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itistimeforusalltodecidewhoweare · 3 years

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Nikaaaaaaa!

1. What is your favorite dessert? Is there a specific Austrian dessert you like?

2. What is the worst movie you've ever seen?

3. What AU are you working on? 👀👀

REN!! <3

you did not want this answer to be this extensive. no one wanted that. but you opened this can of worms and now we all have to lie in it. let's do this.

1. dessert, baby

i fucking love dessert sorry. my personal favourite is anything chocolate. chocolate cake, chocolate cookies, brownies, brookies, chocolate croissants, you name it. BUT you asked for austrian desserts and i shall deliver.

now first of all what's important to know is that most desserts can be a sweet main course if you up the size. kaiserschmarrn is excellent, it's essentially scrambled pancake but you often eat it as a main course. another specialty is literally any kind of christmas baking. our cookies aren't like american cookies, they're more like biscuits. they're a lot smaller (you know a cookie is good if you can eat it in one go), and they're often made with shortcrust pastry that gets filled with jam or dipped in glaze. i could eat my entire body weight in vanillekipferl, linzer augen and/or kaffeekeksen.

also pancakes?? pancakes are so underrated. any type of pancake. give it to me. i'm hungry now.

3. decisions were made and i hate them

i will actually answer this first because the second question full-on sent me into a rage. i'm still trying to write the roommate!bucky!AU and i hate everything. i know how i want it to play out, more or less, but anything more than the bare bones of it makes me want to sob. i've been at this for five weeks and i haven't even written 900 words.

i might change my idea for another one so that i'll have more time, but i'm also very stubborn. maybe i can still trick it somehow.

2. delete this from my brain

jesus christ okay. let's do this.

the amount of bad movies i have watched because of good actors is, frankly, obscene, and i still have my live talk through of george blagden's blood moon in my whatsapp history somewhere (my friend loves me), but what really took the cake for me was the covenant.

now let me reiterate that i will proceed to make fun of this movie until it dies and then turns in its grave multiple times and dies again; this is simply due to my not believing this should (or really could) ever have been made. i'm sure whoever did this made other things that are good. to me, personally, this was not. spoilers, i guess, if you want to care about that. i wouldn't. don't watch this.

picture this: it's the week before my birthday last summer. i have about ten days left to write a paper i don't want to write. i'm left unsupervised. i decide to watch a sebastian stan movie at 11am.

i'm seven minutes in when i start losing my mind.

now i'd heard about the movie before. i'd, at some point, seen that convention interview where a fan told sebastian they'd been a fan of his since the covenant and anthony mackie then proceeded to make fun of him; needless to say, i was intrigued. the basic premise is that four guys belong to the four surviving witch families of the salem witch trials who made a covenant (hah) that gave them magic powers. alright. this seemed interesting enough for 2006. what's the worst that could happen, i think.

the movie starts with a very long intro that looks like it'd been made with powerpoint. it probably was. it tells you the basic premise again until you want to beg it to finally stop the exposition and continue, for the love of god. it gets worse from here.

we cut to a college party. someone projectile vomits; that is not an exaggeration. i'm starting to feel sick. i watch white frat boys run from the police. someone jumps off a cliff. suddenly chace crawford appears. the dialogue is abysmal. i'm not even ten minutes into the movie and have already started to accept my fate.

from sebastian stan's very first appearance i can already tell he's going to be the antagonist. even at this point, i can't blame him. every other character in the movie is a wet blanket. i never learn any characters' names besides chase collins.

i frankly blank out for a while. the romance between the two main people is tragic, in the sense that they have nothing in common, no chemistry and i don't care about either of them. i guess the girl is smart-ish and the guy is the main magic boy (mmb) of the four. neither have any discernible personality.

sebastian goes all out for this film. it's sad, in a sense, because he's acting for his life and everyone else is like a high school drama teen that's just been weaned off their script. i'm starting to suspect he's contractually obligated to only play characters with big bi energy. i tell this to my friend. she ignores me. i'm left to deal with this on my own.

in a surprise twist, we find out that there is, in fact, a fifth son of ipswich (that's the magic boys' stupid nickname. i didn't google that that just flashed back into my mind like the vivid memory of a nightmare.) and it's chase collins. by talos, this can't be happening. it is. there is no way out.

why is chase collins the only notable character, you might ask. is it because he is played by sebastian stan? well, yes and no. this is the point i start losing my mind.

imagine you're writing a fantasy movie and you have four (i hesitate to say it) strong male main characters plus a bonus female one and an antagonist. who do you give the core character motivation to?

this, of course, is a trick question. the answer should be "all of them", but when in doubt, giving it to your main character should do the trick. that's how children's books work. to paraphrase starkid, "what's that one concrete goal that motivates all your actions? and if you don't have one of those, how is anyone supposed to sympathize with you, paul?"

so what do these absolute units do in this movie? they make their antagonist the only one with a goal, and thus the only one with a motivation, and thus the only person driving the plot of the movie.

you see, it turns out that using magic is actually bad for you. you get "the power" when you are thirteen and you "ascend" at eighteen, which just means you get more power. good. great. thing is, the more you use your power, the more addictive it will become, and the more it will eat up your life, because your power is your life. to quote myself, "sound concept, bit stupid, but works." power is life, life is power. sure.

now our main character antagonist chase was adopted as a child and grew up in a different town, so no one told him this very important piece of information that continually using your power will literally kill you. his natural reaction to running out of power after he turned eighteen thus is "i need more power in order to survive". that is a good motivation for a villain to have.

he is now waiting for the antagonist mmb to turn eighteen, so he will ascend, so that chase can take his powers from him and use them for himself so that he can continue living. again, that is a good fucking motivation for a character.

now, this is the part that truly boggles my mind to this day, the question that is burned into my brain. why the fuck would you make a movie in which your only proper character is the villain. why would you do that. the protagonists don't give me shit. i don't know anything about them apart from the fact that their names are stupid and they don't do anything useful with their powers for the entirety of this movie's overly long runtime. i am baffled.

the final big fight scene happens. it's atrocious to look at. chase temporarily seems to turn into spiderman and utters the fucking iconic sentence "oooh, witchy" and the even more iconic sentence "are you going to be my wiatch". (edit: i apologise. i refused to look anything up apart from my own ramblings at the time. it’s actually "how about i make you my wiatch." somehow i feel this is both better and worse.) mmb wins. i boo.

after it's over, we never see chase's corpse. the possibility of a sequel is frightening me. thankfully, to this day, it hasn't happened. i fear for the day they change their mind.

i don't remember anything that fucking happened that didn't involve his character, so here are some more amazing insane sebastian moments from the movie. there's a locker room scene where he's wearing his shirt open and enjoys getting punched in the face a little too much. in another bad fight scene he does a backflip over a car. he is the fucking god of gymnastics. "just think of yourself as a sacrificial lamb," he tells mmb shortly before calling him "brother" and kissing him on the mouth. he menacingly stands in the middle of a rainy road in the middle of the night, reciting nursery rhymes, waiting to cause a car accident. i think it kills one of the magic boys. he definitely kills another guy, and kidnaps the mmb's "love interest" before setting a building on fire. i don't even remember the details. everyone fucking sucked. i thought about this insanity of a film for a week straight.

if you made it til here and think "i want to see what this is", don't. i can guarantee my summary of this movie was more entertaining than the actual film. if you want a small bite that doesn't taste of cardboard and bile, i can highly recommend this video of interviews intercut with some of the scenes (do yourself a favour and turn on the captions), and this fanfic that continues the story in a coherent way and in that accomplishes more than the film ever did. thank you.

this is about one and a half times the length of my wip.

#ren 🐝#nika's answers #nika rambles #unhinged commentary #god this movie (derogatory)

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itsclydebitches · 4 years

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RWBY Recaps - Volume 8 “War”

Hello, everyone! Story time.

Yesterday food was delivered for my two idiot dogs (they’re thrilled about it) but, because it was delivered by Fed Ex, shenanigans were bound to ensue. These particular shenanigans involved realizing that the food had not been left at the front door like tracking said it had. Instead, it was down the very long driveway by the mailbox. Specifically, it was on a low wall beside the mailbox, currently inaccessible due to a mound of plowed snow.

Now, how the delivery guy managed to get it there I’ll never know, but given that our postal system is currently killing itself to get us our Amazon orders for Christmas, I shrugged, let it go, and resigned myself to lifting an 18 pound bag plus box over that snow without dying. Which meant that in reality I just dragged it, uncaring what bumps the bag might accumulate along the way. What are the dogs gonna do? Complain about presentation?

Snow successfully circumvented; I was home free!

… until I was lifting the box into the car, hit a patch of black ice, and was suddenly looking up at the sky, my right hip and leg screaming.

I’m fine. Bruised, but fine. It’s 2020. Did I expect to not fall? C’mon, Clyde. Be sensible.

The reason I'm telling you all this is because falling on ice at 10:00pm with an oversized bag of dog food was less painful than watching this episode.

I jest... but only a little. To be fair to RWBY, it admittedly wasn't painful in any new way. Everything that's a problem this week has been a problem for years now: confusing motivations, changing semblances, unpersuasive character beats, etc. So in some ways this episode — especially as a hiatus episode — is rather underwhelming. I expected RWBY to do something big before taking six weeks off, but this episode simply set the (unstable) stage for what's to come. With the exception of Ren, nothing changed this episode, which makes for a rather "Okay..." note to end on. It's not inherently bad, it's just a bit of a letdown after hyping ourselves up over the expectation that something even crazier than grimm soup will happen. Which, to again be fair, is on us as opposed to the writers. But that feeling of, "If this was last week, what in the world will we get right before an unpredicted hiatus?" was palpable. Turns out the answer was, "A pretty tame episode."

As always though, let's start at the beginning. This episode is titled "War" — straight to the point — and it's actually a little shorter than our last three episodes, adding to that "Okay..." feeling overall. We open on the outskirts of Atlas, amidst what appears to be a wheat field, or something similar. Upon reflection, it makes sense that the bubbled city would be able to grow things not normally growable in the tundra. This might also explain Cinder's strange beginning. Perhaps her orphanage existed on these rural outskirts and then she was brought into the city proper? We'll probably never know for sure, but at least this is a simpler answer than, "The Madame went off to an entirely different Kingdom to secure her child slave." Occam's Razor and all that.

Ironwood's army has assembled to hold off Salem's army. Wow, aren't we glad Ironwood invested in thousands of trained professionals rather than a handful of independent fighters? Seriously though, this is now a battle of numbers. May says later in the episode that Ironwood's forces are doing their best to assist Atlas, so they should go help Mantle... but that help only exists because years ago he recognized that the tiny class sizes of the Academies, this

wasn't going to be enough if grimm attacks suddenly increased. Sure enough, now they're in a situation where Ironwood needs even more men to keep up with Salem's creation magic. The fact that he has any at all is crucial to what little hope is left. How do Jaune, Yang, and Ren think they're going to get the time to look for Oscar without everyone dying while they're gone? Because Ironwood's army is keeping the attack at bay. I love how the story keeps angling for the "Military people are evil" message while actively showing us how much a military is needed in this world. If Ironwood had been a generic Good Guy who dismantled his armed forces because others wanted to ignore that they've always been at war against objectively evil creatures — both the grimm and Salem — then there would have been nothing to hold Salem off until small team rescue/bomb plans could be implemented.

But I'm getting ahead of myself. As usual. The army is on the front lines and one guy is scared enough that he's shaking. Can't say I blame him. As always, RWBY functions best when it leans towards horror, with skeletons rising alongside the normal grimm and intense music playing to convey the stakes. Ironwood watches the onslaught and immediately calls for a civilian evacuation into the subway system. Get people below ground, behind a few, defendable entrances, rather than wandering about the city where land or sky grimm can pick them off easy-peasy. Makes sense. Yet I'm already seeing fans make snide comments about how Ironwood is "still running," which just demonstrates how many viewers take the emotions of the show at face value — who is Good and who is Bad — rather than considering the situation and deciding for themselves. What's far more egregious than viewers enjoying a story however they'd like on a Saturday before the holiday though (seriously, my salt aside, no one has to enjoy RWBY any one way) is that RT again tries to paint Ironwood as crazy when he's... just not? Beyond the choice to animate him with scary expressions

once he gives the order the soldier starts to say, "But sir — " and Ironwood yells for him to obey right now. The scene makes it look like Ironwood is doing something shady again. Here's this goon balking at the order, but we're not told why. What's bad about getting the people to (relative) safety? Why is this order treated like something to question at all? We're not told and, from what we do know, it's not something that would be questioned, so unless we learn something new post-hiatus, that line exists only to make Ironwood look bad. It's a (nonsensical) excuse to have another ally turning against him (slightly) and to give Ironwood the chance to look scary and violent again. Nevermind that his city is under attack and if a subordinate started questioning a completely sensible and time-sensitive order? I might yell too.

So we're off to a great start. The above looks particularly stupid given that we immediately see the flying grimm arriving in a populated area, terrifying all the civilians there. Everyone bolts for the subway and we cut away from a man trying desperately to reach his daughter, unsure if either of them survive. But people want Ironwood to not use what few resources he has? See, this is why generic messages like, "You have to stand your ground" don't work. Sometimes there are situations where you should run and that doesn't automatically equal being a coward. It means you're smart enough to take the actions necessary to save as many lives as possible.

Later on we'll have a similar issue with the message, "You have to trust people" when my darling Oscar briefly loses his mind.

Now though, we see that the "fugitives" Yang, Jaune, and Ren have been taken into custody. Of course they have. Look, when the preview dropped yesterday I saw a number of takes along the lines of, "How dare the Ace Ops do this. They need to put aside their differences until the attack is over!" but no, they really don't, because it's no longer their responsibility to extend trust towards this group. Especially when doing so, to their mind, has a high chance of making a horrific situation that much worse. What are they going to do if, in the middle of a Salem attack, the kids they decided to trust betray them, attack them, and leave them knocked out somewhere while the world burns?

...Oh wait, they already did that.

See, the group broke trust first. Numerous times. The Ace Ops listened to Yang admit that she and Blake had betrayed Ironwood days ago. Then they watched Ruby betray him again by alerting the rest of the team, turning them against him. They swore they wouldn't attack, so Team RWBY attacked them first. They learn that Qrow had a hand in murdering their leader. They encounter the group again and Weiss gleefully asks if they want a second defeat. They watch Ruby tell the entire world to dismiss Ironwood because he’s the one who can’t be trusted. Outside of JYR not immediately attacking them when they arrived to help (something I praised them for), this group has never put their trust in the Ace Ops. So why do they — and we — expect the Ace Ops to do so now? Imagine for just a moment that it was reversed. We find out that someone betrayed the group for no good reason, set themselves against them, continued to do so as everything fell apart, told the rest of the world they’re the enemy, and then a close associate is involved in Ruby's murder. How many people would expect the group to just shrug all that off? Would they put their differences aside and embrace these people because blind trust is (supposedly) the right thing to do? Of course not! Yang would punch their lights out and everyone would cheer, but that's because they're the established heroes. Outside of that role, no one else is allowed to mistrust those who have proven themselves untrustworthy and take precautions against getting betrayed again. To say nothing of how these characters don’t have our meta perspective. Meaning, they live in a world where this trio is not a part of a protagonist group destined to remain a part of the plot because that’s how story conventions work. They’re three random teens who were promoted to huntsmen early. They’re three soldiers out of many who can, at any time, be taken out of the fight. No one on the Ace Ops is working under the belief that they “have” to be a part of this fight. From their in-world perspective, you could toss them in jail for the rest of the battle and that’s that. Outside of their fugitive status they are entirely unimportant.

So yes, Jaune, Ren, and Yang are in handcuffs. They deserve to be. Don't worry though, they get out very soon.

Yang makes a snide comment about Winter "Still just following orders" and honestly? I've lost the love I used to have for her as a character. Yang is just an exercise in frustration whenever she speaks now. Thus far she's blamed Ruby for everything that's gone wrong (ignoring her own choices there), did a 180 to yell at Ren for acknowledging how bad things are, worried nonsensically about Blake being disappointed in her even though Ruby is the one she fought with, and is now back to the "You just follow orders" shtick. Yang will label anything she personally doesn't like as evil order following, but conveniently ignores how following Ruby's orders helped get them into this mess, and how the one time she went AWOL made things even worse. These characters don't actually have beliefs they stand behind, they just say whatever is currently necessary to make themselves look good, even if that contradicts previous statements or actions.

She also gets mad at Vine for saying that grimm don't take prisoners, ignoring that she only found this out a few hours ago. No one in the group is equipped to navigate the emotional minefield that is this war because they can't even take two seconds to put themselves in another’s shoes. Weiss doesn't bother to consider Whitley's situation. Jaune points at the snow and gets frustrated that Harriet doesn't magically know there's grimm soup flowing nearby. Yang snaps at Vine for stating what she also knew to be a basic fact about grimm up until Oscar's kidnapping. It's all framed as, "How can you be this stupid?" rather than, "Oh yeah, these people haven't had the experiences I have. If I was randomly told this I'd doubt it too. I should try to explain this in a way that will make sense to them and increase my chances of being believed."

This is the group who decided it was a good idea to tell the whole world about Salem and did it just as badly as I suspected they would. The story has shoved a delicate, information-based war into the hands of punch-happy teenagers and refuses to grapple with how that's a bad thing.

Anyway, Ironwood comes on the radio to say that the whale is pretty indestructible on the outside, but it might be vulnerable from the inside, so let's get a bomb in there. Seems like a good enough plan as any, especially given that the grimm is currently on the very outskirts of the city, away from the civilians if/when it's blown up. What kind of bomb might this be though?

Could it, perhaps, end up being a now severely damaged android who is based off of Pinocchio?

Time will tell. For now, the group is quite obviously upset that Ironwood is planning a big BOOM while Oscar (and Ozpin! Tellingly, no one mentions Ozpin...) is still inside. Here's the thing: Both sides are right here. YJR are right to be worried about their friend, while the Ace Ops — who have no emotional ties to Oscar and, as just established, are questioning whether or not a grimm really kidnapped him — are right that they cannot prioritize a single life over the entirety of Atlas. They just can't! And any hero worth their salt is going to recognize this. You cannot knowingly sacrifice thousands of people (if not more) for one (admittedly awesome) farm boy. It would be a different situation if the people of Atlas volunteered to remain in danger to give Oscar a chance at escape, but that obviously isn't the situation here. If someone told me, "Sorry, Clyde, we can't get you out because the place you're in is super dangerous and attempting to extract you would likely cause the rescue party to die. Also, the longer we don't blow this location up the longer lots of other people die" I'd be like, "Fair enough. Have a nice life!" I mean, obviously anyone would be terrified and devastated by the news, but if you're still thinking straight and have even an ounce of compassion for others, you don't trade all those lives for your own. Spock does not open the door to flood the whole Enterprise with radiation!

And notably, neither does Kirk. Oscar isn't given the chance to sacrifice himself — ignoring his choice to try and undermine Salem's forces rather than escaping — so Jaune, Ren, and Yang are deciding that for him. Which, again, makes sense for them emotionally, but it's still a selfish choice. They're prioritizing their family over everyone else's. If someone ever told me they’d risked a whole city for my sake I’d be touched, but also pissed as hell. Because what were you thinking?

Which is really my biggest issue with this divide. It would have been nice if the show had done more to make me believe these three are that ride and die for Oscar. Don't get me wrong, I'm thrilled that they are and I'll take this characterization over the apathy we had in the past, but let's be real, it kind of came out of nowhere. The group as a whole pretty much ignored Oscar up until the movie invite and two of these characters — Yang and Jaune — have actively hurt him in the name of getting at Ozpin. Now suddenly they're willing to toss aside their huntsmen duties — protect the people — in order to save him? Nice sentiment, it's just that, as always, we have very little development for it, especially given the level of emotion shown. Particularly when it comes to Ren. The prospect of someone sacrificing Nora? I 100% believe that he draws a hard line and this kick-starts a change in his semblance. Ren is shown to be thinking about how he lost his teammate Pyrrha? Totally believe it! Someone is sacrificing the kid I'm not sure he's ever had a conversation with? That's less persuasive. At the very least, it would have been nice to have the trio grapple with whether they can or should prioritize Oscar over everyone else, rather than taking such a black and white stance of, "Of course taking the time to save this one guy while everyone else dies is worth it. You're evil for thinking otherwise."

We even get a shot of Winter's hand shaking and clenching like Yang's used to, just to hammer home who the correct party is.

While they begin this argument we cut to Salem who is literally conducting her grimm in their attack against Atlas.

Very nice. I love when a villain has

Emerald watches her, clearly freaked out, and then sneaks off to where Oscar is held. In the hallway she encounters one of the jellyfish grimm, so she casually makes it not see her until it has passed.

Her semblance works on grimm, but not “real girl” androids? Okay.

We all realize how crazy powerful Emerald is though, right? The stuff that she could do in a fight is staggering and I'll be forever salty that all she managed in the Penny battle was to create a couple different Cinders. Emerald, Marrow, Salem herself... RWBY has a real problem of having the antagonists conveniently not use the power at their disposal when the heroes need to win.

So Emerald starts listening in on Ozpin's torture. We learn that Hazel was recruited when he tried to kill Salem numerous times and had to watch her keep reforming. Which, if I remember correctly, is a technique she used back when she and Ozma were playing at Gods. It worked and now Hazel believes that they "share a vision. She's going to create a new world order," one without Kingdoms or Huntsmen Academies. No, says Ozpin, she's going to divide humanity past reform, summon the Gods, and hopefully die when they take out all of Remnant.

...My god, did we finally get Salem's motivations after seven years?

Seriously though: seven years. It's way too late, especially when we now have so many questions attached to this supposed goal. If Salem always wanted to divide the world irrevocably, why didn't she attack, oh, say, a thousand years ago? Why has she kept to the sidelines until now? None of this answers why she held off until our simple soul was conveniently ready to fight her. We also have the issue of Salem's knowledge, or lack thereof. So she obviously knows about the Relics and that they'll summon the Gods, but not how to work them? How did that come about? Even Ozpin's motivations are murky now. He repeats Salem's curse word-for-word — though notably, minus the "You must learn the importance of life and death. Only then may you rest" part — yet unless Salem told him this herself when they first reunited — and we know they both hid things from the other — Ozpin could have only gotten this line from the lore episode, something he witnessed along with us just a few weeks/months back. So is he only now realizing that this is what Salem wants the Relics for? Might he be wrong? Or did he somehow figure this out lifetimes ago and we're just not told how? If this is the case, why haven’t Salem’s motivations come up before now?

This sudden, "Oh yeah, she's always wanted to die" feels pretty tacked on. Like RT had Salem arrive last Volume because that's ~cool~ and then suddenly realized that they have to deal with her motivations now, so they hastily cobbled this together. But, as said at the start, this is entirely expected for RWBY nowadays. A problem to be sure, though one we've been putting up with for a couple of years now.

During all this, Hazel shouts that this is what Ozpin deserves and the first word out of his mouth is, "Yes."

But Oscar and the rest of Remnant don't deserve it, so make the right choice for them. How did RT think they were going to make this guy an antagonist? Ozpin has so much self-hatred and yet is still trying SO HARD that he makes Ruby Drinking Tea While The World Burns Rose look laughable.

Oh yeah, we'll be getting to that scene in just a second, but for now I just want us all to appreciate Ozpin as a character, even if the story won't.

....

.......

..............

...Okay, moment done lol. Sorry, Oz, there's a lot to cover this episode.

We cut to a semi-conscious Nora who asks Weiss, "Now what am I good for?" So that’s a double serving of oof. That's when Ruby arrives with fine china steaming with tea. Or coffee. Or hot chocolate. Whatever it is these girls are drinking. What comes next is accompanied by a strange kind of vindication for me. I mean, the fandom dragged me so hard for taking issue with their snuggly smiles during Ruby's message, yet now we literally have the girls sitting back in a mansion as everything goes to shit around them. I know the knee jerk reaction to this will be, "They have to watch over Nora" and “They deserve a break” but really? All three of them need to watch her? And a break during the height of the action? Blake says she hopes everyone else is okay, but who is actually out looking for information about the rest of their team? May. Who's going to do something to get Nora help? Whitley. These characters are so good at telling us they're the heroes while rarely ever displaying those traits. They all (somehow) saw the attack on Atlas and have the ability to get out there and defend people — the job they wanted — yet Ruby looks out the window and asks, "What can we even do?" while taking a long sip of tea. The people of Mantle are (supposedly) freezing to death, yet one of the few with aura, Weiss, sits by a roaring fire going, "Do we just wait for someone to come? If they even come.” I'm sorry, you didn't consider this before you told the whole world about Salem? No one questioned whether asking for potentially non-existent help was worth the risk and what they'd do if it never came? Or even just what they’d do in the meantime? I’m not saying the girls can’t have basic necessities like drinks, or that it can’t be done in style when that’s conveniently available. I’m saying them enjoying the food, warmth, and relative safety of the Schnee household (built on racism) while casually talking about what, if anything, they should do for the people dying outside looks a bit Not Good. "Should we wait for the fire department?" Asks the character as their kitchen burns, sitting beside a number of water buckets that could help slow things down. "If they even come," they sigh, taking another sip of tea. This is ridiculous! The city is currently under attack by the series' Big Bad and half our heroes are just sitting around, watching the evil lightning, wondering if they should try to do anything about it.

"How did it all get like this?" Ruby asks her cup, ignoring the many steps she took to make things this bad. It continually boggles my mind that Ironwood is out here trying to keep people safe in the subway, coming up with a plan to blow up this whale, sending out an army to kill countless grimm... yet "What can we even do?" Ruby is supposed to be the hero here. You know, the one who has silver eyes and could one-shot huge numbers of Salem's army if she actually went out there and tried to help.

Ironwood is taking action... and so is May. As said, she's the one out looking for info on their teammates and when she returns says that they should all get back down to Mantle. Why? Because, as mentioned earlier, Atlas at least has an army to help with things. Mantle only has them.

Yet suddenly, Weiss doesn't want to leave.

Where did this come from? They succeeded in their preferred plan of telling the world what's going on over Ren and Yang's plan of helping what people they could, and now they're looking for something to do. Why wouldn't they head back to help? (Especially now that the shields are down.) Weiss yells that there are people dying in Atlas too but, as established, Atlas has the army. And where was this concern when they refused to let Atlas leave? After a Volume and a half of pro-Mantle content, this seems to come out of nowhere. Worse, Weiss tries to guilt May by asking if she has family in Atlas, which leads to the reveal that she's trans. Her family rejected their daughter.

I want to be clear that I'm very happy RT made this canon. For what she is — a side character we know incredibly little about — I really like May and the fact that they were clear in her identity rather than keeping it to twitter deserves recognition. Yet I'm not going to pretend that the reveal didn't leave a bit of a sour taste in my mouth, simply because we have this incredibly privileged cis girl, who knows a great deal about shitty families, hearing how horrible May's was and still trying to tell her she needs to suck it up and help Atlas over Mantle. When May angrily asks whose side she's on, Blake makes a comment about hearing that before, comparing her to Ironwood. May is painted as the misguided one here, but can you imagine if someone told Weiss to go help Jacques over her found family, Team RWBY, regardless of what he's done to her? The fandom would explode, and rightly so. There's something to be said for realism here, showing us Weiss and Blake's inability to see where May is coming from... but it doesn't feel like a commentary on that. It feels like another Penny situation: May is put in her place for being inconsiderate, even though this time it's her choosing to help people who are ALSO in danger over the people who represent family she's broken with.

I wanted conflict this Volume and I absolutely got it, but damn if it isn’t badly thought out at times.

Because rather than grappling with these personal motivations, Ruby brushes them aside by yelling, "There are no sides! We want to help everyone."

Does that extend to Ironwood? Ruby's speeches started falling flat when she betrayed Ozpin, attacked Cordovin, betrayed Ironwood, attacked the Ace Ops... This girl does not want to "help everyone." She wants to help those who agree with her.

Yet her rock solid optimism generates the question, “So how exactly do we get out of it?” which, as expected, Ruby has no answer to. The story keeps showing us how bad a leader Ruby has become, yet no one is actively responding to that. They kinda disagree about lying to Ironwood, but still go along with it. Yang kinda criticizes her sister, but that's then lost to general worry as they split (on Ruby's end, anyway). They want to know how she'll lead them next and are seemingly fine when Ruby continually says, "I don't know." At this point I'd be like, "Well... you didn't like May's plan of going back to Mantle, but apparently can't come up with a plan yourself... so I'm going to go with her."

This is the same conflict we had last Volume: Ruby spoke optimistically about saving everyone, yet was unable to come up with a way to do that. Ironwood had a plan that, while horrific, might save a lot of lives. Yet Ruby is presented as the one to back. Now here she is, hours later, still unable to figure out a way to achieve her perfect outcome. Ruby wanting things to be a certain way is not going to make them so and I’m wondering when someone within the group is going to recognize and act on that.

As Ruby fails to answer this crucial question, we pull back to see Whitley listening in at the door.

Cutting back to Ozpin and Oscar, Hazel has listened to all this craziness about Gods, immortality, the destruction of Remnant... and literally goes, "Cool story, bro."

Okay, he says "Nice story" but the emotion is the same. Which I'm really happy about! I mentioned in a recent post that, as far as we know, Hazel hasn't been told anything about the Gods up until now. What Ozpin is telling him sounds like gibberish at worst, incredibly hard to believe craziness at best. Now chuck in Mercury's point that as a tortured prisoner he'll say anything to get free, as well as the fact that this is Ozpin talking to Hazel... and I'm really glad Hazel just ignored his speech (for now at least). It wouldn't make sense otherwise. Granted, this means that the plan literally amounted to, “Let’s info dump a bunch of nonsense-sounding lore on our enemy in the hope that he’ll believe us and betray Salem.” It’s something to try, certainly, and it admittedly is a much better plan than what Oscar is about to cook up.

So since Hazel won't listen to Ozpin, Oscar wants to try instead. Why did you two switch in the first place? It's really obvious that RT is having the characters do weird things in order to stretch out the plot.

Either way, our farm boy is in control again. What new strategy will he try?

"Her name is Jinn."

This is BEYOND stupid. No, none of this "You have to trust people" nonsense. This is not “people,” this is Hazel. There is a Grand Canyon's width of difference between learning to trust your allies and blindly trusting an active villain who just rejected your "Please defect :(" speech. Even if we remove Hazel from the equation, this is still a monumentally foolish move. I mean, has Oscar considered where he is? This isn't some random warehouse he's been taken to, this is a semi-sentient grimm, a creature creating other creatures out of its ceiling

and whose doors automatically open when people need them to (Mercury). This is a living being created by and connected to Salem herself. How does Oscar know Salem can't hear everything he says? Or that the whale can't relay information to her? That the grimm in the walls won't pop out and run to their master? Or even that a normal person isn't listening in at the door — like Emerald is. If that had been Tyrian instead, that's it. They're done. Game over.

Someone: "Wow. Salem got the Lamp and managed to ask where the Beacon Relic is. Since the school is still overrun by her army, she snatched it up quick, finished destroying Atlas, and is now on her way to Vacuo. She's nearly completed her plan in days! How did all this happen?

Oscar: I, um... told her what she wanted to know?

Someone: You what?

Oscar: But not Salem! I just told Hazel! ... and then the information somehow got back to her.

Someone: "Somehow?" You deliberately told one of Salem's henchmen this crucial piece of information, in a place where there was a good chance you would be overheard by conventional or magical means, and you're surprised that she "somehow" learned it and used that information to doom us all?

Oscar: ...Yes?

This is so staggeringly stupid it... well, it could only have been done by a kid. So at least that fits lol. Oscar, I love you, but Ozpin should have been screaming in horror the second those words left your mouth. Generations of precautions undone because a kid wants to believe the best of the guy currently pummeling him. Sweet, but stupid. I’m all for optimistic characters, they just can’t risk the whole world on that optimism. Oscar risking himself on the seemingly doomed plan to turn Hazel is one thing, Oscar risking all of Remnant on the seemingly doomed plan to turn Hazel is another thing entirely.

Even though you know this is precisely how the story will go. Oscar willingly hands over Jinn's name to Salem's forces, but happily none of the THREE who hear about it will tell her. The story's unwillingness to follow through on consequences doesn't change what a bad move this was. I mean, Oscar himself accused Ironwood of playing into Salem's hands by disagreeing with them about how to not die, yet a few hours later he will willingly give Hazel the one piece of information Salem needs to move closer to world-wide destruction? That's uh... well, that's something.

They should have just had the poor boy be tortured, spill the beans to make it stop, and start an arc of self-forgiveness. Oscar can be awesome without coming up with world-dooming plans.

So yeah, Oscar is hoping that Hazel will use the Lamp himself and find out the truth. He wants Hazel to trust him and the man he despises most in the world enough to go against the immortal woman he's terrified of, get the Lamp away from her somehow to use for himself, wasting a once in a generation question to confirm all this, so that Salem will lose a guy with muscle who, to be frank, is absolute insignificant in the grand scheme of her power. Fantastic.

As said, Emerald overhears all this and immediately runs to Mercury, who is less than convinced by her "Salem wants to destroy the world" talk. Just as he's expressing doubt, Tyrian appears to confirm that this is exactly what she wants to do — and he's loving it.

“Of course she is! You’re surprised? Salem is destruction incarnate!”

It's a legit point. Are our villains so dense they never considered that Salem might do something to the world they didn't like? It's like the group not thinking about how Salem is still around if Ozpin has been fighting her for a thousand years. RWBY continually gives the impression that these characters don't think about their situation past what they're doing at any given moment.

Tyrian maintains his title as best villain though, simply because I understand what he's doing, why he's doing it, and he's so damn good at it.

Also, can we appreciate Mercury's face here?

Amazing. This is the kind of humor we should be getting in such a tragedy-laden Volume.

The two of them, Tyrian and Mercury, head off to Vacuo for the Secret Mission, despite Mercury's newfound hesitation. I quite liked these quiet moments between him and Emerald. It has a very "Do what you've gotta do" vibe while showcasing their care for one another, something we haven't seen in a while.

Back with the airship group. YJR are still horrified that Ironwood would blow up Oscar (even though he has no idea Oscar is there), begging the Ace Ops to give them "a chance to try to rescue him first.” Ren goes pretty hard on the "no one is replaceable" bit, which is frustrating not being what he’s saying is inaccurate (it’s not), but because that's not the issue here. The writing has Harriet start yelling about Marrow replacing her old teammate and Winter replacing Clover, but the question is not whether you'll just forget a teammate and move on with someone new, but whether you're willing to sacrifice them for the greater good. That's the stance: Should we sacrifice one life to save thousands? Will you, as a protector of the people, put those people before your own found family? Yet what RT has Harriet say is: Oscar is replaceable. Which obviously makes her come across as an ass. Like the random soldier questioning Ironwood — or making Elm about to punch a defenseless Ren in her anger — it exists solely to show how bad these character are... even as they say pretty persuasive things.

The writing also continues to be confused about whether the Ace Ops are friends or not. Yang certainly didn't think so... up until she asks (rhetorically) whether Marrow would sacrifice himself for Elm, Harriet, and Vine. Since their introduction, the story has loudly insisted that the Ace Ops aren't friends... up until it's revealed ("revealed") that Harriet is actually gutted about Clover. So which is it? Are we supposed to believe that these are cold soldiers who only work together out of duty, or that they're a team who clearly love one another? I'd say that show has shown us the latter, but it doesn't seem to understand what point it's trying to make. Does this look like a soldier who doesn’t care?

It’s especially weird when Ren again makes the claim that this is why they lost to Team RWBY. Because they're not a team.

...So is this why they did such a fantastic job fighting the geist, demonstrating such perfect teamwork that the group was open-mouthed impressed? Is this why they nearly took down a Maiden together? Is this why Ren, while furious at Yang and Jaune, was still able to work seamlessly with them to try and rescue Oscar? Do we think if Yang was suddenly beside Ruby again that the two would fail spectacularly in a fight because they had a minor disagreement?

This is now the third time RT has tried to excuse nerfing the Ace Ops with, "They disagree about things and are thus not friends and thus can't fight well together" — despite all evidence to the contrary — and it's getting really old.

At one point Harriet tells Ren, "I had you pegged as the most level-headed of the bunch, but I guess you’re just as naïve" which, ignoring her then random claim that people are replaceable, is correct. I also pegged Ren as the most level-headed of the bunch considering he was just yelling at Yang for how much damage they've caused, all the mistakes they've made, and that maybe — just maybe — they should have tried harder to work with Ironwood. Yet now here he is, in a position to start that process, and the Ren we got in the snow is simply gone. He's fully Team Yang and Jaune again, facing off against the evil Ace Ops.

I knew this was going to happen, but it's still disappointing. The story gave Ren a great speech to appease those of us frustrated with the direction the story has taken... and now we’re back to ignoring that. Ren was told off for daring to question how great the group is, apparently thought it over in the snow, and is now of the opinion that yes, they are that great. People are going to die because of us? Who cares about that anymore! We will absolutely, single-handedly rescue Oscar and there's no reason why this might be a questionable choice when an entire city is on the line. Again, emotionally understandable (if we buy into the group suddenly loving Oscar this much), but it rings hollow right after making Ren the one person who was willing to look at the big picture.

Good news though: Jaune got the braincell this week! He suggests that they go in to try and rescue Oscar/provide intel, but won't stop the Ace Ops from launching the bomb when necessary.

See, this is heroic. This is what the group should have done during the Mantle conflict: Volunteering to take the personal risk of facing off against Salem while letting Atlas try to escape. Basically, not forcing everyone else to risk their lives for their pipe dream, which is what Ren and Yang want by rejecting the bomb entirely. Jaune recognizes here that they can't prioritize Oscar over an entire city, but also that they may still be able to save him before the bomb is complete and ready to go. So they compromise, with JYR the only ones at risk.

Good job, Jaune!

Winter agrees to this plan with a firm, "I outrank you" to Harriet. People are going to love that.

Oh, but in his anger Ren's semblance suddenly changes. So we're back to the ridiculous.

Truthfully, I like this direction. Granted, I would have liked some buildup to it, especially since this is the second time this Volume that RWBY has dropped a major semblance change on us, but the idea itself is really cool. Ren can now see emotions! Awesome! And I don't mean that sarcastically. I actually think that’s a neat extension of his original semblance.

Too bad the story seems to think he's a mind reader.

Seriously, take a look back at the dialogue. What Ren sees are confetti-like petals floating around a person, their color seeming to determine their emotional state. Red means Harriet is mad, blue is sadness for Marrow, etc. But what Ren ends up saying is a great deal closer to mind reading. Harriet is angry about Clover and is gutted at his loss. Marrow is questioning his place here and wants to leave. These aren't base emotions, they're targeted thoughts and feelings about situations not immediately apparent from the verbal conversation. “In fact, you don’t want to be a part of it at all anymore." How does Ren know that? They just gave him telepathy instead of the cool power with firm limitations that the imagery suggests.

There are also some, uh... iffy implications in all this. For example, Ren allows Yang privacy by not reading her mind emotional state, but has no qualms about reading every one of the Ace Ops’. So privacy is only for the people you care about, huh?

We could also say something about RT perpetuating unfortunate racial stereotypes: the two women of color are pure anger, the marginalized man is pure sadness, the Asian coded character is pure calm... and the white woman set to turn against the others gets a mix of all emotions. AKA, human complexity.

To be clear, I don't think RT is doing this deliberately. Rather, they’re writers who have demonstrated time and time again that they don't have a good handle on depicting the sort of sensitive material that RWBY is infused with, and that extends to the mild, but still unfortunate, implications in scenes like this. Even if we ignore the iffy details — a benefit of the doubt that, at this point, many fans aren’t willing to grant — we're still left with the continuity errors. Visually, we're presented with a woman who is experiencing multiple emotions at once and is, therefore, torn. Yet Ren reads Winter definitively: "I know you [don't want this] either." It's yet another moment that makes me wonder how much communication there is between the writers and the animators, because too often the two seem to be at odds with each other.

As the group prepares to go into the belly of the beast (literally!) we return to Ruby who is, once again, failing to make me believe she's this super compassionate person.

“Wait! What about Qrow and Robyn? Maybe if we get them out of wherever they’re held—”

Please tell me I'm not the only one who took issue with this? Ruby doesn't express an ounce of worry for her uncle, not even when she learns he's been arrested, and the one time she brings him up it's in the context of what he can do for them in this fight? Ruby doesn't grapple with whether to rescue her uncle (personal desire), or get the message to the world (her version of the heroic action) and then realize that, now that her duty is done, she can finally turn to the more selfish act of helping her immediate family. Instead, Ruby seems perfectly happy to let Qrow stay in prison up until she's unsure what to do next and thinks that maybe he has the answer. Heaven forbid Ruby think about rescuing him because she loves him.

Sadly, this Ruby is long gone.

In recent years she's expressed no gratitude for him saving her life, no respect for him as her teacher, demonstrated incredibly little compassion for his own struggles, and outright told him that if he wasn't going to listen to her then he doesn't need to be part of the team. Then he's arrested and she doesn't care until she deems him useful again. Like the fandom wondering where the sisterly bond between Ruby and Yang went, I'm likewise wondering where the bond between Ruby and Qrow went.

May outright rejects this though, yelling that they still don't get it. “This is not a situation where everyone wins!"

She tells the trio they have to choose for once: Are you going to help Mantle, or Atlas?

...which means there's immediately a knock at the door, interrupting the moment where they have to decide.

See, this is just like Ren. The story keeps giving us moments where characters speak absolute truth, dangling the potential for the group to grow from these realizations... only to pull back before it goes anywhere. Ren is once again aligned with Yang and Jaune in their desire to save Oscar. May's demand is interrupted by the plot. If means nothing to give us these moments unless the story acts on them.

It's Klein at the door. Whitley called him to help with Nora because I guess he's a doctor now, as well as a butler? Fine. Let’s run with it. Weiss is super pleased to see him and hugs Whitley for the good deed.

Why so shocked that Whitley would look out for another, Weiss? Could it be because he's had so little reason to be kind when everyone, including you, has treated him horribly? If Klein always had these medical skills — if you’ve grown up with a doctor — why didn’t you talk to your brother and ask if he knew how to contact him? And of course, she apologizes to Klein for her father’s actions, but not to Whitley for her own. Whitley's surprise isn't cute to me.

Weiss stuck a weapon in his face, insulted him, sent him to his room like a toddler... and now is randomly hugging him because he did something she liked. The context of this scene doesn't paint Weiss in a good light. Like the rest of her friends, she only extends basic respect and kindness towards others when they're assisting her. Whitley was nothing to her until he suddenly proved himself useful. That's not cute sibling love, it's a love that's going to run out the moment Whitley puts a toe out of line, according to Weiss' unspoken list of what behavior keeps him in her good graces.

I believe that Klein cares for Whitley because he greets him kindly and gives him that shoulder pat on the way up. Whitley didn't need to first prove himself to Klein somehow and Klein didn't start this interaction by shoving a gun in Whitley's face, just in case he wouldn't let him through the door. They feel more like family than this hug does.

So yeah, Whitley and May have done more good this episode than our entire main cast. How about we just make this story about the side characters instead?

We then hear a massive boom and the group runs out to find a crater. Penny has landed in front of the manor, which is pretty convenient considering we saw her pass out as she fell.

She's somehow still in control despite the hack and apologizes to Ruby, then falls unconscious (again).

And that's where we end! Definitely a cliffhanger, though a rather underwhelming one considering we already knew Penny was in serious trouble. As said at the start, this episode felt rather underwhelming to me, especially as a halfway point before a hiatus, and compared to some of the stuff we've seen previously. It's not bad per-se — especially if we ignore the issues that have been around for an age now, which is most of what this recap deals with — it's just not terribly exciting either. Everything of importance — Salem's attack, Oscar's rescue, Penny's demise, subordinates turning, Nora's condition, etc. — had already been established in previous episodes and very little of it moved forward. Ren's semblance is the only thing the episode gave us that we couldn't have (generically) guessed for ourselves between last Saturday and now.

So yeah, underwhelmed is the mood of the day, with a hefty dose of salt for everything that continues to be a story-breaking problem in this show. I will say though that, as has become the trend for this Volume, all the establishing shots are gorgeous. RWBY is, at the very least, pretty to look at.

As a final note, in lieu of the Bingo board (since, again, not a whole happens plot-wise) I want to point out something mentioned by a friend: how absolutely bonkers our timeline is now. We began the second day last episode with the sun rising (recall that Jaune had tried to sleep that night at the outpost. So it’s definitely sunrise as opposed to sunset).

And we re-confirm that it’s sunrise at the start of this episode.

Yet throughout the episode many of our shots take place at night (note the stars behind the trio).

These moments with Ruby can't take place in the past because they're talking about the attack, an attack that only happened after Jaune's group met up with the Ace Ops and the geyser attacked — during early morning. I doubt I'm supposed to believe that it has been another full day of Salem starting an attack, a full day for the group to fly to the whale, a full day for Penny to fall, a full day which would put us at the end of the Volume’s timeline at only the halfway point... so I think RT is just going for the aesthetic of night shots without thinking about what that does to the continuity. It's a mess.

Not the highest praise to end on, but I’m working with what I’ve got lol. I feel as naïve as Oscar when I say that maybe Part II will be better.

I will, of course, see you all in six weeks. Until then, I'll do my best to catch up on asks. Another doomed endeavor, but one can try!

A very Happy Holidays to all of you who celebrate and, as always, thanks so much for reading! 💜

[Ko-Fi]

#rwby #rwby spoilers #rwby volume 8 #rwby recaps #rwby war #mymetas

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tvrundownusa · 3 years

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tvrundown USA 2021.12.16

Thursday, December 16th:

(exclusive): Aggretsuko (netflix, anime season 4 available, all 10 eps), South Park: Post-COVID (Para+, "The Return of COVID" special), "2021 HA Festival: The Art of Comedy" (HMax, 2nd annual special), Fungies! (HMax, season 3 opener), Finding Magic Mike (HMax, male stripper competition premiere, all 7 eps), MacGruber (Peacock, series premiere, all 8 eps), The Real Housewives of Miami (Peacock, season 4 opener, new network), The 2021 Miss America Pageant (Peacock, competition finale, live)

(streaming weekly): Station Eleven (HMax, limited series premiere, first 3 eps), "And Just Like That..." (HMax), "gen:LOCK" (HMax), DC's Young Justice (HMax), The Not-Too-Late Show with Elmo (HMax), ----- The Pact (SundanceNow), Close To Me (SundanceNow|AMC+, thriller series stateside premiere), Firebite (AMC+, Australian vampire series premiere), Anne Boleyn (AMC+, part 2 of 3), Anna (AMC+, penultimate), Ragdoll (AMC+, season 1 finale), The Walking Dead (AMC+, "Episode Diaries"), ----- Queen of the Universe (Para+), Star Trek: Discovery (Para+), The Game (Para+), ----- The Kids Tonight Show (Peacock, 2 new eps), "Paris in Love" (Peacock), ----- Komi Can't Communicate (netflix), Partners in Rhyme (AllBlk), Ruthless (BET+)

(streaming movies & documentaries): "A Christmas Wish" (BET+), "A Naija Christmas" (netflix, rom-com), "A California Christmas: City Lights" (netflix), Days of Our Lives: "A Very Salem Christmas" (Peacock, stand-alone), "Dead Asleep" (hulu, sleepwalking murderer Randy Herman Jr.), "Puff: Wonders of the Reef" (netflix, Great Barrier Reef baby pufferfish)

(original made-for-TV movies): "Christmas By Chance" (LIFE, 2hrs++), "Do You Trust Your Boyfriend?" (LMN, 2hrs)

(specials): Miss World 2021 (Reelz, 70th annual pageant, 3hrs), "Dogs of the Year 2021" (theCW, annual), "L'oréal Paris Women of Worth" (NBC), Jersey Shore Family Vacation (MTV, "12 Days of Jerzmas"), MTV Unplugged: "Tony Bennett & Lady Gaga" (MTV), Holiday Baking Championship (FOOD, behind-the-scenes), Christmas with the Tabernacle Choir (BYUtv, 20 Years Celebration, 2hrs)

(earlier - hour 0): California Dreaming (NICK, family musical pilot, 60mins)

(hour 1): Station 19 (ABC, fall finale), Million Dollar Listing L.A. (BRAVO, 75mins), / Chrisley Knows Best (USA, "A Very Chrisley Fixmas"), Music Box: "Juice WRLD: Into the Abyss" (HBO, documentary, ~2hrs)

(hour 2): Grey's Anatomy (ABC, fall finale), Legacies (theCW, midseason finale), Christmas Cookie Challenge (FOOD), Million Dollar Listing (BRAVO, contd) / / Project Runway (BRAVO, 90mins), America's Big Deal (USA, season 1 finale), Music Box (HBO, contd)

(hour 3): Big Sky (ABC, fall finale), While the Rest of Us Die (VICE, season 2 finale), Project Runway (BRAVO, contd)

(hour 4 - latenight): Desus & Mero (SHO, season 3 finale)

#Firebite #MacGruber #SouthPark #Aggretsuko #StationEleven #DaysOfOurLives #HolidayBakingChampionship #television

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thessaliah · 4 years

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The reunion with someone you love, thanking someone who was unrewarded, saving of the pitiful who cry for help: universal themes in events and their connection to Roman and Olga

Benienma's charming New Year event ended and there were lots of good moments. Specially for Fionn fans who finally got their favorite to take the spotlight. Fionn is in Ireland, the equivalent of King Arthur, just like Cu Chulainn is the equivalent of Herakles, so the way FGO has handled him was horrible so far but he came around in this event and got impressive feats on his own. But I won't talk about Fionn, others have done before this. When this event dropped years ago, I and a lot of japanese players felt certain uncanny emotional parallel with Beni's old man and Mash's situation with Roman. A man who never knew happiness for themselves and always thought about the happiness of others, cloaking themselves in big lies, misunderstood alive but grieved in death. Who still died smiling because others were saved and happy, yet still they want to thank them and set things right, even if it's an impossible wish.

Mash is the one who speaks up, while she doesn’t overtly voice her parallel, we know it exists.

If I am to only fulfill my role between larger gears, There isn’t much to worry over, If “only” is good enough.

I’d like to try living, in the time I was granted. I don’t fight to suffer, Just like you said. Please, let the gentle rain fall upon me, upon our will. When I depart, I’d like for you to quietly see me off.

When I was done crying, I could no longer hear your voice. That’s how you urge me on, I see, telling me that there’s no road back.

I was born into this world to live. There is no other definite reason. I don’t need a mission or a meaning. I will live! I don’t want to Let my memories with you end in sorrow. Just like you said, The conclusion can be repainted, always.

Cut for length.

This is the song for her mental and emotional state after what she lost at the end of part 1 (Roman). It’s called Blank Space, it shows that, like Benienma, she’s continued her duty for the chance to see Roman again. This post isn’t about Roman, but also about Olga, since the prologue of Part 2 there are two heavy losses that weight Mash’s heart (also the player but Mash’s more vocal about it): first is her guilt of being unable to save Olgamarie (which was discussed and was the reason they went to save Goredolf) and the other is her sorrow with the separation with Roman whom she didn’t even properly thank for everything he did for her (was hinted how she is comforted by his room in Missions before being tore apart from it in the prologue where she had a breakdown and refused to leave). Events in FGO sometimes don’t exist in isolation, they connect to major plot arcs: Ooku continues CCC and is about the major plot of the Beasts, for example, Oniland and Christmas 2020 with Karna supply dragon lore which surely will be important in Britain Lostbelt or when Arthur confronts the Beast of Revelations. Plenty of events to build the Greek Pantheon and characters. As such, there are these small emotional catharses of events that are sometimes connected to the main characters (Mash and Guda) own desires and wishes. The desire of Guda meeting the one(s) he loved and lost again is ever-present, even in interludes:

(Abigail interlude)

The person singled out for this is always Roman. Aphrodite's song illusion in Guda's heart led toward Roman and is a mere possibility he was around (even without a blank without body, even without understanding what he's saying) what broke in Guda's defenses. It was always when they gave in about the doctor when the loop was allowed to continue. It was also the source of strength to break out of this. Because Guda can't face Roman unless they are proud of their answer and path, in death or life, they can't thematically meet again (exceptional events aside) until Guda is satisfied with their actions. Events sometimes feature this Roman-loss theme, or rather about being reunited with someone you separate from and lost what is the conclusion of one's journey: Sitonai reunites with that Berserker in Oniland, Beni with the old man, and there's that movie singularity that was all about a man who was misunderstood and made a villain by people who after his death realised their mistake and understood he loved his foster daughter's future and would protect it with his life. Mash was personally touched by that script (so was Roman, who was included by Nasu changing the original novel that was going to be published, to help the cast reshoot the movie for Mash's sake) and wanted to ensure to preserve it, the end of the movie is the daughter living well while the father is watching over, apparently alive, but with a different appearance who one day might meet his daughter again.

The other point of emotional struggle is to help or save those who pitifully want to be saved. While the reunion is nearly always involving a man (sometimes a father figure or someone who was a guardian), the saving part is almost always about a girl, usually, a girl who is doing evil actions and needs to be put down for the sake of others but Guda and Mash (if she’s around) refuse. Imaginary Scramble features two of them: "Gogh" (Clytie) and Yang Guifei. The Olga factor goes tacit in all but the male exception, Goredolf was a man, but the Olga connection was brought up explicitly in his case. This plot-line might have started with Ereshkigal Christmas event and Salem (on that note, Abigail's search and longing for her dead friend also connect and echos with Guda's losses). This started after part 1, because during Observer, those who were twisted or darkened or made villains were disposed of instead of saved (Ushiwakamaru in Babylonia for example, or all the Servants affected by madness in Orleans). Because it was not important during part 1, but it is for part 2.

(in a nonsubtle way).

IMO, the Greek Lostbelt was also a climax to voice what Mash’s (and Guda’s) wants. Mash finally breaks out and says she wants to meet Roman again and thank him for everything after the Person of Chaldea appears. They aren't speculating about his identity or his warnings, rather they are emotional about how he can't be the Doctor because his eyes are different and wish to meet him again in an emotional My Room scene. Olympus was for Olga, after U Olgamarie appears and they are left confused by her actions, that is Olga but she's their enemy, a Beast, but still they want to help her. Because that's always been one of their biggest regrets. Greek Lostbelt kicks the course of their personal emotional catharsis arc: Olga is there, but she's an enemy; an ally who resembles Roman appears but he's not their doctor. Man of Chaldea and U-Olga have the same function: to be different kinds of emotional hurdles Mash and Guda face, aside from their role in the plot (obviously they are more important than just angsty plot devices). So it begins their personal goal: meet Roman again, save Olga. Atlantis and Olympus also have a little of both. Olympus with that dream which had an emphasis Guda's feelings toward Roman, among all their losses, while Atlantis with the subplot of Corday and the nanomachines (which the priestess witnessed).

To wrap up, this is merely tangential, but this scene was translated at last, so I might give context to those who don't know it:

This weaver is "Miss Crane", who appears in Waltz in the Moonlight Lostroom, a special game released on anniversary with the plot by Nasu. Just to show how tied is Roman's story and Benienma's event narrative. The doctor created the Moonlight Room, that became a harmless singularity that exists linking past and future, similar to the Inn. Crane manages it by his request and one of Crane's goal is to reward him, even with the little she could do for him. Roman gets the broadcast of the Ball Crane arranged for him in the game’s ending. This foreshadowing that leads back to Roman was included in the same chapter Beni tells us her backstory and her wish to thank and meet that man again. And she did, in the very end, as a personal reward for her efforts, and his.

(Fate/Grand Order is a story of many meetings and departures, and meetings again).

Note that because I interpret that Mash’s and Guda’s emotional catharsis arc require: needing to help Olga (to exercise their regrets), and meeting Roman in the end (as reward), it doesn’t mean that Olga or Roman will be alive or playable in the end. Olga could sacrifice herself as Corday or Ophelia did after being saved (her choice is going to be important, because it seems build up for her to finally make a stand she wants), Roman can be met in a death-state or in the Lostroom/Moonlight room as connection of past and future. It’s just that those things needed to happen for the emotional closure and they have had a built up before the Greek Lostbelt.

#fate grand order #meta #olgamarie animusphere #romani archaman #lostbelt spoilers

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aion-rsa · 3 years

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Lucy Lawless On My Favorite Murder: “It’s Not Exactly Miss Marple”

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Lucy Lawless’ legion of fans have watched her search for redemption as an ancient Greek warrior princess in Xena, deceive and seduce her way to power as Lucretia in Spartacus, witch her way through Salem as Countess Marburg, and hunting down Ash in Ash vs. the Evil Dead. But while she may be best known for her roles in science fiction and fantasy, she’s also excellent at bringing murders to justice in My Life Is Murder as Alexa Crowe, a retired police officer who continues solving mysteries.

Despite Alexa’s former profession, the show shares more with Murder, She Wrote than police procedurals. Or, perhaps “Murder She Wrote crossed with something a bit sassy, because Alexa actually gets laid on occasion, so it’s not exactly Miss Marple,” Lucy Lawless says of the show. In contrast to the more historical and fantastic roles Lawless has played in the past, Alexa is “a modern urban woman who can wear elastic and use zips instead of being laced and hammered into an outfit every morning.” Her modernity and her sexuality are unapologetically part of the narrative of the story—as are her relationships, despite the character professing that she doesn’t work in teams.

In fact, relationships are core to the storytelling, which is another factor Lawless believes is a clear contrast to the police procedural format. “We’re not cleaving to the world of police or the justice system,” she says. “It’s justice in the real world, and it has different payoff. It’s more emotional.”

Discussing the series with Den of Geek, Lawless explains the feeling of having a compact with the viewer that some things will be the same every week, and viewers and depend on that. “Our show is full of color,” she describes. “The city is a beautiful character that you’re going to fall in love with. There’s people you want to hang out with. And at the end of the day, goodness and justice win. That’s our deal.” That sense of justice, and that feeling that as each episode ends all is right with the world, is something that Lawless embraces as a contrast to the the news and a world facing ongoing complications of the pandemic. “I think we’re all exhausted,” she says. The show is “a little bit of balm for a moment—a psychic holiday.”

The show itself did face some complications due to COVID, which led to the second season being moved to Auckland, New Zealand, where both Lawless and Alexa are from. Melbourne, the setting for the first season, was hit very hard by the pandemic. When Lawless initially pitched the idea of moving the series to Auckland, she worried they wouldn’t be able to tonally deliver the same show, especially with an all new crew and different producers. “But we obviously migrated some key players—the head writer, the executive producers, and Ebony Vagulans, my beloved, extraordinary co-star,” Lawless describes. “The rest just fell into place, so it very much feels like the first season, but in a new, glittering environment.” In fact, it worked so well that she says confidently, “We could film every season in a different location!” But while it might be fun to continue moving locations, Lawless also comments, “I love to be able to shoot in my city and show our fans that. It’s a bit of armchair tourism for people.”

Aside from Vagulans—a newcomer in the first season about whom Lawless says enthusiastically, “What a discovery!”—viewers of My Life Is Murder can prepare for a full slate of big names to appear in season two. William Shatner, Martin Henderson from Virgin River, Michelle Ang of Fear the Walking Dead, and others are all on the guest star roster. Lawless hopes that viewers will be excited “seeing these people pop up in unexpected places. It’s part of the DNA of the show that you have this. It’s quite a tall order if you’re in a little country at the bottom of the world–how do we find people that Americans and Brits and people in Finland will recognize? It was kind of a magical synchronicity allowed that to happen.”

One guest star is likely to have huge appeal for Xena fans, especially as hopes of a rumored reboot of the series were dashed several years ago. The season two finale of My Life Is Murder features Renée O’Connor, “my dear friend and colleague … who played Gabrielle on Xena for all those years,” Lawless reminisces. “That was so blessed, because at the end of a season, you’re really burnt out. You’ve been there every single day, from morning til night, and to have the comfort and the excitement of your beloved oldest friend in the business come on—it was good for my soul. We’ve been wanting to do this [reunion] for the longest time,” Lawless says.

One co-star who isn’t returning for season two is Captain Thunderbolt, Alexa’s cat, who—in addition to appearing on the live action series—had his own animated spinoff. Series creator Claire Tomkin “knew that cats are important,” Lawless reveals. The cartoon “was a way of making the show bigger without more stress on my schedule.” The cat who played Captain Thunderbolt also had a misadventure during the filming of season one. As Lawless recounts:

Claire rang me one day in Australia [and said], “Oh my God, Lucy, I hate to tell you this, but they’ve lost the cat.” I just cracked up laughing. It’s one of those times when the world is … in a tough situation generally, and we could never have foreseen that the cat wranglers would take the cat on holiday with them. In Australia you stop to go to the bathroom on this 400 km road from watering hole to watering hole across the desert, and the cat will jump out, and you’ve lost the cat.

With the first season still filming, it could have been a disaster, but miraculously the handlers, “these uber cat ladies” as Lawless describes them, were able to return to the same place three days later with a little dog, who located poor Captain Thuderbolt.

Lawless didn’t participate in the casting process for her feline costar—“Unlike with humans, I feel like if I’m there, the cats get way too nervous and can’t do their bit,” she says—but she is a cat person. (She’s also a dog owner; currently, she’s down from four pets to one German Shepherd. “I’ve become a dog lady,” she says. “Who knew?”) After a number of auditions, the cast welcomed a cat named Zeppelin as Alexa’s cat for season two.

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While viewers will be able to tour Auckland in the series premier of My Life Is Murder season two on August 30, Lawless won’t be able to return home from Los Angles for a bit, due to New Zealand’s recent lockdown. But she’s not worried. “I’m busy,” she professes. “If I get home before Christmas that would be a miracle. If I get home by March, that would be a win.” And if she gets homesick, she can always tune in to see Alexa Crowe’s adventures in her hometown.

The post Lucy Lawless On My Favorite Murder: “It’s Not Exactly Miss Marple” appeared first on Den of Geek.

from Den of Geek https://ift.tt/2XOY6K8

#aion-rsa #Den of Geek

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freshlyblaked · 3 years

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sonny & will in days of our lives: a very salem christmas, coming december on peacock tv

#Zach Tinker #Chandler Massey #Days #Days of our Lives: A Very Salem Christmas #Days of our Lives #Peacock #⛄#🧼#2021

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xanderandgwen · 3 years

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𝐈 𝐬𝐭𝐚𝐧 𝐁𝐞𝐥𝐢𝐧𝐝𝐚 𝐂𝐡𝐢𝐧𝐚𝐒𝐡𝐨𝐩, 𝐒𝐡𝐞 𝐢𝐬 𝐚 𝐐𝐮𝐞𝐞𝐧.

#days of our lives #drama #soap opera #days #dool #nbc #nbcdays #nbcdaysofourlives #peacock tv #a very salem christmas #Belinda chinashop #billy flynn

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jacobnobody · 3 years

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If you see any spelling mistakes in this, let me know....

I too once had my heart set on a pretty little 289c Cherry Red 67’ Convertible, with white wall tires and a matching Rag top. On those few lucky times I got to take a peek at her with her top off, she showed me a little bit of her appeal came from the luxury features of the 2+2 Fast back.

Those quiet summer afternoons I learned so many personal things about her zero balanced traction from her front and rear suspension, or about her smooth Uniform shift quadrant in her automatic transmission. She was so excited to show me her

Magic Circle Recirculating Ball and asked me to play with her steering. She was so shy about her wider wheels which were bigger than the other cars, and how she felt she had to make up for it with smoother wheel attitude, a slightly lower chassis control and much more comfortable control.

Although I was young, for me it was more than just a warm summer of exploration and education. I had an opportunity, not to just play with her Pinks, but actually purchase them. I had the ear of her owner and a handshake deal to make an honest automobile out of her, provided the deal was reasonable and fair.

She was privately owned, parked in a Driveway far from where I lived. People very rarely drove that way, and she was often covered or parked in the back. No one was knocking at the door to either buy or sell, one way or the other. The Economy was calm, and people were just not as nostalgic as they had been. My Grandfather loved her, but he always said that he’s sell her to someone, but they better come with a deal that was both reasonable and fair.

We all knew what a rarity offers like that had become in our modern day and age.

So for that summer I spent as much time with that beautiful girl as I could. I knew she required only minor restoration and repairs, in fact far less than the owner realized. I was quietly saving my money, preparing to make a reasonable offer to the owner. I’d taken the time to learn her inside and out. I wanted to be her driver so badly, and I knew I wanted her to be my car. At times she would drive through my mind during the day, and some nights she would drive through my dreams. I didn’t realize it at the time, but I had fallen deeply for my first love.

Time moved on as the heat of the summer slowly became cooler.

But the fall turned cold and harsh, quicker than I expected. It took a bit longer for me to save up what I felt a reasonable down payment looked like. It was nearly Christmas before I was able to make it back to Winston-Salem. where I knew she was waiting for me. But when I went there next, I’d saved up enough to make a down payment and I intended to add my little rice burner as a trade in. It was a deal that I felt was both reasonable and fair.

I set off down the Highway with nothing but her Cherry and white features in my mind. I made a list of things I would need to change out, some extras to purchase, a list of things that I would need to do to take proper care of her.

I stopped for lunch about halfway there, and cleaned out my car fo the third time that week. I did a walk around kicked the tires, and headed on.

The traffic was convoluted and and the air had the scent of snow in it. I reminded myself to be sure to get the cover as well. Anyone who had been up North knew snow and cars were a bad mix, and I wanted her first night with me to be delightful, or comfortable at the very least.

It was later than I had hoped when I made it to Winston-Salem. I pulled off the highway, down the side roads, past the church and then down the lonely road that was barely lit by a streetlight.

I pulled into the driveway expecting the sight of her to warm every part of my body, but... she wasn’t parked out front with the cover on. I was worried until I reminded myself it was probably in the back in the garage where the oil pit was.

I parked the car, slowly gathered my bags and throwing them

Over my shoulder I turned towards the door. My grandfather stood in the doorway looking at me, ready to help me carry in whatever I needed. I came in quietly with my bags. My grandmother slept in the back room, attached to a respirator.

My Grandfather and I sat sat at the kitchen table drinking tea. I didn’t mention the Mustang. We told stories, jokes, and talked about happy things. Eventually he went to bed. I went down to my couch in the basement. She wasn’t there either, and that was when I knew that Cherry Red 67’ Mustang had probably slipped away.

My parents arrived the next day. It was my mother who asked about the car. When my Grandmother was diagnosed with Emphysema my Grandfather had gone through every Mustang collectors catalog he could find and sold the car for the best offer he could get. He knew her medical bills were steep, and after all a car was just a car, the woman you love is a different thing entirely.

I don’t think we ever spoke about it again. I know I didn’t mention it once before he died years later. The last I remember of it was asking him if he got a good deal for it. “It was reasonable.” He said.

“That’s fair.” I said.

Then we went into the kitchen to make dinner for ourselves.

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nancypullen · 4 years

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Getting There

Checked a bunch of stuff off the ol’ holiday list today and even had time to do the laundry, cook three meals, and tidy up the finally frostbitten hydrangeas and Mexican Heather beside the porch. They were looking brown and ugly and needed to be trimmed back. It’s been a very productive day. Just don’t look at the floors that need to be cleaned or my messy bathroom. I’m overdue to do a purge of the bazillion samples that Sephora sends. I feel obligated to try them all though - right now I’m loving the Fresh soy facial cleanser. Anywho, the cookies are baked and packaged. This batch is Cranberry Noels, a yummy shortbread cookie that’s buttery, not too sweet, and filled with pecans and dried cranberries. They’re always a hit. It’s a Martha Stewart recipe so you know it’s good.

Cranberry Noels

Ingredients

1 cup (2 sticks) unsalted butter, room temperature

3/4 cup sugar

2 tablespoons milk

1 teaspoon pure vanilla extract

2 1/2 cups all-purpose flour

1/2 teaspoon salt

3/4 cup dried cranberries (I rough chop mine)

1/2 cup chopped pecans

Directions Step 1 - In the bowl of an electric mixer fitted with the paddle attachment, cream the butter and sugar on medium speed until light and fluffy, about 2 minutes. Add milk and vanilla. Beat until just combined. With mixer on low, gradually add flour, salt, cranberries, and pecans; continue beating until fully combined.

Step 2 - Turn dough out onto a clean work surface, and divide into 2 equal pieces. Shape each piece into an 8-inch log, about 2 inches in diameter. Wrap logs in plastic wrap, and refrigerate until firm, about 2 hours.

Step 3 - Preheat oven to 375 degrees. Using a sharp knife, cut logs into 1/4-inch-thick slices. Transfer to parchment-lined baking sheets, about 1 1/2 inches apart. Bake until edges are golden, 14 to 16 minutes, rotating baking sheets halfway through. Remove from oven, and transfer cookies to a wire rack to cool completely. Notes: Once formed into logs and wrapped well in plastic, the dough can be stored in the freezer for up to a month. Before slicing, leave the dough at room temperature until it just begins to soften. For a festive variation, roll the edges in colored sanding sugar before baking. The recipe says it makes about 5 dozen, but I slice mine a bit thicker so I get a few less.

While the dough was chilling I made a run to the UPS store to ship to the Maryland gang. The line was out on the sidewalk, mostly because people were giving each other space. I could see inside that there were three people being assisted at the counter, four people in line inside, and these three outside the door.

About half were wearing masks (welcome to Tennessee) so I waited in the car a bit and then lugged my box to the door. It’s on its way and the Minneapolis and Maryland crowd should have their goods in a couple of days. UPS never lets me down. Please don’t make me eat those words.

In contrast, on Monday morning I sent five little (6″ x 9″) bubble mailers from the Gladeville post office. Four of them were going across town - less than ten miles from the spot where they were mailed. I was given a tentative delivery date of Thursday, so four days to go from one end of Mt. Juliet Road to the other. They’re not even leaving the county. I could have walked them to their destinations in one day and I have a limp. Today I checked tracking and...surprise!...they are all running late. One of the mailers was going to Auburn, Alabama and it says it will arrive Friday. I’ll believe it when I see it. I’m going to address and seal all of the Christmas cards tomorrow, if I mail them Saturday I hope they reach their destinations by 2021. No guarantee. But honestly, it’s 2020, why should anything make sense?

I’m going to put my feet up and spend the evening looking at real estate. I spend way too much time on Zillow and Realtor.com. I’m constantly checking the estimate for our house should we put it on the market , finding homes in our price range in towns and states we’d love to live in, and I also keep a list of saved properties should we suddenly come into a billion dollars. No surprise that my dream home is in Salem, Mass. Right now we’re looking hard at Owatonna, Minnesota. It’s a lovely town of about 30,000 that sits about an hour south of Minneapolis, has everything we need and most of what we want, and it’s in a blue state. Sure checks a lot of boxes. I have it on good authority (the husband of a dear friend who traveled to Owatonna often for business) that it’s a great spot. I’m willing to give it a looky-loo. Alright, I’m calling it a day and plan to lose myself perusing houses. I hope that wherever you are, you’re taking a moment to relax too. These crazy times will pass, we need to make sure we’re not all crazy when they do. It’s okay to hit pause now and then.

Stay safe, stay well, and treat yourself. XOXO, Nancy

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carewyncromwell · 4 years

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Next Cinderella AU part ahoy!

Conical hats were actually considered very fashionable during the Middle Ages and the early Renaissance. What’s fascinating, however, is how they evolved into two very distinct and oddly opposing styles of hat: the stereotypical “Pilgrim” hat and the pointed hat that witches are generally depicted wearing! Around the turn of the 17th century, the most stylish variation of black conical hat was called the capotain, which is a cone, but with a rounded top -- the hat McGonagall wears in that top sketch is one of these types of hats (her dress is based on this design, which also features a shorter version of the capotain). The hats were originally fashionable among both men and women, but over time, one group of women that was most associated with wearing them were Quakers, a branch of Christianity that broke away from the Church of England and advocated quite liberated views for the era, such as the abolition of slavery, women’s rights, and a refusal to involve themselves in war. They also passionately believed that one didn’t have to attend church in order to be close to God and that one could practice one’s faith out in the world by living and dressing modestly and being active in charity work. (To learn more about the history of how the conical hat evolved into our modern image of “the witch hat,” check out this awesome fashion history video on the subject.) As one can expect, Quakers and Quaker women in particular were not well-taken-to by a lot of European society, especially by the religious movement on the opposite site of the political scale in Britain, the uber-conservative, Bible-purist Puritans. Many of these same Puritan-types got very involved in hunting witches both in Europe and in the Americas (the Salem Witch Trials are a perfect example). But yes...if one looks up pictures of historical clothing for Puritan men and/or “the Pilgrims” (A.K.A. the group of Americans that colonized Plymouth, who were Puritans), they very often wore a variation of the capotain! Although it’s been theorized by historians that the capotains worn by Quaker women ended up being associated with sin and therefore witchcraft, similar hats were also worn by the men who persecuted them. The hats were worn by both sides -- victim and accuser -- and yet most of us today look at the capotain and immediately think “witch” exclusively. Talk about irony.

Greensleeves is often ascribed as being commissioned by King Henry VIII for his second wife, Anne Boleyn (even Six the Musical references this)...but it actually was written in the later half of the 16th century, when Anne’s daughter Elizabeth I was Queen. So yeah, that’s sadly just an old wives tale. But it is a lovely song! The melody for Greensleeves has been remarkably long-lasting, even being rewritten as multiple Christmas songs over the centuries, including the still popular What Child is This?, which was written in 1865.

Previous part is here -- whole tag is here -- Katriona “KC” Cassiopeia belongs to @kc-needs-coffee -- and I hope you all enjoy!

x~x~x~x

Carewyn very quickly threw on her mother’s green-sleeved yellow dress and as many warm wool petticoats as she could before fetching her white horse from the palace stable. She rode up through the gate in exactly twenty-five minutes, to find Orion on his black mare waiting for her. Carewyn was ready to ask Orion if everything was all right, but almost as soon as they’d left the perimeter of the gate, Orion urged his horse into a fast gallop.

“Come, my lady,” he cried over his shoulder, “let us chase that horizon!”

Carewyn had to send her horse charging forward in its own gallop to catch up with him. They rode right through the market and then out of the capitol altogether -- they avoided the road that led toward the Cromwell estate, dashing eastward. They weaved in and out of the rolling snow-capped hills, riding beside and around each other. The freedom of riding alone was enough to bring some life back into Orion’s cheeks, and Carewyn despite herself soon found herself smiling.

When they came to a stop at the top of a hill close to the northern border, Orion looked out over the edge with a handsome, endless gleam in his eye, like that of a sailor looking out to sea. Carewyn once again prepared to ask Orion if he was all right...but once again, Orion dodged the question.

“Do you see that eagle, overhead?” asked Orion.

Carewyn looked up. She did -- it was a truly handsome golden eagle, gliding in a circle through the air over their heads.

“I’ve seen eagles just like that nearly every day, up and down the border,” said Orion. “Shall we see if we can ride fast enough to overtake it in flight? Could we take flight as birds do, without ever spreading wings?”

“Orion...”

Carewyn brought a hand gently down on his arm.

“I know there’s something wrong,” she whispered.

Orion looked at her, his expression losing most of its levity and becoming much blanker and more inscrutable again.

“I understand if you can’t tell me,” she insisted softly. Her blue eyes rested on her own hand on his arm rather than his face -- with the intense concern she felt, she didn’t dare expose them further by looking straight into his eyes. “And I truly don’t want you to feel like you have to tell me anything you don’t want to. Your secrets are your own, and I know you have a reason for them.”

Just as I have mine.

“I only...I can tell you’re running from something...maybe even the thing you’ve being running from, every time you’ve come to see me, all these weeks...and I don’t know what to do, to protect you from what you’re so afraid of. Please...tell me what I can do.”

Orion’s black eyes trailed over Carewyn’s face, rippling with many tiny flickers of emotion that were hard to properly identify -- pain? Affection? Anxiety? Evasiveness? Shame? Longing? Who knew?

At last the Prince of Florence brought a hand out to gingerly rest on top of Carewyn’s on his arm.

“Chase that eagle with me,” he said softly.

Carewyn looked up at Orion and then at the eagle overhead as it soared off toward the nearby woods. Then she gave him a small, sad smile and nodded.

“...All right.”

Dislodging herself from Orion, Carewyn steadied her grip on her horse’s reins and flicked them to make it gallop toward the woods.

“Well, come on, then!” she called over her shoulder with the strongest smile she could. “T’would be a shame if I out-rode you in a challenge you set yourself!”

Orion’s face broke out into a brighter, fond smile and he pursued her.

The two rode their horses down the hill and into the trees. Racing side by side, overtaking each other in their strides and then catching up again -- all while Orion smiled so fully and handsomely, and looked at her with such blazing midnight-black eyes -- was a joy that Carewyn had trouble putting into proper words. His expression was full of such silent, and yet unbridled joy -- free, in every sense of the word.

“You should be allowed to feel like that more often,” Orion’s words returned to her. “Free.”

You should be allowed to feel like that too, Orion, thought Carewyn. You deserve to feel this free all the time.

The two rode with speed until they’d finally lost sight of the beautiful golden eagle. Slowing their horses into a calmer trot, they then journeyed through the trees, enjoying the peaceful serenity of the chirping birds and the pools of sunlight scattered across the muddy, snow-dusted ground.

“I’ve never been out this far before,” Carewyn confessed, her almond-shaped blue eyes trailing over the interlaced branches overhead.

Orion looked at her out the side of his eye. “...This close to the border, you mean?”

“Yes.”

Carewyn caught a strange scent in the distance -- something vaguely like the fires she’d tend to back at the castle and the Cromwell estate.

“...Something’s burning...”

Orion nodded solemnly. “Bonfires. The Royaumanian and Florentine camps aren’t far from here.”

Carewyn looked at Orion, slightly startled. His gaze had wandered northward, but it was clear his mind was far from the trees his eyes were idly resting on.

“We’re near the war front?” asked Carewyn softly.

“Yes...” Orion glanced her out the side of his eye. “...Are you frightened?”

“No,” said Carewyn.

She looked through the trees in the direction Orion had been facing.

Jacob could be over there right now, she thought to herself. The idea of seeing her brother for the first time in nine years -- of hugging him again and seeing his relieved smile -- it made her feel like her heart was being squeezed.

Orion’s black eyes scanned her longing, but fearless face, before shifting back in the direction of the trees that obscured the path toward the war front.

“The scales are going to shift again, soon,” he whispered. He could feel Carewyn’s eyes on him again. “The two sides have constantly fought for dominance...lashing out ruthlessly and then retaliating, back and forth, until they’re forced to come to a stalemate, just to catch their breath. Then one lashes out again, and the precarious balance is thrown to the winds once more...”

Carewyn’s blue eyes rippled with concern. “Orion...is something bad about to happen, out there?”

Orion closed his eyes. His father claimed he needed him, in order to lead the Florentine army in the two-pronged attack on Royaume...but it wasn’t unlikely that the King might make do and find someone else to fill that role...

“Hopefully not,” he said softly.

Carewyn reached out a hand and took hold of Orion’s wrist. Orion looked down at her hand and then up at her face -- she had trouble looking at him, but he could tell her eyes were rippling with concern. His heart felt like it was suddenly being harshly compressed, just to fit inside of his chest.

You wish to protect me from what I fear...but what I fear, I should wish to protect you from.

The King’s words returned to his mind.

“When you make mistakes, the people you cherish, that you want most desperately to protect, pay the price!”

But how could he hope to protect Carewyn from the War and the cost it would demand? How could he hope to stop it, when his own father unknowingly would be sabotaging his efforts for peace? How could he live with himself, if he had to chain himself to the War the way the King had -- to fight against the Royaumanians he’d met and broken bread with as equals?

Orion took several deep breaths before speaking again.

“...My father wishes me to join him, at the front,” he admitted lowly.

Carewyn looked up, startled. “...Your father’s in the army?”

“Yes,” said Orion. “He’s...a high-ranking officer. He expects that I will follow his example and lead our ranks into battle.”

Carewyn considered Orion for a moment. “...You don’t want to.”

Orion’s eyes darkened significantly. “...I don’t want to.”

When Carewyn didn’t respond, he pressed on.

“My father believes that the War can only be ended through force -- that justice can be only brought about by utterly destroying our enemy. But...I cannot believe that. I grew up on the border between Florence and Royaume. The town I’m from is so close that one could hop easily from one to the other. It caused some tensions, yes...but it also made it so that at first meeting, or even third or fourth, you never knew what side of the divide a person was on. And so I found myself constantly thinking...what is it that truly separates us? Is it morality? Is it values? Humanity? And yet I don’t think either side can boast having any of those things exclusively. It instead all comes back to a mistake made fifty years ago -- a land dispute that ended more violently than it should have. So many people have died, all because of that...and because neither King has decided to be the better man and choose forgiveness over vengeance.”

Orion bowed his head, his eyes closing solemnly.

“...My father asked me to help him lead the army, in an upcoming attack on the enemy forces -- one that he believes could end the War once and for all. But...”

He exhaled quietly through his nose.

“...I couldn’t accept that burden...so I left.”

Carewyn didn’t respond. Orion scanned her face, trying to read her reaction, but it was proving difficult when she wouldn’t look at him.

Does she...disapprove? he couldn’t help but think. She did think he was Royaumanian -- she didn’t understand that he wanted to protect her brother, not prevent him from returning home...but how could he explain that to her, without...?

“I know that the War could end, if my father’s strategy succeeds,” Orion explained, trying to keep his voice level despite the anxiety he felt, “but this is only one strategy of hundreds, all of which have failed. And even if our side was victorious...however many lives I could potentially save by fighting, I would be snuffing out far more. I realize that this is my responsibility alone, and sometimes one must be willing to do what others will not, to reach their goal...but flowers bloom under sunlight and water, not blood. If we could avoid burning a forest to the ground, wouldn’t it then be easier to bring it back to life?”

“Yes...but if someone wants to set a forest ablaze, you have to act if you want to stop them.”

Carewyn’s response was very soft and solemn, but there was no anger or disapproval -- instead, to Orion’s immense relief, it sounded almost encouraging.

“If you believe that Royaume could make peace with Florence, then you need to speak out for it,” she said firmly. “If you see it and believe in it, that’s great...but you need to make others see and believe in it too, if it’s going to really come about. Talk to your father, make him see things as you do -- and if he isn’t able to, then...well, I’ll talk to Andre, and you and he can discuss it together.”

Her lips spread into a gentle smile and she gave his wrist a light squeeze.

“My own family may have profited because of the War, but the people of Royaume, the common man, would celebrate, if peace could come about without further loss. If Florence would also, then that’s a step in the right direction. There’s more than one way to fight for something...all it requires is enough courage to place one’s goal over whatever risks stand in their way.”

Orion stared at Carewyn for a long moment. As he did, the black of his eyes seemed to melt, gaining a warmer, softer light that resembled candlelight rippling in endless, dark water.

“...Carewyn...”

Before he could say anything more, however, there was a loud explosion in the distance. Carewyn’s horse reared back in terror, which in turn spooked Orion’s, and both Carewyn and Orion had to quickly calm their steeds.

“Whoa, whoa,” Carewyn whispered in her horse’s ear, “easy, boy...it’s all right...”

Orion stroked his horse’s mane with a slightly trembling hand, breathing in and out as he tried to steady his heart rate. He then looked at Carewyn with a more serious eye.

“...Perhaps we should make our way back to the valley. It’s not safe here.”

Carewyn looked northward through the trees again. “Do you think your father’s started the attack?”

“No. Coordinated attacks require both strategy and assignments, as well as the element of surprise. I’d say this is a skirmish between younger, less experienced soldiers -- and if so, it’s likely to run farther afield and cause damage outside the designated battlefield.”

Orion could see Carewyn still hesitating. Although there was no fear in her face, she seemed reluctant to leave -- likely thinking of her brother, more than the risk to her own safety...

After a brief flicker of uncertainty, Orion reached out a hand and took hold of Carewyn’s arm not unlike how she’d taken his earlier.

“From everything I’ve heard from you about your brother, I truly cannot see him not doing everything he possibly can, to look out for your well-being...including looking after himself.”

A second smaller explosion in the distance made Orion stiffen slightly, his fingers tightening that bit around Carewyn’s arm.

“...We should move out of harm’s way,” he said as levelly as he could.

Seeing the paleness of Orion’s face, Carewyn relented at once.

“Yes.”

Bringing a hand up onto Orion’s horse’s reins, she directed both of them around so they could start riding back out the way they came.

As they came around a cluster of trees, however, their attention was caught by the sound of the cry of an eagle and many snapping branches. Carewyn’s horse reared back again, just barely dodging a large clump of golden-brown feathers that collided sharply with the ground.

Carewyn once again rushed to soothe her horse. Orion quickly climbed off his horse and bent down to get a better look at what had fallen.

It was a golden eagle, just as brilliant as the one they’d chased into the wood -- perhaps even the same one. It was conscious, but clearly in pain when it tried to return to the air -- its left wing crumpled up against its side and covered in blood and what looked like grayish ash.

Orion’s black eyes narrowed.

“Gunpowder,” he said. “The poor creature’s wing must have been struck by a stray bullet.”

Once she’d successfully soothed her white horse, Carewyn likewise jumped off its back. She dashed over to Orion, hitching up the skirt of her mother’s gown as she went.

“Can you hold him?” she asked.

The eagle gave an angry-sounding cry, baring its sharp talons at both of them, and it tried to hobble away back into the air with its one good wing.

“I don’t think he wants our help,” said Orion.

Undaunted, Carewyn ripped off some fabric from her outer-most petticoat. “Well, he needs it, whether he wants it or not. Can you hold him, please?”

Orion looked at the eagle. Rather than try to grab it, he met the eagle’s eyes and tried not to blink. The eagle looked back at him with a piercing gaze. When Orion extended a hand, the eagle lashed out its talons again -- Orion withdrew, but didn’t flinch.

“Steady,” he said gently.

He waited a moment, keeping eye contact with the bird, and then tried again. This time he was able to move close enough to touch before the eagle lashed out with its claws again.

“Peace,” said Orion patiently. “We mean you no harm, feathered friend.”

Another loud explosion in the distance made both the eagle and Orion flinch.

“That one sounded closer,” said Carewyn, her voice faintly tense but as gentle as she could. “We need to be quick.”

The flames of his childhood home were returning to Orion’s mind despite his best efforts, and he shut them out as best he could, closing his eyes and breathing in and out several times. Once he’d reestablished his focus, Orion opened his eyes again.

The eagle looked from Orion to Carewyn almost critically. Finally, after Orion reached in for a third time, it let the Prince run a gentle hand over its back. Once the bird was calm, Orion then carefully extended its wing so that Carewyn could reach it.

“This will likely hurt him a little,” Carewyn told Orion. “Please hold him still, so he won’t fly away.”

Orion brought a hand around the eagle, which fidgeted and cried out indignantly, but did not claw or snap at them. With Orion holding out its wing, Carewyn was able to reach into its blood-soaked feathers and dislodge the bullet. The eagle gave an angry, pained cry, and Carewyn very quickly set about wrapping up the wound with the white fabric she’d ripped out of her petticoat.

“There,” breathed Carewyn, her red lips spreading into a smile. “That should help...”

The bird looked down at its wing, gingerly folding up against its side as it surveyed her with a very beady eye. With a soft click of her tongue against her teeth, she slowly extended an arm out, holding it very still like a branch.

“Climb on,” she cooed. “That’s it...”

The eagle peered Carewyn over, but after a long moment, it gradually scooted over and leapt up onto her arm. Its talons dug into the sleeve of her dress with strength, and it was heavier than Carewyn expected, but she with some difficulty just barely managed to hoist it up.

“Your talent with animals shines through again,” said Orion with a wry smile, clasping his hands lightly in front of him.

“You weren’t half bad yourself,” Carewyn said amusedly. She brought a hand gently along the eagle’s comb. “You’re a very handsome bird, aren’t you? You poor thing...”

“You there!”

Both Orion and Carewyn looked up in great surprise.

Striding through the woods toward them was a very tall middle-aged woman. She wore a black capotain hat and an old-fashioned black dress with a white ruff around the collar, and her graying brown hair was tied up in an austere looking bun under her hat. Despite her apparent age, her step was strong and her posture as straight as a general’s.

“What are you doing here?” said the woman very sternly.

Carewyn stood a bit uneasily, thanks to the weight of the eagle on her arm, but she nonetheless straightened up, resting a hand on the eagle’s back almost protectively.

“We’re merely out riding, madam,” she said, not impolitely, but still confidently.

The woman peered down at both Orion and Carewyn with an eye almost as critical as the eagle’s had been as she crossed her arms. Her height made it so she towered over both of them with relative ease.

“Well, through your riding, you have trespassed on my land,” she said stiffly. “And it seems you’ve claimed something of mine.”

Her eyes flickered over to the eagle on Carewyn’s arm, taking in the makeshift bandage on its wing. The golden eagle gave a loud shriek -- the woman extended her arm, and it leapt the distance, landing on her arm instead. The older woman did not struggle to hold it up the way Carewyn had.

Carewyn blinked in surprise. “Then...he’s yours?”

“Do you have others, like him?” Orion asked curiously.

The woman peered down at the bird on her arm with a look that was rather like a scolding, but still affectionate mother’s. “No -- he’s one of a kind. All the more reason why I’m pleased to see him safe, after coming so close to the enemy camp.”

The eagle bowed its head, its gaze flickering back over toward Carewyn and Orion. When another cluster of explosions rang out through the air, however, both the bird and Orion straightened up abruptly.

The woman looked northward, and then beckoned Carewyn and Orion after her with her hand.

“Come with me -- with the armies positioned just north of us and a band of Florentine bandits just south, the safest place at present to wait out this skirmish is my home.”

The woman introduced herself as the Baroness Minerva McGonagall. Carewyn felt like the surname was familiar somehow, but she couldn’t quite place it in her memory. Regardless, McGonagall led Carewyn and Orion out through the trees. Only once they crossed the perimeter of the trees and McGonagall gestured toward the valley below did Carewyn and Orion see her country estate. It was odd that they didn’t spot it sooner, for although the valley seemed to cradle the small chateau, it was a rather beautiful and open estate framed by a wrought iron gate. The property itself was made of aged brick and stone with stained glass windows and overgrown with ice-trimmed ivy.

After holding out her arm so that the eagle perched there could jump down on the railing beside the stone stairs that led up to the front door, the Baroness invited Orion and Carewyn inside. As stern as she’d first appeared, she actually was a very kind host -- after Orion and Carewyn’s horses were settled in her stable, she escorted the two into the dining hall, where she served them some rose water and ginger biscuits. Once inside the house, none of them could hear the explosions from the battlefield -- it was as though the walls cancelled out all sounds from outside even though they must’ve been so close.

Seeing that the Baroness had no servants to help her, Carewyn insisted on taking the dishes to the kitchen and washing them, so as to thank the older woman for her hospitality. Despite being reluctant to accept the help at first, McGonagall eventually accepted it, her lips upturned in a rather dewy smile as Carewyn left the dining hall.

“Your riding companion has a very kind heart, Your Highness,” she said, once Carewyn was out of earshot.

Orion’s black eyes narrowed ever-so-slightly.

“...You know me.”

"Naturally,” said McGonagall. “You do very much resemble your grandfather -- and your father as well, I expect.”

“You knew my grandfather?”

“We met once, a very long time ago,” said McGonagall rather curtly. “Your name would also be Cosimo, correct?”

“I am called Orion,” said the Prince, his level voice dusted with the slightest edge. “By both my lady, and otherwise.”

McGonagall’s eyes grew a little smaller. “She comes from the Cromwell family, doesn’t she?”

Orion’s eyes narrowed that little bit more, but he did not reply.

“I suspected it due to her eyes,” said McGonagall, “but with how gentle they were, I wasn’t sure.”

Her eyebrows rose over her narrowed eyes as she leaned forward slightly and rested her elbows on the table.

“You have quite a predicament before you, Orion,” she said dryly, interlacing her fingers beside her chin.

Orion clasped his hands on the table in front of him, considering the Baroness carefully.

“Yet you decided not to approach me about it until Carewyn left the room,” he said levelly. “Is it because you suspected I knew your true identity, and why your house has been so miraculously shielded from the War raging on your doorstep?”

McGonagall peered at Orion over her hands with something like wry amusement. “Florentines are generally more favorable toward magic than Royaumanians. And considering your grandfather shielded my family after my mother accidentally killed the King and we fled across the border...well, it would be in-character for you, especially.”

“And yet you returned to the land that the King of Royaume had died trying to claim?” asked Orion. “Why?”

McGonagall gave a dismissive shrug. “It was our home. Even if we had to cast and recast illusions every day to prevent anyone else from finding it again, that was a cost we were willing to pay. And one I’m still willing to pay today, to protect those who live here.”

McGonagall’s eyes were drawn to the hallway -- a young man with tanned skin and a sharp nose had just paused in the door frame of the dining hall. His arm was in a makeshift sling and wrapped with what looked like bandages made out of petticoat fabric. When Orion turned around, the young man stared him down with just as beady of a look as the golden eagle from before had.

“The skirmish has ended, Baroness,” the man said brusquely.

“I hope you haven’t determined that by casting any more transfiguration spells, my young apprentice,” said McGonagall with a slightly reproachful look.

The apprentice’s nose wrinkled sourly. “No. The explosions have just stopped -- they probably decided it wasn’t worth trying to fire their cannons blindly in the dark.”

“Very well,” said McGonagall. “Orion, you and Carewyn may leave when you wish. Though I would recommend you steer clear of the border. The bandits in these woods are Florentines, so I doubt they will harm you...but I cannot be sure how they would respond to a Royaumanian, especially one related to one of their wealthiest noblemen.”

Orion nodded. “I understand.”

“Make sure you bring her back to the palace safely,” said the apprentice, his eagle-like eyes still rather critical upon Orion. “It’s the least you can do, considering she doesn’t know the extent of the risk she’s taking, interacting with you.”

He swept down the hallway and out of sight, still holding his arm. Orion was a bit surprised that the Baroness’s apprentice knew where Carewyn worked -- but then, he recalled, he’d seen an eagle flying over his and Carewyn’s heads once, while they were walking through the market together, hadn’t he? Might it have been this man then, as well -- as it likely had, every time he’d seen an eagle while crossing the border?

McGonagall looked back at Orion, her expression a bit more solemn. “I understand your rationale behind not telling her of your identity, Orion...but remember -- deception is just like any magical spell. Even the most powerful ones in the world don’t last long.”

Orion bowed his head. “...I know.”

He knew none of this could last. He knew that once Carewyn knew who he was, everything between them would change, whether he wanted it to or not. He did think that Carewyn would understand -- he desperately hoped so -- but even so, it was sad to him, knowing that his happy times with Carewyn were doomed to be so fleeting...

“I just...want to enjoy my time with her as long as I can,” said Orion softly. “However fleeting it might be...even when it is over...at least then I can cherish the memory of those moments forever.”

McGonagall’s face grew a bit gentler, almost sympathetic. "I see...”

Carewyn returned at that moment, wiping her bangs out of her eyes with her arm.

“Orion,” she said, “it looks like the stars have come out.”

Orion looked out the window. The sky was dark with night and shining with stars.

“So they have,” he said with a soft smile. He turned to McGonagall. “Forgive me, Baroness...but might we sit in the valley outside your home for a short while, before we leave?”

McGonagall smiled. “Of course.”

Orion and Carewyn found a grassy spot in the crest of the valley where they could sit and look up at the stars. Upon learning that Carewyn hadn’t ever gone stargazing before, Orion lay back against the grass and pointed out each constellation above them to Carewyn in turn -- the hero Perseus, his enemy the Cetus, and his future wife Andromeda -- -- the divine twins, Castor and Pollux, otherwise known as a pair as Gemini -- and the queen Cassiopeia, which made Carewyn laugh, thinking of her friend, KC. Carewyn loved listening to Orion’s stories: the way he would vividly embellish every detail and go off on philosophical tangents in the middle was oddly endearing. After he told his first tale about Perseus, Carewyn was reminded of the Song of Roland, an epic about a similarly grand hero, and soon Orion would ask her to sing something in response to every story he told, however weak the connection was. When they reached Cassiopeia’s tale, Carewyn sang one of her favorite songs, Greensleeves.

“I have been ready at your hand To grant whatever thou would’st crave; I have waged both life and land, Your love and goodwill for to have.

Greensleeves was all my joy; Greensleeves was my delight; Greensleeves was my heart of gold, And who but my lady Greensleeves...”

As before, Orion found himself closing his eyes and relishing the feeling of Carewyn’s voice washing over him. At the end of this song in particular, however, when he opened his eyes, he found himself chuckling softly.

Carewyn raised an eyebrow. “What?”

Orion’s black eyes were sparkling like two miniature night skies as they ran over Carewyn sitting just below him. “It’s a lovely song, as always...but I have not ever seen my ‘star twin,’ so to speak, wearing green -- only ever black and blue. You, however...”

He took her hand so that he could extend her arm out like they were dancing, showing off the olive green sleeves of her dress.

“So it seems you are ‘my lady Greensleeves,’” said Orion with a wry smile.

“Oh, stop it,” Carewyn huffed, her cheeks burning as she withdrew her hand.

Orion laughed fully. It was the first time Carewyn had ever heard him laugh so openly before -- it was a soft sound in the back of his throat, like a chuckle, and yet so much brighter and warmer. Despite herself, Carewyn couldn’t fight back a full smile of her own. Her shoulder brushed up against Orion’s as she reclined back onto the grass, her body tilting slightly toward him as she looked up at the sky.

“...There’s a constellation called Orion, isn’t there?”

Orion smiled and traced the stars of the constellation with his finger. “Just there. Do you see his chest? And there’s his bow.”

“I see it!” said Carewyn excitedly. “His arm is arched back, right?”

“Yes -- he’s holding a club in his other hand. He was a great hunter, you see -- the greatest hunter, they say, aside from Artemis, Goddess of the Moon and the Hunt. Some say that he hunted alongside her. Others say she was his one and only love...and that she, likewise, never loved any other man, in all her days.”

When Carewyn didn’t respond, Orion looked down at her. She was considering the constellation very carefully, looking oddly deep in thought.

Orion tilted his head to look better at her face. “Your eyes resemble a dark pool.”

Carewyn looked up, startled.

“They’re so deep and mysterious, I hardly know what is within them,” said Orion. “Yet I would dearly like to know, if you were willing to share their contents.”

Carewyn’s eyes drifted back up to the sky uncomfortably.

“It’s just...I’m realizing that I don’t even know if Orion is your real name,” she murmured. “You said I could call you it...you did not say it was your name.”

Orion’s face became grimmer. His hands clasped over his chest and he too looked back up at the sky.

“...It’s not the name I was born with,” he admitted. “I chose the name myself, when I was young.”

The memory of the older boys at the workhouse shoving him, piling extra work on him, and mockingly bowing whenever he walked by rippled over his mind.

“Clear the floor for the Prince!”

“Why thank you, Prince Cosimo -- you’re too kind!”

“Does the mud add flavor, your Royal Highness?”

“When I was at the workhouse, my name...antagonized the other boys. So, to try to preempt the reactions, I started avoiding telling anyone my name. I would dread anyone ever asking.”

“Like when I asked you?” whispered Carewyn. Even though her eyes were averted, she was clearly very ashamed and upset.

Orion leaned against her slightly, offering her a gentle, reassuring expression. “No, Carewyn. I dreaded it when I had no answer I could give at all. It made me anxious...made me feel like I didn’t know who I was supposed to be...made it difficult for me to interact with much of anyone at all.”

He closed his eyes.

“But...after hearing the tale of the great hunter whose skill put him on the same level as a goddess...I decided that was who I’d be. I’d chase my dreams with just as much single-minded focus -- be just as free and strong of a man, by fighting the monster inside of myself.”

Carewyn looked up at Orion, her eyes rippling with sadness. “The monster inside of yourself?”

“Mm,” said Orion. “Mine is a frenetic beast. It makes it hard for me to think, act, or even breathe, when it’s particularly intense. It makes me question absolutely everything, including myself. It shouts so many things in my ears so loudly that I can’t move or react properly, and I have to break away from everything and everyone, just to silence it. Sometimes it even brings back bad memories that make the experience even worse.”

Carewyn was once again avoiding his eye, but it was largely because she was having trouble keeping her face stoic.

“...It’s terrible, when you feel like you can’t do anything,” she said lowly.

Orion didn’t speak. He wanted her to feel comfortable enough to continue -- after a silence, she finally pressed on.

“When Jacob first went off to War...I felt so helpless. So...alone. And worse...I felt like that’s how I should be. Like I should be alone, and empty, and cold, and in pain, when Jacob was off at War suffering, while I’m stuck here.”

Her eyes darkened.

“There are times when...I think I still should be. Sometimes...well, it’s all the time.”

She closed her eyes, exhaled heavily through her nose, and then looked up at Orion with a firmer expression.

“...But I know I can’t afford to sit around and feel sorry for myself -- not when I need to be strong, for Jacob’s sake. So I don’t.”

Orion’s black eyes softened visibly, rippling with empathy. “No...you certainly don’t.”

He paused. His eyes ran over Carewyn’s face, trailing through her hair hesitantly.

“Carewyn...” he said at last, very softly, “may I...?”

He swallowed.

“...May I rest my head, on top of yours?”

Carewyn’s face broke into a very sweet, tender smile.

“Of course,” she murmured.

Orion shifted over and, very tentatively, leaned back against the grass so that Carewyn’s head rested in the crook of his neck and his cheek rested against the top of her head. He closed his eyes -- she felt so warm...

“I...realize that the beasts inside of us are ours alone to face,” said Orion softly, “but...should you need a hunter to help you beat yours back...I will be here.”

Carewyn’s blue eyes rippled with emotion as she stared up at Orion’s face. Her red lips slowly turned up in a smile that was full of pain, and yet also fuller still of love.

“And I will always help you fight yours,” she whispered. “If you need me...I will fight for you.”

Orion’s expression cleared, losing all tension as a smile pricked at the corners of his lips. He breathed deeply, his heart slowing to a wonderful peaceful beat as he took in the smell of her hair. Carewyn watched his serene, handsome face, and she found herself moving into him that bit more, just to get a better view. For that moment, it felt like the whole world outside wasn’t there -- that the War and the palace and the Cromwell clan and everything she was and wasn’t didn’t even exist...and in that moment, Carewyn realized...

If she was ever truly free, she would want to love the man called Orion with all of her heart.

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