurs.

“Tanya Marrow was found washed up by the Patapsco River this morning,” says Will, with a grim regret. “Her wounds were fresh, meaning the Lover only mutilated Tanya and placed her into the doll when he was ready to throw her away. He was content with how closely she resembled the woman he’s desperate to make, for a while.

“But she wasn’t close enough. In the end he had to remind her that she was just a toy to him, and punish her for her lacking.”

The contrast of these dreary horrors with the rainbow light of feeling through your needy cunt should sicken you, but your mind is in disorder, barely one thought akin to the next.

“We’ve made a breakthrough in regards to the dolls,” Will continues. “The well-made ones are expensive; for one person to have so many implies that the Lover is either a wealthy collector, or that he’s able to access them at a considerable discount. Possibly for free.”

“I’m assuming the factory producing these dolls has been identified,” says Hannibal.

Will swallows a mouthful of whiskey.

“There are only four vendors known to produce the style of doll the Lover uses. Jack’s got someone looking into their customers, narrowing down the suspects to buyers in Virginia. Considering how specialised these clients are that shouldn't take long.”

The older man listens with a solemn intensity, scarcely drinking from his own glass.

“I see the Lover almost exactly now,” says Will. “He knows he has to take his bride eventually; he’s circling her, choosing women that are closer and closer to her physical proximity. The next target will be someone she knows.

“It’s a dangerous move, but by now the Lover wants someone that’s stood so close to this woman that he can taste her. Imagine her beneath him when he defiles the inferior victim.”

Fear swims, crocodilian, within you, disturbing your narcotic stupor.

Seeming to sense it, Hannibal says, “Let’s continue this line of conversation later on. I wouldn’t want to give our surrogate daughter bad dreams.”

Will glances at you, watching you fumble idly with the hem of your dress.

“You don’t plan to cast her as our daughter in tonight’s play, do you?” he asks, plainly.

“That would unnecessarily chasten the evening,” says Hannibal. “She’s the woman for whom we are legally responsible, and what we deem fit for her continued health is ours to determine.”

You recline across the couch like an empress, watching the firelight glance shadows across your skin like a garment in a dream. Hannibal slips a hand from your shoulder to your breast, teasing the tiffany lace across your nipple, and the warmth and delicacy of the touch breathes through you a shiver of ermine delight.

Only vaguely do you acknowledge your revulsion, a whisper at a keyhole on the other side of the house.

“What did you give her for her to let you touch her like that?” asks Will, curiously.

His hands play upon the sides of his whiskey glass, and the thought of them upon your thighs or between them drives your lower lip between your teeth with unbeckoned desire.

“I’ve offered her release from her spirited rebellion,” says Hannibal. “Even having promised us fealty, this act she wouldn’t easily endure. I wish for her to experience intimacy unhindered by her mental bounds.”

His fingers glance beneath the neckline of your dress and cross your bare skin as a swan's wing meets the sky, rushing a moan from you more akin to a sob in its juddering resonance.

“Besides,” Hannibal continues, “she’s had a trying afternoon. Her body welcomes this.”

Will’s face, washed honey bronze by firelight, is so neutral that even if you were not high you’d fail to extract the mechanisms of thought behind it.

“We’ve both succeeded in bringing her to climax,” says Hannibal, as his other hand folds your skirt against your pelvis. “But never her consent. Tonight, perhaps we will.”

“In this state she has no real autonomy,” Will argues. “We’re witnessing an illusion.”

Hannibal pauses, his face like that of an antiques dealer slyly unveiling some stolen wares.

“Not exactly,” he says. “Little one: you’ve described me as handsome. Do think that Will is good-looking?”

Your concentration wavers as two digits inscribe an ouroboros in your arousal. The wrongness of it all only enhances the sensation, the thought of being a lovely toy for older men to play with.

Your name on Dr Lecter’s lips recalls his question.

“Yes,” you say. “I— I do.”

You don’t know why you’re honest. Even a child, embarrassed, could lie.

Will smiles, and for a moment there is something almost sweet in his expression.

Then the dark of him slithers behind it again with predatory ease, and he leans forward, knees apart, possessed of a revelation of self-assurance.

This is the self he becomes when challenging Dr Lecter, the arrogant observer of all living things.

“I already knew that,” says Will. “I don’t mind hearing it clarified, though.”

You can’t imagine him ever admitting that you’re beautiful in return. Hannibal would, has done so already in such a succulence of language that your mouth could water with it, but not Will, not in so many words.

All that he will allow thus far is that you are not ugly. Blearily you vow to unwind from him his obsession.

“Puppy love,” says Hannibal, looking into your face with a gentle irony. “You’d like him to touch you, wouldn’t you, little one?”

This you don’t answer, and rather than press you again Hannibal makes you come with three fingers inside you, patient as you cry out and roll your head aside in conflict and delirium.

You cannot decide if he means to reward you for your participation with Will or to humiliate you for that same eagerness. It is bewildering and erotic, this envy they have for one another; to quell it you must kneel to the hierarchy, submissive always to your covetous masters.

“Join us, Will,” says Hannibal, at last.

Briefly you think that he won’t, a scoffing lord, above it all.

Then he crosses the room, sets down his whiskey and kisses you, first your mouth, then your neck, leaving the taste of smoke and almonds wherever his lips meet.

Whimpering, you kick your feet on the couch as each petal of ecstasy comes loose from a branch within you.

Sometimes Will’s teeth push against your flesh, not quite biting; Hannibal, on the other side of your neck, gently does, as though inheriting the expected assault from his would-be lover.

His fingers form a cylinder of delight in you, the pad of his thumb undoing another orgasm in a trio of strokes.

“How gifted we are to receive such delights,” says Hannibal, and as you groan he docks his arousal in your own, filling you so entirely with his cock that you think and feel only the fucking and nothing more, a witless hole.

Will brings your hand to his erection, and there is no uncertainty in that motion, nor in his lips about your breast. His rough tongue, the saliva like a paste jewel on your nipple—

Writhing, panting, you stir through pleasure upon pleasure like the layers of the earth, soft, dark, deep.

Your palm tightens on Will’s cock like a night sea about the lighthouse it yearns to bring down, working him with a knowing purpose. As Hannibal continues his pelvic rolls against you Will draws back, avoiding the early release that your cunning fist would bring.

Not once do the men make contact in a sexual manner with each other, and you don’t understand it, this avoidance of the ultimate lust. Yet perhaps it is that they fuck through you, for when Hannibal achieves his orgasm and moves away Will pushes into you without caution of the other man’s seed still warm in that same place.

He looks up into Hannibal’s eyes as he does it, watching his response as he weaves pleasure from a loom of servile flesh.

But then you make some shapeless sound of need, one hand extended, not quite touching him, and Will's eyes return to you with such intensity that you forget that brief, lost woe.

He mimics Hannibal’s command of your body, hands moving, unrushed, from breast to hip as he opens you further to him. His violence is a mage’s dance, something once done around fire, and charged now through the vessel of a young and studious man.

No wonder, then, that you have neither strength nor will to repel him. You roil, loose-limbed as the dead, only your noise and perspiring response to sensation to evidence your ongoing life.

Hannibal’s arms go loosely around you, holding your head in his lap as Will makes love to you with a brooding fervour. Every touch is like the discovery of a new and indescribable existence, having traversed to some frontier of feeling only sects of pleasure have previously founded.

You know yourself wanted by both men, now, feel it through their mutterings of ecstasy, the unending pressure of mouths and hands upon your skin. They crave your wanting of them in return, lap up your slightest sign of it, tainted as it is by Hannibal’s poison.

Will pours in you his ending, his breath a kiss against your eardrum.

You come again with both men gazing upon you, their faces as close and beautiful together as stringed pearls.

Dimly you fear that they will succeed in their work with you, no matter how fiercely you defy their twofold will.

“Hey,” says the younger man, nudging your shoulder lightly. “Snap out of it. You’re bleeding. Did we hurt you?”

Your first thought is, “yes, of course you did.”

The next, having looked down at the red dart through the milk of semen on your thigh, is the same nip of terror you know from an unexpectedly high number on the scale.

The final cognition—and one almost certainly true—is that this carnival of sex has brought that crimson forth like the incitation of bacchanalian madness.

The shock of it wrings you near dry of the doctor’s drug, a bald winter sobriety.

“I’m sorry,” you whisper. “It’s my period. I haven’t had one in years.”

[fxirysforesight]

My Theory on The Recent Misfortunes in Kpop

This K-pop Era is something else. Parasocial relationships are crumbling due to the increase in relationships being revealed, entertainment and news companies are being sued back to back, the public images of celebrities are being shattered due to their past misdeeds, and the big leagues are slowly crumbling.

A large portion of this is the result of Pluto having recently moved into Aquarius, testing the stability and boundaries of fame and fortune while also shedding dead weight and bringing light to the dark side of the entertainment industry.

Right now, the event chart for K-pop has Pisces Mars, Neptune, and Saturn transiting its 7th House indicating a focus on relationships, businesses, partnerships, and the overall harmony and balance. When Neptune crosses your 7th House it can indicate a lot of sneaky and shady behavior occurring. Even more so because right now, Neptune is currently conjunct Mercury in that chart which alludes to false claims, lies, deception, etc. Similar to in a Natal Chart where it can indicate being cheated on by a partner or being slighted in some way by someone else, it can take on the same meaning in an event chart where romantic relationships are not the focus, meaning this could be a betrayal in a partnership or a business. Mars is a planet of drive and ambition.

Mars always pushes it’s limits and tests the boundaries, oftentimes creating power struggles and sort of “lighting a fire under” previous issues as it is a planet that gives people the courage to bring up issues that have been sat on for a while combined with Neptune. Now I will say that Mars is already in the 7th House in Pisces in the Chart of K-pop. Highlighting the instability of the relationships and partnerships formed through it. With it now returning to its place in the 7th House it’s sort of like it’s coming back to bite them in the ass if that makes sense. Now Saturn is nobodies bitch. Where Saturn is at, is where Karma will be dealt. So with it being in the 7th House, that would be failing businesses and partnerships, the ending of relationships, etc. (especially with Mars here)

“But Zana! Why are all of these companies being sued?”

Great question. If you look at the chart, the ASC ruler which is Mercury is currently transiting the 8th House which rules defamation. If you take that and combine it with the fact that the Sun is also in the House (indicating that the “Spotlight” is being cast on that House, as well as the fact that Mercury is square Uranus which is the ruler of the 6th House (which rules Litigations) you get some not so fun things.

Now as for WHY? I said before how the 8th House rules Defamation which is already a big problem in the industry right now. But not everyone is going to be sued for defamation. The other possibility I see is being sued for theft, fraud, and laundering because the Ruler of the 8th House (And the 8th House ruled money you get from OTHER PEOPLE) which is Mars is currently in the 7th House in Pisces…which speaks for itself as per my explanation of Mars in Pisces in the 7th House in the beginning.

I’ll end this with a prediction. In a few days The Sun will enter Capricorn in the 9th House and will be Sextile Saturn. Where it will join Jupiter and Venus. We may see an increase in global expansion from a few companies such as branching out and building other locations in different cities and countries. It’s also possible that we may see more deals and acquisitions being made as well. We could also see the emergence of a global boy or girl group.

[obscured-everything]

​​OBSCURA trailer analysis & theories

The OBSCURA trailer is very pretty (watch it if you haven’t already <3) and is also full of interesting symbolism and snippets of Latin. In this post I’m going to be manually translating and providing notes on the Latin, as well as discussing what the numbers mean and giving my own plot speculations. SPOILERS for OBSCURA’s Chapter 1 with every love interest. 

I’m going to be working with the theory that the numbers correspond to the Major Arcana in a Rider–Waite–Smith tarot deck. I’ll be pulling tarot card information from A.E. Waite’s 1910 book ‘The Pictorial Key to the Tarot’, where he discusses the symbolism of the images in the cards and provides divinatory meanings. 

Shoutout to @/starlitmanta and @/mostlygayrage for posting their own analyses before me! I got inspired by both of them to both write down my thoughts and then actually finish the post after leaving it for months lol. @/mostlygayrage has some interesting stuff on the imagery and also delved into the Latin! Although he took it as one sentence which I won’t be doing – I’m going to take the double forward slashes as an indication of a break. 

Disclaimer that I haven’t formally studied Latin in years so if there are any errors feel free to point it out in the notes! 

Cirrus

18. Presbyter // Ecclesiae lunaris XVII: The Moon. Priest // Lunar churches 

18. Obsequium // ducit ad caelum Obedience // he leads to heaven TL notes N/A Tarot meaning To quote Waite, “The moon is increasing on what is called the side of mercy… the path between the towers is the issue into the unknown. The dog and wolf are the fears of the natural mind in the presence of that place of exit, when there is only reflected light to guide it…the message is: Peace, be still; and it may be that there shall come a calm upon the animal nature...” 

Upright: Hidden enemies, danger, darkness, terror, deception, occult forces, error. Reversed: Instability, inconstancy, silence, lesser degrees of deception and error. Speculation I think we can all agree that Cirrus is not trustworthy, hence danger, deception, occult forces etc. Nevertheless, Vesper (if you’ve got a good ending, at least) puts great degrees of trust in him. ‘A calm upon the animal nature’ calls to mind his odd ability to influence Vesper’s choices and force them into saying ‘yes’, but I also thought it might reference something about Vesper putting aside their instinctive reservations about Cirrus’ suspicious character to follow him into an unknown future. 

Leading to heaven is, to me, a bit double-edged; it could mean death or paradise. Very fitting, I think. 

Keir

20. Keir // Cavillatur fur XX: Judgement. Keir // Mocking thief 

20. Fatum // vestrum vel extraneus [Destiny / (calamitous) death] // yours or a stranger TL notes I’m inclined to believe that Keir’s name being his plain name rather than an epithet is probably just part of his blunt kind of character, and ‘mocking thief’ is probably related to his personality too. Also, there is another piece of Latin on that first screen – ‘cultellus’, which means ‘dagger’ and points downwards towards where his dagger is held. Also, ‘fatum’ is a very interesting word in that it carries an intriguing potential double meaning. Tarot meaning Upright: Change of position, renewal, outcome. Reversed: Weakness, pusillanimity, simplicity; also deliberation, decision, sentence. Speculation Waite’s initial discussion of Judgement is very Biblical which I doubt has much to do with OBSCURA’s use of it. I do think the divinatory meanings are very interesting – I think that at a good/best end of Keir’s route, he’ll be able to come out on top and secure a good and/or stable future for himself and/or Mouse Hole. 

My current theory is that, since we have had mentions of Keir and Oleander in each others’ routes, that they have direct effects on each others’ fates. This fits with ‘yours or a stranger’ of course, but also the double-edged ‘destiny or (calamitous) death’ – I’ll speculate more in Oleander’s route, but I think he and potentially most of Mouse Hole will not fare well if Vesper picks Oleander. 

I’m interested in why his dagger was explicitly pointed out and labelled. I’m kind of shooting in the dark here but I think it’ll be significant in the future – either as a symbol of his history (specifically with Oleander, perhaps?) or as a plot device of some sort. 

Oleander

11. Nerii // Periculosum scurra XI: Justice. Of oleander // Dangerous clown 

11. Patiuntur // sicut habes They are suffering // just like you are TL notes More technically, ‘nerii’ is the genitive of ‘nerium’, which means oleander. This makes sense to me when I think about how he’s had a history of changing names – he’s moreso embodying the qualities of oleander (a pretty but dangerous plant) rather than taking it as a definitive name. 

‘Patiuntur’ is in the plural, and suffering might be a strong word depending on how you look at it – the original word is like enduring through something difficult or unpleasant. Tarot meaning Waite basically says that the card has ‘obvious meanings’ so I don’t think I need to look too closely into it. 

Upright: Equity, rightness, probity, executive; triumph of the deserving side in law. Reversed: Law in all its departments, legal complications, bigotry, bias, excessive severity Speculation The second half of the second piece of Latin, ‘sicut habes’, is in the second-person and I’m assuming that this is meant to address Vesper/MC. Maybe Oleander is also looking for something that he can’t find or afford, although the plural throws me off a bit if that’s the case. Maybe it’s referencing Oleander’s previous Vigils (since Vesper is currently holding that position, ‘just like’ they have) or something…? 

Now, here is my plot theory which may or may not be insane. We know that Oleander has committed murder, and was very blasé about it; presumably he’s done this sort of thing before. We know that in his route, Keir has been alluded to, Griff has shown up and Keir is presumably going to show up at some point. I think that Oleander’s involvement with Keir is going to end very poorly for Keir, even leading to the calamity insinuated in Judgement. Specifically, I think that Oleander and Keir are going to be caught up in a serious crime and Keir is going to take the fall, leading to a permanent end for him (death, probably) and the following collapse of Mouse Hole. Oleander will get off lightly or scot-free (Justice’s ‘triumph of the deserving side in law’, ‘deserving’ as opposed to Keir who is indisputably a criminal and receives ‘excessive severity’). 

This could be from Keir and his group failing the burglary since Vesper isn’t there to cover for the injured lookout, or it could be something else that brings in the dagger which was pointed out in Keir's portion of the trailer. I’m thinking murder, honestly. 

Francesco

10. Franciscum // innocentes nobiles X: Wheel of Fortune. Francisco // innocent nobles 

10. Tempus // decurrit Time // runs out TL notes Grammatically, ‘Franciscum’ is in the accusative (the case used to mark the ‘object’ on which a verb acts). This could be a stylistic thing or it could allude to how he’s being ‘acted upon’ by whatever power/influence his family have. 

‘Decurrit’ is literally ‘runs down’ which fits with the hourglass imagery, but I imagine that the spirit of the phrase is ‘runs out’ especially since his route already alludes to that. Tarot meaning To quote Waite, “the symbolic picture stands for the perpetual motion of a fluidic universe and for the flux of human life … the essential idea of stability amidst movement. Behind the general notion expressed in the symbol there lies the denial of chance and the fatality which is implied therein.” 

Upright: destiny, fortune, elevation, luck, felicity. Reversed: increase, abundance, superfluity. Speculation I think that at some point within Francesco’s route, his family is going to be further involved. I assume that these are the ‘innocent nobles’, which makes me think that whatever state or situation that they find Francesco in won’t be very innocent at all. Alternatively, it could be that his family is more innocent/harmless than they present themselves as – depending on circumstance, this could be a big win for Vesper or a big loss because they don’t have the family backing that they thought they did. 

The Wheel of Fortune carries connotations of luck and change in fortune. I assume that Vesper provides Francesco with some degree of ‘stability amidst movement’ and that any ‘denial of chance’ involves Francesco leaving the marketplace and returning to the very clearly mapped out future that his family has for him, thus leading to a bad end. ——————————

Thanks for reading to the end!

[solariaswitch]

Remember by post about Stella and Darcy supposedly being foils? Well, I just remembered some canonical details I forgot to include in my original post that supports my theory.

In S2E2 there's this scene where Wizgiz talks about how all magic has its dark counterpart.

Wizgiz: I know what you're thinking. Wouldn't it be nice if all the things in the universe were good? Well, that's not the case. Furthermore, that's not possible. Because in the universe, there is no light without darkness. When a form of energy is created, it produces an opposite force. Equally strong. Observe. What do you see? What I did was, I captured some of the light that was in the room. But it only shows its power in the darkness, its polar opposite. As I mentioned at the beginning of this introductory class, the existence of good energy results in the creation of an equal amount of evil energy. Normally, these forces are balanced. But sometimes, balancing needs a little bit of help. A dynamic energy between the dominant force and the recessive one.

This is the background to why the shadow phoenix was created as an opposite force to the dragon flame. But Wizgiz's statement still stands true for all other forces of magic, meaning there are some really interesting implications to it. This leads me to S2E12, where Faragonda explains that all Magic powers have a defining core, such as the dragon flame is the flame of life. And Stella's powers are....

Faragonda: Light is part of your expression of your power of inner vision, sight, clarity. Stella: Uh, what? Faragonda: Your power bursts forth to energize and illuminate so others can understand.

light, vision, sight, clarity, understanding, revelation. And what would the opposite of that be? Darkness, blindness, confusion, deception... Now, doesn't that sound familiar?

This establishes that Stella and Darcy are, whether it's intended or not, quite literally each others yin and yang, each others direct counterparts.

[catalina-infanta]

On Free Will in C.S. Pacat’s Dark Rise Series

James Has Free Will With The Collar

Recently I wrote an essay (https://www.tumblr.com/catalina-infanta/748214922159194112/the-question-of-the-collar-the-dark-rise-trilogy?source=share) on how I believed that the Collar was a consensual object between Anharion and Sarcean. I still believe that. I will further argue now that although I think the collar gets Anharion/James to obey direct orders, I also believe the collar is something that allows free will to its wearer and is not forcing him (compelling him) to do anything he does not agree to do, and that he ultimately has free will. This essay is an addendum to my last, so I suggest if you have not read it, you may want to read it first to understand the bulk of the reasoning for this argument of mine, but it is not necessary.

First, I will draw attention to the below scene (in the chapter where the collar is put on James by Sinclair):

Here, the two sentences say:

“He felt no compulsion.”

Period.

“He felt nothing at all.”

Period.

The way this is written is short and sweet for a reason, in my opinion. The sentence is simply “he felt nothing at all” not “he felt nothing at all when Sinclair ordered him…” This feels like a deceptive trick of writing to me. It is stated in a way to hide information in plain site; we are meant to think he is only not compelled here because Sinclair was the one ordering him around. But he says here that he feels no compulsion. Nothing at all. These are the ways writers trick us until they give us the final reveal and we are meant to look back and it all makes sense.

Another clue is in the below scene. We see James is not an automaton who repeats back Will's wishes (like his people branded with those “S”/snake tattoos must do – I have seen others mention a theory that they are snakes, not “s” tattoos). Instead, James’s personality is fully his own at the end of the chapter when he rescues Will. He willingly calls Will “darling”, therefore giving a personal twist to his phrasing without anyone telling him to do so (and he is not a mind reader for reasons I will explore below)

and then, James takes initiative to blast them out of the mountain (showing us he can choose the method of escape, Will doesn’t direct him how to do it).

Furthermore, below, James says he will rule with Will, by his side. He has agency. You can’t rule if you have no autonomy. If you can't decide anything you are not a ruler, you are simply ruled.

Why Was James Acting So Weird? Is He Brain Washed?

James was acting weird in the last chapter. What’s more, James’s mannerisms are different, yes, even different from the chapter preceding it where James rescues Will (calling Will “darling”, acts sassy with the others, etc). So, the final chapter could have been done by Pacat to show that James is brainwashed, but I highly doubt this. Instead, I think it is done to show 1) James isn’t acting weird because he has no agency, but because he believes Will remembers everything too, and 2) He is written strangely to obfuscate the truth. We cannot know too much about James’s condition right now as that is a giveaway, so Pacat chooses to hide it and instead has us focus on the turmoil inside Will in the final chapter and on his interpretation of James’s behavior.

[One clue someone brought to my attention that shows James may think Will already remembers everything is the scene when Will says “both of you” to Visansder and James; James knows what he is talking about (the memory where Sarcean said the same thing to Anharion and the Queen when he was arrested) and probably infers that Will remembers everything as well. He doesn’t know that Will only remembers a few small snippets. What’s more, perhaps James is calling Will “His King” and “Sarcean” because he simply remembers everything now and so Will and the Dark King have both become interchangeable in his mind. Will is now “his King”--perhaps he even believes Will expects to be called as such]

Unfortunately, we have very little description of what he was feeling, or even of his facial expressions in the last chapter; James’s actions often appeared mechanic. Very importantly, however, the five times he is described by Will in the chapter, he is described as “achingly genuine” with “blue eyes full of loyalty” and “as eager as Will” and feeling “warm and real against him [Will]” and, finally, saying something “with confidence”.

Sadly, all of these lovely things Will noticed are (in the same chapter/moments) doubted by Will, leading the reader to doubt too. However, Will’s filter is often unreliable as his thoughts are often just his opinion and/or the full extent of his real memories are concealed from us.

The thing is, if James has just gotten access to all his memories, maybe what Will perceives to be genuine is really actually genuine! We kind of know it is from James's point of view given what we read after the collar is placed on him; James's description of his experience wearing the collar seemed to invigorate him. I fully expect that after Book 3 we will be able to look back on these moments in book 2 and everything will make sense.

To that idea, I find it hard to believe that Pacat would call this unbearably erotic (above) if we weren’t meant one day to come back and read this as a situation that is…kind of romantic? Sexy? But NOT lacking in consent or love or taking place with a brain washed partner.

No, James imo has not suddenly become a brainwashed Anharion. He refers to him as Will in the below pic, so he knows he is with Will in the present moment as much as with Sarcean:

To my final point, more importantly, James BELIEVES that Will remembers too! That’s why his responses are so weird to us and to Will. He now knows Will was lying about who he was, so he must assume Will knows too and still is aiming for the same goals as the Dark King.

Hence why he thinks (above) that ruling over the world was what Will wants to accomplish, but it is NOT what the present Sarcean/Will wants (not yet, at least). Notice also that James’s answer to Will asking if he was telling him what he wants to hear (in the above scene) was evasive; perhaps another tool Pacat has possibly employed to make us THINK James is talking about one thing when maybe what he is really saying “yes” to is something else entirely?

Finally, I would like to draw your attention to this final question I have:

This scene where James was asking, “what’s wrong?” always confused me until I realized James thinks Will is on the same page. If James believes Will remembers everything (which I firmly believe based on how he acts in the final chapters) then this question “what’s wrong?” makes sense if he believes Will knows the methods of the collar.

It makes sense because when Will has a virtual panic attack upon seeing the collar on James, James doesn’t immediately try to explain to him the history of the collar to make him feel better (because he thinks Will knows it’s history). So, in the above, James has no idea why Will is so upset.

I wonder if at this point in time here, however, if James remembers and is questioning why Will discouraged the use of the collar and wanted to destroy it?

Perhaps it is as simple as James believing that this incarnation of Sarcean wants him to follow him (Will) first and foremost because he wants to? This is what Will said in the Throne Room. Perhaps James is thinking now it is done, why cry over spilt milk? It’s not the end of the world, after all. Or maybe James hasn’t thought yet about how Will hadn’t wanted him collared and is just too excited to learn the truth (thanks @tackletofset for this idea). Upon thinking further, it is also possible that James doesn’t have to wonder why Will didn’t want the collar if maybe Anharion was always the driving force between the two towards the collar, and Sarcean more hesitant? Or perhaps it was something else altogether? I mention all of this because if my theory is true, it will spill over into book 3 as they try to figure out each other’s feelings in the first half of the book.

Conclusion

Finally, as we see at the end when James reveals he remembers all in the end scene of the book (pic above), we don’t get to see the rest of the conversation: we don’t get to see them talk about what they both remember. That’s for the next book! And I can’t say I have any idea when they will both be on the same page. Hopefully soon enough!

In James saying “You are him”, it’s comforting to see that James believes Will (the loving and loyal person he is) and Sarcean are essentially the same. That Sarcean isn’t the demon the Light side made him to be, that he is worthy to be held in esteem. This bodes well that the Dark King is no cruel man, as Will is not cruel either. James is telling us something about Sarcean’s character here, and I believe him.

[raven-at-the-writing-desk]

With Playful land ending soon, can you try which part of the Halloween event is better which is either Playful Land or Glorious Masquerade? For example, the topic is characters and you picked Glorious Masquerade because of etc like that. (NRC cast design, NRC cast role, Yuu and Grimm's role, New character/s, Movie-inspiration event, Plot, Music, Place Setting, Opening, Ending) You can add more topics if you want.

By “better”, I’m going to assume you mean which (between Glorious Masquerade and Stage in Playful Land) I preferred in each of those categories? (I say "preferred" here because I'm judging based on my own tastes; obviously everyone will have a different opinion on how the two events compare.)

It’s quite a few to get through, so I’ll just quickly summarize each. This post will also serve as my general thoughts on Stage in Playful Land.

***Spoilers for those two events below the cut!!***

NRC cast design — I’d say the designs are pretty split down the center?? In theory, I love the concept of masquerade balls and marionettes, but in practice the designs look all over the place and I really only like a select few of them.

NRC cast role — GloMasq was stronger in this, especially the choices for the SSR trio. Malleus and Idia are a deliberate rival and foil to Rollo, whereas Azul’s UM comes in clutch during the final showdown. Meanwhile in Playful Land only Kalim seemed to be very significant story-wise; he was the one trying to convince everyone to sit down, eat, and try to understand Fellow’s motives, is the last to be captured, and gives the big speech about how he’ll never abandon his friends + the importance of school. Ace has his usual schtick of being brutally honest and there are some parts where Ortho’s robotic abilities come in handy (like playing sounds to distract the puppets), but these seem like very minor roles compared to what the GloMasq trio did. Perhaps they were good choices for the end when they all decided to destroy the amusement park though??

I also feel like some things the SSR trio does in Playful Land (like dispersing the puppets by using a “lost item”) could have been done by any smart or deceptive character (Leona, Vil, Cater, etc.), not just the SSRs (ie Ace). Furthermore, the other cast members in GloMasq seem much more important in how they split off and battle—there are good reasons or synergy given as to why they pair up the way they did (ie Riddle and Epel needing to be good flyers, Ruggie and Jamil willing to use others as meat shields, etc), while in Playful Land it seems more random (like Floyd losing interest) or obligatory (mostly the third years stepping up to defend the younger students).

It’s also anticlimactic how Fellow just let them all go??? Especially compared to Malleus, Idia, and Azul and Rollo squaring off to the bitter end.

Yuu and Grim’s role — Once again, this goes to GloMasq. In Playful Land, Yuu is automatically caged and tossed into a corner to wait it out to the climax. At least in GloMasq Yuu is actually doing something (even if it is offscreen): they’re with Grim and Trein, helping the townspeople from the flowers. (Note: I’m not entertaining the “but Yuu is magicless! It was a wasted opportunity for them not to have a bigger role in GloMasq!” thing because I’m talking only about canon and not hypotheticals here.)

New character(s) — … Do you even need to ask 😭 Obviously, I’m loyal to Roro-chan Rollo; I just find his story and character to be super interesting, especially with the root of his conflict being inner turmoil and an inability to move on… It makes him an excellent foil to Idia.

While I do also enjoy Fellow and Gidel, I feel that I’m not as invested in them because despite the terrible dark shit they're doing, the conflict they get wrapped up in gets resolved in an underwhelming manner. Plus, there was not a lot of elaboration on their own backstories?? It was mostly told to us via Fellow, yet kept so vague that the fans are left to fill in many missing details on their own. I’ll have another post out later going into more depth with how I feel about Fellow and Gidel.

Movie-inspiration — I think both events have their moments of film inspiration. A lot of GloMasq's comes through in the traditions and culture of the city, whereas Playful Land's are embedded into the games, foods, rides, and attractions in the park itself. Playful Land feels more overt because of how flashy everything is, but also because it's not really based on any real-world area (unlike the City of Flowers/Fleur City, which is fantasy Paris and therefore also has Paris elements) it has to stand on its own. They don't need to worry about developing a unique "culture" for a smaller area like a park; they can just cut loose and have everything be fun and whimsical like Pleasure Island is. For this reason, I feel that Playful Land has stronger movie ties.

Side note: I want to put out the disclaimer that I personally don’t think how much an event references its source material should be counted when evaluating the quality of its writing. Just because you mention things from the film or reinterpret them doesn’t mean the story itself is good.

Music — I’m going to give this one to Glorious Masquerade because while the tracks are nice for both (I love the dramatic bells in GloMasq and the eerie music box of Playful Land, and both songs with lyrics are also great!). However, the narrative context and meaning behind the songs with lyrics are very different, and I feel that this makes Let My Wish Resound performance that much more meaningful. Additionally, Playful Land introduced a sung version of Rave Up! Up! in part 3 (even if it was just the first half of it) whereas GloMasq saved its sung version for part 5, which grants us more time to get hype. (I also like the rhythmic/twistune of the boys dancing over the boys… idk, dancing and doing property damage for funsies.)

Opening — Both openings do a good job at building up the hype for the ominous events to come, but again GloMasq wins on a technicality… which is the quality of the evil laughs given during them 💀 Fellow’s is kinda weak (like it stutters and sounds like he’s out of breath), at least Rollo can do a slow, unabashed laugh like a proper villain/j

Setting — This one’s suuuuper subjective; I don’t really like amusement parks I know, I’m boring so that automatically means I don’t find Playful Land to be a compelling or interesting setting (even if it fits thematically). I’d much rather just be allowed to wander and explore a city unsupervised, get to learn about its history and culture by experiencing it myself. GloMasq’s City of Flowers/Fleur City allows Twisted Wonderland to be expanded so much more (like, thinking about how this city relates to other cities and countries), whereas one isolated floating park doesn’t add much to the overall world lore.

Plot — Playful Land was so… boring 🤡 I’M SORRY, IT’S TRUE (to me)????? Like, they were just aimlessly wandering around during the second half of the event (even though it should be obvious that Fellow is at the theater)???? While at least in GloMasq they knew where to go (the bell tower) right away and strategized around that… Plus, we keep switching perspectives between the captured boys and the action, which bogs down the pacing. GloMasq keeps the action going and only takes very brief pauses to check in on our villain for the evening. There was way too much time spent meandering and not enough time spent actually Doing Things in Playful Land.

Stakes — GloMasq’s were higher. This isn’t to say that higher stakes automatically means the event itself is good. It’s just that the same urgency isn’t present in Playful Land because the scope of it is not as grand. If the crimson flowers/fire lotuses spread, there is no stopping them—and it endangers many people, communities, industries, etc. if they do. Meanwhile, a handful of people go missing in Playful Land. It’s still tragic, and their losses will still impact their loved ones—however, that’s still on a smaller scale than what the flowers would have done to their world.

Ending — GloMasq trumps. It’s just perfect how Rollo indicates he won’t give up and then drops ominous lines foreshadowing Malleus bringing ruin to them all (ie book 7) 😂 Love the pettiness of the banter, the ballroom setting, the perfectly timed delivery of the gift/song, and especially how Rollo’s punishment was so perfectly fitting for someone as neurotic and self-righteous as he is!! Also loved little details like the gargoyle and Trein wanting to keep an eye on Rollo 💕

The conflict resolution for Playful Land felt like a deus ex machina…? Fellow’s literally about to win (he caught them all) and the boys get let off the hook because Fellow had a change of heart. The boss told him it will cost a lot to repair the destroyed puppets so it’s coming out of his paycheck… That, and I guess all the stuff the boys were saying about how great school is finally got to him? Fellow got so fed up he called the whole thing off???? So he releases everyone and they all go around busting up the park???? I mean, they did foreshadow it by pointing out earlier how Fellow isn’t loyal to his boss + showing more phone calls where the boss is getting increasingly annoyed 💦 so it’s not as anticlimactic as Endless Halloween Night (one of my least liked events). I just mainly dislike how the conflict is triggered in part by Fellow’s boss being rude 😭 Like damn, what if his final straw hadn’t been claimed??? Then everyone is screwed.

At the very end, Fellow and Gidel decide to go on the run?? Which… isn’t an easy thing to do but it’s hand waved away so fast. If the staff meant for it to feel this way because the original Pinocchio also left Honest John and Gideon’s fates ambiguous and they did show remorse for their victims 💦 idk, it’s cases like this that make me think TWST is at its best when it does more of its own thing rather than strongly stick to the source material…

I also have?? Mixed thoughts on how TWST doesn’t follow up on the whole “yeah a bunch of rich people are caught up in running a human trafficking operation using this scary ass magic”. I know crime must exist in TWST, so in a sense this is… realistic??? But it feels odd to see such a big thing being casually mentioned and not being treated with full gravity?? (Maybe these are the types of crimes that special mage police defense forces (like the one Deuce wants to join) investigate??) Guess that’s just going to sit in the back of our heads from now on… It’s not satisfying seeing a story “end” like this, but I understand why it had to be 😭

The cathartic release of breaking down the park that once trapped them all is fun, but too goofy. I know it symbolizes a lot more than that, but it’s just not for me.

And so (to no one's surprise, given the frequency with which I talk about R*llo), I much prefer Glorious Masquerade to Stage in Playful Land. It's not even a contest to me. A certain pseudo-French boy aside, I just think the former has much better writing overall. By comparison, Stage in Playful Land has a very strong aesthetic and start, but not much else to keep me engaged??? It was an entertaining if not mid event aside from the big scare when the twist is initially revealed (because none of us expected it to be that dark) and minor other parts like Kalim’s big speech. The rest of the event felt like walking around and not doing anything useful.

I honestly think the failure of Playful Land to execute on its ideas comes in part from the hype of Halloween events (like, so much attention is put onto them that when Halloween events flop, it is SUPER noticeable) and the legacy of GloMasq (which set the bar VERY high) 💦 A shame, really…

Anyway, round of applause for Roro, who stays winnin’--

[astro-atlas]

(∩^o^)⊃━☆ﾟ.*･｡ﾟﾟ.*･｡ﾟﾟ.*･

┍━━━━ ∘◦ ⛧ﾐ ◦∘ ━━━━┑

💙 Astro notes • 02 💙

┕━━━━ ∘◦ ⛧ﾐ ◦∘ ━━━━┙

·̩̩̥͙＊*•̩̩͙✩•̩̩͙*˚*•̩̩͙✩•̩̩͙*˚＊·̩̩̥͙˚*•̩̩͙✩•̩̩͙*˚＊·̩̩̥͙*˚

✧˖*° ✧˖*°࿐Blue Hour/TXT࿐°*˖✧ °*˖✧

01:02 ━━━━●───── 03:29

⇆ㅤ ㅤ◁ㅤ ❚❚ ㅤ▷ ㅤㅤ↻

·̩̩̥͙＊*•✩•̩̩͙*˚*•̩̩͙✩•̩̩͙*˚＊·̩̩̥͙˚*•̩̩͙✩•̩̩͙*˚＊·̩̩̥͙*˚

🦋 Pisces mars could have issues with understanding their body’s needs and signals. They don’t realize when they’re cold or hungry etc

🌊 (This is a theory of mine) I think combust planets don’t lose their significance in the chart but rather the native is blind to their blessings. Because when the sun is too bright we shield our eyes and can’t see anything

🌀 Not having any water placements could make the person bottle up their emotions and be closed off in general

🫐 Virgo placements and their fascination with the French language? My Virgo friend was obsessed with French, I’m a Virgo mercury and right now I’m learning French from a Virgo teacher

🐳 Pisces suns see through everyone’s lies and deception. They always know exactly what’s going on and sometimes play dumb solely as a strategy. Playing dumb is a common tactic among all Pisces placements. They simply hide their weapons only to use them later

🧊 North node in Taurus’s purpose in life is to find peace and quiet. They subconsciously seek chaos and calamity (Scorpio south node) because that’s what they’re accustomed to but instead they should learn to be comfortable in silence and take care of their inner world

✈️ No matter how many Sagittarius placements one could have, if the ruler of their 4th house positively aspects their moon they will always love and miss their hometown/birthplace

💎 Saturn shows where you will find stability and security. In 12th house, by solitude. In 8th house, with your grandparents. In 9th house, through exploration

💠 Neptune in second house finds comfort in escaping. To them leaving a person, a place or a situation isn’t painful, the pain comes when they feel trapped. This is also why they’re an enigma to other people because they always end up leaving before others can get to know them

·̩̩̥͙＊*•̩̩͙✩•̩̩͙*˚*•̩̩͙✩•̩̩͙*˚＊·̩̩̥͙˚*•̩̩͙✩•̩̩͙*˚＊·̩̩̥͙*˚

Thank you so much for reading, I am not a professional and these are simply observations and my personal thoughts. Use mobile and dark mode for the best viewing experience

·̩̩̥͙＊*•̩̩͙✩•̩̩͙*˚*•̩̩͙✩•̩̩͙*˚＊·̩̩̥͙˚*•̩̩͙✩•̩̩͙*˚＊·̩̩̥͙*˚