#for those who don’t know white horses are often symbols of death

[nataliabdraws]

Pale White Horse

[tipsycad147]

How Do I Know If Hades Is Reaching Out To Me?

In ancient times, the Greeks felt inhibited and terrified to pronounce the name of the Lord of the Dead, as they believed it was a bad omen. Along those lines, they referred to this god by the name of his kingdom, the Hades, because nobody knew (or dared to evoke) his real name. For centuries, Hades has been marginalized, demonized, and only summoned when desperate measures had to be taken. People would invoke the King of the Underworld to claim justice for a crime against their deceased loved ones, especially regarding defamation, homicide, and kidnapping; or to ask for someone’s smooth transition into his kingdom. Modern witches, however, understand that death is also part of life, the end of a cycle, and as such, it should also be respected. We also understand how misunderstood he’s been over the centuries. That’s why we want to remove the stigma around his figure, tell you more about him and show how you can benefit from working with Hades. 

If you’re starting deity work or want to learn about it before getting into it, don’t miss out on our How To Work With Deities and Ancestors and  How Do I Know If A Deity Is Calling Me? posts. As you do your research, you may find you want to work with Hades, but also, that there are other spirits, such as Hekate, Thanatos, or Anubis, that share similarities with him. So, how are you to confirm that it’s him? Keep reading to find out!  

As with other deities, the primary sign that this deity is reaching out to you is that you feel drawn to them, their mythology and their essence. For instance, with Hades, it could start with an interest in necromancy or the Afterlife, or even feeling the need to do shadow work. Moreover, he could show up in dreams or in the astral plane as a large man with a black beard —according to popular opinion.

Associations with Hades

Associations with the Lord of the Dead include skulls, bones, the helmet of invisibility, the bident (a two-pointed spear), Cerberus or dogs in general, snakes, sheep, black wolves and horses, chariots, narcissus, mint, cypress tree, white poplar, iron, the color black, keys, pomegranates, and the planet Pluto. 

Most of his signs are correspondences of either his figure, his mythology, or his domain. And some of them are related to other spirits’ myths that are somehow associated with him. For example,  pomegranates correspond to his wife, Persephone, and her time as a victim of Hades’ abduction; and the keys open the doors to the Underworld.

Alternatively, coins or money in general, cinnamon, and the cornucopia, as all are associated with the symbolism of wealth, which is Hades’ second domain. You can also experience a sudden increase in your salary or amazing discounts on things you’ve had on your wishlist for so long.

How do I confirm it’s Hades?

Being aware of his mythology and what his job entails will help. As I mentioned, some of his signs are related to other spirits he’s been involved with —Persephone, Sysiphus, Heracles, Hermes, Zeus, et cetera— which is useful to validate his presence and not confuse him with other deities ruling over their respective Underworld.

Doing deity confirmation Tarot readings is one of the most basic ways. The cards that represent Hades are Death, in connection with Pluto —the planet of changes, renewal, and transformation— and The Judgement, in relation to his role in the Underworld. Contrary to popular belief, Hades isn’t the God of Death, but the Dead, as he takes a role in judging the souls that come to his kingdom, assigning them a place in the Elysian Fields, the Asphodel Fields, or the Tartarus pit; and imparting a fair punishment on those who caused damage when they were alive. Because of the latter, Hades is often invoked to ask for justice for innocent victims who have passed in the hands of criminals, murderers, and rapists. Remember to ask further questions related to his story. For instance, the six of swords (Rider Waite-Smith deck) can represent his ferryman, Charon, and the nine of swords, his association with wealth.

How are signs from deities received?

Signs can appear in many different ways. But you’ll know in your heart that what you’re perceiving is a sign because of the frequency and the vehemence in which you receive them. You can notice these signs through your clair senses (clairvoyance, clairaudience, clairalience) or dreams; or you can see his imagery, symbols, and correspondences in social media, in nature, in your house, or even another person can reach out to you on his behalf.

How to start working with Hades?

Even though the Lord of the Underworld usually reaches out or favors people with depression, necromancers, or Scorpio Sun witches, you can also choose to have him as your spiritual mentor.

If you decide to answer his call, you can expect him to be gentle, patient, and respectful of your boundaries. Hades will never see you as broken or damaged, for he understands what it feels like to be lonely and cast as the villain. You can certainly expect him to help you get through shadow work, especially if you want to work through trauma and abandonment. What’s more, in association with necromancy, he can help you communicate with the deceased. It is said that you can ask him to have a loved one who has passed show up in your dreams or get rid of nightmares. In regards to money, as the ruler of wealth, he can assist you in managing your funds and expenses.

In case you're working with Persephone, don’t be surprised if Hades reaches out to you as well, as you cannot have one without the other. If you’re not working with her yet or wonder if she’s trying to contact you, don’t miss our blog post on Signs Persephone Is Calling you. 

What offerings are suitable for Hades?

As the God of Wealth, it is safe to assume that Hades has it all and that material expensive offerings aren’t that appealing to him. He appreciates dedication, care, and devotion. Anything worthy of his approval is a good offering. You can give him imagery or elements he’s attributed with, you can do good deeds, such as helping the poor, donating to charity, volunteering in animal rescue shelters, cleaning tombstones, honoring the dead, leaving coins at the entrance of a cemetery for the lost souls, visiting and decluttering rivers, and many more. At the end of the day, it's your relationship with him. You can ask him what he would like as payment in return for the favor granted to you. 

What should I be careful about working with Hades?

As with any other spirit, remember they come from the Higher power, he’s superior to humans. So, treating him as your friend or an equal would be disrespectful. Moreover, ever since modern witches started to work with Hades and educate others about his true nature, people began to refer to him in childish ways, which lead to disregarding his authority as king and his power as a god. Furthermore, making foul comments toward his spirit allies, especially Persephone, can cause his wrath.

If you work with multiple deities, try setting up his altar or placing his offerings near spirits’ he gets along with, like Thanatos, Hekate, Hermes, and obviously, Persephone; and away from those he’s not very fond of, such as Lucifer, who he’s believed to have had feuds with.

As always, working with spirits shouldn’t be taken lightly, as they’re ancient beings who, like people, have their limits and moods. Remember to be respectful of these boundaries, no matter the gender or title of the entity, and to take your time before agreeing to bond with them. Do your research, check your protections and think hard about what working with this entity would mean to you and how it can help you align yourself with the Universe.

[twdmusicboxmystery]

TWD 11x05: Out of the Ashes - Details

Okay, let's talk details of 11x05.

 ***As always, spoilers abound below for 11x05. Don’t read until you’ve watched!***

We start with Aaron's dream. First of all, there's the full moon. Remember that Still had a full moon at the beginning, and every time we saw Beta on the outside, such as singing or walking with walkers, it often showed a full moon. In Beta's case, it's probably because his nickname as a singer was Half Moon, but he also had a lot of Beth symbolism around him. I think it’s likely that the reason they gave the name Half Moon was to indicate Beth symbolism.

 Then, Aaron says to Gracie, "we’re almost home." Part of the home theme, and also kind of showed me that this was a dream. There's absolutely no reason why Aaron would randomly be outside the walls with Gracie at night. I don't have a whole lot more to add to the scene than what I said yesterday. I do believe it's a foreshadow of something happening with Gracie, but it also may be a foreshadow of other things that are coming, including stuff with Beth.

This is kind of a funny detail, but I have to say that I love the Jerry bit at the beginning. We see him tiptoeing over people, trying not to wake them on his way to the bathroom. So, we have an entire sequence that can be summed up as, "Jerry pees.” ;D

The next thing we saw was the Commonwealth video. The really cheesy one with Lance Hornsby that we saw in the trailer. Some of the symbols we saw in that video were interesting. Such as a bunny cake (rabbit theme), someone playing a guitar (Beth played a guitar in 5x09), 

ice cream (both Eugene and Stephanie talked about ice cream and it became sort of a Bethyl theme, especially because there were so much Bethyl symbolism around them during those conversations; also, Daryl had his “I never” about frozen yogurt in Still). We see a plaque that says, "The Great War,” (probably a reference to World War I, but also part of the Revolution/War theme).

There was also a blond, Beth-lookalike nurse in blue scrubs.  👀

I also noticed that the Commonwealth badge looks a lot like the UK flag. Not so much in its shape or design, but rather the colors. It's got the same red and blue shades as the United Kingdom flag. Remember that we saw the UK flag around Juliet Ormonde's character in the world beyond. So, we think it's a symbol of the war to come with the CRM.

When Yumiko goes into the bakery looking for her brother, there's a song playing called “Three Speed Girl.” It was just the three that caught my attention. (Look up lyrics). They all a lot of apples in the bakery. Not real apples but glass, decorative ones. Not only Apple theory, but specifically what apples represent.

I've theorized before that the apples could represent separation between loved ones. For example, in 6x14, we see Michonne and Rick wake up together in the room and they both eat an apple. I came to believe that was a foreshadow of Rick leaving in S9 and two of them being separated. @frangipanilove, however, explained it differently. She says that rather than them being separated, she thinks apples represent them coming back together. As then, a reunion after the separation.

I know that sounds like the opposite of what I explained, but really all amounts to the same thing. The kind of separation that I mentioned is what we see with Rick and Michonne being separated, Beth and Daryl being separated, perhaps even Carol and Zeke being separated (if he does, in fact, get a death fake out). And that's always going to result in a reunion down the road. So if we explain as a separation, it will always lead to a reunion. And if we explain as a reunion, it in order for reunion to take place, there must've been a separation first. See what I mean? You can explain it either way.

So, the apples make total sense in the scene. Yumiko has been separated from her brother for a long time. She said it's been years because the two of them were somewhat estranged, even before the apocalypse happened. And now, in this episode, we see a reunion. So, I think were spot on about the Apple symbolism.

As for Beth, we didn't actually see her eat an apple. I think that would've been too on-the-nose. But, given the Snow White symbolism, or template of her arm falling, remember that Snow White ate an apple, which was poisonous, just before we fell she fell and we saw her arm. So, if TWD is using the apple to represent separation, we didn't actually see Beth eat one, but her arm falling like that represents the Snow White template, and right after that, we see her separation from Daryl and the rest of TF. I think it lines up rather well.

When Eugene and Stephonie are walking around, we see a white horse drawing a mail truck. It's a combination of several very potent symbols. We talked about white horses before and how they represent Beth, and life. Then there's the mail or Communication theme. We've seen so many mailboxes on the show, and this was a horse drawing a mail truck. I’ll talk more about the mailbox theme in a few days. Just keep this in mind for now. They're very purposeful symbols and they do represent specific things in the show.

I also noticed that Stephonie is wearing red rimmed glasses. Remember how last week I talked about how Norman was wearing some funky glasses on TTD? Sorry to keep teasing but this is another thing I’ll post about later in the week. I was going to anyway, so seeing the glasses here jumped out at me. For now, just notice that Stephonie is wearing these and they’re red.

When Stephonie decides to help them talk on the radio, they go into the train station. Of course, there are no actual trains running, but the train is a very potent symbol. It's actually being used more as a civic building, and the group tries to be innocuous, though it's obvious they're up to something. Stephonie and Eugene walked calmly through the building while Princess and Zeke take up positions down in the common lobby area. Meanwhile, Mercer is watching them.

Princess tries to head him off and we have a humorous moment where she tries to flirt with him, and tells him he has beautiful eyelashes. It is not exactly the same thing as the eye theme, but I could almost see them going for the eye theme, but twisting it for the sake of humor, because, well, it's Princess. So, she goes with beautiful eyelashes.

 Eugene does manage to get on the radio with Rosita, who tells him the Whisper War is over. They only talk for a moment or two before they lose the feed. Once again, I think that was very purposeful on Commonwealth's part. I think they allowed him to connect with Rosita, but only for a short time before interrupting the feed and bursting into arrest him.

Meanwhile, back in Alexandria, I noticed that Judith asks, "Is he gone?" I sat and thought about this line for a little bit. Obviously, it's the “gone” theme. Usually, the way TWD always uses someone being "gone" to mean that they have disappeared for short time but will return. Very often they are presumed dead. That's why Daryl's, "she's just gone" about Beth is so important. Also, her line to him, "you're going to miss me so bad when I'm gone."

 In this case, I don't think either Judith or Rosita suspect that Eugene is actually dead. She just means did they lose him on the radio feed. And here's something that occurred to me what was thinking about this. It's actually very common when someone loses communication with someone else via radio or walkie-talkie to use the phrase, "get them back." So, something like, "see if you can get them back," or, "I'll get them back." In that context, it just means to raise them on the radio again and reestablish a connection so they can communicate.

The reason this is interesting is that Daryl has said this more than once about Beth or people who were kidnapped. In 5x06 when he was with Carol, he was talking about Beth and said they would observe Grady and then do whatever they needed to do to get her back. I know they also said something similar about Sasha when she was taken by the saviors, and Sasha had massive parallels to Beth during her death arc. So, that had never occurred to me before, but it's almost like they specifically took that line about “getting them back” from radio lingo and are applying it to Beth.

When talking about whether to go to Hilltop, Aaron mentioned that he didn't want to abandon ship. So, a water/ship reference, but it's also close to something Abraham said in 5x05 about going down with the ship.

When they get out Hilltop, I noticed that we have a shot of the water tower, which is now burnt. When they start questioning Keith, he says that Alpha is dead, and someone says that all that does is prove that “he has eyes.” Earlier in Alexandria, Aaron said, “Eyes open.” I know these are really small potatoes references, but there were a LOT of eye mentions in this episode.

A couple of things where Negan and Maggie are concerned. When they get to this house, the cars out front are really interesting. There's a red car out front, which reminded me a lot of the red car that was seen during the filming of the missing 17 days in season five. There are also just a lot of cars with doors or hatchbacks open, which represent the door being opened in 5x09, when Beth disappeared. The hatchback being open can represent the trunk being open. So, just kind of some interesting symbols.

I also thought it was cool that Judith is teaching other kids how to fight.

I think that’s it for Details. Anything I missed?

[um-cadin-of-brazil]

Brazilian History: Ordem e Progresso, Verde e Amarelo, and the Grito da Independência

Not many flags around the world display more than three colors, and even a small number has words in them. Vexillology, the study of flags, has many guidelines and trends that explain what makes a flag or sign meaningful. Avoiding inscriptions is one of the first rules you’ll learn in a vexillology class, but the Brazilian flag is often noted as an exception for having it’s inscription — a small white line with the words “Ordem e Progresso”, meaning Order and Progress, written in — be effective and pleasing to behold. Those words, along with the four colors of the Brazilian flag, have a long history.

Brazil was subservient to Portugal until 7 of September of 1822, when Prince Dom Pedro I (1798-1834) declared the nation’s independence despite the wishes of his family. The story tells of him declaring independence near the Ipiranga river after being confronted by his father’s men on his way to São Paulo, raising his sword and shouting “Independência ou Morte!” (meaning “Independence or Death!”). This moment is captured in this painting by Pedro Américo from 1888, named “Grito da Independência” (meaning “Shout of Independence”). [1]

As you may suspect, there is no historical proof of such shout, so it reasonable to assume the prince said something more or less like that. This painting even has been picked apart by every Brazilian history teacher: D. Pedro’s entourage was certainly not as large; their clothes are too formal for such a long journey; the little house to the right of the frame is the Casa da Independência (meaning “house of independence”) and didn’t exist until 1884; they were riding mules, which are more resistant to the journey and climate, not horses; the Ipiranga river is just in the wrong place; the guy at the left, the lone guy in a horse, that’s José Américo, the painter, who was born 21 years AFTER the event depicted (talk about a self insert); and the randos watching it in the left were probably not there since the region was not as populated. [2]

You see those white-armor soldiers there? They are the Dragões da Independência (meaning “Independence Dragons”, which s just... So metal). They were not there, they just look cool. Which, fair. Every country does not teach their history to the full extent, often using inaccurate symbols of glory. I guess Dom Pedro I wouldn’t like you knowing that he was having stomach aches and had to make many stops to shit “help himself” to the high grass.

Dom Pedro I (1798-1834). Check that high collar! What a nerd.

According to Laurentino Gomes, author of the book 1822, the monarch was experiencing strong stomach aches a while before the declaration of independence. [3] He says:

Witness of the event, Colonel Manuel Marconde de Oliveira Melo, sub comander of the honor guard and future baron of Pindamonhangaba, used in his memoirs an euphemism to describe the prince’s situation. He says that, in regular intervals, D. Pedro saw himself obligated to dismount and “help himself” in the dense thicket that covered the roadside. 

The move (The shout of independence, not the stomach ache) was further telegraphed by Dom Pedro’s speech in the 9 of January of that same year, now known as Dia do Fico, of which words were immortalized to history and in the Brazilian lexicon. During the royal family’s stay in Brazil, the country had been raised from a colony to an united kingdom, and later Dom Pedro I was appointed regent prince. He and the other nobles of Brazil were afraid that if the prince returned to Europe, the Portuguese court would demand Brazil be turned back into a colony, which would hinder their rights to trade with other nations. [4] That assumption was correct and D. Pedro I, at that January day, said:

“If it’s for the good of all and general happiness of the nation, I’m ready. Tell the people I stay.” - D. Pedro I

The first one

D. Pedro I was crowned Emperor in the First of December and, after some conflicts between the Imperial army and loyalist forces, Brazil had become a nation. The flag born after that was similar, but quite different to the current Brazilian flag. [5]

The green is the color of the House Bragança, D. Pedro’s family, and the yellow is the color of House Habsburg-Lorraine, of Archduchess Maria Leopoldina of Austria, his first wife. In the middle, Brazil’s coat of arms. Unfortunately, this flag is still used by Brazilian monarchists, who are understandably disillusioned by Brazil’s democracy and (less understandably advocate for a restoration of Brazil’s Monarchy. We at Um Cadín of Brazil recommend you give those clowns no time of your day — it’s no coincidence they are so often aligned with the countless dictatorships that happened in Brazil.

Green and yellow (and the other ones, I guess)

After Brazil outlawed slavery completely in 1888, the monarchy became much disliked by Brazil’s elites and a coup easily overthrew Emperor Dom Pedro II in 1889. What followed was Brazil’s first republic, now known as the oligarchic era. As way to keep national identity and unity, the flag was remade by Décio Vilares to what we known today, kept similar in style and color. The meaning of each color also changed.

White symbolizes the aim for peace, blue represents Brazilian skies and rivers, yellow symbolizes the nation’s gold and riches, and the green represents our nature and forests. Also unfortunately, Brazil’s flag has been used as a symbol os strong nationalism by several groups since its creation, from the fascism of Vargas and the Estado Novo, to the Military Dictatorship's violent nationalist sentiment, and even current Christian conservative wave headed by Bolsonaro and his supporters. If you wondered why we don’t have the Brazilian flag on our blog, now you know. We don’t wanna pass the wrong impression.

Now finally, Ordem e Progresso is a reference to a phrase by French philosopher Auguste Comte. Considered the founder of Positivism, Comte famously said “L'amour pour principe et l'ordre pour base; le progrès pour but“ (meaning “Love as a principle and order as a basis; progress for a goal”). [6]

Sources: [1] [2] [3] [4] [5] [6]

[goldenchocobo]

Dark Road Character’s Daemons

While these characters are still very new, and most don’t get their own scene or dialogue, I’ve tried my best to give them Daemons on the interpretation of their names and references to their ancient Nordic connections. However, due to their newness and having very little time to develop, I don’t think I’ll be including the ‘personality’ portion of the analysis. Most of these daemons are simply based on their name alone and what connections I could gather from other ancient Nordic references I could find, with the exception of Vor, who’s Daemon I based on the fan-interpretation instead. I’ve also included Master Odin- because well, his animal connections are strong, considering the real-life equivalent had two ravens, and turned himself into various birds.

I added Xehanort and Eraqus into the mix here, their analysis can be read HERE. I did change up their Daemon designs a bit from my other piece with their younger versions; making their Daemons look much younger and more ‘innocent’ than before. 

All analysis are under the Keep Read along with a short theory about Dark Road’s story.

Master Odin

Settled: Raven Daemon Name: Hugin Looks: A dark grey bird that has one blind eye. Symbolism:Ravens are the Norse God, Odin’s patron animal, and represent his all seeing, all knowing eyes. He is also sometimes called the ‘Raven god’ due to his associations with the birds. Hugin is the name of one of Odin’s personal ‘spirit’ ravens, who flies around the entire world in the morning and relays what they've seen to Odin by midday. Hugin’s name is often associated with just the word ‘raven’ but the name Hugin also comes from Hugr, meaning ‘thought’.

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Vör

Settled: Grasshopper Mouse Daemon Name: Viska Looks: A small mouse with dirty-blonde fur and white unders. His eyes are large and his teeth sharp. Symbolism: I chose a Grasshopper mouse for Vör for simple meme sake. In the community, Vör has the reputation for having an ‘innocent look but will actually kill you’ kind of image. Grasshopper mice look small and unassuming, but they actually eat scorpions and ‘howl’ like a wolf. Viska is Icelandic for Wisdom, as Vör is a Norse goddess of wisdom (possibly wisdom of or for women).

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Hermod

Settled: European Squirrel Daemon Name: Rata Looks: A grey-toned squirrel with an almost blue sheen to her. Symbology: Hermod was the one to ride Odin’s horse, Sleipnir into the underworld to ask for Baldr back from Hel. And as such was a minor messenger for the Aesir gods. The squirrel Ratatoskr delivers messages and insults between the eagle that roosts atop Yggdrasil, the world tree- and Nidhogg, the Serpent that gnaws the roots of Yggdrasil. Rata is the first half of the name of the squirrel that can be interpreted as ‘Traveler’.

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Bragi

Settled: Red Kite Daemon Name: Vedrfolnir Looks: A ruddy-orange hawkish bird with a silver head. Symbology: There isn’t honestly much I can link between Bragi and his Daemon. He’s one I struggled with the most if I’m honest. But Bragi is the word for a type poet or name of a poet, and Vedrfolnir is a hawk that is perched between the eyes of the Eagle that rests atop Yggdrasil described in the Prose Edda and Poetic Edda.

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Urd

Settled: European Garden Spider Daemon Name: Könguló Looks: Orange with silver markings Symbology: Urd is the fate of the future, and one of three fates that stand beside the well at the base of Yggdrasil. They are all known to spin thread to determine the lifespan of Mortals. Spiders are known for spinning exceptionally durable thread and weaving it into elaborate webs, symbolising the connection we have to one another. Könguló is Icelandic for ‘spider’.

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Baldr

Settled: Swedish Flower Hen Daemon Name: Hel Looks: A mostly white hen with a silvery cape, a muted red comb and wattle and a white tail. Symbology: Chickens are often said to be cowardly, fearful creatures- but those who say that have never met a broody hen protecting her young- who will fight to the death, screaming bloody murder all the way.

Badlr is a beloved god said to give off radiant light- Roosters are often symbols of the sun and fire due to their penchant to calling as the sun rises. However, Balr is also a minor war god, often associated with the willingness to fight. Fighting roosters are still unfortunately a thing, and as said above, hens can also be vicious. Hel is the goddess of the underworld, and the name of it too. When Baldr was killed by Loki, Hermod Traveled to Hel and asked her to give him back to the world of the living, but she only would do so if all things wept for Baldr. They all did- apart from Loki, so Hel kept Baldr.

--

Notes:

These analyses were pretty hard for me, but I enjoy reading and learning about Norse mythology. I used Icelandic words for names instead of current Norwegian or Swedish words because Icelandic is the closest we have in modern times to Ancient Norse.

Learning that there was a character called Baldr- I think I know where this story is going. Baldr is going to be killed/struck down- and I suspect it’s going to be Xehanort doing it. As it’s Baldr- A Norse god so beloved he’s said to give off radiant light, killed by Loki that brought upon the beginnings of Ragnarok. How Xehanort will do it, willingly or not, I don’t know, but the story of Dark Road is still new, and there’s lots of possibilities.

[chnqin]

My Epic MDZS/The Untamed Daemon AU

I’m sure other people have already done Daemon AUs, but this idea wouldn’t leave me alone. I have been working on this for like three weeks now.

I just wrote down my first instinctive thought for most characters, and then researched* further into subspecies etc. What I found for a lot of the animals made me agree with my first opinion even more, although all of these are obviously just my own opinions. I also decided to stick to non-mythological animals. (some characters have been given a lot more consideration than others, I’m sorry)

Wei Wuxian: beech marten Beech martens are quick and clever. The are nocturnal, omnivores, and skilled swimmers. They move through paths made by larger animals such as hares in the snow. {further notes under read more}

Lan Wangji: white hare More solitary animals. They have an association with the moon, which I tend to associate LWJ with. {f/n}

Jiang Cheng: osprey Aquatic birds; good hunters. {f/n}

Lan Xichen: white stag {f/n}

Jiang Yanli: asian black bear {explained in detail under the read more}

Jin Zixuan: lion Ngl it’s probably because the Persian pokemon reminds me of him

Jin Guangyao: domestic cat {f/n}

Nie Huiasang: pangolin {f/n}

Nie Mingju: wolf {f/n}

Wen Qing: Chinese sparrowhawk {f/n}

Wen Ning: black Formosan mountain dog (tuguo) {f/n}

Lan Sizhui: Xiasi Quan dog or red panda or badger {f/n}

Jin Ling: lion {f/n}

Lan Jingi: monkey They’re respected animals but also have a mischievous side

Ouyen Zihzen: capybara No, they’re not native to China, but this is what I imagined him as and I couldn’t get it out of my head or find a perfect substitute

Xiao Xinchen: swan He just gives me major swan vibes, possibly something to do with Swan Lake (as do some Lans but they’re not graceful in the same way or tragic in the same way)

Song Lan: oriental hobby falcon or black horse He struck me as some sort of raptor, but I also liked a horse for him 

Luo Qingyang/Mianmian: lynx

Lan Qiren: sheep Symbolise filial piety. Also follow other people without question (*cough* the Lan Sect elders)

Jiang Fengiman: otter Spends a lot of time around the water, just what popped into my head

Yu Ziyuan: snake Because Zidian

The Jiang Sect favour animals who live near or on the water, some even possessing daemons which are fully aquatic, and thus are unable to leave Lotus Pier

The Lan Sect usually have herbivore animals for daemons and favour swift, elegant animals.

The Jins tend towards lions and panthers, but also flashy, rich birds like pheasants and peacocks (which makes WWX’s nickname for JZX even more funny).

The Nies often have pack or herd animals. Wolves and mountain lions are very common, but also a lot of horned animals like oxen, mountain goats and sheep (bighorn sheep and ibex are common), and also wild boar.

The Wens were typically birds of prey (the Dire Owl becomes Wen Chao’s daemon) or mountain cats.

The Yus often have daemons which take reptile form. Wildcats also common.  I quite like the idea that the Yus are a sect which has cultivated the ability to separate themselves from their daemons.

~Further notes on why I picked these animals, Daemon settling, angsty AUs of my AU, and research disclaimer under the cut~

Story & Research Notes:

(I’m going with the idea that trauma can make a daemon settle into a particular form)

WWX A marten was the first thing to come to mind for WWX, I have no idea why, but the more I thought about it the more I liked it. They’re really inquisitive, playful, and cute, but are also predators and will fuck you up if necessary.  A crow was another obvious choice because they’re curious and inventive, but with a bit of a dark connotation. However, in my version at least (I’m not great on His Dark Materials canon), Daemons usually settle in the early teens, and at that point WWX really didn’t have as much darkness in him as he develops later. 

I think WWX was one of those people whose daemon changed with every thought and feeling of his, whose daemon changed so rapidly and so repeatedly that people would complain of motion sickness watching it. His daemon’s most common forms were a martin, a magpie, an otter (which drove Madam Yu nuts), and (after JYL’s settled) very occasionally a bear.

When WWX comes back most people don’t realise anything is wrong because Mo Xuanyu always hid his daemon (I think it was probably something like a field mouse although how funny would it be if Little Apple was actually his daemon and WWX unknowingly inherited her along with the body), so they just think his has settled into something too big to hide now. However, his beech martin is the other reason Lan Wangji knows who Wei Wuxian is (WWX’s daemon hides from Jiang Cheng at Dafan Mountain, so JC only suspects it’s WWX). (Angsty AU further down)

LWJ I know that arctic hares aren’t native to China, but I want you to pretend that something like that does exist because I need lwj to have a white hare daemon. They are also bigger than other hares and cuter (they look slightly less cursed than some hares do). I’m imagining a lot of the daemons being slightly bigger than their real-life animal counterparts would be, so imagine the ears coming up to a normal person’s hip-height when the daemon is sitting. Rabbits can also apparently symbolise hope, and that suits someone who is known to go where the chaos is, bringing hope and light in the darkness. 

As a child, LWJ’s daemon was expressive in a way he never could be. It liked to take snow leopard form a lot, which was seen as excessively violent to the Lan sect, who preferred non-carnivorous animals, and often snarled at people. His daemon always took snow leopard form when visiting his mother so it could curl up with her tiger daemon. 

LWJ’s daemon settled exceptionally early, shortly after his mother’s death, into an acceptable hare form. Lan Xichen always wondered if LWJ himself made his daemon settle, if she was not supposed to have been a snow leopard all along, and so always looks upon LWJ’s daemon with a bit of sadness because he feels like it was LWJ stifling - almost killing off - a part of his personality (spoiler: it was) in order to fit into the Lan sect.

(More on that in an angsty AU below)

JC Ngl, I wanted to make Jiang Cheng a goose because they’re always angry but I didn’t. Jiang Cheng shifted mostly between a hunting dog and a mouse as a child, both of which infuriated Yu Ziyuan (honestly what she wanted her children’s daemons to be even I don’t know). Jiang Cheng’s daemon settled very late (another thing his mother wasn’t happy with). In fact, it didn’t settle till the attack on Lotus Pier and the death of his parents, when it took the shape of an osprey (because he wanted to be able to fly away and pretend none of it ever happened). 

Even more angsty: One Chinese poem has the Osprey as a symbol of marital harmony and fidelity. Upon seeing his parents death, finally united in a way they hadn’t been in life, JC’s constant wish for his parents to love each other (and, by extension, him) physically manifests itself in his daemon.

JYL I know what you’re thinking. Why the hell did you give Jiang Yanli a bear of all people. Well I’ll tell you. For two reasons: one, because I can do what I want, and two, because I would say one of JYL’s most central characteristics is her wish to look after people. She’s not physically strong in the way most other cultivators are, however, and she’s always having to keep the peace at home - and so I can see her daemon becoming a physical manifestation of that need to protect (bears are known to be protective, particularly mothers), and a physical example of her inner strength which is so often overlooked.

Yanli shifted between a dove, a crane, and a maritime striped squirrel for most of her childhood. She favoured the squirrel and dove (incredibly mild animals) over the crane, which disappointed Madam Yu.  It’s one of the reasons Jin Zixuan never saw her as a potential match, her daemon too small and docile to match his almost constant lion daemon.

When Jiang Yanli was around fourteen Madam Yu took things with Wei Wuxian and Jiang Cheng too far one day, and Yanli saw it. Her daemon suddenly shifted into a bear, a form it had never taken up to that point, and jumped on Yu Ziyuan’s snake daemon. WWX and JC always remembered Yanli standing in the doorway, her expression placid while her huge bear daemon growled with absolute fury and menace. Everyone expected Yanli’s daemon to go back to its usual squirrel or dove form, but it never did. It remained a bear, and remained the biggest daemon of pretty much anyone in any of the sects.

I had already picked a crane as one of JYL’s potential daemons because of its connection to water and positive symbolism in China. Upon further (hopefully accurate) research, I saw that cranes depicted with lotuses in Chinese art symbolise purity and longevity, and I liked making her daemon a bear even more, because her daemon took that form to protect WWX and JC - years after her death, they both wondered if, had her daemon had taken crane form, maybe she wouldn’t have died. From what I found, “crane” is also a homophone for 合 hé “peace, harmony”, which is a quality Jiang Yanli had much of, and tried to inspire in others.

LXC I think its LXC’s hairpiece which always makes me think of deer antlers (even though it’s a dragon?), so that’s probably why I immediately thought of a stag for him. But stags are also very noble and refined looking animals which don’t tend towards violence, but also have horns for a reason. Obviously, like with LWJ, it’s a white stag because aesthetique. Upon further research, I discovered a (hopefully correct) source which says 鹿 lù (deer) is a homonym with 璐 lù (precious jade), and the character for deer is used within the character 丽 lì ‘beautiful; elegant’ - both fit LXC very well.

JGY Cats are sneaky little fuckers (I say this with love). The ultimate predator in small unassuming form. Many of the main Jin family have big cat daemons so this is kind of another smack in the face for JGY - so close to being a real part of the Jin family, but still kept apart from them - and something people like to bring up along with his mother. However, many Jins are also birds (including JGS), and cats prey on birds.

NHS I thought a fox was a bit on the nose. Also I like the way pangolin’s just drop and curl up in defence - it’s a viable form of protection, but to the outside appears cowardly. However, their scales are sharp and can cut predators who come after them. Also I didn’t want him to fit into any of his sect’s typical animals. Also also imagine how cute it would look being carried around everywhere by NHS because it’s too lazy to walk, absolutely adorable.

NMJ A wolf was what immediately came to mind for Nie Mingjue. Wolves are apparently sometimes associated with greed, self-interest, and lechery, but I think the pack elements and the carnivore/hunting nature of the wolf really suits NMJ and the Nie clan in general, so I decided to overlook that aspect (although I did briefly consider making JGS a wolf, but I like them as animals too much in real life to do that to them and also he doesn’t have a soul, so he doesn’t get a daemon).

WQ I always saw Wen Qing as some sort of hawk, I just think it suits her very well. The Chinese sparrowhawk is quite small and very beautiful. It has white, red and grey colours. They are good hunters and swift flyers. 

WN I knew I wanted Wen Ning to be some sort of dog because he’s very loyal, and also (angsty) when the Jins call the Wens dogs I wanted that to hurt even more. He’s very unusual for a Wen, none of the main sect have dog daemons - it is very much a thing that is specific to their branch of the Wen family. The mountain dog I picked for him is an endangered breed, which I also felt fitted WN well. From what I found, dogs symbolise watchful wisdom, honesty, and loyalty, which all fit Wen Ning. 

This was all perfect till I remembered WWX’s all-consuming fear of dogs. I decided to get round this by cheating and saying that for some reason daemons are different and he’s not scared of them (because they represent a part of someone’s soul, rather than being a real animal? I guess?? Please do not look too hard at this delicately constructed card tower) 

Angsty version: when Wen Ning becomes a fierce corpse he loses his daemon, another reason people are unsettled by him and another thing WWX feels guilty about.

LSZ I think Lan Sizhui was the hardest to pick. I couldn’t decide which way to go: should he follow a “Lan approved” daemon pattern; should he have a bird like Wen Qing and a lot of other Wens? Then I saw the Xiasi Quan and it’s white and fluffy and cute but it was also a hunting and a guard dog, which seemed right for him. And I liked that it gave LSZ and WN this one very tangible connection. It is also endangered.  However, I also liked a red panda and a badger for Lan Sizhui too. I really couldn’t decide between the three. I like them all, why is he the hardest to choose for? (I’m still not 100% happy with this, let me know if you have any alternative suggestions)

Again, please suspend your disbelief at the fact that WWX’s child has a dog daemon and he’s fine with this (it would have looked so cute as a little puppy running around the Burial Mounds though).

When he was younger his daemon liked to take on the forms of those closest to him. So you’d often see a bby marten running after WWX’s daemon, a tiny bird perched with Wen Qing’s sparrow-hawk, a puppy following Wen Ning’s dog around, and a tiny bby rabbit in Cloud Recesses. As he got older it shifted between the dog, a red panda, and a badger. (maybe I’ll just say his hasn’t settled yet and that’s why I can’t decide)

JL Jin Ling definitely also had a daemon which shifted because of a) his loved ones and b) his mood, and he hated it. As if his own explosive temper didn’t give him away enough, his daemon always showed his exact feelings. When he wanted nothing more than his mother to be there it would be a bear. When he was feeling defensive about his parents it would turn into a lion (this happens when he and WWX first meet and any time people talk about his parents’ deaths). When he was younger his daemon spent a lot of time as a cat and a bird, although different types to what his uncles had. 

Jin Ling’s daemon still hasn’t settled when WWX is resurrected, and he is absolutely mortified the one time it decides to turn into a beech marten like WWX’s. Eventually it will settle into a lion, and WWX will pretend to be grumpy that it didn’t choose a bear instead.

Angsty AUs:

Daemons are linked to golden cores Jiang Cheng loses his daemon along with his core. When Wei Wuxian’s core is removed it’s more like when daemons and humans are separated in the books. His daemon stays with him, but can move about freely - this is part of what causes WWX to rapidly destabilise, not just resentful energy. Jiang Cheng always feels weirdly aware of WWX’s daemon after that but doesn’t know why. WWX’s daemon is technically connected to JC too, and also finds this weird. JC also can’t work out why his daemon never came back with his golden core, and that loss is part of why he’s so angry and isolated.

The effect of trauma on Daemons Another angsty au is based on the idea that, if trauma can make your daemon settle early, then trauma can also make it change.

When Wei Wuxian is thrown into the Burial Mounds, he wishes so hard to be able to fly that his beech marten turns into a crow (because I do love a crow for him too). I kind of like the idea that after the Burial Mounds WWX’s daemon almost un-settles itself, and can change between a marten and a crow. This really freaks people out and is another reason people say he’s dangerous.

Similarly, after Wei Ying’s death and the Lan sect’s punishment, Lan Wangji wakes up to find his daemon has shifted from its hare to snow leopard form. In his soul, LWJ feels like if he had been less passive and actually stood with WWX then his soulmate would still be alive. His daemon changes from a more passive hare to the more aggressive snow leopard.

He’s criticised by the elders for it, but they shut up when his daemon flattens theirs, while LWJ’s face remains an impassive mask but his eyes promise murder. WWX is really sad when he comes back to see LWJ’s hare gone and blames himself for causing LWJ so much trauma his daemon changed. (personally if I were writing a Daemon AU this is what I would have happen, because I love LWJ with a snow leopard daemon - they symbolise bravery and martial ferocity, while rabbits are virtue and gentleness, and I feel like these two both accurately represent the two sides of LWJ. I really feel like LWJ has a huge shift in himself after WWX’s death which would be represented in his daemon. It also is, in a way, a return of a core part of himself which was lost after his mother’s death)

Sword/Instrument substitute Mixing Daemons with sword sprits - the animal becomes a physical representation of the spiritual tool. Some people could therefore have more than one daemon (for example, LWJ could have Bichen - his rabbit sword daemon - and Wangji - his snow leopard guqin daemon)

Angsty version: WWX actually does die in the burial mounds and Suibian, his beech martin, dies/changes into Chenqing, a raven/crow.

.・。.・゜✭・.・✫・゜・。.  .·。.·゜✭·.·✫·゜·。..・。.・゜✭・.・✫・゜・。. 

If you are reading this you have made it to the end of this post, well done.

 I wanted to make it shorter but I had too many ideas and wanted to explain my reasoning for my choices and decided just to put it all in one post rather than lots of little ones.

*Disclaimer: I know only the smallest amount of Chinese, and have taken all my information about imagery, word meanings, and homophones etc from web-sources, and so it is very possible I have made mistakes. Though I have, to the best of my abilities, attempted to check on the cultural/artistic meaning, if any, that certain animals have in Chinese culture, the internet lies and I can’t get any decent books on it atm as the libraries are closed, so I’m really sorry if there are errors and I hope people will forgive any mistakes or blunders I might have made. 

[ferallymine]

Twilight Princess: In Her Place

A/N: I forgot how much i love TP and I decided Iris deserved past incarnations. Here’s a thing I wrote and it’s 2:32am so goodnight.

--------------------------------------------------------------

The hidden village above Kakariko was finally accessible, thanks greatly in part to the Gorons’ efforts. Link and Iris had ventured up, but the day was almost over, and they hadn’t come back down yet. The sun was setting, giving a crimson hue to bounce off the rocks in the gorge. Dust rose with the gentle wind, creating small whirlwinds around the town.

Talo began to get fidgety, “They’ll be back soon, right?”

Luda gave a small nod, “They’re strong. Should be back any minute.”

“That Iris girl seems awfully close to Link, doesn’t she?” Beth leaned against the railing on the roof, trying to get a better look of the path leading up the mountain, “What’s Ilia gonna think when she remembers him?”

“Who knows,” Malo shrugged and hopped off the wooden crate he’d been using to see over the railing, “But maybe the real question to ask is- are we too biased in our favor to Ilia to see if Iris is actually a good match for him or not?”

Beth stomped her foot, “She’s clearly not! She’s a witch! She makes monster plants and stuff! She’s a bad influence and doesn’t deserve our hero.”

Luda put a finger to her chin, “Father used to be close to botany witches in his younger years when there were more of them. I remember him telling me that they helped cure ailment-“

“Here they come!” Talo jumped and pointed at the two figures emerging from the shadows into the sunset light.

-----

Renaldo, Link, Iris, Ilia, and the children all gathered in the shaman’s house. The tension of anticipation was thick, as if one of them could cut it with their sword.

Would this work? Ilia had the key to the last piece of the Mirror of Twilight locked in the back of her memories. What if this didn’t work? What would they have to do?

Link pulled out the charm that Impaz had given him and placed it in Ilia’s open palm. A stillness pierced the tension- everyone holding their breath at once.

“I… made this…” Ilia’s voice whispered quietly. She closed her eyes, taking a deep breath, “The scent of hay…”

Link didn’t notice the look on his face, but Iris did. The yearning- the need beyond the missing key for her to remember. For her to remember him. It chipped Iris’ heart, just a little bit.

Ilia opened her eyes, a sudden excitement on her face, “Link! I…I remember!” She leapt into his open arms, a tight embrace. Link spun her around, pure joy in his eyes. He set her down and she grabbed his face, kissing his face all over. The kids cheered, jumping in ecstatic glee. Iris forced a smile, hating how much her heart twisted over something that should be a happy moment.

Renado began to gently usher them out, “Let’s give them a moment.”

-----

Iris rounded the corner, leaving the others to go to the spring. The chill of the water sent a shiver up her spine as her feet entered the water. The children’s echoes of laughter danced along the chilly air.

Midna appeared in her shadow form beside her, “Hey witch.”

“Hello, Princess.”

“…in my opinion, he’s making a huge mistake.”

“Thanks.”

Silence as the moon rose over the village.

“She spilled about the memory, but she’s keeping him there to catch her up on everything.” Midna rolled her eyes and cocked her hip, “Men and their egos. Sometimes he makes me wonder if I chose the right beast.”

“He’s the wolf, I’m just a panther.”

“Wolf or no- you’ve proven yourself more dependable and worthy of your triangle lately.” Midna reached behind her, using her power to pull out the Dominion Rod.

“What are you-“

“Take this to Impaz- that old woman you both just saved. You’ll get more information about getting to the sky for the Mirror shard.”

Iris took the rod, weighing it in her hand, “Midna.”

“Iris.”

“…Thank you.”

“Yeah, whatever.”

“Hey, Midna?”

“Hey, Iris?”

“I really love him.”

“…If it helps, I was rooting for you.”

“It doesn’t, but I appreciate the sympathy.”

Midna turned to leave, but paused. “Remember the temple in the lake?”

“We almost died.”

“You saved us from what would’ve been certain death by Zant.” A wind picked up, making Iris shiver as Midna spoke, “And the look in Link’s eyes watching you bleed out like that was true heartbreak. I think…I think he’s suppressing his emotions because he doesn’t want to feel that again if he loses you.”

“You sound like Zelda.”

Midna shrugged, “She did put her life into me. Anyway, I’m trying to say to not give up, even after what you just witnessed. We never said he was smart.”

Iris chuckled, “Sure.”

-----

“See! Link loves Ilia!” Beth jumped in a circle, hands held with Luda- which drug the poor girl along for the spin.

Talo and Collin pumped their fists in the air, chanting “Link! And! Ilia!”

Malo nodded, “Indeed, he loves her.”

“So he does.”

The kids stopped their celebrating, turning to see a somber Iris. The firelight from the window cast dancing shadows over her face. A slight glisten off her cheek where a single tear had fallen.

Beth stuck out her tongue, hands on her hips, “You’re a witch. Link deserves better than you.”

“Hey.” Luda stepped away, “They’re not all bad-“

“No…” Iris raised her hand, “I know my place in his life now. When he comes out, tell him it’s okay.” Iris toyed with a rod looped to her belt at her side. The kids didn’t know what it was, but Iris kept talking before they could ask, “If he asks…tell him I’m finishing what we started.”

And with that, she walked off into the darkness of the night.

-----

Impaz checked over Iris’ hand, silver triangle glowing subtly against her skin. “No doubts about it! Oh, I’m so happy that the Harmony piece of the Triforce has reemerged. The founder of this village often told stories of the Harmony Avatar bringing balance wherever they went. You’ll set all this right, I just know it. You even managed to get the rod of the heavens! Oh, happy night!”

Iris smiled, “Thank you. I’m honored that the Goddesses picked me to carry on this power.”

Impaz turned, walking into her abode. A chest lay in the back against a dusty old wall.

“Here we go, Miss!” She turned, handing the witch an ancient booklet.

Iris inspected it, being careful with the pages to not tear them, “Thank you for your service, Impaz. I’m forever grateful. Please, don’t seclude yourself here any longer. Go into Kakariko Village tomorrow morning and meet the lovely people there.”

“If you insist,” Impaz gave a little smile, “I have always wondered what lie beyond that pesky rockslide!”

Iris waved goodbye and began her journey back down the mountain.

-----

Ilia leaned against Link’s shoulder, arm snugly wrapped around his. She was fast asleep.

Link was sleeping peacefully, until a hand nudged him awake.

“What are you doing?!” Midna’s annoyance was very clear.

Link sat up, trying to not wake Ilia, “What are you talking about? I’m sleeping- do you know what sleeping is?” He returned the attitude in a harsh whisper.

“You had a touching reunion, but you’re not gonna continue our mission? She gave you what you needed- let’s get a move on!”

“It’s 1am. I need rest. Let me sleep in peace.”

“Least you could’ve done was tell Iris you intended on sleeping with your hometown side-hoe.” Midna leaned against the wall, arms behind her head.

His face flushed red. Then went white with realization, “Oh fu-“

“Language! You have innocent ears there.” Midna giggled.

Link freed himself from Ilia’s grasp and stood up, “Is she outside?”

“Am I Iris’ keeper?” Midna rolled her eyes, “Go out and find her yourself, coward.” She dived into his shadow.

Link opened the door, greeted suddenly by wind and the sounds of crickets. He looked to his left towards the spring, but didn’t see Iris there.

“You okay?” Link jumped at the sound, but calmed when he realized it was just Luda on the porch of the next-door house, “You look a little stressed.”

“What are you doing up so late?”

“I like the night. Plus Beth kicks in her sleep, ahah.”

Link sighed, “Hey… did you see Iris at all?”

“She was upset,” those words made his heart sink, “The kids were making fun of her. She said to tell you this though. She said that it’s okay, that she knows her place in your life now.”

Link held his breath, “Is Iris still in the village?”

Luda shook her head, “She had a weird stick thing on her belt. She said to tell you that she’s finishing what you both started and walked that way.” The girl pointed towards the path to Impaz’ village.

“Thank you, Luda. I think you should go inside and get some sleep now.”

She shrugged, “Okay… Oh, Shad came out while you and Ilia were talking. Iris was with him and they were pointing to some spots on her map. She then said she was headed back to Ordon. I don’t know why she’s doing that at night or even without a horse but I’m not gonna judge her capabilities.”

“Oh, really?” Link looked around, finding Epona tied to the fence across the street, “Thank you, again, Luda. I’m going to go track her down- she wasn’t supposed to leave without me.”

The girl stood up, “I’m in no place to judge your relationships, so I’ll just say good luck.” Luda opened the creaky, rust-filled door and went back inside.

Midna popped up after the girl was gone, “So we warping or are you seriously gonna ride your horse all the way back to catch her?”

Link shook his head, “We’re warping.”

-----

“Alright owl statue.” Iris waved the rod in a circle, “Move!”

The green hues lit up the surrounding hills thanks to it still being dead of night. Crickets and other bugs scurried away from their moss-covered home at the sight of this new and strange light. Several little hops later, the statue was out of its alcove. Desummoning the rod’s powers, Iris stepped to the symbols that it had covered.

“Ah…gotcha.” Iris scribbled down the ancient writing onto the extra paper Shad had provided before her departure.

A familiar buzzing sounded behind her. Iris rolled her eyes and sighed, foolishly thinking that she’d have at least until morning.

Midna popped up first, “In my defense I grew tired of waiting.”

Link looked angry. His footsteps were heavy as he marched towards Iris.

Iris rolled her eyes and summoned the owl statue again. It began hopping backwards.

“No you don’t!” Link raced to the alcove. He squeezed through the space before the owl fully closed off the opening.

Iris and Link stood face-to-face, cramped together in the small space. The light from the Dominion Rod gave them just enough to see each other’s faces.

“How did you get the rod?” Link searched his brain for questions and didn’t know where to start. He figured that was the best way to go.

“Take a guess.”

“Midna?”

“Congrats, you win.” Iris’ face wasn’t impressed.

Link took a breath, “Iris… I didn’t forget about you or anything I just-“

“No.”

“What?”

She closed her eyes, eyebrows furrowing, “No excuses. I don’t care about your love life. What I do care about is being led on.”

“I didn’t mean-“

“Furthermore,” Iris continued, “Now that I know my place in your life, I decided to utilize my skills to continue the mission while you enjoyed time with your lover.”

“She’s not my-“

“Link, stop.” She sighed, “I said no excuses.”

“I’m not making excuses!” Link caught himself nearly yelling at her. He took a breath before starting again, “Did I once love Ilia- yes. Yes I did. But before I loved her she was my best friend. I’m not going to save the world and leave my friends to the wayside to fend for themselves or not help them with impossibly hard tasks.”

Iris sighed, “You let all your friends kiss you? You spin them around and then sleep next to them all snuggled up and holding each other?”

“…I…” Link froze, trying to think, trying to find how to say exactly what he’s feeling.

She scoffed, “Yeah. That’s what I thought. You made this bed, now lie in it.” The rod’s light brightened as Iris used it to move the statue. It made two hops before Link grabbed her wrist.

“Stop…please…” His voice shook.

Iris stopped, sudden concern on her face. She’d never heard his voice waver like this.

A breath, “I need you to understand that I’m never good with emotions or saying the right things. But I’m going to try and convey them now.”

“Then spit it out.”

Iris felt Link’s hand tremble. “When we first met in the Twilight I didn’t trust you. But as we went along and had this journey I… I realized I couldn’t have done half the things we accomplished without you.”

“Link-“

“When I caught your hand before you went over the edge in Goron Mines. When I almost was squashed by the falling logs in Faron. All our battles as beasts in Twilight. Hell, even Yeto’s mansion was filled with traps that almost killed us.”

“I-“

“But it was Zant’s attack…” He looked up, tears welling in his eyes. Iris’ heart hurt. “You… you were bleeding so badly and I couldn’t stop it in my beast form. I had to drag you to safety after you passed out. And I couldn’t stay because I had to take Midna to Zelda.”

“I’m still here, Link.”

“I shut down after that.” He closed his eyes, tears flowing, “I didn’t know if you were dead or alive and I couldn’t take it. Midna can even attest I was so distraught that I became physically unwell. When the Master Sword changed me back I vomited, seized, and passed out. I couldn’t carry on like that and I decided that having no feelings was better than having that deep of a sense of despair.”

“So when Ilia got her memories back…” Iris placed a hand on his cheek.

“The suppressed feelings came out. I was so happy and starved from any emotion besides nothingness that everything came out at once. I had my best friend again. Talking to her for so long was therapeutic. I didn’t intend to abandon you or make you feel used I just…” he clutched his chest, “I couldn’t stand the thought of losing you again.”

“So you’re reasoning was to push me out.”

“I never said it was smart, but that’s what I rationalized at the time.”

Iris pulled Link’s face close, letting their foreheads touch and eyes close. “From this point on, don’t push me out.” A gentle whisper for only him. “Let me help you. Don’t be afraid of your emotions.”

“I won’t… I’m so sorry…”

[astrochiron]

the signs :: ANTi // rihanna

Aries- Woo

“I bet she could never make you cry
‘Cause the scars on your heart are still mine

Tell me that she couldn't get this deep

She can almost be the worst of me”

These lyrics display Rihanna taking pride in the wounds she inflicted during the battle that she considers love. Aries would be proud of their own war wounds but prouder of the ones they gave their opponent. They're very confident and present themselves aggressively, much like the delivery of this line.

“These days you've been feeling lonely

Yeah I've been feeling lonely too

I'ma fuck it up, won't you show me some'

Run it back like you owe me some'”

Aries are independent and often repel people. This line displays the affects of that, shwoing the lonliness the sign often feels but doesn't often express. The end of this exerpt point towards Aries' overt sexuality, sans the emotional connection, like Scorpio and sans the romance, like Leo; just raw sexuality.

Overall

This is first and foremost, this song is a break-up song, which is interesting considering that Rih and Travis Scott (the unfeatured feature) had broken up by the time this song came out. This shows the conflict present in a break up, associated with Mars ruled Aries. The sound of the song is also quite raw and aggressive, almost like alarms with blaring rock tones.

Taurus- Yeah, I Said It

“And I think I kinda like ya


Up against the wall, we don't need a title

Yeah, I said it


Yeah, I said it, bae


Yeah, I said it, man, fuck a title”

Taureans are known for their direct approach and this line addresses that: “Hey, I like you, let’s fuck around; no title needed”. This and lack of interest in formality are very Taurus to me. This excerpt displays sensuality and comfort all in one.

“You can be rough, boy, but you won't

Give me some love, boy, give it to me 'til the morn'”

Stubborn and gruff are traits usually associated with Taurus. Rihanna knows, and likes, that her lover can be rough with her, but she knows he won’t, instead focusing on the pleasure of them being together. She’s craving long-lasting sex which can be associated with Taurus’ slow-moving nature and its focus on physical pleasure.

Overall

The song is overtly sexual and has literal moans at the end of it. Aries, Taurus, Leo and Scorpio are all associated with the various sides of sex and this song’s focus on the pleasurable, sensual, and long-lasting aspects of sex connect it to Taurus. This is opposed to the rougher and more primal sound of “Woo”

Gemini- Consideration

“I came fluttering in from Neverland

Time can never stop me, no, no, no, no

I know you've tried to

I came riding in on a pale white horse”

The first two lies focus on Gemini’s Mercurial nature. Neverland evokes thoughts of Peter Pan and Tinker Bell, the fairy-like boy and his very fairy companion. Geminis can be associated with fairies. Mischievous, fluttering, intelligent, and ever-busy. The excerpt goes on to illustrate Gemini’s duality as Rihanna then goes on from fluttering fairies to becoming Death on its pale white horse.

“When I look outside my window

I can't get no piece of mind

When I look outside my window

I can't get no peace of mind”

“Piece” versus “Peace” wordplay is a link to Gemini’s aforementioned versatility as well as using wordplay; which fits, given Gemini’s association with communication. Furthermore, peace of mind is uncommon for Gemini who has a busy brain. On this same note, searching for a “piece” of mind is much more common, trying to recall a memory or repelling an insistent one.

Overall

This song is an homage to Rihanna writing a lot of this album. She wanted the music industry to take her seriously as an artist and decided to prove herself by having a writing credit on all but one of the songs on the album (the cover was obviously written by someone else). Gemini is associated with writing and communication, making this very fitting. SZA and Rihanna’s back and forth also mirrors the twin mascots of Gemini.

Cancer- Close to You

“Nothing but a tear, that's all for breakfast

Watching you pretend you're unaffected

You're pulling our connections, expecting me to let you go

But I won't”

While I also cringe at Cancer’s constant connection to crying, I think it lies in place of maturity. Cancers are cardinal and, as such, are the masters of their domain. Cancers are able to adequately wade through their emotions and know the benefit of a good cry, as opposed to her Water sign sisters. Rihanna needs a good cry and has one. This excerpt also displays empathy as well as an inability to give up old memories. Cancers are tied to memories and the subjectivity of them.

“I know you don't need my protection

But I'm in love, can't blame me for checking

I love in your direction, hoping that the message goes”

Cancer’s protectiveness is exhibited in these lines. The subject of her care has obviously rebuffed her attempts at being protective; or perhaps she truly is being a bit suffocating with her care. Cancer is associated with the mother and these traits are often associated with mothers and Cancer placement alike. But at the end of the day, Cancer focuses on their emotions first and foremost. She’s forced to cut off a toxic situation and love this person from a distance, loving in their direction instead of loving them in person.

Overall

This is the most balladic song on the album, which always give me the emotionally heavy vibes of Cancer. The heavy piano accompaniment also evokes a traditional and old fashioned style; very Cancer. The song’s  overall focus is on the refusal to move on from a past love which can be linked to Cancer’s tendency to hold on to the past.

Leo- Love on the Brain

“And you got me like, "Oh, what you want from me?"

(What you want from me?)

And I tried to buy your pretty heart, but the price too high”

Leo is, by far, the most giving sign when it comes to affection and gifts. This line shows that Rihanna attempted to put a price on love and give her lover gifts to secure their love for her. When that price don't to work, Leos will give their whole heart for their love. The line “what you want from me” exhibit's Leo’s willingness to do whatever it takes for their partner.

“Must be love on the brain

That’s got me feeling this way

It beats me black and blue but it fucks me so good

And I can’t get enough”

If you couldn’t guess from the previous excerpt, this one solidifies the fact that Leo rules the heart in medical astrology. More symbolic associations with the heart are also associated with the sign too, like love and romance. Leos tend to focus on the fun side of the relationship, though, ignoring the work (like Libras) and the struggles (like Scorpio). Even through those things, the love and romance is still foremost in her brain.

Overall

The Doo Wop style of the song reminds me of the 50s; very glam and Leo. It also evokes the idea of sweethearts and school dances and all the other things privileged people of the 50s got to enjoy; romanticization of romance, regardless of the pain that may have been inflicted. The song’s overall focus is on the power of love and the ability of it to conquer all negative things for better or worse.

Virgo- Kiss It Better

“What are you willing to do?

Oh, tell me what you’re willing to do

(Kiss it, kiss it better, baby)”

This line discusses giving a sacrifice in order to get something you want, a process not unfamiliar to Virgos. Even sexually (as this song is) Virgo is servile and wants to please their partner. Their aim is to heal and assist. Rihanna’s partner is taking the role of the Virgo here, as Virgos are the physical healers and nurses. This is interesting considering that Rihanna is a Pisces, the sister sign and partner of Virgo. 

“Man, fuck yo pride

Just take it on back, boy, take it on back, boy [..]

Hurtin' vibe, man, it hurts inside when I look you in yo’ eye”

Pride is definitely a Virgo trait, again, painting her partner in a Virgoan light. Rihanna wants him to let go of his pride and admit that he’s hurt too and that he needs healing as mush as she does. Virgos have a tendency to get past their own pain in order to help others and to get things accomplished. They need to heal each other and, at that moment, the sex is doing it.

Overall

This song focuses on an already broken relationship that is in need of serious mending. There are several methods that are needed to repair a broken relationship and sex is definitely one of them as physical healing may be required before the emotional healing.

Libra- Same Ol’ Mistakes

“I can just hear them now

"How could you let us down?"

But they don't know what I found

Or see it from this way around”

Libras are always looking at how others view them as they're associated with he seventh house of our charts, which controls how we see the world and the projection we actively use when in relation with others. That’s why Libras are often indecisive, as they’re concerned with not only their wants and needs, but the perception of others too. They see multiple points of view and others don’t tend to bother to try.

“I know that you think it's fake

Maybe fake's what I like

Point is I have the right

Not thinking in black and white

I'm thinking it's worth the fight”

Libras are often considered fake, a they’re great at conforming to the situation they’re in and with the people surrounding them. This line pokes a hole in the negative view of this though; maybe, I want to be fake. Libra’s focus on justice and reserving energy for the right cause is also displayed in the latter lines of the excerpt, displaying Libra’s often overlooked ruthless attention to fairness and dispensing justice.

Overall

The whole song focuses on how a romance or connection completely changed the person in the song, a love is known to completely change Libras for better or worse. They tend to immerse themselves in their relationships. The song is full of backing vocals that can represent the self-doubt Libra often faces. They represent how they’re always checking themselves.

Scorpio- Work

“He see me do mi

Dirt, dirt, dirt, dirt, dirt, dirt!

So me put in

Work, work, work, work, work, work […]

Meh nuh cyar if ‘im

Hurt, hurt, hurt, hurt, hurting”

“He see me do mi dirt” references some secretive actions that Rihanna has done, likely cheating or something similar. She’s know required to put in work to make things right or to simply ge this mind off of the transgression by “putting in work” or having sex. Both secrets and sex are centered around the sign of Scorpio, especially using both to manipulate and control a situation. Scorpios may go to the extreme in reaction and sometimes just to get a response, pointing toward Rihanna not caring if she’d hurt her partner with her actions, only wishing to make them right, now.

“Nuh body touch me you nuh righteous

Nuh badda, text me in a crisis

I believed all of your dreams, adoration

You took my heart and my keys and my patience

You took my heart on my sleeve for decoration

You mistaken my love I brought for you for foundation”

At their core, Scorpios crave someone to turn to when things get dark. When a crisis happens, Rihanas wants someone to turn to for support. The later part of the excerpt points toward Scorpio’s tendency to put their all into others. This often leaves them feeling unappreciated if the other person isn’t all in or isn't as intense as they are.

Overall

This song is as overtly sexual as Aries’ “Woo” and Taurus’ “Yeah, I Said It”, but it focuses on the connection and power gained from sex. Rihanna uses sex to get her partner over their troubles, including her working too much and ever her possibly stepping out on him. Drake’s inclusion in the song also didn't go unnoticed, as he is a Scorpio Sun and adds even more sex appeal and Plutonian energy to this hit.

Sagittarius- Desperado

“Gotta get up out of here

And yuh ain't leavin' me behind

I know you won't cause we share common interests

You need me, there ain't no leaving me behind

Never, no, no, I just want outta here, yeah

Once I'm gone, ain’t no going back”

Sagittarius’ need for freedom and to roam is keenly exhibited by this excerpt. Rihanna’s parter is, again, the focus of the sign’s energy as he wants to leave. It isn't know whether he wants to leave their situation, their location, or Rihanna, but she wants to throw caution to the wind and go with him regardless. Sag’s need constant and renewed interest and good conversation to maintain their interest for someone. He and Rihanna have a lot in common and she hopes that can keep them bonded.

“If you want, we can be runaways

Running from any sight of love

Yeah, yeah, there ain’t nothin'

There ain't nothin' here for me

There ain't nothin' here for me anymore

But I don't wanna be alone”

Sag’s are very much known as the nomads of the sign, needing to travel and experience things in order to feel like they’re experiencing life. Rihanna is taking on the traits of this nomad, wanting to run away from the stagnancy and boredom that often comes with settling into love. These are two things that Sag is known to have not much interest in and is known to run away from emotional connection when unready to settle down and share their experience with someone.

Overall

A “desperado” is defined as “a desperate or reckless person, especially a criminal” by Oxford. Sagittarius is a fire sign, often down for reckless tact and a desperate need for freedom, making them desperados in life. The criminal activity isn't too much associated with Sag, but who knows once they get a drink or six in them.

Capricorn- Needed Me

“I was good on my own, that's the way it was

That's the way it was

You was good on the low for a faded fuck

On some faded love”

Capricorns are known for independence. Not like Aries wanting to do things on their own or Sagittarius wanting to experience things with through their own unbiased eyes, but Capricorn can be something of a hermit, being okay with reaching their goals by themselves and for themselves. They’re not particularly known for emotional connections, leaving that to their sister sign, Cancer.

“You needed me

Ooh, you needed me

To feel a little more, and give a little less

Know you hate to confess

But baby ooh, you needed me”

When Capricorns do decide to share their lives with others, they may assume people are operating under ulterior motives. Rihanna feels that she was used as a status symbol due to her success by her partner; hell, maybe several partners. Capricorn’s are foremost interested in their status and may often not be sure if people are attracted to what Cap can do for them or in Cap themselves. This proves to be true in this case, as she is said to have given more to the relationship than him and he felt even less for her because of it.

Overall

This song has a definite theme of female empowerment that can be appreciated by the feminine Cardinal sign of Capricorn. Capricorn women do typically embody the role of a woman in charge and demand respect, even from heir partner. The tempo of the song is laid back while conveying very bold lyrics, very much the Capricornian vibe.

Aquairus- James Joint

“I'd rather be smoking weed whenever we breathe

Every time you kiss me

Don't say that you miss me

Just come get me”

Besides Pisces, Aquarius has the strongest connection to drugs in the zodiac. Whereas Pisces is seeking escape (see “Higher” up next), but more of a normal activity that unlocks the mind and allows one to look at multiple points of view. The excerpt goes on to exhibit Aquarius’ hate for words of affection. “Just come get me” shows their tendency to relying on acts of love instead of words, as Aquarius is an air sign and they know that words are simply wind.

“Just making scenes, here come the police

They know about your history

How you live and love like "fuck rules"?

Don't care why, just know I love you”

“[F]uck rules” is possibly all I need to explain this line. Aquarians are very anti-rules unless they've been proven effective and this instance shows her partner, James Joint, is very much interested in making his own rules. Their fight and arrival of the police represent unexpected circumstances, instances ruled by Aquarius’ ruler, Uranus.

Overall

This song is an interlude. They’re used as a break from the flow of the album and to introduce some for the quirkier sides of the artist, a perfect Aquarian venue for expression. The song was also released early on 4/20 as a teaser for the album, further connecting it with drugs and weed culture.

Pisces- Higher

“This whiskey got me feelin' pretty

So pardon if I'm impolite

I just really need your ass with me

I'm sorry 'bout the other night”

Pisces is connected to being under the influence, seeking escape and rest from the tiresome world. Rihanna is in her hotel room and obviously cross-faded, wanting nothing more than to spill her feelings to her lover. This excerpts focus on apologies and the general clinginess are also often associated with Pisces.

“You take me higher, higher than I've ever been, babe

Just come over, let's pour a drink, babe

I hope I ain't calling you too late, too late

You light my fire

Let's stay up late and smoke a J

[…]

But I'm drunk instead, with a full ashtray

With a little bit too much to say”

The whole second part of the song is the content of her emotions spilling over like I mentioned earlier. It’s a bit chaotic and train--of-thought, fitting the mutable nature of the Water sign Pisces. Pisces also gets inspiration from its connection to those around them. For them, the solitude that Rihanna is experiencing can be a win/lose situation, allowing them to feel their on feelings without being filtered by the vibe of everyone around them, but it also leaves them alone in their spiraling thoughts and occasionally self-destructive tendencies.

Overall

Overall, the song is full of raw emotion and honesty. It only took Rihanna less than half an hour to write and that, again, denotes its purity. This hits home even more when you consider that Rihanna herself is a Pisces. The title of the song shows a connection to Pisces’ association to escapism and getting high to not feel so low.

check your moon sign (for the song that makes you comfortable and puts you in your emotions), sun sign (the song that makes you happy and the one you ride around to) and venus sign (the one that speaks to your inner artist).

[k-she-rambles]

everyone's already done this, I'm sure, but here! have another analysis of Rose by the Oh Hellos, one of their most overtly religious songs...

Okay, so:

"Wars are raising for her Crusades to adore her The light of your afterword"

This one gives us who we are talking about, by context: Popularly, the Crusades were fought for the honor of the Church. (It's not exactly true, but that's the trope you think of.) Today, lots of little fights are still started over her honor (it's traditional to talk about the Church as a Lady --a mother, or a bride, or a much-loved child)

"The light of your afterword" is a little trickier, and there are multiple things this could bring up: the future promises of Revelation --the end of all corruption and empire, etc. More likely, though, we're still talking about the Church --not as the entity, but the people which comprise it. The full name of the book of Acts is "The Continuing Acts of the Disciples," and it's more or less the afterword of the gospels: Luke wrote Luke and Acts to the same person, they're a set. The acts of the Church (of the people who make up the Church) are the afterword of the Bible.

Are you losing her true nature When you loosen nomenclature When you gift another moniker?

I don't know what's going on here. I'm SURE there's some drama that I don't know about. But the question stands on it's own: If you're changing the name of what the Church or Christianity is, does it change the nature?

(This was the bit, honestly, that made me think that maybe the song was NOT religiously themed, and they were thinking of changing the band's name at one point.)

What's true is like a sickle It'll cut you to the middle Your rose is without a thorn But no, my mouth don't taste of metal From the pot here to the kettle I think we got a lot we gotta learn

OUCH, okay, honestly that is blistering condemnation of the modern Church and Maggie's sweet voice and trying to temper it with the "we" at the end makes it worse.

What's true is like a sickle It'll cut you to the middle Your rose is without a thorn

So this seems like a pretty clear reference to Hb 4:12-13 ("For the word of God is living and active, sharper than any two-edged sword, piercing to the division of soul and of spirit, of joints and of marrow, and discerning the thoughts and intentions of the heart. And no creature is hidden from his sight, but all are naked and exposed to the eyes of him to whom we must give account.")

The rose being without a thorn is a BAD thing. If we take the rose as the Church (or as the Gospel, the central message of the faith, which I think is more likely) the singers are saying that the Church is fighting wars over a Gospel that is DEAD. It is NOT sharp, NOT living and active, CAN'T cut to the heart of things. If every rose has it's thorn, is this even a rose at all?

The context of the referenced verse is important too. (Quoting Hebrews is difficult. It's a sermon, so each thought leads to another fairly interlockingly. And you know ancient languages. ALL the run-on sentences. ALL of them.) It's in the middle of a section encouraging the listeners to avoid the pitfall of a gospel of works: running themselves ragged trying to be a good enough person to please God, when the real method of doing so is to rest from trying; let someone else do the work, set the pattern for them to follow. If they keep striving, keep fighting in the pattern of wars and Crusades they have now, they WILL fail...and be blind to the ways they have failed. But no, my mouth don't taste of metal From the pot here to the kettle I think we got a lot we gotta learn

The singers identify themselves with the people they are excoriating. They are not pots calling the kettle black, they realize that they are the same. In tvtropes lingo it's "HEY! I resemble that remark!"

And even though by any other name Her scent would linger sweetly, all the same Call her briar long enough And you'll tangle up the true and the fable

So the singers maintain that whatever is being done to the name of the Church/the Gospel can't change it's essence (this is v. important in Christianity and I could go on about how Christianity has a scripture but NOT a sacred text.) But! They can't kill the message with their mincing language but they can mix it up. Tangle the true and the fable, make it unclear, and inaccessible. which is um. a thing that tends to piss Christians off. See: the Reformation, the Counter-Reformation, the previous verse...

Your dowry isn't fooling The pyrite is showing through It won't buy you that empty tomb

So here's were I got the idea that the entire section of Hebrews was being referenced. The people who are causing this trouble "renaming" the Church, muddying their language, removing the truth from their gospel...they're trying to buy something, some kind of reward. Specifically, Jesus' empty tomb...i.e. salvation and eternal reward. But what have they saved to buy it with?

The Church is often described as a Lady. A bride. What is the dowry the Bride is bringing to the marriage? What have they saved to buy salvation? Pyrite. Fool's Gold. The wages of their works, the afterword of their gospel of works, it has all been Fool's Gold.

And no alchemic incantation For a counterfeit salvation Can appease your leviathan groom

No alchemy can turn it into real gold. They're still buying their "fable." Their groom is not the Christ, it's Leviathan (real Exeunt, Pale White Horse/Where is Your Rider vibes here). And they may not even know it.

No, love'll get you slaughtered Like a ram at the altar What is safe ain't the same as what is good

The rose still needs its thorns to be true to itself. And what is that truth? That love can be a violent, sacrificial thing. That doing good isn't safe. That truth isn't safe. It lays you bare.

I'm having a hard time saying words about this one. Love can feel like dying. You dying. Your pride dying. The call the singers are getting at is following the pattern laid down by Jesus, whose love did get him killed. The people being spoken about are not following this pattern, but they are called to.

(also, scope the Narnia reference! "Safe? Who said anything about safe. But he's good. He's the king, I tell you.")

So lay compress to the aching Of your body made for breaking When we've got a lot of breaking left to do

Following the thread of the previous verse, being part of the Church is to be "made for breaking," which the people making up the Church need to get better at.

Um. 'scuze me while I go a little feral here.

Along with being a Lady the Church is also described as being "the Body of Christ." You speak of a church congregation sometimes as a "Church body." Part of the idea is (among other, cooler things I am not qualified to explain but fully willing to keysmash about (the theological concept is "mystical union")) that Jesus identifies so closely with humanity as a head does to a body. Heaven meets earth in a Person, not a temple anymore...and then, when that Person is away, heaven meets earth in people by union with Christ.

But also, the symbol of the new covenant (which God swears by himself, making it unbreakable.): take, eat, this is my body broken for you. His body made for breaking. Church body made for breaking, for being given to feed others.

And again the singers join hands with the people they are scolding --it's their body too. They all need to love better, break better, not be afraid of finding the truth even if the truth will hurt.

'Cause even under any other creed The crucifix and the hangman, they both agree Change comes so cheaply For those of us already at the table

Pulling back, the singers say "even under any other creed." That is, what they're about to say is something they consider a universal statement, regardless of faith. Then they repeat this idea of a universal statement: the "crucifix" and the "hangman" are two ways of dying --a death that has come to represent life for some and a death that has come to represent judgment of the law for some.

And that universal statement? "Change comes so cheaply for those of us already at the table."

Some people have already been breaking. Some people have already been feeding others. To the ones already giving and sharing and breaking and healing, being forced to buck up and do so? It does not cost as much to them as it does to the people who have been convinced that their Fool's Gold was worth something.

It's a somewhat unfinished ending. I think this is the turn of the album, if you treat it like a sonnet. After Smoke Rising Like Lifted Hands it's just Boreas and Glowing as the final couplet.

[princess-mei]

Mei 美美 Qin – Character Sheet

it’s like everything you say is a sweet revelation / all i wanna do is get into your head / yeah we could stay alone, you and me and this temptation / sipping on your lips, hanging on by a thread, baby

late night watching television / but how’d we get in this position / it’s way too soon, i know this isn’t love (no) / but i need to tell you something

i really really really really really really like you / and i want you, do you want me, do you want me too?

Archetype — The Explorer Birthday — July 9th, 2002 Zodiac Sign — Year of the Horse, Rising Leo, Sun in Cancer, Moon in Cancer MBTI — ENFP Enneagram — 2, the Helper Temperament — Sanguine Hogwarts House — Gryffindor Moral Alignment — Chaotic Good Primary Vice — Lust Primary Virtue — Charity Element — Water/Fire (she’s a Water Horse, so she definitely identifies with that but in Western tradition she is Fire.)

Overview:

Mother — Tanya Qin Father — Peng Qin Mother’s Occupation — Editor-in-Chief of the San Francisco Chronicle Father’s Occupation — financial diviner Family Finances — wealthy Birth Order — middle Brothers —  none Sisters — Ting-Ting (Gemma Chan, May 13, 1993), Su (January 22, 2003) Other Close Family — close to their mother’s side, father’s side lives in China, but they’ve taken trips to see them once or twice. do not have any cousins/aunts/uncles, but close to their grandparents. Best Friend — Daisy Zanetti, they grew up together. Met in school and were thick as thieves right away. Daisy is a half-fairy, so they both understood the whole “half” background thing. Other Friends — Lots and lots of friends~ Enemies — There was probably like one Mean Girl that Mei was always antagonizing and who was always antagonizing her. Pets — None. Home Life During Childhood — Relatively happy. Has nice, loving parents. Did a lot of Family Activities, since that was important. Mother was busy a lot with work, but her father was around a lot and Ting-Ting was always around (until she went to school.) Town or City Name(s) — San Francisco, CA What Did His or Her Bedroom Look Like — Posters everywhere! Very personalized and customized. Lots of reds and golds. Probably had like one of those net things around her bed. Always very messy, because Mei starts a project and then just jumps to the next. Lots of natural light too probably. Any Sports or Clubs — Dance and Gymnastics. Mei has kept up with both of these throughout the year. Does both ballet and hip hop. Her favorite gymnastics is rhythmics. Favorite Toy or Game — She wouldn’t consider it a toy or game, of course, but loves doing tarot and tea readings. Also enjoys a good board game, is very competitive though. Schooling — Public school. Favorite Subject — Physical Education ?? Maybe literature. Art classes… Popular or Loner — Decently popular. She wasn’t one of the people that everyone knew but she had a wide circle of friends. Important Experiences or Events — Discovering she had divination skills. Deciding her specialization. Moving to Swynlake! Nationality — American Culture — Chinese-American Religion and beliefs — Spiritual, borrowing from a spread of Taoism, Buddhism, Chinese folklore, and Confucianism.

Physical Appearance:

Face Claim — Cheng Xiao Complexion — Fair-skinned Hair Colour — Naturally a dark brown, but she dyes it a lot! Eye Colour — Dark brown. Height — 5’6 Build — Athletic, but slim. Tattoos — None. Piercings — Ears. Common Hairstyle — Likes to braid it or put it in two buns. Does a lot of half-up/half-down hairstyles. Clothing Style — Chic and trendy, lots of colors and patterns. Mannerisms — Very bouncy, doesn’t sit still much. Twirls her hair around her finger a lot. Usual Expression —

Health:

Overall (do they get sick easily)? — Pretty healthy! I’m sure this is due to Ting-Ting constantly balancing her Yin-Yang Physical Ailments — None. Neurological Conditions — None. Allergies — None! Grooming Habits — Rather good. Takes a lot of care with her appearance. Always makes sure to moisturize and exfoliate and change out of sweaty clothes. Sleeping Habits — Average. Eating Habits — Eats a lot because Su is constantly making things, but can forget meals if she is distracted or concentrating. Exercise Habits —  Exercises a lot! Does all sorts of things like pilates and swimming and jogging. Emotional Stability — I give her a 7/10, she loses points for being a stubborn, unreasonable teenager and for her temper, but otherwise is pretty even-keeled. Body Temperature — Average. Sociability — Very social! Loves surrounding herself with people. Addictions — Love? Drug Use — None, we will see. Alcohol Use — Has gone to parties where she’s drank before, but not often.

Your Character’s Character:

Bad Habits — Interrupting people, bouncing from topic to topic, meddling in things that she shouldn’t, talking back, being a general nuisance. Good Habits — Very kind, very caring. Wants to take care of all her people. Strong moral compass. Best Characteristic — Her certainty. Worst Characteristic — Her stubbornness. Worst Memory — Being told she would have to move to Swynlake. Best Memory — When her father told her that he was proud of her for completing her studies for being a sorcerer and accepting an apprenticeship. Proud of — Her magic, her family history, her looks, her sporting ability. Embarrassed by — Not much, probably the fact she isn’t very good at school. Driving Style — Probably was just learning how to drive. A speed demon, but surprisingly a good driver. Strong Points — Her moral center and her big heart. Temperament — Can be explosive, but general soft and sweet. Attitude — Generally positive. Weakness — Not knowing what she wants. Fears — Not knowing what she’s going to do with her life. Phobias — Anything unlucky, though I wouldn’t call it a phobia, more of a cautious regard. Secrets — None really? She doesn’t keep much from people. She’s very “This Is Who I am. Fight Me.” Regrets — Having to leave Swynlake. Feels Vulnerable When — People are angry or upset with her, she’s not following her heart. Pet Peeves — Being told she’s wrong, lol. Conflicts — Duty to Family v Duty to Heart Motivation — Following her heart. Short Term Goals and Hopes — Make friends and something out of her life in Swynlake. Long Term Goals and Hopes — Figure out what she wants to do with her life. Sexuality — As-is she is straight, but this can change. Day or Night Person — Day Introvert or Extrovert — Extrovert. Optimist or Pessimist — Optimist except she can be really sour when things don’t go her way.

Likes and Styles:

Music — Oh, gosh–where to start? Mei loves love songs, of course. Big fan of Elton John, Elvis Presley, Celine Dion, etc etc. She also loves modern stuff, of course. Taylor Swift, Carly Rae Jepsen, Ed Sheeran…if she’s really feeling it some Florence and the Machine. Loves KPop too. I’ll let Lauryl tell me who she stans. (Is that the phrase I feel like there is a phrase.) Anyway, anything that is love related, she’ll give it a listen. Books — Doesn’t actually like reading that much, tbh. Doesn’t hold her interest. Magazines — Do people read magazines anymore? Does Buzzfeed count as a magazine? Probably giggles over Cosmopolitan. Foods — Sweets! Chocolate is her favorite, but she likes licorice a lot too. Is one of those weird people that likes black licorice. Also, loves a good rice pudding. That’s probably her favorite dessert. She also loves chicken, any kind of chicken–she doesn’t care what you put it in or what you put on it. Isn’t much of a picky eater. Actually really enjoys being adventurous with her food. Drinks — Green tea, green tea, green tea! Mei loves tea, especially iced. She also surprisingly likes salt soda water–she goes back and forth on sweet and savory. Sometimes, she just really wants salt soda water because it is just crisp and refreshing and wakes her back-up and reorients her yin-yang when she needs it. Animals — Elephants! Mei loves elephants. She’s that girl that has like elephant shirts and an elephant backpack and an elephant stuffed animal probably. They have such a high emotional capacity and Mei really respects them for this. They are also just so cute with their floppy ears and their soft, sweet eyes! Loves birds too as most of them are symbols of good luck and good tidings–besides owls, which are harbingers of death. Sports — Gymnastics and dance. Social Issues — Magick Rights is the biggest one. Also feminism. Also all the “main” issues. Favorite Saying — “Better to light a candle, than to curse the darkness” - Chinese Proverb Color — Golds, yellows, reds, blues are her favourites. She loves gold because it is a Classy color. Most of her jewelry is gold. She loves yellow because it is bright and happy! Red is lucky in Chinese culture and it always reminds her of times like New Year’s! Also, it is the color of passion and love. Blues she likes because they are calming and gentle.  These are her lucky colors. She also loves pink, even though it is technically a color that she should avoid. Really hates white, because she doesn’t like what a blank slate it is. Also, hates brown because it is an icky boring color. As you can see, she has a lot of Opinions on colors. Clothing —Chic and trendy, lots of colors and patterns. Jewelry — Loves it! Wears mostly gold. Probably has a few staple pieces but then exchanges things depending on her mood. Websites — Tumblr, Instagram, Twitter etc etc TV Shows — CW shows and K/Cdramas Movies — All the great love classics: Gone with the Wind, the Titanic, When Harry Met Sally, Roman Holiday, all of Audrey Hepburn probably, the Notebook, Singing in the Rain…I could go on and on. She loves movies that tug at the heart strings and are full of that wild, amazing, passionate kind of love. They always make her swoon and if she is choosing a movie for movie night, you know it’s gonna be a romantic tearjerker. Though, she also likes romcoms. Doesn’t like action movies or horror movies or anything too intense, they freak her out Greatest Want — To figure out what to do with her life. Greatest Need — To grow up and learn things aren’t all about her, lmao.

Where and How Does Your Character Live Now:

Home — A three bedroom apartment with Ting-Ting and Su. Household furnishings — Rather plain at the moment, but will probably grow cozy as they settle in. Favorite Possession — Her pseudogrimoire where she writes down all the signs and stuff that she sees and puzzles out the meaning to. Most Cherished Possession — Her wand, which is a fan that was her mother’s, her mother gave it to her and her father and Ting-Ting help her imbibe it with magic. Neighborhood — Tortuga Place Married Before — No Significant Other Before — Non-serious boyfriends and Serious crushes Children — She iS a child Relationship with Family — Very close with her dad, even though he’s always yelling at her and being disappointed in her. They have a lot in common and she loves him. Her and her mother also get along more or less, she’s less stringent than her dad. Ting-Ting and her probably have the most contentious relationship, but even that hasn’t been that bad really. Mostly Mei being a nosy, annoying little sister. It will get more intense now that Ting-Ting is the authority figure and Mei is pissed about their situation. Su and Mei get along more or less well, they annoy each other, as sisters are wont to do, but Mei would def consider Su one of her best friends. Car — None. Career — Student Dream Career — She doesn’t know !! Dream Life — Married, with children, though she doesn’t know what she wants out of a career. Love Life — Nonexistant, which pisses her off. Talents or Skills — Excellent gymnast and very good with her magic. Intelligence Level — Decently intelligent, has street smarts, tbh. Very sharp in conversation. Finances — Wealthy

[daydreaming-jessi]

Do u have any headcannons for the netherworld ensemble????

OH BOY DO I!!!

Ok so first off, Miss Argentina and Toaster Lady are wives, and I will not be taking any criticism thanks. Miss Argentina could honestly lead the whole department on her own, she’s VERY good at her job and wrangling people together to do tasks. If only Juno could see her capabilities and learned how to share her job. Argentina may be loud and brusque, hurrying to get her job done before things get backed up, but she is VERY kind, as we saw when she tried to convince Lydia to go home. She gained a new respect of life, and deeply regrets throwing hers away so carelessly. She’s also probably been around the netherworld the longest in the department, the only one that could beat her time is shrunken head guy, but he doesn’t remember exactly when he died, so Argentina gets the claim.

Shrunken head guy is no longer able to verbally communicate, and nowadays relies on sign language to get his message across. He’s in charge of security for the NCP department, as he was once the guy people went to when they wanted protection and a guide on their research trips to more remote locations of the world, but he’s kind of a big teddy bear. He was going to be a grandfather before he died, and deeply regrets going on a trip to Africa before seeing the birth of his grandkid. He doesn’t necessarily blame the people responsible for his death, the group he was with was trespassing on their land, but it still hurts to think about. He doesn’t really talk about himself, so few people know he even had a family, and it really is a shame, he has a lot of cool stories from all over the world.

I see toaster lady as someone shy and anxious, (thus why I call her shyanne, very clever me) and that she went through a very rough point in her life, leading her to suicide. She was never one for spooks, but now she is in the netherworld, land of creepy things, working in a towel (and a swimsuit I’m not CRUEL). It’s forced her to gain some confidence. She’s still very sweet, and acts very caring towards newly deads, when she’s not busy answering and connecting calls as the department’s secretary. Her coworkers tend to get very defensive for her, but she’s more than capable of giving someone a stern talking to if she thinks they’re doing something unfair.

Burned cigar man was actually a big business man before he died. What was his business? No one remembers. He acts like it was a big important thing, but it was one of those big important things you don’t really think about so no one really gets it and whenever he talks about his old job people get a glaze over their eyes and he ends up slinking off into a corner to sulk, chewing on his cigar grouchily because kids these days don’t respect business. He left behind a wife when he died, which he regrets very much. He didn’t die at home, thankfully, he died in a hotel on a business trip. Funny enough his doctor told him to cut back on smoking cigars, that they’d be the death of him. It’s a hilarious irony to him. He acts grouchy, but he does care, he’s just sweltering 24/7 due to his death u-u

Parachute Man used to be quite the thrill chaser. He was pretty used to sky diving, and got a bit too egotistical about it. He jumped off the plane before it was safe, and basically got beaten into a pulp by the trees. When he came to, he was standing next to his body, and had one second to get his bearings before a sandworm noticed a tasty ghost treat just standing around. He booked it, leaving behind his body and handbook with no idea of what was going on. He had a pretty rough time until a guide saved his hide and brought him to the netherworld. He now has a phobia of sandworms, and nearly faints just at the sight of black and white stripes. The jockey has had to apologize many times for causing him to pass out. His ego took a beating from the entire thing, and having to carry his parachute around or end up tripping on it keeps him from getting too cocky again. But there’s still a part of him that just craves adrenaline. A hard thing to come by in the Netherworld, surprisingly enough.

The Groom is still in denial about his death. He swears he loved his fiancé, he just had a moment of weakness! Had he been stronger he’d be alive and married to the love of his life. It’s pretty obvious that he wasn’t ready for marriage, or was even mature enough yet for such a commitment. He doesn’t like to talk about his beloved, for as much as he waxes poetics about the tragic end of their relationship, and gets pretty fed up with some of the antics younger workers in the department. The fireworks guy loves to tease him and rile him up. He likes to put on an act, that’s he’s all grand and wise, but really he’s just a 24 year old guy who hadn’t figured out his life yet, like most people his age. His ego won’t allow for that truth to come out though. He’s unofficially training under Miss Argentina to be a receptionist, and she likes him well enough, but she knows that he tends to take on more than he can handle if only to pretend that he knows what he’s doing. She won’t let him take over her job until he’s good and ready for it, lest he has a breakdown and the system backs up.

The exploded guy is the second youngest in the department, being only 19. Before he died, he was working at his uncle’s garage, saving up for college. He wanted to become an English teacher, he loved working with kids, having wrangled his cousins so much at family gatherings, and loved putting sentences together and breaking down the intent of writers and figuring out the symbolism of their works. He knows a lot about fixing things from his old job, and thus is in charge of keeping the department’s infrastructure up and running. He doesn’t mind it, he gets to explore all the nooks and crannies of the netherworld, and has had lots of fun adventures. He and the jockey are best friends, both love to pull pranks on the others, and lend each other a shoulder to cry on when they think about how much they didn’t get to do with their lives.

The jockey had spent her whole life working on becoming a horse jockey, even when people told her to give up. She dreamed of riding horses her whole life, since she grew up on a ranch. There aren’t a lot of female jockeys, but she worked hard to try and change that. Unfortunately she pushed her luck, whipped a thoroughbred, and ended up in the netherworld. Now she spends her days as a desk jockey, oh joy. She often finds herself bored and wanting to do SOMETHING, rather than the same boring routine of processing newlydeads into the netherworld, and so often goes out seeking trouble with exploded guy and parachute man on quite a few occasions. She’s used to people trying to belittle her, and isn’t afraid of getting right back in their faces and even using her whip if she has to. Being a jockey means she’s kind of a powerhouse. Racing horses is no easy job! People might underestimate her because she’s short and appears petite, but she can very easily flip you over should she want to.

There’s a whole team of college football players working as security in the netherworld, but three in particular work under shrunken head guy in the NCP department. They’re best friends, and when together, they become the stereotypical jock type you expect, they kind of just toss their brain cells away when they all hang out. But when separated their actual personalities shine through. There’s the one I call Vinny, the fullback, who wears a helmet to hide that he kind of lost a lot of his lower jaw, retaining only the bottom jawbone. When he speaks its a lot of clattering. People act like they understand him, and maybe they do? He’s the wisest of the three, being the oldest, and tends to keep an eye out for his boys, sort of acting like a mother hen to them, especially the youngest of the three, Carl. Carl, the running back, is actually a pretty good kid, being the youngest in the department at 18. He’s kind of quiet and meek, not really one to stand up for himself, and tends to do what people tell him too. It’s why he so recklessly follows his teammates around. If he’s not with his team, he’s usually around the younger workers of the department, usually the jockey and exploded guy. Then there’s Don, the quarterback. He’s the leader of the trio, and is pretty much stuck in his college frat mindset even though he was about to graduate college, and acting like the stereotypical jock bully. He likes to think of himself as a big alpha macho man, but he’s pretty sensitive of his friends, and will knock some heads together if someone tries to hurt them. He respects his elders, but everyone else is fair game to his peacocking. He tends to butt heads with a lot of the younger workers of the department, and ends up receiving the wrath of jockey and exploded guy’s pranks a lot.

There’s the general head canons I have for the netherworld ensemble, took a sec to write haha ^^ Thanks for the chance to ramble, anon! I’m more than happy to ramble even more if ya’ll have more questions

[yatorihell]

In The Darkness Chapter 55 - Legilimency

Noragami x Harry Potter AU

Words: 3,414

Summary: Yato returns to Hogwarts and begins lessons with Madame Kofuku.

Also available on Yatorihell AO3

No more visions plagued Yato after that night, but after what had happened to Daikoku, it had left Yato on edge.

Sakura reassured him that things would be ok, and that she would call him as soon as anything happened, but it did little to ease Yato’s qualms about the Sorcerer’s Legilimency.

Yato found Yukine and Hiyori in a single cabin on the Hogwarts Express when he boarded the train at Platform 9 ¾. He slid the door shut and slumped down into the seat opposite the pair and quickly, yet miserably, told them about the new developments. 

They listened in silence, mouths slightly agape as Yato described Daikoku’s assault, and the Sorcerer’s new power over him and what that could mean if he found out about the Order.

“Madame Kofuku can help you, Yato,” Hiyori reaffirmed Sakura’s assurance. “And you haven’t had any visions in over a week which is good.”

Yato mumbled a half-hearted agreement. His eyes slid over the window as he felt Yukine’s piteous eyes on him, watching as the Hogwarts Express pulled out of the station and began its long, smoky journey up into the Scottish Highlands.

The sun had long set when they arrived at Hogsmeade and a crisp frost was already forming on what was left of the greenery that led up the track to Hogwarts.

Black carriages awaited them at the station, pulled by Thestrals rather than horses. Of course, no one else could see them except Yato and Bishamon, who had gratefully climbed into the same carriage as him, Yukine, Hiyori and Kazuma. They must have assumed that the carriages pulled themselves up the barren track and under the withered trees, but Yato and Bishamon could see the Thestrals pulling their weight and their tails flick as they trotted their way up to the castle.

They sat in near silence, huddled in their robes and scarves and listening to the sound of the wheels clattering closer to the castle. The turrets emerged first between the branches of the bare thicket, the windows flickering with candles that welcomed its students’ home.

Hogwarts was as warm as ever, melting away the winter chill as students filed their way into the castle and splitting up to unpack in their respective dormitories where their luggage was already waiting.

Yato’s unpacked quickly, throwing his clothes into the chest at the end of his bed and placing assorted knickknacks into his bedside drawer alongside the previous terms junk he had collected. He looked over the hand mirror for a second before brushing away his intrusive thoughts about his private thoughts being privy to his enemy.

Yato placed the mirror in the drawer gently and slid it close with a slight thud. He kicked his suitcase under the bed and left the dormitory, heading towards the Great Hall for dinner.

The only thing he could do now was hope that Sakura was right about Occlumency lessons.

~

After their first training session of the year, Yato made his way to Madame Kofuku’s office in one of the turrets of the castle. They only had a limited amount of time to train now, but who knew, maybe the Ministry wouldn’t allow practical magic to return the following school year.

Yato paused outside Madame Kofuku’s door when he reached it, then, taking a deep breath, he knocked and entered.

The office was lined with shelves of glass jars containing plants and wiggly bits Yato didn’t want to identify. Dog-eared books lay along the shelves and the fireplace crackled gently, throwing shadows shadow against the far wall as he stepped into the room.

Yato’s attention was drawn to the desk where Madame Kofuku sat with a shallow stone basin engraved with runes and symbols in front of her.

Yato was perplexed by the object, but Madame Kofuku smiled at Yato despite the questioning look.

“Hello, Yato.”

“Hello, Miss,” Yato said awkwardly.

He shut the door behind him and took a seat opposite the desk when she gestured to it. Yato eyed the basin for a moment before looking to his professor.

“So, we’re going to be doing Occlumency in private lessons once a week until you have enough control over your mind, ok?” Madame Kofuku said. She folded her hands on the desk and cocked her head to the side, pink curls bouncing around her face.

Yato nodded. Sakura had said the arrangement would be something like this. 

“Occlumency is magical defence of the mind against external penetration,” Madame Kofuku began, reciting a textbook definition. “Those who are skilled at this can hide their true feelings and memories from a Legilimens without detection.”

“Can the Sorcerer know what I’m thinking right now?” Yato asked.

The question had plagued him all throughout the remainder of his Christmas break, but it was somewhat put to rest by Madame Kofuku’s shake of the head.

“Not when you’re at Hogwarts. We are protected by ancient spells and charms to protect our students. And the Sorcerer is far away from here.” Madame Kofuku added the last part as an afterthought, but Yato wouldn’t count on it.

Madame Kofuku continued, resting a finger on her chin ponderously.

“It seems that you can share the Sorcerer’s thoughts and emotions whenever you’re unconscious – such as sleeping. It has only happened once -,” Yato nodded his affirmation, “but Sakura thinks its best to teach you to block him out.”

At this, Madame Kofuku pulled her wand from her desk drawer and raised it to her temple. When she withdrew it, a silvery substance came away, stretching from her temple to wand like a thick spider’s web. The cord broke, and it floated down into the basin where it swirled silvery-white as a gaseous liquid.

“This,” Madame Kofuku said, “is a Pensieve.”

Yato had read about these magical objects. They were rare, personal items that allow a wizard to extract memories and view them, either by the memory-holder or by someone else. They were often buried with their owner as the memories belonged with the wizard, but it seemed this one belonged to Hogwarts.

Twice more Madame Kofuku repeated this process, dropping silvery webs into the Pensieve. She then placed her wand in her mouth, picked up the basin, turned and put it on a shelf behind her. She turned back to Yato, taking her wand in her hand.

“Stand up and take out your wand,” Madame Kofuku instructed.

Yato got to his feet, feeling nervous. They faced each other with the desk between them.

“I want you to clear your mind, and all of your emotions.” Madame Kofuku said softly. “Close your eyes and let yourself be empty.”

Yato closed his eyes, trying not to frown. Thoughts invaded his mind, but he kicked them out as quickly as they came. He stared into the darkness, listening to his own breathing, forgetting everything.

Madame Kofuku’s voice broke the silence after a few minutes. “I will try to break into your mind, and you must disarm me or defend yourself.”

Yato opened his eyes and regarded her nervously. She was a short woman, but more powerful than she appeared.

She waited for Yato’s consent, wand aimed.

Yato nodded.

“Legilimens!”

The spell had struck before Yato could react or resist. The office swam out of his vision and vanished. Images raced through his mind like an old film that was running out of control, vividly flashing faces and scenes and memories across his mind until he felt like he was spinning.

Yato was four. He felt his arms looped around a dark-haired man’s neck that he would learn to call Father, and to a dark-haired girl that he would call sister…

Yukine on deaths door in the Chamber of Secrets and the Basilisk growing nearer…

Dementors swirling over a fading Patronus charm that allowed them to snatch his soul…

The Yule Ball, Hiyori’s soft, warm hand in his as he placed a gentle kiss on it and twirling her around the dancefloor, never knowing happiness like he felt in that moment…

‘No’, a voice whispered inside Yato head, overshadowing Hiyori’s laughter as Yato lifted her in the Champions dance, ‘you're not watching that, you're not watching it…’

Yato felt a sharp pain and Madame Kofuku’s office snapped back into view. He was on one knee, the other having a stabbing pain as he realised that he had fallen to the ground and bashed his knee on her desk. Yato looked up and found Madame Kofuku rubbing her wrist, a painful red welt growing on her pale skin.

His mouth went dry. “Did I…?”

“It’s just a stinging hex,” Madame Kofuku hushed. She dropped her arm to her side. “Did you feel yourself cast that spell?”

“N-No,” Yato answered. He felt nothing at all, only the memories.

Madame Kofuku watched Yato’s face closely as he stood up. “You need to stop me as soon as I enter your mind, else you’ll lose control.”

Yato nodded, but a terrifying thought crossed his mind, and he dreaded the answer.

“Did you see everything I saw?' Yato asked.

“Only flashes,” she replied. “You don’t need to worry; I won’t tell.”

Yato felt his cheeks grow red, embarrassed and ashamed for her to have seen such dark moments of his past, but he hoped it didn’t show too much.

“Remain focused and use your mind to block out me,” Madame Kofuku said. She raised her wand again, hiding her injured arm behind her back this time, and cast the spell.

“Legilimens!”

Again, the spell was too fast, and Yato was captured in a web of memories.

Yato was twelve, curled up in a ball in a dingy hotel he called home where the winter air leaked through cracked glass and the trains constantly rattled his bed as he hid from the Father who tortured him…

Sakura, emaciated and sullen in the Shrieking Shack after escaping Azkaban, and the pain in her eyes when she realised that her own brother didn’t recognise her…

Nora, underwater in the Great Lake waiting to be saved, but abandoned by Yato in favour of his friends.

Suzuha’s green eyes staring back at him, the life drained, and his tunic splattered with blood under a broken headstone…

Yato screamed, and the world fell away once again. He found himself on his knees on the cold stone floor, head in his hands as his head throbbed at the last memory.

Slowly, Madame Kofuku crouched on the ground beside Yato, stroking his back with sad eyes. She had seen these memories much clearer than the others.

“It’s ok,” she shushed. “It will get easier, but you need to try harder if you want to repel the Sorcerer.”

Yato took a few shaky breaths before he removed his face from his hands, palms slightly wet. He felt anger swell in his chest, to have his mind laid bare, his private memories used against him.

“Isn’t it more useful if I can see what the Sorcerer is doing?”

The question shocked Madame Kofuku, but Yato felt his reasoning was sound. All he had heard was repel, repel, repel, but what if Yato wanted to let the Sorcerer in? What if he could see more if the Sorcerer were in his head with him?

“The last thing you want is him in your head, Yato!” Madame Kofuku exclaimed. “Even to allow such a thing, a Legilmens’ can distort your mind, make you see things that aren’t real, and drive you insane!”

She rose a second after Yato and faced him head-on, giving him a warning look that Sakura had given him many times before.

Yato huffed and stared straight back at her. “If I hadn’t seen Daikoku -,”

“If you hadn’t seen Daikoku, it would have been too late to save him. For that I thank you. But to let the Sorcerer in, he will control your mind and change you,” Madame Kofuku bit back the venom in her words, but it was enough to shock Yato back to reality.

He hadn’t thought of it that way. It was some constellation that he’d been able to save Daikoku, but for the Sorcerer to control his mind… it didn’t bear thinking about what he could make Yato do.

Guilt set in as he realised that he let his temper get the best of him, and that he used Daikoku against Madame Kofuku who was only trying to help him.

Yato looked away.

Madame Kofuku watched Yato for a few moments, calming herself. When she spoke again, her words were weighed with consideration.

“The Sorcerer must have been unaware of your… connection, until recently. Subconsciously linked perhaps, but only recently did he feel your emotions too. Those that he is not accustomed to.”

Yato blinked.

Happiness? Love? Those were the emotions Yato felt over Christmas. He had seen Daikoku through a snake’s eyes – the Sorcerer’s eyes – which confirmed Sakura’s theory he was an Animagus, and Madame Kofuku’s that he had access to Yato’s mind now.

“He must realise it works in reverse, like stepping through a door in and out of someone's mind,” Madame Kofuku continued.

Yato shuddered. “Are you sure he could… control me?”

“He might, which is why you need to learn Occlumency,” Madame Kofuku affirmed gently.

After a second Yato nodded. He stepped back and raised his wand without a word. He wouldn’t let the Sorcerer get him.

Madame Kofuku raised her wand at Yato with a sad smile.

“Legilimens!”

~

Yato threw himself on his bed after his late training session with Madame Kofuku. He groaned, thankful that no one was in the dormitory to hear him. He hated his life.

Yato rolled onto his back and sighed at the canopy that draped over his bed. He turned his head to the side to look at his drawer and reached an arm up to open the top compartment. Yato fumbled around, feeling old sticky sweets and other miscellaneous junk within the drawer, then frowned.

Yato rolled himself over onto his front and peered into the drawer.

His mirror was gone.

Yato frowned harder and check the other drawers, rifling through old socks and last year's homework. He looked under the bed and behind the drawers, he crawled over to his chest and pulled out his clothes. He even hung over the edge of the bed and opened his empty suitcase.

Where the hell is the mirror? Yato tutted at himself. He was sure he brought it back. 

Yato sat up and looked around, cross-legged on his bed. He let out another frustrated sigh. Now he couldn’t talk to Sakura. He hoped she would send Coo Phone – who now resided at Grimmauld Place as his job had been stolen by a mirror – with a message once she realised the mirror was at home.

Yato dragged a hand over his eyes. It had already been a long day; he would look for the mirror again tomorrow.

For the time being, he would have to wait to talk to Sakura.

~

On Friday morning, Yato huffed and shrugged on his robes and gave a scathing look over his side of the room. Sakura must have noticed the mirror was at home by now, because it definitely wasn’t at Hogwarts.

Yato found Hiyori and Yukine after breakfast, heading down to their first class of the day: Potions.

Yato avoiding looking at Madame Kofuku’s arm as she taught them how to make a hair-raising potion, despite it being covered by a long jumper that kept the winter cold at bay in the dungeons.

In the library at break time, Yato quietly told Hiyori and Yukine how his Occlumency lesson went the night before, looking ashamed as he revealed that he had injured Madame Kofuku in the process. He didn’t dive too far into the details of the memories he saw, but he was greeted with encouragement.

Yukine did point out that Occlumency may be a good topic to study in the Hogwarts’ Order, once he got the hang of it.

Yato agreed, but he felt that wouldn’t be happening any time soon.

Friday’s final class for Yukine and Hiyori was Herbology, meaning they had to leave Yato for his dreaded Ancient Seals class.

Although the sun was more persistent in warming up the greenhouse, it still wasn’t enough to keep the students cold as they worked. Today they were working with Mimbulus Mimbletonia, a cactus-like plant that was covered in boils instead of spines.

Hiyori eyed it uncertainly, unnerved by the gentle pulsating that reminded her of a heartbeat. Yukine discreetly aimed his wand at it and sent a jolt of magic through the plant, causing it to spurt a thick, stinky liquid out from its boils.

Hiyori shrieked and cursed Yukine, hitting him gently on the arm.

Yukine smiled to himself as Hiyori tentatively handled the plant. He watched her stiff fingers as they tried to manipulate the roots into a new pot, the cold seeping through her gloves and making it impossible.

“Y’know,” Yukine leaned in and whispered to Hiyori, “You could take some gardening gloves with you after class.”

Hiyori shot him a look. “No, Yukine.”

Yukine wiggled his fingers at her. He was intent on pestering her until she got some decent gloves, even if it meant teasing her. “But they’re sooo warm.”

“I’m not doing it!” Hiyori insisted.

Unbeknownst to Hiyori that, by the end of the class, Yukine had decided to get her a pair when no one was looking.

The Great Hall was bustling with activity, candles illuminating the room as the dark, snowy night set beyond the tall glass windows. Dinner was served, but Yukine didn’t savour it. He ate as quickly as he could, knowing that everyone – teachers included – would be here for some time at least.

Yukine slipped out of the Great Hall and headed towards the bathroom but diverted out into one of the courtyards once the coast was clear. He was careful jogging down the steep stoned path that led to the greenhouses, frost beginning to settle over them.

The greenhouses were never locked, something he had discovered from Suzuha at the Yule Ball. Yukine winced at the memory of that night and let out a breath that misted in the air before him.

The glass door opened with a frosted squeak. Yukine didn’t bother closing it; he’d only be a minute. He picked his way over plant pots and sharp tools, making his way to the back of the greenhouse where they picked up gloves and aprons for class. He picked up a heavy pair of gloves, weighing them in his hand, and smiled. Hiyori would be so mad.

Something clattered behind him.

Yukine spun around, expecting to be busted by a teacher, but an unexpected and unwanted face greeted him.

Nora.

Yukine looked at her, eyes wide. She looked like a ghost, and he couldn’t be sure that she wasn’t one. Her skin was sickly pale, practically reflecting the moonlight with its translucency. Her dark hair was kept in its usual straight cut bob, making her look like a porcelain doll as she rigidly stepped towards Yukine. He could see her shaking under her ill-fitting clothes, the jacket not thick enough to keep her warm.

Yukine placed his hand on the desk behind him, not sure what to do. He clutched the gloves tightly in the other. How was she at Hogwarts?

“I-I c-can’t r-reach Y-Yato…” Nora’s breath clouded in front of her face. Her whispered voice on the edge of breaking, raspy and sore, as if she hadn’t spoken for weeks.

Yukine was silent for a moment, watching Nora cautiously.

“Nora… are you ok?” Yukine asked tentatively. He disliked the girl, but he didn’t want to see her like this, no matter what he had said in the past.

Nora continued to approach, her eyes locked on Yukine.

“I-I c-can’t -…”

Nora was in front of him now, a breath away, and her voice faded.

Yukine looked at her in confusion. He lifted his hand from the desk and reached out slowly. She couldn’t actually be here.

His heart beat faster when he felt the tinge of warmth emanating from her skin. She couldn’t be here.

Nora’s eyes were as black as the night above them, level with his own.

“I-I n-need…”

Nora reached her hand to Yukine’s face, and he froze as her face drew near. Her lips briefly met his, cold as snow and as lifeless as the boy who had kissed him here first.

“You.”

[autobuttonsanddeceptistitches]

Viper’s Vengeance Chapter 2: Beware the Wild Weasel

Chapter 1

Hey guys, so I’m finally returning to this story. There’s been a lot going on right now, so hopefully updates won’t be too far between. This chapter also contains graphic depiction of gore for one short part near the end as a trigger warning.

Grand doors opened up to the sight of three thrones. The three Megatrons resting upon their high horses. All different bodies, yet the same name of an atomic weapon as powerful as one million tons of dynamite. Soundwave took attention of the sudden appearance, a new bulky body with Cobra armor. Viper clenched his servos, detesting the sight of another bearing the same curse as him. The true blue mech bowed down, wings remaining high. The gray leader smirked, getting off his chair.

“Viper, how good to see you again, I didn't expect you to come back. It seems Cobra was much weaker than I expected.” He said in such a twisted glee. Armada Megatron scoffed, as Beast Wars Megatron paid attention to the T-Rex head for an arm. Viper rose, his true blue sight unseen before.

“Its over now, we don't have to worry about them or the traitor anymore.”

“So you got rid of Luca as well?” The Cobra prototype nodded, remembering the flesh melting from his bones. How the calcium fell apart.

“I told you it wasn't a good idea to team up with those humans!” Came a shrill shriek. Everyone turned to face Starscream and his two Seeker buddies. Among them being Skywarp, wearing far uglier armor than before. Viper glared at the jet, feeling pity oozing out of his seams. The dark armored bot ran up to the snake, gripping his wounded shoulder.

“Hey, could you tell me that you salvaged my body?!” Came such a loud noise that echoed across the room.

“Sorry Skywarp, I didn't want any humans to use those parts, so they're all melted down. You should go to Cybertron and get a new one.” He teased, right as a fist crashed into him.

“Enough! Viper's done his work and we're moving on from that.” Armada Megatron interrupted, his powerful frame standing up and glaring at the fliers.

“Indeed Armada, I am happy to see your attack was successful.” The gray mech replied, he seemed to be happy to see another one of himself, let alone two of them bearing his name. Sure, on the surface it seemed they all detested each other. Yet, Viper could tell something lied beneath that. Soundwave detected it as well, but chose not to speak. The dark blue mech got up, wiping his face of the purple fist that whammed into his.

“Thanks, I needed a warm welcome from the likes of you. Lord Megatrons, may I request a few days off from the raids? Hook mentioned that I needed more repairs on my armor before I can fight.” Blue optics reflected the three Emperors of Destruction as they whispered among themselves. Starscream and Thundercracker dragged Skywarp off as he screamed out various Cybertronian swears.

“Fine, it seems you've done far much more compared to the rest of the army. Go on then, before we change our minds... Yessssss.” The Predacon leader hissed. The former Cobra soldier exited, making sure to avoid the bitter Nightraven. Who knew he loved his old self that much.

Back here again, staring at nothing as Hook tinkered. This time, a lot more precise with the sensitive wings. Good thing the irate Seeker's fists weren't strong enough to make a dent. The vibrant red mouthplate came off, showing the forever hidden white armored face. In the green mech's reflection is markings of a scar. New one gained from the chaotic battle from last night. Nothing to worry over, not if it doesn't hurt.

Dirty work, that song they listened to earlier, quite symbolic of such a situation. Done working for Decepticons, done working with everyone. A few days off is what he needs. It was nice that the dinosaur gave him an agreement. A lot of time to think, to question life's choices. One grew in his head as the Summer Breeze made him feel fine.

How did Cobra get the idea to make him? It couldn't be an idiotic idea that some crazy scientist could come up with. Come up to the boss and proclaiming they could make a jet that'd transform into a large fighting warrior. That urge to dig deeper, to discover why he came to be in these dark times. Who is he?

“I repaired your visor the best I could with what little I had. Sure its not the right color, but at least it'll shield your optics like it did before, so be happy with that.” Hook moved back to pick up a thick orange visor. Must've ran out of black and ditched the primary color for one not found on dark blue armor. The left part of it still broken that'd expose the optic. Its not the prettiest job, but it'll do for now. Servos soon placed the visor back on, fragments of glass included, but tight enough not to go loose and stab him. Hook smirked, knowing how much of a patch job this is. It'd contrast well with his vibrant blue vision. Then came back on the mouthplate, hiding the most human aspect of him.

After Hook finished, Viper sat up, looking towards the medic. “Thank you, I needed that a lot.” He exhaled, wings moving to show that they looked a lot better.

“You know, I could use a paint stripper and get rid of those ugly symbols.” Hook suggested, yet the former Cobra soldier got off the medical berth and adjusted his visor.

“Your repairs are all I needed. Our Megatrons agreed that I needed a break from the fighting. Its my time off now.” Blue armor left the room, closing the door behind him. Hook scoffed as the door opened again. A damaged Build Bot and Shrapnel getting dragged in by Kickback, with a cheeky grin on his face. How wonderful.

The human made machine got out of the shade and into the sunlight. The bright light displaying the restored paint on the weary body. What a strange part of the world to be at, a desert with hidden patches of life. Its often nice to listen to the soft sounds of distant animals and birds. I'd be best to go to the best spot to observe the vast wilderness of this planet. Time to concentrate and think, think over what to do with his past and how life became the way it is.

Viper saw two figures standing on the edge of the ravine. One that guarded the place from any ground vehicles from reaching the base. Breakdown and Drag Strip, two of the Stunticons enjoying their time off from the battles as well it seems. The Rattler came closer, noticing little rodents popping out of the ground. Some traveling across the large holes they dug up.

“Hey, look at those weasels, they're all over the place. Isn't that wild!? Hey, wild weasels!” Breakdown laughed, right as his brother smacked his helm.

“No you dummy, those are gophers! Or groundhogs? I remembered hearing a crazy old man tried bombing his farm to get rid of them. Left a giant hole that's used for tourism in Japan! Best place to dump you off!” His brother chided, before noticing Viper staring at them. “Hey, what's bothering you?”

“Wild....Weasel....” Came a whisper, optics going blank before his processor bloomed into a familiar pain. This damage came from when Cobra tore through his head. The last sight before shutting down was Drag Strip running up to him while Breakdown kept screaming apologies...

A sight returned of blue skies over a forgotten base. An old place with worn out red paint hidden in a faraway jungle. A figure sat inside of the cockpit of a Cobra Rattler. One bearing the iconic symbols, yet having the Decepticon ones embedded as well. Before a consciousness, all that existed was a lifeless husk, a prototype.

“Wild Weasel, how is the Viper performing?” A harsh voice came out, Cobra Commander's own, escaping from the radio into the cockpit. A pilot wearing red, hiding his face behind that intimidating helmet of black and red. He picked up the message, glancing back at the other prototype Rattlers.

“Wild Weasel here, this change to my plane is performing well. I haven't heard anything from the others yet. But I can tell they're performing the same as always.” A blank voice chimed, his pronunciation of s emphasized. An older one, still bearing a cocky attitude matched by his flying skills.

Wheels landing onto the ground, a sweet sensation to anyone bearing a fear of flight. Such bliss for anyone as the other tires began to land onto the soft surface. Overgrown plants, the typical sign of forgotten memories. A row of Cobra Rattlers, seven in total, yet one had the unique marking of purple. Upon command, six had changed their shape, walking on two legs rather than the three wheels. All remained static as their faces showed silver and black. Regular Cobra soldiers hiding at the back of the armored heads, adjusting to the new shape. All eyes left onto the main one, piloted by the great Wild Weasel. His fingers rested onto the controls. Muscles tensing, to soon hear the transformation as everyone watched.

Then, everything came to life. The flickering of an ember, growing into an inferno at the pouring of gasoline. A harsh scream filling his cockpit, crushing of bones as machinery filled the small spot. Never giving the weasel a chance to weasel away from the rising metal. Life, upon the begging of death. The firstborn stood, staring upon the crimson red dripping in his optics. Blood, what flows in the veins of humans. So much of it, the first memory, to hear a horrid screech, then watch the fear on the small creatures faces. A gun slipped out as armor malfunctioned, acid fired and melting the other prototypes. How could they be under full control, yet he could not?

Vision flooded, death, screaming, orders refused to follow. Then, a horrid shot hit his face, breaking the glass. More shots filled the sky as his vocalizer began to function. A scream of his own, startling everyone before they kept firing. Like a feared animal, fighting back against what he couldn't understand. Angry creatures, others identical to him melting down into puddles consumed in green. Such horrid sights, before one powerful blast took him down. Broken glass, staring at the strange color up above. Blue, its so beautiful, glistening the blood before going to sleep.

The prototype couldn't move, arms and legs tied down to slabs of steel. He struggled, making random noises towards the creatures, startled upon his awakening. Right in front of him, a man in the same color of the up above. Face hidden by a shield of silver, black gloves clenching the worn railings. Two other figures stood there, a woman with black, and a man of white. They whispered among each other, before a scientist ran up to the three. This person gave mention for something to be ready. Ready?

Upon the orders, a tremendous pain broke the functioning processor. New thoughts silenced, a forgotten voice. A vegetable, a robotic cabbage, never to be seen again...

“Viper?” Came a whisper, oh that sweet voice. Nightbird's, but, why is she here? Viper turned his numb helm, vision clearing up to find her staring down at him. He perched up, seeing Breakdown and the other Stunticons close by.

“How long was I out?” Came the first words, armor burning at his frame remembering the forgotten memories. The ninja rose a hand to his shoulder.

“A few hours, we thought of taking you to Hook, but he was busy. But, it seems we don't. Alright you five, the show's over.” Leading to the groans of the five mechs. They transformed and drove off into the desert. Ready to do their usual dangerous stunts for the others and their self amusement. Nightbird helped the former cobra mech up.

“What, were they going to ditch me in the middle of nowhere during that?” Came irritation in blue optics upon Nightbird's nod.

“You know them, I would've expected them to use you for their ramps. I've seen what they do with overcharged Decepticons. Need to go somewhere?”

“Yes, I was going to head somewhere, until I heard Breakdown and Drag Strip talk about the darn weasels.” An emphasized hiss on the rodents.

“Well, we'd better get going to wherever you're going. The sun's starting to set, what happened in your vision?”

“Its the reason I'm going there. I wouldn't suggest you coming along, its all for me to take care of. Although, you did make sure I wasn't Stunticon roadkill, so I should repay you in that way.” Viper transformed as Nightbird performed a cartwheel before entering into her alt mode. She drove off alongside him towards the one path able to let anyone in and out of the base.

Gotta pass the long roads that are famous for their tourist attractions in this side of Nevada. Few cars tonight, which is good for any Cybertronians during this time of the dying day. Viper seemed to be feeling a lot calmer since his episode, which should be a good thing. Nightbird remembered the first time she saw him on the floor during a large meeting. Stuck unconscious due to remembering another one of his 'memories'. She remembered hearing Soundwave and Hook discuss the cause of these episodes. The fracturing of his neural systems, vital parts to a Cybertronian to function. It may be repairable, given the time and resources from Cybertron come together. Viper did come into the Earth Wars a few months after her, so they were new back then. Now, a lot's changed since those days. More soldiers, more adjustments to the base's inner structure. What strange days, still having their sense of joy. Although the questions rose in her helm during the drive. Pondering of Viper's intentions.

What seemed to be forever lead them to California in the dead of night. Nightbird's engine hummed, used to long drives after frequent testing by her creators. Oh those days in the labs, born and built for one purpose, yet her own Spark lead her to this. She noticed Viper swooping towards a tunnel in the side of a mountain. A bridge abandoned for so many years. He waited on the old bricks, finding his tag along nearby landing onto the said bridge. Both their optics and armor lighting helped illuminate the tunnel.

“So, what was your memory about?” Nightbird chimed, seeing how Viper remembered his way down these long unforgiving paths.

“My birth, how I had my first kill. Tell me, have you seen blood?”

“In the horror movies Swindle and others watch.” Nightbird chuckled to herself. She'd often sneak into their little parties, such a shame it'd be American and British horrors. They needed some Japanese stuff to watch too.

“I saw it drip down my face and pool out, my optics, stained in so much of it. I'm amazed that Cobra left me alive, but, that's why I'm here.” Said with no emotion. Both reached an aged door with the infamous symbol of red worn away by time. Upon pressing a few buttons, it opened to the sight of forgotten technology. Old machinery whirled to life for the first time in years.

[arcticdementor]

You might look around sometimes and think to yourself, a new America has dawned, godless, without the old restraints. Yellowstone, the Kevin Costner Western on the Paramount Channel is the best example I can summon to mind just now, and its third season has just started. It’s a 21st-century story of cowboys and Indians—with characters seeking freedom from law. Practically, this means they must constantly defend a way of life independent of the many bureaucracies threatening their livelihood, and they do so with terrible violence.

Taylor Sheridan is the writer-director behind Yellowstone, and the series follows the success of his movies, Sicario, Hell or High Water, and Wind River. These movies earned seven Oscar nominations, one for Sheridan, and about as many nominations in Cannes, including important wins. Sheridan was raised on a ranch, but his family lost it, so he went to college and Hollywood, recalling Sam Peckinpah’s story. After Clint Eastwood, he’s now our premier poet of manliness.

…

Like any man long in power, Dutton has many enemies, and the more they behave dishonorably, the more you see that he’s touched by greatness, since he has no desire to go hurting people and does not share their cruel contempt for justice or life. Many look to prosper in his place, partly by the prosperity he has made. Worse for Dutton, America has changed—from the national press investigating him to the new economy to the way historical grievances grant authority to demand change—everything is threatening his way of life, built around family, land, and centuries past and future. Indeed, loyalty itself is over and new identities are required, which are flexible and practiced in deception. To succeed in Yellowstone’s new America, it doesn’t really matter whether you know any part of the country or have done well by people, but whether you know how to manipulate institutions and please those who manage the most successful interests, which seem hardly any better than legalized conspiracies.

Like Hemingway’s marlin, which achieves its greatest leap in its death throes and expires at the top of the arc, Dutton is most impressive in agony. He seems superhuman compared to the new American elites. His handling of urgent problems makes him resemble the president—he is an executive. Meanwhile, egalitarianism has not created equality in America, but only a new elite, impatient, ignorant of the future, blind to necessity—thus, astonishingly able to manipulate the new systems of power, since these elites feel no concern for consequences. The real world, where people are tied to a place, to other people, to their past, and the good they pursue, is replaced by access to the institutions and finances that make the world work, which manipulate people’s lives indirectly, in unaccountable and unpredictable ways. Everyone’s tied into legal demands and their lives are increasingly regulated, but only people who know how to use the law to get what they want get ahead in this new situation. The first post-American elite is coming for the last cowboys.

…

The American Dream is over in Yellowstone, and billionaire gentrification is coming for the last refuge of manliness in a country that produces compliant subjects rather than free citizens. In this grim world, cowboys are stand-ins for the white working class. They don’t go to college and they work dangerous jobs without much healthcare and for little pay. They are not disrupting the economy. They are America’s past, not future. Their virtues are Stoic and this might simply mean resignation to death.

…

Justice is built on nobility, and in Yellowstone, Sheridan draws our attention to this through the characters’ relationship with their horses. So understanding horses is the core of Stoicism—the horse is the noblest animal and America’s love of horses lasted well into the last era of popular country music and the Western, in the 1970s, because a horse rider presents the image of someone more than merely human. It is a greatness available nearly to anyone, at least anyone willing to face harsh nature. Horses are everywhere in Yellowstone, so one might not read much into it. They symbolize certain virtues, however. The horse is a power that will obey the rider, but not against its own nature. To ride a horse requires endurance in face of pain or weariness, courage to face fear or whatever weakness might come, self-control in face of temptation, and moderation—those habits that make man thoughtlessly sovereign. Without these, you die when it’s suddenly dangerous. One cannot talk oneself into it and there is no technology to accomplish this, either. It’s a way of life, not a job. It takes long practice which allows you to understand yourself and develop self-discipline. As such, horse riding leads to a kind of self-knowledge.

…

The Duttons are not Christians, few of their like seem to be—not even the death of the firstborn leads to a church funeral. They believe in freedom and nature—ruling over the land, over the horses, over people. They despise weakness and treasure loyalty. They trust family, not morality. Compared to ordinary Americans, they’re shockingly aristocratic. They believe in choosing the means to defend family and their land because family itself is unchosen—it’s nature, and therefore reliable. But can they live in America, where most people have no family? They rely on their old-fashioned patriotism to defend the ranching way of life, but the country has changed without them and it seems they can either adapt and sacrifice their family, or stay loyal and lose everything.

…

The opposite of a man in America is a bourgeois bohemian, to recall David Brooks’s signal contribution to our sociology in Bobos in Paradise (2000). Brooks is a sophist for this class, so he will not tell the ugly truth—but Tom Wolfe did in A Man in Full (1998), and even scooped Brooks. It’s not an accident that he saw clearly: Wolfe was the poet of American Stoicism and understood the threats to manliness.

The people who define elite taste in America are themselves opposed to violence, but not because they are Christian or even moral. It’s because their own rule doesn’t require that they ever take any personal risks—poorer people do that, who live in other parts of town or are completely removed from sight by gentrification. Nowadays, the rich take no responsibility for the poorer or those suffering violence, or even ever shake their hands, which is why our cities are such madhouses. There is no noblesse oblige.

Sheridan wants to show the violence in America to rebuke this bloodless view of things. So in the first season we see, through the real estate developer drama, how the new American elite is moving in to remove the last ranchers. This establishes the difference between real men and those who want to rule merely through institutions and finance, as though history had ended and we’re just dividing up luxuries. In the second season, we see rule by violence, in order to understand the difference between men and beasts. Sheridan shows that not all who kill are the same. Only then is it possible to defend the ranchers against the bobos persuasively.

…

The older Americans were not sufficiently attuned to nature, because they believed in God more. But as the churches are emptying, people are looking elsewhere to learn who they are. Some turn to nature, because human beings are not trustworthy. We may say mankind is naturally perverse, always coveting and therefore often violent or treacherous, which is why harshness was required in the past, to establish property and then defend it. This is certainly Dutton’s view, who only goes to church once, to make a priest manipulate a parishioner into obedience. And as a family, the Duttons are only happy when they revert to their old ways, taking care of their herd from an improvised camp so far away from civilization there’s no cell tower in range.

The only way to end the human drama would be to stop being enviable. End greatness and thus end striving. On the other hand, to defend greatness is to defend suffering. This way, we learn that suffering builds character—it brings people together, as do common enemies. This problem, the future of America, is the show’s indirect concern. Is it possible to retain honor in a dishonorable world? It’s not obvious how we can defend freedom without honorable men making sacrifices. Nor how we can raise honorable men if we tolerate bobo elites who despise honor and use every institution of government and market to end it. Dutton raised his kids to correspond to his understanding of rule. The treacherous Jamie is a Harvard-educated lawyer who tasted the bobo life for a while, but in order to redeem himself, he works like hired help in the stables. Beth is a finance genius, which plays to her ruthlessness, but at the price of undermining her ability to love and trust. Kayce is the truest cowboy, but what makes him so loyal also blinds him to the complexities of 21st century America. They each amplify something in Dutton, but in this attempt to pass on the ranch to a new generation, it turns out honor and savvy have been utterly split apart.

This acquisitive capitalism that corrupts honor is the enemy that returns in the third season of Yellowstone. That’s what the name of the show is about—the place of nature in America. Is it a museum, a zoo we visit occasionally, enjoying the beauty after all the danger is under control, and the millionaire class gets extra privileges? Or is there also a human nature that we need to learn to respect by treating physical nature with some respect, lest our elites treat us like pets as well? To defend manliness in America, it may be necessary to defend wild nature. That is a preparation for political freedom. To go too far in the opposite direction is to treat human beings, but especially men, like savages—as our elites do to the urban and rural underclass.

The purpose of the show is to persuade Americans to believe in nobility again. To face cruelty and violence as a preferable alternative to institutionalized despotism. To accept America’s tragic past with gratitude for the freedom we still have, if we are willing to earn it again. We have had so much success, we’ve created a class who profits by this success without any connection to America or regular Americans. We need to educate new elites about what’s worth loving and defending. Sheridan wants to teach by tragedy, so his protagonists are essentially honorable, which is no longer tolerated in our storytelling. Americans have never accepted tragedy before but perhaps now we will, since our freedom is once again in danger.

[wot-tidbits]

RJ’s notes Part 55 by Linda Taglieri

SOURCE PART 1

SOURCE PART 2

Costumes in the Wheel of Time

Ebou Dar

Ebou Dari clothing can be quite revealing, especially during the Festival of Birds. Colours are used to a great extent among both sexes. Embroidery is colourful, detailed and elaborate, more so among nobles and the wealthy, and usually features flowers and animals. Cuffs, lapels, collars and necklines are common locations, also along the hems of women’s skirts, bordering the area that is worn raised.

The wealthy and nobility wear embroidered or brocaded silk often set with jewels, and gold, while the poor and lower classes wear wool or linen set with brass and glass. The everyday garments of those people doing manual labour usually have shorter sleeves than nobles, or even none.

The Ebou Dari carry a dagger with an 8‒9 inch (20‒22cm) blade for a weapon and, often, especially commoners, a work knife with a blade of 3‒5 inches (8‒12cm).

Women’s clothes can be very colourful. The women wear dresses with a tight bodice and full skirt over brightly contrasting petticoats. To show off the petticoats, the skirts of noblewomen are raised in the front and may have a long train behind, and those of the commoners are sewn up above one knee.

“These dresses wouldn’t reach the ground properly if lowered, they do trail or nearly trail the ground behind, and are sometimes long enough to require a servant to manage them, though this is considered excessive by most women.”

While noblewomen always wear petticoats, the commoners’ dresses sometimes:

“are worn without petticoats or long shift, exposing the legs or stockings; among commoners this is considered less risqué than wearing the dress sewn high with petticoats.”

“Upper class women often have sleeves with long points or lace that would cover hand if lowered (no manual labour). Sometimes wear a version of the men’s jacket, as part of riding costume, though for them it is most likely decorated with lace.”

Outside, coloured wide-brimmed straw hats—often with veiling around the edges for the wealthy—tied on with ribbons may be worn (A Crown of Swords, A Note from the Palace), “or versions of men’s hats, but in bright colours, often with feathers or plumes added, or flowers made of silk.”

Women soon to marry wear a wide close-fitting metal necklace from which their marriage knife will hang hilt-down once they marry. The knife has a 4 inch (10cm) blade.

The sheath of a widow intending to remarry is blue, if she is not, it is white. Married women with a husband living have a green sheath, while a married woman who has "forbidden her husband the house" (separated or divorced) and has no further interest in him or another man has a red sheath. If she is divorced and willing to try again, her sheath is red and blue.

Noblemen wear their hair shoulder length and also wear velvet hats, often with a high crown and wide brim (A Crown of Swords, White Plumes). The brim may be turned up at the sides. Low crowned hats are also worn. The hats are a darker colour that complements their clothes. Lower class men wear their hair short, and don’t wear hats, except occasionally, straw hats.

CAIRHIEN

Women in Cairhien wear dark-coloured, high-necked dresses unless they live in the Foregate (see below). Upper class women may wear brocades, but they would be monochrome and not two or more colours, while lower class women wear unadorned dark fabrics. Showing the cleavage slightly is considered daring, any more is considered indecent. Some women thread a fine golden chain through their hair from which hangs a small clear stone centred on their forehead just above their eyebrows, the kesiera. In the main series, these were no longer as fashionable, and not much worn.

GHEALDAN

Fringes are a popular ornamentation of dress, accessories and reins, bridles, and saddle cloth. Saddles are mounted with gold and/or silver among the nobles and the wealthy.

Women: have dresses embellished with lace and embroidery. A recent fashion amoung noblewomen and the wealthy well-to-do is a “ruff that stands up in back and is open in the front, thus making a wide standing collar. Newest fashion in women's dresses is very low-cut, but with a border of lace that provides decency while suggesting that all might be visible.”

Some noblewomen wear a veil which covers the entire head like a kerchief, held by various means. This is an old style, just coming back into fashion.

Noblewomen's slippers, shoes and boots may have high heels, which can induce a swaying walk. Noblemen can and do wear heels also. Both men and women sometimes wear beauty spots among the nobles and merchants.

Men: wear embroidered coats. Noblemen and well-to-do merchants wear small lace ruffs.

ILLIAN

There can be elaborate standing collars on women's dresses, sometimes almost high enough to hide her head, in a formal gown. A standing collar that rose to the level of the bottom of the ear would be about average.

MALKIER

The ki’sain is blue for an unmarried woman (New Spring, An Answer), red for a married (Winter’s Heart, Sea Folk and Kin) and white for a widow (New Spring, Keeping Custom).

“In death, she would be marked with all three, one of each color, whether she had ever married or not.”

“A Malkieri woman paints the ki’sain on each morning in pledge that she has sworn, or will swear, her sons to fight the shadow and she herself would oppose the Shadow every way she could.”

MURANDY

Men: wear high crowned hats (The Fires of Heaven, The Nine Horse Hitch), and long bright knee-length coats (Lord of Chaos, A Different Dance), “often very elaborately embroidered, and with an Andoran-style high collar.” Murandian men occasionally wear a single earring, which may contain a jewel, or a piece of colored glass if they can't afford jewels.

SALDEA

Women: wear a very high-necked dress with long or wide sleeves and narrow skirts. Skirts reach just above the floor Highborn women usually wear fine embroidery on their dress: this can range from very simple to very intricate, from trim on the neckline, collar and perhaps hem of the skirt, to broad bands that cover the shoulders, bodice and sleeves and rise a quarter to a third of the way up the skirt.

Noblemen frequently grow long, thick beards that reach down their chest.

SEA FOLK

Sea Folk women wear considerably more jewellery than men. No rings or bracelets, however, because these might catch in the rigging.

Tattoos are important indicators for Sea Folk, especially on the hands: a six-pointed star is tattooed on the web between thumb and forefinger of the right hand. It is a: symbol of the covenant with the Coramoor; some believe it makes you less likely to drown. Some of the other taboos on the right hand are, in effect, your official record, showing what ships you have served on, what posts and positions you have held.

Windfinders have a three-pointed star on the back of their right hand.

Men do not wear the nose ring or honour chain and medallions.A single earing indicates someone out of training, someone who knows his or her way around the ship and basic duties.

Cargomasters: wear loose silk breeches of one colour and a narrow matching sash that is elaborately tied. Daggers are ofen carried thrust into the sash, but they will not carry a sword unless action is imminent. Cargomasters usually have three gold earrings in each ear.

A Swordmaster has 8 thick earrings.

Master of the Blades: wears silk breeches of more than one colour held up by a long, intricately knotted bright red sash, 10 earrings.

Someone out of training, who knows their basic duties and their way around the ship has a single earring.

Sailmistresses of Darters wear linen blouses and coloured trousers and a few earrings. They have an honour chain connecting their earrings to their nose ring, but only a few medallions on it (Knife of Dreams, To Make an Anchor Weep). “Few women below the rank of Sailmistress of a ship and her Windfinder have the chain and medallions.  These medallions can identify rank, among other things, such as being Wavemistress of a particular clan, or of a particular ship, as well as clan and familial relationships. The chain always loops across the left cheek.”

“The number of earrings and medallions can vary downward over time as well as upward. Someone who is Windfinder to a Clan Wavemistress or to the Mistress of the Ships is required to start over again at the bottom with the death of the woman she serves. Also, if a Sailmistress dies, the new Sailmistresss of that vessel may keep on the old Windfinder, but she may already have one or may wish another, in which case the old Windfinder must start over again at the bottom and work her way back up. Her earrings are reduced in number accordingly, and she must pack away most of the medallions. They aren't taken from her; she just can't wear them any longer. This is in part because of the Sea folk awareness that Windfinders who can channel live a very long time, and helps preclude the possibility that a Windfinder will remain at a very high level while surviving a number of Wavemistresses or Mistresses of the Ships. It also makes room for those at lower makes to move up.”

Sailmistresses: Usually wear silk in an outfit all one colour, plain silk for the smaller vessels, brocaded for larger, with a matching narrow sash that is elaboratedly tied.

SEANCHAN

Personal public nudity lowers the eyes of a Seanchan, since those who are scantily clad are at the bottom of social pecking order. However, in private, there is nothing embarrassing about servants or da’covale seeing their employer/owner naked, and the Blood and the wealthy are quite confirtable being unclothed in front of their servants and/or da'covale of whatever gender.

The nobility shave their heads in varying degrees, symmetrically. (Asymmetrical shaving is the sign of a servant, a so'jhin.)

“Those of the highest level of the High Blood are called High Lady or High Lord and lacquer the first two fingernails on each hand. Those of the next level of the High Blood are called simply Lord or Lady and lacquer only the nails of the forefingers. Those of the low Blood also are called simply Lady or Lord, but those of the higher rank lacquer the nails of the last two fingers on each hand, while those on the lowest level lacquer only the nails of the little fingers. The Empress and immediate members of the Imperial family...lacquer all of their fingernails.”

Da’covale:

Beautiful slaves wear loose-fitting transparent white robes with nothing on underneath, and white slippers indoors. Shea dancers are perhaps the most extreme example, wearing transparent face veils and little else (The Shadow Rising, Hidden Faces). Less physically attractive da’covale wear more ordinary livery.

SHIENAR

Women: wear fairly modest belted dresses with medium to high necklines. Those of the wealhy are embroidered in flowers on the bodice or sleeves and perhaps also on the shoulders, but rarely on the skirts. On the whole, Shienaran women don’t wear much jewellery, even the wealthy.

Shienaran merchants and craftsmen usually wear their hair cut short of the shoulder.

TEAR

Serving women in Tear wear a dark coloured dress and short white apron.

(Or you know just read the two parts article in the blog. It is amazing... and huge.)

[lady-griffin]

GOT Circle & Spiral

Since the beginning of the show, we’ve been introduced to the White Walker’s symbols. Perhaps it’s a way they are communicating and expressing their intentions or perhaps they are just copying what they have seen before, without any meaning behind it.

There is the circle. Introduced, in S1E01 “Winter is Coming”

And then, there is the Spiral. Introduced, in S3E03 “Walk of Punishment”

From what we know so far or have gathered, is that these two symbols were taken from the Children of Forest by the White Walkers and they have been using them to communicate something to the living.

Now perhaps these are just empty symbols for the White Walkers. But the WW are capable of thinking and strategizing, for instance, they adapt to start wearing armor once one of them is killed. So, I do believe they are communicating something to the living.

Now in season 6, we are reintroduced to these symbols once more. As Jon draws our attention to them when he shows Daenerys the cave drawings in Dragonstone, in S7E04 “The Spoils of War."

The second picture and the spiral that is shown, I think represents the creation of the Night King and the place he was created. But we’ll get into that a bit later.

Circle 

First, we’re going to talk about the circle. While we haven’t seen it all that much in comparison to the Spiral, particularly in the later seasons. It still is the first symbol we were introduced to.

The first scene of the first episode of the entire show introduces us to this symbol and that episode is adeptly named Winter is Coming. The White Walkers are the Winter the Starks have been talking about, and they are not only coming, but are already here.

The final scene of the final episode of Season 1, reintroduces the symbol to us with Drogo’s funeral pyre and the birth of Daenerys’ dragons. And again, the episode is adeptly named, “Fire and Blood,” which directly refers to the Targaryen dragons, who are now also present in the current story.

And before we go to the circle and its relation to Sansa Stark, it’s important to note, that we do keep seeing the symbol in relation to the overall show. 

The font style of the Title, turns every “O” into the circle.

Okay, back to the story within the show.

The circle is strongly associated with Sansa Stark, who wears the symbol as a necklace when she leaves the Vale, first appearing in S4E08, “The Mountain and the Viper.”

This is quite interesting. 

While we know the chain reflects Littlefinger, a piece Sansa took from his own style (particularly in the way she wears it later on) andthe end “needle" piece is related to Arya’s very own needle. We still don’t actually have any meaning applied to the circle itself, at least not to my knowledge. 

We should also take note of the scene where we first see Sansa wearing the necklace in S7E08 and the implication behind it. Because Littlefinger to some extent “creates” this new Sansa (or he thinks he does), but over time he loses control over her and she turns on him, resulting in his death. 

Which is a scenario that is repeated quite often within the story. 

Sansa’s later circle necklace (which becomes a stable in her wardrobe), continues the idea of Littlefinger’s influence/lessons and Sansa having her own Needle.

And this necklace reminds me more of a thread going through the sewing needle eye, than the first one. And overall sewing in general. Sewing and more traditional female activities are also closely associated with Sansa, just in general.

And while the new circle itself might continue the symbolic weight of the old circle (whatever that exactly is), I believe this new necklace carries an additional symbolic weight.  

Especially, when Sansa wears her Twin Direwolf Collar/Clasps. 

The necklace and collar, together, create a visual makeshift of a Viking King’s Chain.

And several other blogs/people have brought this up as a visual clue.

If this is an intentional visual clue by the costume designer or creators, then I think it clearly means that Sansa’s circle necklace (new version) is her very own Chain of Intent.

Matching & opposing Daenerys’ more famous Chain of Intent and if that is true, than these two are already made out to be two opposing forces before they even meet. 

It’s also quite interesting that both Sansa and Daenerys have been strongly assoicated with the WW symbols and no one else really has. Sansa the Circle. And Daenerys the Circle and Spiral. 

And the circle has come to represent opposing forces already. The WW and the Dragons.

But yet, we still don’t actually know the meaning of the White Walkers and Sansa’s First Necklace.

In our own world, the circle is similar to the Greek Letters of Theta and Phi.

Theta  is a closer match to Sansa’s necklace, a horizontal line contained within a circle. 

Theta is the eighth letter of the Greek Alphabet. In Greek numerals it has the value of 9 though and it is likely derived from Phoenician letter Teth.

The Phoenician letter ṭēth means "wheel" and possibly is the continuation of a Middle Bronze Age glyph named ṭab meaning "good".

But back to Theta.

It was once used to represent death, as it was used as an abbreviation for the Greek θάνατος (thanatos, “death”) and as a warning of death, in the same way that skull and crossbones are or have been used.

The idea of death is very fitting for the White Walkers/Night King. To those who believe in the Lord of the Light, the WW are death and the true enemy of R'hllor. But in general and for everyone, it’s pretty easy to associate death with the WW.

But this idea of death is pretty interesting in regards to Sansa, who wears the symbol in the end of Season 4 and a good portion of Season 5. And while she stops wearing it later on, the visual style of it continues on in a different form. 

The symbol could represent the symbolic death of the old Sansa that once was, the one that existed before she walked down the stairs wearing said circle necklace. 

Or perhaps it’s a forewarning of her own future, literal death. Or perhaps, like the WW, Sansa herself is a harbinger of death.

A warning of death to come. 

Tyrion himself, in S8E01, brought up the fact that those who’ve underestimated or cross Sansa are now all dead. But it goes a bit further than that, doesn’t it?

Many of the characters who have directly impacted Sansa’s life or interacted with her on screen are now dead.

Lady. Ned Stark. Catelyn Stark. Robb Stark. Rickon Stark. Robert Baratheon. Joffrey. Tommen. Myrcella. Jory Cassel. Septa Mordane. Lancel Lannister. Loras, Margaery and Olenna Tyrell. Ser Meryn Trant. Maester Pycelle. Ros. Shae. Dontos. Lysa Tully. Tywin Lannister. Roose Bolton. Walda Frey. Myranda. Ramsey Bolton. The old woman. Ned Umber. Petyr Baelish.

And even those who haven’t died, have in many ways gone through severe changes that we could see as symbolic deaths. 

The Hound. Jon Snow (+ literal). Cersei Lannister. Tyrion Lannister. Jaime Lannister. Arya Stark. Bran Stark. Theon Greyjoy. 

In all honestly, though, we could make a list like this for every current living character and some would far exceed Sansa’s own death list.

But it is interesting for one of the few characters not involved in active fighting or killing, death sure does follow her.

But again, this is Game of Thrones.

Now Phi looks closer to the White Walkers’ circle, as the line is vertical and even passes outside the circle.

Phi, is the is the 21st letter of the Greek alphabet and represents the numeral value of 500 and also 500,000. 

The symbol of Phi can represent a whole number of things, most importantly the Golden Ratio. Which itself can represent infinity, beauty, nature, life and balance.

 And, the Golden Ration is often represented by a Spiral shape. 

Spiral 

This leads us to the Spiral in the show, which has become the far more prominent symbol in later seasons. 

It is first shown in S3E03, “The Walk of Punishment.” John and the Free Folk come across this symbol, specifically one that is made of horse parts. Though they don’t know its meaning, they talk of how there are no human remains. 

The men that these horses belonged to are now wights, the NK has gained more soldiers. And in the same episode, Daenerys makes a deal with the Slave Masters of Astapor -- One dragon for the Unsullied. Daenerys in this episode, takes a step further in gaining her future army.

Interesting how the wights are completely mindless soldiers following one master, while the Unsullied or the idea of them is sold to Daenerys as being just that. In addition, while the Masters of Astapor never got their one dragon, the Night King did.

The Spiral is also shown when the Children of the Forest create the first ever White Walker, in S6E05, “The Door.”

Bran learns in that scene that it was the COTF who created the WW to protect themselves from the First Men. And it is also in that scene we get idea that the acts people do (or weapons they create) under the justification of war, is not always justified. 

While COTF were being killed and their sacred trees destroyed, they created new life that they could not control and even slaughtered them, as well as the First Men. The COTF, in the end, had to work with Man to defeat the NK and imprison him beyond the wall.

The NK also creates the spiral in the most recent episode, S8E01 “Winterfell”, using body parts to create a spiral featuring Little Ned Umber in the middle (much like how the NK was in the middle of another spiral).

Beric Dondarrion even comments that it’s a message from the Night King. So once more we know the WW are sending the characters a message, we just don’t understand nor know what it is exactly means to the WW.

The Spiral is also associated with Daenerys Targaryen & potentially Targaryens in general.

In S4E10, “The Children” Daenerys wears a dress throughout that has the very same spiral pattern.

In that episode, Daenerys receives citizens in her hall when she is Queen of Mereen. She learns that some of the slaves want to be sold back to their former masters (as they feel there is no place for them in this new world). Daenerys learns the lesson that the freedom she has given these people, means they can defy her own wishes and wants for them.

This idea is further cemented when she learns that Drogon killed a small child. She has lost control of her dragons (drogon) and they are acting on their own will, which won’t always align with hers. So, she decides to lock up her two remaining dragons, to prevent this from happening again.  

The episode is adeptly titled “The Children,” (it’s almost like the title is intentional).

We as the audience are introduced to the Children of the Forest. But further more we learn the trouble and dangers of “children” to their “parents”.

Some of the slaves don’t wish to be freed by Myhsa (mother) and the Dragons are acting on their own will. 

The Hound begs Arya to kill him, who has become a pseudo daughter in a way, but she defies his will and leaves him to die a slow death. Well first she robbed him. 

And the final nail in the coffin, Jaime frees Tyrion, who then kills their father, Tywin. Which is not what Jaime nor Tywin wanted. 

Your children, the people you save or free from their former imprisonment, still have their own free will and that will can go against your own.

And this is a lesson that has been on repeat for quite some time.

The COTF learn this. Daenerys learns this. Littlefinger learns this. Tywin learns this. Cersei learns this. Doran Martell learn this. Roose Bolton learns this. Ramsey learns this.

Now, defying your “parents” wishes and turning on them does not always work out in the best of ways for the “child”. Robb and Sansa both went against Catelyn and Ned’s wishes in who they wanted to marry and both acts led to some terrible consequences for House Stark and said parents, as well as themselves.

So, there is a balance to be had. But the lesson remains, everyone has a will of their own.

And it’s also important to note that to create the first WW, the COTF used Dragonglass. Which is also refered to as frozen fire and is found in abundance on Dragonstone, the ancestral seat of House Targaryen. 

There is of course one other way Daenerys and Targaryens are connected to the Spiral, their sigil resembles it quite a bit.

Of course, everyone has commented on the possible connection of the WW Spiral & Targaryen sigil as the similarity was made quite clear with Little Ned being set ablaze.

The Spiral itself could be seen as an abstract form of the Targaryen Sigil. Similar to how Cersei’s crown is an abstract form of a lion.

Heading back to the actual Spiral for a quick second. 

Spirals in our own world can have a ton of meanings depending on different cultures, history and overall context. But overall, they can represent movement, life, creation, infinity/eternity, reincarnation/ rebirth and time (past, present and future). 

And I think those meanings from our world can also be applied to the GOT Spiral.

Back to the Targaryen Sigil and its connection to the Spiral.

The Targaryen Sigil itself is reminiscent of Ouroboros - A symbol that depicts a serpent or dragon devouring its own tail.

Ouroboros represents or can represent wholeness, infinity, rebirth or a renewal of life (same as the spiral). A continuation of a cycle.

It also has the negative connation or idea tied to it -- eating (hurting) yourself to satiate your own hunger (desire).

Basically, a self-defeating way of trying to accomplish what you want.

Which is a way to describe several of the characters we’ve seen on the show and continue to see, the more they try to cement their power the more unstable that power’s foundation becomes.

 But even more so, we can see it with how several of the “children” defy their “parents”.

And of course, both the Targaryen Sigil and Spiral Symbol also look like something else. A wheel.

Daenerys has sworn to break “The Wheel.”

While we can easily infer what the wheel is, it’s never actually fully discussed within the show. 

We’re told the vague idea that it’s the families fighting one another for power and the destruction that follows (crushing the smallfolk), but that’s really it. 

However, that idea is often shown to the audience in every episode, with once again the literal Title of the Show.

This looks like a wheel, with the different families being the spokes on it, just like what Daenerys said.

 But back to our main point.

We have no idea how Daenerys exactly wants to break the wheel (dismantling the institutions of power that legitimize rulers? maybe?) nor do we know what she wants to do when the wheel breaks. Or what she wants to implement afterward.

One idea, is that she could mean she wants to do what Joffrey suggested in Season 1, dismantling the independent powers of the lower lords (Stark, Tyrell, Tully...ect) and cement the central power of the crown (mainly through armies).

This actually isn’t all that far-fetched. Daenerys has become the central ruler of her army and people, with seemingly no official lower branches or groups. 

But that’s more stopping the wheel on the Targaryen Spoke, not breaking it.

The real problem is that it’s a nice line with no plan behind it and there is a fatal flaw in how it’s supposed to be achieved.  

It’s hard to break the “wheel”, when Daenerys needs the wheel or the institutions of power that were or are still currently in place (monarchy/feudalism, succession rights, Targaryen rule, Iron Throne) to become Queen of the 7K, so she can break said institutions that reinforce the current social structure and help crush those below.

Daenerys (and the other characters) are part of this wheel. They might be able to change it, but can they truly break it? 

I’m going to say no. The wheel and life keep spinning. The spiral continues. No matter what they do. 

The wheel imagery also reminds me of the Seven-Pointed Star, the primary icon of the New Gods, which is the major religion within Westeros.  

The New Gods is an interesting religion. It’s predominant across the show. It’s one of the few religions we see that has set rules and practices and it is (was) a formal institute of power in Westeros, but yet has no “proof” behind it.  

The Old Gods, The Lord of Light and even the Many-Faced God have magic users and practices that seemingly reinforce said power of their god and prove its existence.

But magic isn’t linked to one religion or one god. In fact, it might not be linked to any. Magic might just be a natural part of this world and some religions may have been created to explain said magic and shape it.

Perhaps those who follow R’hllor can’t see the future through the flames because of their god, but many R’hllor exists because people could see the future in the flame. 

But back to the Targaryen connection.

It always interested me that the Targaryens never brought over or implemented their own religion or gods from Valyria to Westeros. They just adapted to the dominant religion and allowed it to give them legitimacy.

One could also argue the Targaryen Sigil has “Seven Points” to it.

 Three Heads. Two Wings. Two Tails.

And also, Joffrey based the throne room off the old Targaryen-style of the room. Including the Seven-Pointed Star windows.

Joffrey didn’t include the star because he himself is religious, he did so to invoke the style and power he admired in the previous Targaryen rulers. 

Robert, who overthrew the Targaryens, had removed and replaced the Seven-Pointed Star (and other decorations) with forest/hunting stain-glass windows and decorations. 

While we might associate the current throne room and its “look” with Joffrey and later Cersei, they are only trying to invoke the Targaryens, who were overthrown so they could have power. 

And we can see that in the flashback of the Mad King, as he too had the Seven-Pointed Star glass window.

So, in the past, the Targaryens have used the Seven-Pointed Star, not just in their decorating, but legitimizing their own power with The Faith of the Seven. 

Overall, the Seven-Pointed Circle it a symbol of power that keeps things more or less the same. And Daenerys might have to reinforce or rebuild this religion once more to keep or gain her own power, if she were ever to become queen. 

Once more, fortifying the wheel and making it more difficult to break.

Now overall the Spiral and the Seven-Pointed Star Circle aren’t that similar in appearance, other than them being circles with “spokes”. 

The Spiral has 8 spirals. While the Star has 7 points. 

The Star is contained in the circle and the Spiral is the circle that can continue on and on.  

But they might just both represent religion. While not confirmed, from what we can tell so far, the Spiral is a symbolic part of the COTF magic (and potentially their religion as well).

So, there is again an element of opposite forces. The Old vs. The New.

And from a Watsonian perspective, whose to say the Targaryen weren’t influenced by the dominant religion of Westeros & the Spirals imagery found on Dragon Stone (plus their three dragons) in creating their sigil.

The two symbols the WW have used can be linked to and related to many different things from our own world to the world of Game of Thrones. 

And while all of these different circles and symbols may not all be directly connected together in some overall giant meaning/conspiracy that will explain everything.

We can’t ignore, the same ideas and meanings keep coming up and connect different symbols and ideas together. 

They are all different, but nonetheless similar. Reflections of one another.

What do these two symbols really mean in regards to the WW?

Well, I hate to say it I don’t have a concrete answer, despite everthing we’ve talked about. But I do have speculation.

In a more literal sense. I think the circle represents the First Men and the Spiral represents the COTF. Or at least they use to. 

Basically, I think it will be revealed that the circle symbol we first saw (unless they’ve forgotten about it) was once a symbol of the First Men. We actually haven’t seen the COTF really be associated with that symbol, at least not in the same way the Spiral has been shown to be related to them.

True the circle is part of the Cave Drawings, like the Spiral, but the COTF were telling the story of how they joined together with the First Men to defeat the WW.

So I believe, the WW are taking what was the primary (or what they saw as the primary) symbol of the two groups that they wish to destroy and made them their own. 

For the WW to have life, they most kill the old life in the current world. And these two symbols the WW have been using is that threat. Death is coming for the First Men (humans) and the COTF.

And that leads to what these two symbols represent (not just a single person or group anymore), but ideas.

Overall, I believe they both represent opposing forces and the duality of said forces.

The Fist Men and The Children of the Forest. Ice and Fire. Starks and Targaryens. Non-Magic and Magic. Old Gods and New Gods. Greatness and Madness. Death and Life.

Different sides of the same coin.

However, these symbols in my view don’t simply represent said opposite forces themselves, or more accurately, one doesn’t necessairly represent life, while the other represents death. 

They represent both opposing forces at the same time.

But more than anything, these two symbols separate or together represent --

Rebirth. Renewal. Reincarnation. A continuation of the past in the present and future.

Both symbols have come to represent the duality of Life & Death and Death & Life.

The COTF created the Night King by killing the human man he once was. (Spiral)

The Night King kills humans and brings them back (creating “new life”) as either wights or WW. (Circle & Spiral)

Daenerys had three deaths (Drogo, Rhaego, Mirri Maz Durr) and willingly walked into the funeral pyre and by doing so, she created new life in her three dragons. (Circle)

Sansa has to symbolically kill (change) old Sansa to become this new and smarter Sansa (when she leaves the vale). (Circle).

And that idea, even though the symbols aren’t presented in literal form, repeats  time and time again.  

The Drowned God Religion in general.

Theon must die for Reek to exist and Reek must die to allow Theon to be reborn.

Jon has to kill the boy to let the man be born.

Jon also literally dies and is resurrected.

Human Bran has to die to allow Three-Eyed Raven Bran to be born.

The Faceless Men try to get Arya to kill Arya Stark so she could become No One.

Jaime most kill the King slayer to become Jaime Lannister.

For new life, you need the death of the old life.

Both symbols represent that overall idea, particularly in association together. But yet what once was, never truly goes away, does it? 

“What is dead, may never die”

The old (the past) is never truly destroyed. And thus, you get this continuation that goes on and on.

But overall the idea of the future, despite its best attempt, being a reflection of the past is something that seems inevitable.

Though I would say the future of GOT won’t look exactly like the past, because many different reflections of the past will take part in creating this new future.

So, I believe some form of the old (current) life we’re viewing now must die, for the new life to exist. 

And, there are a couple of questions we might want to ponder during S8. 

Which “children” will defy which “parents” in this new season?

Which of the saved will defy their savior?

Which reflections of the past will actually be realized in the future? 

What exact aspect of the old must die for the new to exist?

We’ll just have to watch and see.