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robininthelabyrinth · 3 years

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Fic were both JZX and Jiang Yanli are trans? I imagine the engagement would get complicated.

The More Things Change - ao3

“My lady,” the midwife said. “Congratulations. You have a daughter.”

Madame Jin shook her head. “I need a son,” she said.

“My lady –”

“I’m not doing that again,” Madame Jin said, her voice getting stronger. “I need a son.”

“But –”

She looked at her loyal maid, who inclined her head.

A knife flashed.

“Congratulations, my lady,” her maid said, pushing aside the midwife’s body with her foot. “You have a son.”

Madame Jin smiled.

“I’m glad you survived the birth of your child,” Madame Yu said to her old childhood friend, wondering why she’d been invited over to visit Lanling City quite so quickly – it hadn’t even been a month. “Were you thinking –”

“I have a son,” her friend said.

“Congratulations.”

“You don’t understand,” her friend said. “There’s a problem.”

“A-Li,” Jiang Yanli’s mother said in a strange tone. “Do you like wearing dresses?”

“Uh-huh,” Jiang Yanli said, trying to see if she could stick her fist into her mouth. She’d always worn frocks, the way all children her age did, but at some point soon her mother had been warning her that she’d need to switch over to wearing proper robes for boys. Jiang Yanli had burst into tears, saying she didn’t want to be a boy at all – that she didn’t want to leave her mother’s side, that she didn’t want to join the world of men, she didn’t, she didn’t.

“And you really don’t want to go be a boy? Really, you’re sure?”

Jiang Yanli nodded.

“What if I said you didn’t have to be? You could be a girl, just the way you like.”

“Really?”

“Mm. But you’d have to be a girl forever.”

“Okay,” Jiang Yanli said happily. “I wanna be a girl forever.”

“Good,” her mother said, and picked her up. “Just keep saying that.”

“What do you think we are,” Jiang Fengmian asked his wife blankly. “Qinghe Nie?”

His wife glared daggers at him.

“Attempt the impossible,” she said stiffly. “A-Li has been claiming to be a girl consistently for a year. Would you deny her the chance to follow her dreams?”

Well, when she put it that way…

Jiang Fengmian hesitated.

“It does create a problem,” his wife said, and he looked at her. She smiled faintly and leaned forward, showing her curves to their best advantage. “If she’s a girl, she’ll marry out, won’t she? We need a boy.”

Jiang Fengmian swallowed. A boy sounded – nice, he thought vaguely, eyes caught on what he was being offered. A little boy, lively and bright, with a happy smile always on his face…yes, that sounded rather nice.

Wei Changze’s letter upstairs said that his wife had announced that they had conceived, and that she had divined that it would be a son – it was frightfully early to make such predictions, less than a month in, but apparently disciples of the immortal mountain were able to determine such things early. A boy like that, who could be friends with their boy, a reason for them to come to visit and maybe even to stay…

Yes, he thought. That sounded rather good.

“All right,” he said. “A-Li can be a girl, I guess.”

Madame Yu and Madame Jin let news of the engagement seep out as rumor for months before telling their husbands. When they did, they took different approaches: Madame Jin pointed out the strategic benefits of an alliance with Yunmeng Jiang and the unlikelihood of Jin Guangshan finding a match for their son that would give him so much more influence in the cultivation world, which had made her husband stop his grumbling and look upon the match with a favorable eye.

Madame Yu stared at her husband, for whom she had just born a son three weeks premature and very nearly died in the process, and said, “What’s your problem?”

“A-Li can’t marry the Jin sect heir! She’s not –” He waved his hands. “The possibility of children –”

“I would have thought that would be a selling point,” Madame Yu said, and he blinked at her. “He’s Guangshan’s son. There will be children enough.”

After some further arguing, Jiang Fengmian begrudgingly backed down.

Madame Yu smiled to herself, and thought of grandchildren.

Everyone said that Jin Zixuan was a spoiled brat and incredibly lucky, but he didn’t think he was. Sure, he was rich and legitimate; his father valued him, while his mother loved him and would defend him against any challengers to his position as heir, but privately…

“Why do I have to work so hard?” Jin Zixuan asked, panting. “I’m already cultivating, and my teachers say I’m not bad with the sword –”

“Not bad isn’t good enough,” his mother said sharply. “You have to keep up with all the rest of them, and that means getting ahead now.”

“The rest of who?” he asked. “Do you mean…”

He hesitated, not knowing if he was also included in his mother’s taboo against mentioning the results of his father’s philandering.

“All of the cultivation world’s young gentlemen,” she said, to his surprise. “You have to keep up with them. No, you need to exceed them. You must!”

“But – why?”

“I’ll tell you when you’re older.”

“Mother,” Jiang Yanli said. She was clutching a book in her hands. “Mother, can we talk?”

Her mother frowned at her, looking disapproving – and then she saw the book.

Jiang Yanli thought she would yell at her, but she didn’t; her mother only gestured for her to come into her room, ordering her maids to close the doors and windows.

“Mother,” Jiang Yanli said. “Mother, the book –”

“How did you get a spring book?” her mother asked. She looked tired. “Surely you’re still too young?”

Jiang Yanli bowed her head.

It was true, she was too young. And yet…

“Mother, the pictures in the book…”

“I know.” Her mother sighed. “All right. Let me explain.”

Jin Zixuan stared at his mother. He felt sick.

“But,” he said, and swallowed. “But what about…?”

“I’ve handled it,” she said harshly. “But that is why you must not allow your father to take you to a brothel. Is that understood?”

“Who do you think is the best girl? Zixuan-xiong?”

“Oh, don’t ask him! He has a fiancée, so his answer will be her!”

“A fiancée? Really? What sect is she from? She must be extremely talented!”

“Forget it,” Jin Zixuan said.

“What do you mean by that?” Wei Wuxian exclaimed, and suddenly he was getting into his face. “Say that again if you dare!”

Jin Zixuan opened his mouth, hating him – hating the whole situation, being stuck not making any decisions for himself, his whole life mapped out for him by others – but then hesitated.

Jiang Yanli is the only one fit for you, his mother said. Do you understand? The only one.

“I haven’t met her since I was five,” he said instead of what he wanted, rolling his eyes. “So how could I dare to boast about her in your presence? You all want to know about her, ask Jiang-gongzi.”

Wei Wuxian blinked at him, the wind suddenly taken out of his sails.

Jin Zixuan escaped.

He felt like shit, thought. She was his fiancée, and he didn’t know anything about her – he didn’t want to hear about her, think about her. And yet…

The only one.

He went back to his room and wrote her a letter. It was a mess, the worst thing he’d ever written, nothing at all like the polite and careful phrasing, elegant and beautiful, that he’d been trying to put together, something worthy of his name.

He sent it before he could think better of it.

Jiang Yanli held the letter to her chest and smiled.

They’d exchanged a few dozen letters. Jin Zixuan knew that his intended was smart and witty, empathetic and kind, observant and well-meaning, but he didn’t know that she was beautiful until after they escaped from the indoctrination camp and the cave with the Xuanwu of Slaughter.

He’d just accompanied Jiang Cheng for the entire seven days it took to get to the Lotus Pier, collapsing right alongside him, and while Jiang Cheng had – somehow – gotten back on his feet and immediately led his father and mother out the door to go rescue Wei Wuxian, he’d stayed down on the floor until someone knelt down in front of him and smiled.

“Can I get you something to eat, Jin-gongzi?” Jiang Yanli asked.

“Uh,” Jin Zixuan said, and turned bright red. He could sure think of some things he’d like to eat – living as his father’s son had certainly given him an education (however theoretical) about that.

“Food,” Jiang Yanli clarified, giggling into her sleeve. “Let me get you some food.”

This was probably a bad idea, Jiang Yanli thought, looking down at the head tucked against her chest. I probably should’ve just stuck to food. What if he gets with child? What will we do then?

She couldn’t quite bring herself to regret it, though.

“A-Xuan,” she whispered, and Jin Ziuxan stirred a little. “Can we do it again?”

“You’re insatiable.”

That wasn’t a refusal.

“A-Li!” Jin Zixuan shouted, rushing forward. “A-Li, A-Li…!”

She collapsed into his arms.

He looked at the retainers from Meishan Yu, stubborn but pale. “It’s all right,” he said. “She’s my fiancée. I can take care of her.”

“The Jin sect walks in the center path,” one of the retainers said. “Never quite committing to the Sunshot Campaign. How do we know this isn’t a trick to get into the Wen sect’s good books?”

Jin Zixuan bit his lip. He’d pushed his father time and time again, and even that had only gotten them to participate half-heartedly in the fight against the Wen sect. What could he say? What worth was his word?

“It’s all right,” Jiang Yanli said. “I trust him.”

“You could do so much better, you know,” Wei Wuxian said. “It’s not too late!”

Jiang Yanli smiled down at her wedding outfit, but thinking instead of the panicked expression on Jin Zixuan’s face a week before when he’d unexpectedly thrown up in the morning when he was supposed to be preparing for the Phoenix Mountain hunt.

“Oh, it’s too late,” Jiang Cheng grumbled. “On that note, you pick the name.”

“The name…?”

“For our upcoming nephew.”

“Shijie! You didn’t!”

Jiang Yanli’s grin widened.

“Wei Wuxian has committed a crime in attacking our camp and taking the Wen remnants,” Jin Zixuan’s father announced. “We should –”

“Let it go, Father.”

“…what?!”

“I’m getting married, and he’s A-Li’s shidi,” Jin Zixuan reminded his father. “It would be inauspicious to start a marriage by breaking such a relationship.”

His father looked like he was planning on ignoring that, so Jin Zixuan used his trump card.

“We can’t afford anything inauspicious right now,” he said. “Not when there’s a child on the way.”

His mother dropped her cup.

“I have to go,” Jin Zixuan said. “You don’t understand. I have to.”

Jiang Yanli rubbed his hair. “You’re supposed to be in seclusion,” she reminded him. “As am I.”

“I’ve been throwing up every morning for two months, A-Li,” Jin Zixuan pleaded. “I can order them to clear the kitchen. No one would know we were there!”

Jiang Yanli laughed a little. “The craving’s that bad, huh?”

“Yes!”

“Oh, all right. We’ll give it a shot…”

It would have worked, too, if Jin Guangyao hadn’t noticed that too many people were in the wrong place and taken it upon himself to investigate.

“…Jiang-guniang?” He stared at her flat waist, then turned his eyes slowly towards the roundness at Jin Zixuan’s. “Jin-gongzi…?!”

“It’s all right, it’s A-Yao,” Jin Zixuan said to Jiang Yanli. “He won’t tell anyone. Right?”

Jin Guangyao shook his head mutely.

“Seclusion,” he muttered. “No wonder…everyone said it was bad timing that you went into seclusion right before Mistress Jiang announced her pregnancy. But it wasn’t, was it..?” He shook his head. “Don’t worry. I won’t tell.”

“We’re in your debt,” Jin Zixuan said, and thought Jin Guangyao’s eyes upon him were softer than they’d ever been before. “You’ll be a good uncle.”

Jin Guangyao smiled. “Perhaps,” he allowed. “One question, if I may. Who’s the father?”

Jiang Yanli wrapped an arm around Jin Zixuan’s shoulders and beamed.

Jin Guangyao’s jaw dropped again.

“Your son needs you,” Jiang Yanli said to Madame Jin. “Go.”

“Jin Ling,” Madame Jin said, looking down at the baby in her arms. A son, her grandson…a miracle. “Well. You’re – not what I expected.”

If her husband ever found out…

Well.

She’d just have to make sure he wouldn’t, now, wouldn’t she?

#mdzs #jin zixuan #jiang yanli #madame jin #yu ziyuan #my fic #my fics #the more things change #misaligned

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alagaesia-headcanons · 3 years

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Sorry I snatched this screenshot from a different post, but this drives me insane and I don’t want to derail that post

*adds this to the list of reasons I would throw hands with chris*

Inheritance is the titular theme of the Inheritance Cycle, yet Paolini seems so incredibly inconsistent about what he wants to say about it. On one hand, the series has so many examples of how circumstances can frequently push children into the roles their parents once had, either willingly or forcefully. A lot of the growth of the characters and themes comes from the idea that such fates aren’t binding and these people can leave behind the roles of their parents by growing beyond them and making something entirely their own or by rejecting the role entirely and carving a new path outright. It’s a theme that means a lot to me and think is very valuable to consider for the truth it carries and the beauty of the idea that our lives are our own to shape.

And then he turns around and says shit like this that undermines all of that.

The idea that Eragon inherited his determination and his “deep seated sense of what’s right and wrong” from Selena makes me so mad. Morals are not inherited. Remember, Selena didn’t raise Eragon at all. She left right after he was born. She had no influence on his upbringing. To declare that she passed on such complex moral characteristics by merit of having conceived and given birth to him is so reductive.

This does a disservice to the people that actually interacted with Eragon as he grew up. If anyone had a formative affect on Eragon’s personality, it would likely be Garrow and Marian first and foremost. And after that, Roran growing up along side him and the rest of the villagers he interacted with frequently. These people around him are the ones who could pass on their knowledge, their experience, and their beliefs.

But far more important than that, enough to make that close to irrelevant, it that this does and incredible disservice to Eragon himself. Despite the influence of the people who were actually around him, it is still up to him to decide how he wants to live and what he considers important. Throughout the series we see as Eragon fights with himself to figure out how to use the power suddenly thrust upon him, for example, when he makes the choice to prioritize his service to the Varden and subsequent training with the elves out of his devotion to the peoples of Alagaesia as a whole over his quest to slay the Ra’zac out of a sense of loyalty to his family. He has to examine himself to understand why that desire to fight for (what he sees as) the greater good of the public is the most important to him and what he is willing to do to achieve that.

We see him struggle when presented with people who have moral systems different than his own, such as Murtagh, who feels no obligation towards a large group or a ideological cause, but has an incredibly loyalty and devotion to the individuals he loves. And Roran, who, in the end, fights for the same cause as Eragon does, but for wildly different reasons based on the wellbeing of a smaller group and the immediate, tangible things they need to be cared for, like housing, food, and safety from military threats.

Eragon’s sense of right or wrong, is not inherited because it’s not innate. I wouldn’t even say it’s deep seated. It changes. It’s something he learned as he grew and then had to personally refine as it wavered and strengthened and shifted in response to the far reaching dilemmas he found himself in. It was a journey Eragon had to personally take when formerly abstract ideas of what is good and what is evil became much more tangible when he became a Dragon Rider with incredibly influence. It’s not a journey anyone did or could have taken for him.

How Paolini managed to write all that and then just say he got his moral compass from his absent mom is beyond me. It’s a condemnation.

This idea degrades a persons autonomy. It declares that even something as deeply personal as morality is subject to an outside force, to someone else, and not something built and shaped by our own actions. This idea binds people to the character of their parents, which seems benign and inoffensive enough when talking about positive characteristics, but it implies vile things about those with bad parents.

Sorry for being a prick and quoting myself, but I touched on something similar to this in another post about Murtagh and said, what does it mean to say, “Oh, you aren’t like your father, so you’re not damned to follow his path; you’re like your mother instead!”

I think the temptation is to attribute good characteristics of children to parents as something those children can then depend upon as something innate that they don’t have to struggle for and something that won’t fail them. It makes things nice and simple. But that’s not true, it never is, and the idea falls apart when considering the possible inheritance of negative traits. Using Murtagh as an example, cherry picking positive traits from Selena that he has in common to negate the idea that he got negative traits from Morzan is still damning him to the exact same idea that he is solely a product of his parents and that his actions don’t truly belong to him. Murtagh literally states that his frustration in being compared to Morzan isn’t because he’s being compared to someone who did horrible things, it’s that he isn’t being regarded as an individual who can make his own choices independent of someone else’s influence. He longs to be seen as his own person, not a continuation of someone else.

Attributing Murtagh’s qualities to Selena, or Eragon’s, or any other character’s qualities to their parent is continuing the exact same problem, no matter how complimentary the comparison may seem at first glance. Morals are not inherited, they are learned through the world and our experiences as we go through it. The books do a great job of showing this in many places which makes me even more angry and sad to see the author himself say things like this. I think it demands a critical eye not just in the way that we view these characters, but how it relates to the way we see real people.

These are just my thoughts for consideration if you want them.

Edit: got the source of the screenshot just bc I wanted it here

#eragon #inheritance cycle #eragon shadeslayer #murtagh #selena #i dont understand how he can throw away the core theme he wrote 4 books about in one sentence but wow #he sure did #ughhhhhhhhhh #ic analysis #btw im not passing judgement on selenas character #just her contribution (or lack there of) to eragons personality #a #ill see if i regret posting this

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supercasey · 4 years

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TMA Child Avatars AU

Alright, so ever since I listened to the episode about Agnes’s origins, I keep thinking about an AU where a bunch of the other Entities, after realizing that it’s at least possible to create an avatar from birth, perform their own rituals and make a bunch of the future Archives gang. This AU has a lot of potential for angst, but since TMA is sad enough, I’ll probably mostly focus on the world building and fluffy/funny stuff (‘cus god knows I’m a slut for that shit).

To all my followers, I’m sorry I keep making kid AUs; I got told in like 2015 or so that I sucked at writing kids and it’s Never Left My Mind, so now I always wanna make stupid AUs in order to practice writing kids better (I also have an original story I wanna write soon with a ten year old as the main character, so yeah, I need all the practice I can get).

Anyways, here’s all I’ve got on the AU this far (explanation under the cut; a very long post is up ahead):

Character Backstories

Jonathan “Jon” Sims - Apprentice Archivist of the Eye

Jon is a very complicated story, at least from everyone outside of the Eye’s gaze. It was Elias’s idea to create him, and were it not for Gertrude getting lucky, no one but Elias, Peter Lukas, and Simon Fairchild would have ever known that Jon existed until he was ready to become the next archivist. Gertrude found out by pure chance when she accepted a live statement from one very frightened Delores Sims, who told the archivist about how a strange man had been stalking her ever since she found out she was pregnant. Out of completely nowhere, her husband died a month after she conceived, and even though it looked like an accident, Delores swore that she saw an arm surrounded by fog push him down the stairs. Things only grew worse for her over the next few weeks, as in the midst of her grieving her dead husband, Delores began seeing green, glowing irises out of the corners of her eyes, watching her every move as she lived her life, which was followed by the stalker in question appearing constantly in her dreams, always watching her from afar, an unpleasant and frankly unnerving grin on his face the entire time.

Suspicious, and finding the description of the stalker all too familiar by the end of the statement, Gertrude investigated Delores’s claims on her own time, going so far as to break into Elias’s office in order to dig up more information on whatever he was up to. No matter what her theories may have been, none of them were anything like what she found in his letters to his associates. Somehow, Elias had conspired alongside the Lukas and Fairchild families to find their heirs/avatars together, and Elias was the last person to acquire one of his own. Gertrude was unsure of the details at the time (and she still unfortunately is), but from what she could gather, the child growing in Delores Sims’ body was somehow touched by the Eye because of something Elias had done, and they would be born with the perfect framework to have the powers that an archivist learns over several years of training at birth! With no time to lose, Gertrude got back into contact with Delores, and after much discussion between the two women, she convinced Delores to come to her apartment when she eventually went into labor, and to give Gertrude the baby after they were born so that she could keep them safe from Elias.

The birth was meant to be done in secret, but the second the first contraction occurred, there was a knock on Gertrude’s door, Elias waiting for her on the other side with an unhappy grimace on his face. He came armed with a gun, and threatened to murder Gertrude if she didn’t allow him to claim the child as his own. Aware she still had many rituals to stop in the near future, and that none of her assistants were experienced enough to stop them by themselves, Gertrude reluctantly agreed to let him inside, but on one condition; the child had to be shared between them. Elias was abrasive to the idea of course, but he eventually complied with his archivist’s demands, not wanting to replace her so early on in her career. The sight of her stalker coming into the bedroom to watch her give birth unfortunately sent Delores into a panic attack while she was still very much in labor, making the rest of the birth a rather dangerous thing, but the child survived, leaving his mother terrified and shaking. Gertrude had planned on letting her go on her merry way after the baby was born, but Elias wasn’t taking any chances, and he shot her as soon as he deemed it safe to.

Since then, Gertrude and Elias have had dual custody of Jonathan- the name was Gertrude’s idea, on the grounds that it was a nice, proper name for a young man- trading him back and forth every other week. It’s been hard, especially with the adults he calls his parents wanting to kill each other, but Jon’s oblivious to most of the fighting right now, assuming his folks are just going through a messy divorce.

Martin Blackwood-Lukas - Adoptive Son of Peter Lukas

Peter ended up running very behind in the whole child avatar thing (a first for his family, something Simon reminds him of on a daily basis), and he really struggled with creating a baby avatar that would actually be able to “keep up” with the other young messiahs that were coming to be. Eventually he realized that his family’s usual method would take too long, so out of desperation he went to Elias and Simon for help. It was Simon’s idea that worked; he suggested that since the normal methods weren’t working, and kids usually don’t become lonely until they’re older, that Peter should try his own summoning ritual like the Lightless Flame did with Agnes. Peter was hesitant at first, but he gave in quickly, sacrificing a number of lonely souls to his entity in a well-timed manner, until finally, he found a small, swaddled baby in the midst of the fog; a supposed gift from the Lonely for his loyalty.

Peter was delighted by this discovery, and so were his colleagues, the men relieved that their hard work had actually paid off for once. After naming the little boy Martin- it was Elias’s idea, though he didn’t have much of an exact reason for the name, simply claiming that it “suited” the child- and before long, Peter began raising his newfound son much the same as he was; in almost total isolation, save for a variety of rotating nannies and caregivers. Unfortunately for Peter, this went horribly wrong almost as soon as he got started, as by the time that Martin was six months old he had accidentally forced five different nannies into the fog out of fear of them leaving like the ones before them had. With no other options available, and being able to actually leave the fog if Martin threw anymore fits, Peter was forced to raise his son by hand, which again went wrong, but for very different reasons, as to his shock, he became quite attached to his adopted child.

This evolved into Peter having doubt of the Lonely for the first time in his life, but he refused to acknowledge it for as long as he could. But he was finally forced to when, after Martin turned five years old, the rest of the Lukas family insisted on performing a test on the child to see how well Martin could handle the fog without any guidance. He had been inside the fog before of course, with Peter holding his hand or carrying him through the dense chill, but the family wanted to isolate Martin inside for a full month. This secretly scared Peter like nothing else ever had, but out of fear of what his family might think, he didn’t say anything at the time, simply watching from afar as his son was dragged into the fog and left to fend for himself. The ritual went wrong within the first week, Martin having a full-scale breakdown and nearly hyperventilating to death, and yet the family kept him in there for another week before the intervention.

The results of the test of course disappointed the other members of the Lukas family, who suggested that they simply leave Martin to disappear into the fog and look for a new, more sufficient messiah to serve their god. The news hit Peter incredibly hard, and despite his previous inhibitions and fear, he knew he couldn’t let the Lonely consume his one and only son. So, without telling anyone of what he was up to, he ventured into the fog, rescued Martin, and fled to live with his estranged ex-husband the Magnus Institute. Since then he’s been living with Elias at his house and avoiding his family at all costs, all while young Martin has grown up alongside the other entity kids and has struggled to figure out his role in everything, but at least he has his dad on his side through all of this.

Sasha James - Chosen Daughter of the Mother of Puppets

(Note: I headcanon the Mother of Puppets as a giant spider, so that’s how I’m writing her… sorry if this is inaccurate, but I’m only on MAG 152, y’all. Besides, I think this is cool af.)

Sasha was very much planned, even more so than Agnes was so many years beforehand. The Mother of Puppets had her minions gather hundreds upon hundreds of orphaned infants and bring them to her nest. She swaddled each every one in her webbing and kept them like this for several weeks, allowing them time to adjust to the webbing and adapt. Unfortunately, most of these children weren’t cut out for the Web’s influence, and while a few indeed held their adoptive mother’s mark, almost none of them were marked deep enough to become a fully realized avatar. The unsuccessful batches were subsequently sent off to orphanages across the world and replaced with new babies, this process repeating for years and years, until finally, Sasha was born. There was nothing special about her parents, yet she not only bore The Web’s mark, she seemed to have it embedded into her very soul. This, of course, was met with celebration from the Web, and plans were quickly made as to how to raise her moving forward, as no one wanted Sasha to end up like Agnes did.

Annabelle Cane ended up being the one chosen to home Sasha for the first few years of her childhood, and she was dutiful in her new, rather honorable role, as she not only cared for the child well, but she treated Sasha as her own, though she was careful to be seen more as an older sister than a mother to the girl; that role was, of course, reserved for Sasha’s real mother. When Sasha finally turned five, the Mother of Puppets announced further plans for the young avatar, calling on Annabelle to take Sasha to the Magnus Institute and give her to one of their hidden agents there so that she could learn more about how the Web uses it’s influence over other entities. This worried Annabelle, who wanted to keep the child near her and prove that she was the most loyal of the mother’s children, but she would never disobey a direct order from the being that had given her life such meaning. So, rather reluctantly, Annabelle gave Sasha to another member of the Web, watching from the shadows as this unworthy follower took the blessed daughter into the institute for further training.

This went wrong within only a few months. Gertrude ended up finding out who the Web’s spy in the institute was, as she had suspected that another entity was trying to control her from the shadows, and after disposing of the threat and searching their home for anything useful that she could use against the Web, she found Sasha. The archivist was tempted to kill the supernatural child on sight, but while she can murder her assistants and enemies without much remorse, on the grounds that it’s always for the greater good, killing a child is a very different story. So she took Sasha in, raising the Web’s child as her own alongside the Eye’s own prodigy Jon, all while trying to help Sasha control her slowly budding powers. The Mother of Puppets has been trying to get Sasha back ever since, enraged that the child is so close to her yet just out of reach, but with no luck, though there’s no telling how long that will last.

Timothy & Daniel Stoker - Dancer and Future Ringmaster of the Stranger

Both Tim and Danny are chosen ones of the Stranger, created as soon as their god had gained enough spare power to create them. Tim was born first, being the Stranger’s first attempt at birthing an avatar that might be powerful enough to help lead the Unknowing, but Gertrude interrupted midway through the ritual. By some miracle, Tim survived the ordeal, but he was left “incomplete” to some degree, leaving him simply marked and not fully connected to the Stranger. The entity’s followers ended up keeping him around though, both because Nikola Orsinov was too fascinated by the newborn baby to give him up, and because his parents wanted him to survive, but it was agreed that another attempt would be made, this time with more planning involved. Four years later, Danny was born, and with Gertrude too preoccupied to intervene this time around (and because she didn’t realize they’d try again so soon), the ritual went much better and created a far more suitable vessel for the Stranger’s powers.

After that, Tim and Danny’s parents died, fully succumbing to the Stranger’s transformation and leaving them orphaned. Not that their presence was strictly necessary after the kids were born, as Nikola Orsinov was more than happy to take over in most of the child rearing, genuinely growing quite fond of the two boys, particularly Tim, as despite his lack of supernatural abilities, she found him to be rather endearing, which is probably the closest she can get to genuinely caring about someone. Both brothers were raised more or less the same way, save for Danny being showered with more praise and being trained as a future ringmaster while Tim was mostly ignored and trained to be a dancer. Some followers of the Stranger feared that Tim might harbor resentment towards his little brother and try to kill him someday, but to their surprise, Tim only grew more protective of him over the years, swearing to keep Danny safe as he grew up to fulfill his destiny and help their family mold the world in their image.

Eventually though, when Tim was eleven and Danny was seven, Tim realized what was actually happening behind the scenes, and not wanting his brother to risk being sacrificed for the world’s destruction, he told Danny everything, leading to the young messiah to run away with him to London (they were raised primarily in Russia, but moved with the circus a lot, and were in France at the time that they finally ran away). There, Tim found the infamous Gertrude Robinson, who he knew had the power to stop the Unknowing, as she had once saved him from becoming the Stranger’s avatar, and inadvertently led him to having a little brother. Tim and Danny have since moved in with Michael, and they visit the Magnus Institute whenever they get the chance, as both boys have grown to become friends with the other avatar kids. You’d think that the Stranger’s followers would be furious about all of this- don’t worry, many of their acolytes are- but Nikola has laughed it off entirely and keeps insisting that the boys are just having a “sleepover” or are away at “summer camp” (in fucking January, apparently).

Melanie King - Cadet of the Slaughter

Honestly, the Slaughter wasn’t as into the whole “let’s make an avatar from scratch!” thing that the other entities’ followers were doing, but hey, sometimes child avatars just kinda wind up on your doorstep, ya know? Melanie ended up being found at about four years old, sobbing on her hands and knees outside of a burning hospital and calling for her mommy and daddy to come back to her, but no one answered her cries, and she was left to weep for quite some time before someone found her. The hospital, you see, had been overrun by the Corruption and promptly burned to the ground by the Desolation, neither of which bothered to stick around for some worthless child. Melanie’s parents were both inside when the entities clashed, leaving her orphaned and scared, and while Alfred Grifter, who had been on his way to a show with his bandmates at the time that he found her, had intended on just leaving her be, he saw the overwhelming rage and blood-lust in her crying eyes, and realized in that moment that she was touched by the urge to kill, just like he was.

Melanie was promptly taken in by Alfred Grifter and the band, who honestly had no idea what the hell they were doing. On one hand, Alfred knew that keeping a kid around was unbelievably dangerous for all parties involved, but on the other, he really didn’t want to leave Melanie all by herself, for fear of what she might do if left without any guidance from “people” who knew what she was going through, at least to some degree. That isn’t to say Alfred and his bandmates were all that great at raising her- they mostly just brought her to gigs and let her play on her Gameboy backstage while they started massacres- but they did at least try to give her somewhat of a home. It wasn’t until five years into this that some other Slaughter followers found out about Melanie’s existence, to which they told Alfred to give her to them for proper training. Knowing her life would be horrible with them, Alfred gave his ward a backpack full of everything she ever owned, a kid sized guitar, her Gameboy, and sent her on the run.

Melanie was scared out of her mind at first, having grown to see Alfred and his bandmates as her new family; she had already lost her parents, so why did she have to lose the band, too!? But there were no other options, she had to run, so she did just that, attacking any adult who tried to stop her along the way. She didn’t actually know about the Magnus Institute when she made her way to London, and Alfred didn’t tell her to go there or anything, but she ended up being spotted by Adelard Dekker while she was looking for a place to stay in the area. Seeing that Melanie was an avatar of some kind, Adelard managed to convince her that he was safe, and to let him take her to someone that could help her. He brought Melanie straight to Gertrude Robinson, who agreed to house the child since Adelard couldn’t, though she ended up letting one of her unofficial assistants (*cough* Gerry *cough*) take her to live in his flat so she wouldn’t be as easy for Elias to monitor/get ahold of.

Julia Montauk & Alice “Daisy” Tonner - Children of the Hunt

(Watch as I fuck with timelines so badly that the people who keep track of this shit will order a hit on me) The Hunt found both of their avatars in strikingly similar yet different ways; Julia was first, born from the womb of another entity’s follower, but bound for so much more than anything the Dark could give her. Years after her destined birth, Julia’s mother was viciously murdered by the People’s Church when she was just five years old, her father Robert Montauk going down the path of becoming a fully-fledged Hunter, and in the process he unknowingly marked Julia with his newfound entity, which in turn unlocked an unprecedented potential inside of her, not that it was fully realized until another tragedy struck her. This next tragedy, unfortunately, claimed Julia’s father. Mr. Pitch was mistakenly summoned, and in it’s rage, it destroyed Robert while he was in the midst of a sacrifice. The monster would’ve gotten Julia next, had it not been for the intervention of a nearby Hunter.

Trevor Herbert honestly didn’t mean to get involved, but when he witnessed a little girl screaming as she ran out of a house, a giant mass of darkness chasing after her, and no one willing to so much as call the damn cops, he knew he had to rescue the poor kid. In a flash he ran over, picked Julia up, and ran away with her to safety, managing to get her in his car (which he stole, but that’s not important) and drive as far away from her old home as possible. In the aftermath, Trevor had no idea what to do with Julia, since he had never actually wanted any kids of his own, but… well, he ain’t heartless, and that monster was still out there somewhere, just waiting to sink it’s cursed teeth into this young child’s flesh. Trevor ended up keeping her after that, becoming her adoptive father as he traveled with her around the UK, slowly but surely training her to hunt the same monsters that claimed her beloved parents.

You’d think that would be the end of Trevor Herbert adopting little girls marked by the Hunt, but nope, he just can’t catch a fucking break! He found Daisy about a year later, when Julia was eight and becoming more adjusted to her new lifestyle. Again, Trevor wasn’t really planning on going on any hunts at the time that this happened, he was just traveling through the area, but upon finding a bloodied up, terrified little girl being chased by a boy who looked possessed… well, it wasn’t like Julia wasn’t lonely, and again, Trevor isn’t heartless, and he sure as hell can’t let things go. So yeah, he kidnapped another child touched by the Hunt, even though this one actually had a living parent, and once again he took to traveling the UK with his adoptive daughters, secretly reveling in his new role as a father. Daisy, while scared at first, quickly grew fond of her new family, and even fonder of her new nickname after Trevor patched up her wounds, and noticed a flower-shaped scar on her back, prompting him to start affectionately calling her Daisy.

Yep, things were going pretty good for the family of three, but of course, shit eventually caught up with Trevor, not that he thought he could avoid it forever.

The police eventually caught wind of “Trevor the Tramp” traveling with two little girls who looked an awful lot like the missing thirteen and ten year olds Julia Montauk and Alice Tonner, and in his desperation to keep from getting arrested and having his children taken away, Trevor fled to downtown London in order to lie low for awhile and raise his daughters in relative peace, only ever going out for food runs and the occasional hunt. It was through one of these hunts that he ended up meeting Gerard Keay, the two of them chasing after the same book that had been summoning shadow people to wreck havoc on the city, and after a bit of back and forth banter over the campfire that was once a Leitner, Gerry convinced Trevor to move in with him so that the girls and him would be safer and actually have a home. Although he was hesitant to accept an offer he thought was too good to be true (also, he’s not gonna lie, he thought Gerry was a vampire when they met), Trevor agreed and moved into Gerry’s flat with his daughters, and has since helped Gertrude and her assistants with monster hunts.

Oliver Banks & Georgie Barker - Fetchlings of The End

Georgie and Oliver are an odd story, with the latter of the two having gained his powers as a mere toddler, being plagued with horrible, ghastly dreams that would keep him awake through the night, leaving him absolutely haggard by morning. His father tried everything to help Oliver through this torment- counseling, medication, bedtime rituals- but nothing worked, and before long, Oliver’s beloved father was claimed by his nightmares, dying of a heart attack that he couldn’t stop. Alone and misunderstood by everyone who tried to raise him, Oliver ran away countless times, coming across Georgie during his last attempt. He found the little girl to also be on the run for similar reasons, but unlike him, she wasn’t the least bit afraid. She wasn’t exactly happy, but she wasn’t a bawling mess like he was. Together, the two of them struggled to survive, relying on kindhearted drifters for support while they avoided the police until, at long last, something took pity on them, that something being a large, fat tabby cat.

As it were, the tabby cat- dubbed The Admiral by Georgie- wasn’t a normal cat in the slightest, and although it couldn’t speak, it’s intentions were clear; it was there to help these lost, orphaned children. Oliver was skeptical of course, but Georgie wasn’t about to look a gift cat in the mouth, so Oliver reluctantly followed the cat and his little sister to an apartment building, and from there, into an unoccupied flat. Since then, the two children have been living with Admiral in that very same flat, the cat providing them with a fully stocked fridge, warm beds, and running water. It’s still unclear what the Admiral is, but he seems kind enough, and is obviously quite protective of his newfound children, accompanying them on their outings and occasional visits to the institute.

Michael Crew - Prodigy of The Vast

Out of all avatars to be raising children for their entity, Simon Fairchild absolutely has had the most fun with it all, treating it almost like a fun game or pastime. He was the first (save for the Lightless Flame having Agnes, of course) to “create” an avatar child, and from minute one he was overjoyed with the results. A few years after news broke of Agnes’ origins, and the followers of other entities were all arguing over whether or not to follow suit, Simon didn’t bother waiting for anyone’s input or permission, simply throwing himself into the deep end and praying he could make his plan work. Seemingly overnight, Simon somehow acquired a baby later identified as the missing and presumably dead infant Michael Crew, who he referred to as Mike when he finally introduced him to his friends/associates. He still hasn’t told anyone how he even got the kid- not even Peter or Elias know what he did!- but by some means, he illegally adopted Mike and took to raising the kid like a duck takes to water; a bit unsure at first, but growing to love it fast!

When Mike was introduced to the rest of the entity followers community, many were shocked (excuse the pun) to see that the infant had a long, frightening Lichtenberg scar running down his right arm, his back, and his right leg, the scars glowing a bright blue whenever he took to the sky or, as Elias learned the hard way after accidentally annoying Mike by bouncing him on his knee for too long when he was a toddler, used his powers to electrocute people. Even with his child being such an oddity, even among other avatars, Simon took it all in stride, proudly bragging about Mike to anyone who would listen, most of these people being victims of the Vast, who were hardly able to hear Simon’s excited rambling over their own shrieks of terror. He usually also insisted on bringing Mike with him, even when he was a mere infant, though he at least kept the kid in a tight harness on his chest. In all honesty, Simon being such an excited parent was what kick-started a lot of other avatars to start acquiring their own child avatars, as he made it look so easy!

However, things weren’t always perfect, especially on Mike’s end as he grew older. Being the eldest and more or less “firstborn” of this new generation of entity-made avatars put a lot of pressure on him at a very early age, pressure which Simon tried to help him deal with by not acknowledging it, which unfortunately didn’t help in the slightest. Thankfully Mike started to feel less unsure of his place in the world as he reached his teen years, seeing as the younger kids were now getting all the attention and giving him a chance to breathe. Even now that he’s an angsty teenager, Mike loves Simon like a father, referring to him as such without hesitation. This, of course, delights Simon to no end, and makes all his peers low-key high-key jealous of the awesome relationship he has with his son.

Helen Richardson - Droplet of The Spiral

Not much was known about Helen when Michael first found her. After being sent into The Spiral by Gertrude on what he thought to be a suicide mission for the greater good, Michael was half certain he wouldn’t find anything but his end in that place. Instead he found a small, strange toddler where he was meant to find… well, he didn’t actually know what, but certainly not a baby, that’s for sure! With no one watching baby Helen, and therefore making him believe that she had been abandoned by The Spiral’s other creations, Michael had no reservations against scooping her up and taking her back to the physical world with him, where he was met be a very confused Gertrude Robinson. Michael wasn’t exactly keen on killing/abandoning a baby after he got out, so he and Gertrude brought her back to London with them in hopes of finding out more about the odd child. Along the way, it became clear that the baby was gifted with The Spiral’s powers, the giggly toddler continually screwing with reality, though she wasn’t aware she was doing so.

Back home in London, it took another three weeks of research, but Gerry eventually found out more about the child Michael had more or less adopted. Her name was originally Helen Richardson, and her father, a rookie paranormal investigator who had once been marked by The Spiral, was obsessed with the distortion, and was willing to do anything to become more than simply marked by it. He ended up finding a map similar to Gertrude’s, and a few years before she even knew it was possible, the father went into The Spiral and used his own daughter as a vessel for the entity, hoping she would be a good enough sacrifice to earn it’s favor. This of course ended in disaster, with the father “disappearing” while Helen absorbed The Spiral’s power, but seeing as she was so young, it couldn’t manifest properly, even after two and a half years spent trying to “raise her” within the deepest depths of it’s domain.

With research still being done on what to do about the child, and whether or not the team can remove her powers without killing or permanently injuring her in the process, Michael has agreed to take Helen in, secretly delighted to be raising a baby. With the Stoker Brothers already under his roof, Michael has his hands rather full with them and baby Helen, but the boys take her antics in stride, having learned quickly how to deal with the apartment they live in occasionally “growing” some new doors and changing color at random. Luckily for Michael, he has back-up in the forms of Gerry and Gertrude, who occasionally take Helen and the brothers off his hands for him so he can take a break/fix whatever Helen may’ve accidentally broken with her powers.

Character Roles in this AU

(Feel free to add your own OCs/other characters if you wanna do stuff with this AU, I’m just naming characters I know about/remember!)

Avatar Kids: Jonathan “Jon” Sims, Martin Blackwood, Sasha James, Timothy “Tim” Stoker, Daniel “Danny” Stoker, Melanie King, Julia Montauk, Alice “Daisy” Tonner, Oliver Banks, Georgie Barker, Michael “Mike” Crew, and Helen Richardson.

Avatar Kids Semi-Reluctant PTA Group: Elias Bouchard, Gertrude Robinson, Peter Lukas, Gerard “Gerry” Keay, Trevor Herbert, Michael Shelley, and Simon Fairchild.

PTA Allies: Basira Hussain (Daisy’s best friend and the local Normal Child™), Agnes Montague (Everyone’s emergency number for avatar child advice), Alfred Grifter (Just shows up to hang out with Melanie and cause problems on purpose), The Admiral (Guardian to Georgie and Oliver and occasionally the other kids; best babysitter), Adelard Dekker (Comes around the archives sometimes and always brings presents for the kids + assistants), and Rosie (Elias’s assistant and the only sane and sensible adult in this Chili’s tonight).

PTA Enemies: Nikola Orsinov (Tim and Danny’s “Mom” who keeps kidnapping Jon on accident), Annabelle Cane (Hates the institute and wants Sasha back), Jude Perry (Hates the kids but loves Agnes; worst babysitter), and Jared Hopworth (Nightmare flesh man that needs to fuck off; mediocre but funny babysitter).

Character Descriptions

(Feel free to tweak the physical designs if you want; I’m just going off my own headcanons, and seeing as my drawing skills are pretty shit, it’s not like I’m gonna be doing much art for this outside of writing. So yeah, go off with your own headcanons if you want to!)

Full Name: Jonathan “Jon” Sims-Bouchard-Robinson Age: 7 Birthday: October 26th (Scorpio) Entity/Mark(s): Avatar of The Eye, Marked by Literally Fucking Everything Guardian(s): Alexander Sims (Biological Father - Deceased), Delores Sims (Biological Mother - Deceased), Gertrude Robinson (Adoptive Mother - Current), Elias Bouchard (Adoptive Father - Current) Appearance: African heritage with dark brown skin, worryingly short for his age, dark brown eyes that glow bright green when he’s using his powers, long black hair with a few green and grey hairbands tied in, constantly “borrows” Martin’s sweaters to wear, occasionally wears skirts but most of the time he wears slacks, constantly looks sleep deprived, has a very intense stare, and occasionally he can be seen carrying his stuffed moth around. Personality: You’d think he’d be a quiet kid, considering his entity, but no, he has Questions and he wants them Answered, goddammit! He wasn’t raised around many kids his age, being home-schooled by Elias and Gertrude all his life, so he struggles to connect with the other avatar kids. Is only close to the S1 gang at first, but he gets closer to everyone else over time. Idolizes Gerry and thinks he’s the coolest guy ever. Appears rather cowardly at a glance, but he’s braver than most people give him credit for. Would die for his friends/family.

Full Name: Martin Blackwood-Lukas Age: 8 Birthday: February 29th (Pisces) ((This one’s for you, Dane)) Entity/Mark(s): Avatar of The Lonely, Marked by The Eye Guardian(s): William Blackwood (Biological Father - Uninvolved), Edna Blackwood (Biological Mother - Uninvolved), Peter Lukas (Adoptive Father - Current) Appearance: Polish heritage and pale as a fucking ghost, average height for his age but growing fast, pretty chubby, covered head to toe in little red freckles, short and curly red hair, bright brown eyes, wears big round glasses, wears sweaters and comfy trousers almost 24/7, carries a backpack full of “emergency tools” wherever he goes, usually has a cup of tea in-hand, and sometimes wears a small sailor hat that Peter gave him. Personality: Incredibly reserved, much like Mike, but he’s been trying to come out of his shell more. He’s “Best Friends Forever” with Jon, and gets along well with Tim and Sasha as well. Fears Melanie and Daisy. He likes hanging out with the other kids, but he often gets talked over, leading him to withdraw for awhile if it’s bad enough. Adores his dad, and is so much braver than anyone knows. Incredibly snarky when he feels like it.

Full Name: Sasha James Age: 10 Birthday: November 18th (Scorpio) Entity/Mark(s): Avatar of The Web, Marked by The Eye, Marked by The Stranger Guardian(s): Francis James (Biological Father - Deceased), Patrick James (Biological Father - Deceased), Annabelle Cane (Adoptive Mother - Uninvolved), Gertrude Robinson (Adoptive Mother - Current) Appearance: Mixed race heritage of African and Caucasian with dark brown skin, slightly taller than average for her age, long dark brown hair, wears big round glasses, sometimes wears a little make-up if she can get away with it, wears a lot of turtleneck sweaters and long skirts, always has at least one cobweb on her, carries around a stuffed spider that she brings with her to the archives every day, and she wears a headband most of the time. Personality: Easily the most level-headed of the kids, as she’s been raised around paranormal stuff the longest and is rarely bothered by the stranger things that happen. She hates Artifact Storage with a passion, but other than that, she loves exploring the institute and occasionally stealing Gertrude’s laptop to mess with it. Very tech savvy, and even more curious! Incredibly smart, to the point that she can even outclass Gertrude and Gerry with her quick-wittiness.

Full Name: Timothy “Tim” Stoker Age: 12 Birthday: August 3rd (Leo) Entity/Mark(s): Marked by The Stranger, Marked by The Eye Guardian(s): Markus Stoker (Biological Father - Deceased), Olivia Stoker (Biological Mother - Deceased), Nikola Orsinov (Adoptive Mother - Uninvolved), Gerard “Gerry” Keay (Adoptive Guardian - Current) Appearance: Mixed race heritage of Latino and Korean with dark tanned skin, slightly on the taller side for his age, messy/spiky black hair that looks impossible to comb, dark brown eyes, is described as a “handsome young man” by strangers, has a very charming smile, wears a lot of Hawaiian shirts and shorts (even during the winter), needs to wear glasses but he refuses to wear them in the archives out of self-consciousness. Personality: Probably one of the brightest personalities of the avatar kids, Tim comes off as very cool and funny, but underneath all of that he’s rather paranoid, afraid that the circus will come and force his baby brother into becoming a monster. Protective of his little bro and the archive kids, but he still teases them to no end. Smarter than he looks, and isn’t afraid to break his cool guy persona to tell someone off.

Full Name: Daniel “Danny” Stoker Age: 8 Birthday: August 1st (Leo) Entity/Mark(s): Avatar of The Stranger, Marked by The Eye Guardian(s): Markus Stoker (Biological Father - Deceased), Olivia Stoker (Biological Mother - Deceased), Nikola Orsinov (Adoptive Guardian - Uninvolved), Gerard “Gerry” Keay (Adoptive Guardian - Current) Appearance: Mixed race heritage of Latino and Korean with dark tanned skin, about a head shorter than Tim, somewhat neat black hair that sticks up in odd places, eyes are impressively dark and glassy looking, slight gap between his front teeth, is described as being a “handsome young man” by strangers, wears a lot of tank tops and shorts as well as the occasional hoodie if it’s cold, and loves running around barefoot. Personality: A lot of people describe Danny as being a “smaller and cuter Tim”, but that’s just not true. Danny is a lot like his older brother in many ways, but he has a much more refined taste for adventure, constantly getting himself into trouble with Jon on the grounds of “exploring” or what have you. He idolizes his big bro to the moon and back, and loves hanging out with him alongside the other kids. More of a follower than a leader, but he doesn’t mind. Secretly fears the day that the circus will come back to make him into their future ringmaster.

Full Name: Melanie King Age: 9 Birthday: June 7th (Gemini) Entity/Mark(s): Avatar of The Slaughter, Marked by The Corruption, Marked by The Desolation, Marked by The Eye Guardian(s): Boris King (Biological Father - Deceased), Carrie King (Biological Mother - Deceased), Alfred Grifter (Guardian - Uninvolved), Gerard Keay (Guardian - Current) Appearance: Irish heritage but not terribly pale, rather short for her age, incredibly thin from malnutrition, short brown hair with the ends dyed bright blue, bright brown eyes, brings her leather jacket and her guitar with her everywhere she goes, wears a lot of pink/blue skirts and band t-shirts, wears black leather boots, has a lot of bandages on her knees and knuckles, and always has a camera ready to record things. Personality: Melanie is probably the most disconnected of the avatar kids (save for Helen), seeing as she only just recently joined the group, but already she’s beginning to befriend Sasha and Basira. She’s very protective of the other girls, and she keeps challenging the boys to fight her (only Danny ever agrees; he always loses). Secretly idolizes Julia and Daisy, but will never admit it. She sees Gerry as her big bro and Alfred Grifter as her adoptive dad; she misses Alfred more than she let’s on. Would stab as a warning.

Full Name: Julia Montauk Age: 13 Birthday: April 19th (Aries) Entity/Mark(s): Avatar of The Hunt, Marked by The Dark, Marked by The Eye Guardian(s): Robert Montauk (Biological Father - Deceased), Linette Montauk (Biological Mother - Deceased), Trevor Herbert (Adoptive Father - Current) Appearance: Indigenous heritage with dark tan skin, tall for her age, skinny enough to look malnourished, close-cropped red hair that gets her mistaken for a boy a lot, metal grey eyes, a scar runs diagonally across her right eye, often wears medium length skirts and oversized t-shirts, always wears athletic shoes, has a lot of scrapes and bandages on her knees most of the time, and has abnormally sharp canines. Personality: Before the deaths of both of her parents, Julia was considered rather normal for her age, being interested in horses, dolls, and dress-up games. After her mother died, she became more tomboyish, which only became more extreme after her father’s death. Since being taken in by Trevor, Julia’s been trying to act more like an adult in an attempt to seem less vulnerable, to varying degrees of success. She adores Trevor to the moon and back, and sees Daisy as her little sister. A bit standoffish around other children, but she’s got a good heart.

Full Name: Alice “Daisy” Tonner Age: 10 Birthday: March 15th (Pisces) Entity/Mark(s): Avatar of The Hunter, Marked by The Slaughter, Marked by The Eye Guardian(s): Greyson Tonner (Biological Father - Deceased), Antoinette Tonner (Biological Mother - Uninvolved), Trevor Herbert (Adoptive Father - Current) Appearance: Welsh heritage with cream colored skin and a light tan, average height for her age, short and shaggy blond hair, has a number of tiny scars all over her face and hands, has a huge scar on her back that Trevor has told her looks like a daisy, striking green eyes, wears a lot of sleeveless shirts and shorts, refuses to wear dresses or skirts, prefers to be barefoot, and has abnormally sharp canines. Personality: Is already rather hot-headed at her age, especially after her encounter with Calvin while he was being possessed by a spirit of the Slaughter. Even so, she’s protective of her newfound family of Trevor and Julia, and while she misses her mother, she believes it’s best if she stays where she is. She loves playing outside whenever she can, and will spend hours chasing after squirrels and rabbits if left alone for too long. A bit argumentative, but she gets along really well with Julia and Basira.

Full Name: Oliver Banks Age: 10 Birthday: June 14th (Gemini) Entity/Mark(s): Avatar of The End, Marked by The Hunt Guardian(s): June Banks (Biological Mother - Uninvolved), Isaac Banks (Biological Father - Deceased), The Admiral (Adoptive Guardian - Current) Appearance: African heritage with dark skin, has an array of pitch black freckles on his face, short and neat black hair that reaches just below his ears, ghastly grey eyes that look almost clear and turn black when he’s using his powers; used to be dark brown, worryingly thin from years of malnutrition, wears a lot of baggy and long-sleeved shirts, wears sweatpants, has boots on everywhere he goes, and he’s almost always shivering. Personality: The more distrustful of the “End Siblings”, the only person Oliver even sort of likes is Jon, and even then he’s still scared of him. Constantly fidgeting and yawning from both his paranoia and fatigue. Is protective of Georgie, but more out of obligation than friendship. Prefers to be alone, and rarely visits the archives. He knows something bad is coming, but he’s too scared to do much about it. In the end, he knows he’ll do the right thing, but for now he’s hiding until the bombs finally fall.

Full Name: Georgie Barker Age: 7 Birthday: December 9th (Sagittarius) Entity/Mark(s): Avatar of The End, Marked by The Hunt Guardian(s): Georgie Grounding Sr. (Biological Mother - Deceased), Sarah Grounding (Biological Mother - Deceased), Jason Barker (Adoptive Father - Deceased), The Admiral (Adoptive Guardian - Current) Appearance: Mixed race heritage of African and Indian with dark brown skin, fairly chubby, has an array of light brown freckles all over her arms, back, and face, has long and curly black hair done up in poofy buns using colorful hair bands, paints her nails all the time with different colors every week, cutest little smile you ever did see, wears a lot of ghost-related clothing (mainly t-shirts and jeans), and she brings her ghost backpack with her everywhere she goes (it has her stuffed leopard inside). Personality: Despite being an avatar of the End, Georgie has a very upbeat personality, having no time for her adoptive brother’s endless worrying and fearfulness. In fact, all her fear has been gone since she was little, so she’s never scared to explore something new and parade into danger! She’s very close friends with Jon (even if he’s distant sometimes) and best friends with Melanie, though she gets along with most everyone else as well. She may be a chipper person, but look out, she’s carrying more baggage than she let’s on. Loves The Admiral more than life.

Full Name: Michael “Mike” Crew Age: 14 Birthday: May 13th (Taurus) Entity/Mark(s): Avatar of The Vast Guardian(s): Ramsey Crew (Biological Father - Uninvolved), Whitney Crew (Biological Mother - Uninvolved), Simon Fairchild (Adoptive Father - Current) Appearance: Caucasian and pale as a ghost, shaggy white hair that’s almost always wind-swept, strikingly pale blue eyes, smells of ozone and burnt hair, incredibly short for his age, very bony and thin, tends to wear a lot of oversized hoodies on the grounds that they make flying more fun, clothes are almost always pristine and clean, his back, right arm, and right leg are covered in a Lichtenberg scar that glows bright blue when he’s using his powers, permanent bags under his eyes. Personality: A very, very quiet kid, at least around strangers. He’s much bubblier around Simon, but otherwise he’s viewed as an “old soul” by most adults. He does have a sense of humor though, taking a bit too much pleasure out of sending people soaring into the air against their will, especially if they insulted or annoyed him beforehand. Secretly a bit protective of the other avatar kids, and has been known to take them flying if they promise not to let go of him when they do so. Nice kid, but don’t make fun of his height or he might just electrocute you out of spite.

Full Name: Helen Richardson Age: 3 Birthday: February 23rd (Gemini) Entity/Mark(s): Avatar of The Spiral Guardian(s): Tiara Richardson (Biological Mother - Uninvolved), Dexter Richardson (Biological Father - Deceased), Michael Shelley (Adoptive Guardian - Current) Appearance: African heritage with dark brown skin (has the beginning patches of vitiligo on her face and hands), fairly chubby but Michael swears it’s just baby fat, has bright purple eyes with swirling yellow irises, has short but frizzy black hair that cannot be tamed, is often dressed in very colorful onesies and footie pajamas alongside the rare dress, and occasionally she’ll have a child leash vest on (though it often disappears because of The Spiral). Personality: She honestly doesn’t have much of a personality yet, being a toddler and all, but she’s a very giggly child, and loves nothing more than making Michael “be silly” with the use of her powers. Speaking of which, she has very little control of her abilities, and although she’s too young to understand their impact on the world, she still feels bad when she accidentally goes too far and gets Michael hurt. She adores Michael and Jon, and loves it when Michael brings her to the institute with him. Very playful and mischievous.

And that’s all I’ve got for now! I wanna write some fics for this at some point (particularly I wanna write a fic that has all of the kids’ origin stories in better/more detail), but for now anyone is free to fuck around with this AU, so long as you’re not doing too much shipping between the kids (hints at ships are fine, but they’re still kids, y’all) and ESPECIALLY not any shipping of the kids with the adults/guardians. Feel free to PM me or scream about this AU in the notes/tags; I’d love to hear people’s thoughts!

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hekatepoetryxxwriting · 3 years

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How is the transgression of boundaries explored in ‘The Bloody Chambers & Other Stories’ by Angela Carter and ‘Carmilla’ by J. Sheridan Le Fanu?

In ‘Carmilla’ by J. Sheridan Le Fanu and ‘The Bloody Chambers & Other Stories’ by Angela Carter, the idea of female oppression being thwarted by the women’s self-awareness of their sexuality and their ability to use it as a form of power is explored through various boundary transgressions in both novels. ‘Carmilla’ be Le Fanu was influenced by real life Countess Elizabeth Bathory and was the predecessor to Bram Stoker’s ‘Dracula’. ‘Carmilla’ is also referenced in Angela Carter’s short story ‘The Bloody Chambers’ (it is the name given to one of the Marquis’ previous wives), thus linking the two novels together.

In another one of Carter’s stories, ‘The Company of Wolves’, there is a transgression of gender roles regarding the girl in the story. In the Gothic genre, women usually fall into three types: The Trembling Victim, The Femme Fatale, and The Crone. However, the child in this story is none of these, and displays strength that defies the stereotypes in her confrontation with the werewolf as seen when she ‘burst out laughing; she knew she was nobody’s meat’[1], which is itself is sexual symbolism that makes the ‘meat’ a metaphor for the sexual objectification of women’s bodies, which she rejects by laughing. Her laughter is also a mockery of the patriarchal expectation of submissiveness that men believe all women possess. It suggests that the girl is aware of the power her sexuality carries, much like a femme fatale. The same could also be said for ‘Carmilla’, where Laura’s father ‘won’t consent to you leaving us’[2]even though he has no familial ties to Carmilla. In both stories, the fathers seem to be in a superior position within the family, and evidence of this can be found not only in that quote from ‘Carmilla’, but also from the line ‘Her father might forbid her’[3]in ‘The Company of Wolves’. The verb ‘forbid’suggests that he hold powers over his daughter and is able to control her actions. This is a reflection of the patriarchal family systems which were in place up until the late 1970s, when men were considered the breadwinners. Angela Carter, a feminist, was part of the movement that broke down those family systems; Carroll Davids referred to this in her review of Angela Carter; “Angela Carter’s portrayal of husbands and fathers not only reflects the ideals of her time, but also contradicts them on occasion with the femininity of the men.”[4]

There is also a transgression of gender through the empowerment of female characters in ‘Carmilla’ and ‘The Werewolf’. In both of these texts, the female character succeeds through her own means, rather than relying on a man to support her. In ‘Carmilla’, it is through death that Carmilla is able to gain power. This idea is strengthened through Laura’s speech to Carmilla in Chapter 4, where she asserts that ‘Girls are caterpillars while they live in the world, to be finally butterflies when the summer comes’[5]. The use of this metaphor suggests that girls are only free of the constraints that surround women when they have died, a suggestion that is supported by Colleen Damman’s analysis of the novel “as a woman, Carmilla can only claim her sexuality after death. Thus, vampirism is the only way she can express her own carnal desires. Besides marriage, becoming a vampire is one of the only ways that female sexuality is licensed in the Victorian era”[6]. Meanwhile, in ‘The Werewolf’, the child represents the New Woman and is pitted against her grandmother, who represents the generation of women who have fallen under the thumb of a patriarchal society. The final line states ‘Now the child lived in her grandmother’s house; she prospered.’[7]which implies that the child benefits from the downfall of the previous generation and is able to live happily without a husband or children. This conclusion suggests that women can live complete and fulfilled lives without needing to be married. Angela Carter’s feminist views on empowerment were controversial during her lifetime, including negative reviews for her book ‘The Sadeian Woman’ due to its defence of the Marquis de Sade, who wrote violent erotic novels that many consider sexist and inspired the word ‘sadism’. In regards to the empowerment in ‘Carmilla’, Elizabeth Signorotti states that “Le Fanu allows Laura and Carmilla to usurp male authority and to bestow themselves on whom they please, completely excluding male participation in the exchange of women”[8].

The inclusion of the female ‘Monster’ in ‘The Lady of the House of Love’ and ‘Carmilla’ also transgresses the boundaries placed around gender and the roles women play in society. The Countess is a vampire, much like Carmilla, and bears similarities to Elizabeth Bathory, the acclaimed ‘Blood Countess' who was rumoured to be a relation of Vlad the Impaler. The Countess in Carter’s tale embodies the idea of a Gothic Femme Fatale through the description ‘Everything about this beautiful and ghastly lady is as it should be, queen of night, queen of terror’[9]- the repetition of ‘queen’ places emphasis upon her position within the story. She is the highest authority within the text, being the queen, and is not subject to male dominance. In ‘Carmilla’, the monster is humanised at its death by Laura ‘a sharp stake was driven through the heart of the vampire, who uttered a piercing shriek at the moment, in all respects such as might escape from a living person in the last agony.’[10]and a simile is used to liken the monster’s pain to that of a human’s, implying that Carmilla is not actually that different from human beings. It seems that Le Fanu, like Carter, is suggesting that women who are free from male dominated societies are not monsters but are in fact just as human as everyone else. Le Fanu’s decision to focus on a female vampire may have been influenced by the legends he would have known growing up, namely the stories of the Leanan Sidhe and the Dearg-Due. These myths revolved around female vampiric creatures that preyed upon Irish youths and left a lasting effect on the victims even after the creature’s death (Laura never fully recovers from the effect of Carmilla, and often imagines she will return.). A connection between Le Fanu and the myths of the Leanan Sidhe and the Dearg-Due can be made as his mother read Irish folk tales to him when he was a child.

The continued transgression of gender moves onto the reversal of gender roles in ‘The Erl King’ and ‘Carmilla’. In ‘The Erl King’, the titular character defies the stereotypical role of men in literature as it states that ‘He is an excellent housewife.’ -[11]Carter ironically using the feminine spousal term for him. Aside from this, he has long hair he frequently combs and he takes part in activities that were frequently considered feminine, such as cooking, basket weaving and collecting flowers. Carter may have taken elements from the traditional Pagan god ‘The Green Man’ and his myth; he completed a loop in which he would conceive a child with ‘The Goddess’, die, and then be reborn as the child he created. Certainly, the Erl King is similar in appearance, as well as the narrator of the story stating ‘I would lodge inside your body and you would bear me’[12]. This is a metaphorical reference to birth, something only females are capable of, which juxtaposes the idea of the Erl King birthing the narrator. ‘Carmilla’ does the opposite, as Le Fanu gives Carmilla masculine qualities, the most obvious being her inhuman strength ‘and unscathed, caught him in her tiny grasp by the wrist.’[13]The use of the adjective ‘tiny’juxtaposes the power Carmilla is able to demonstrate. Moreover, a less obvious trait of masculinity is Carmilla’s lesbianism which was , in Le Fanu’s time, sinful in Ireland, and sexual desire for women would have only been acceptable from men. The inclusion of homoerotic features in ‘Carmilla’ points towards Le Fanu’s possibly relaxed view of homosexuality, as pointed out by Christy Byks, who states “Le Fanu, one of the godfathers of Gothic, appears to draw upon features that women would not have been given during his era, and his writing of Carmilla and her inability to fit in with most female Gothic characters would likely have been a topic of controversy within Ireland, a country ruled by religion.”[14]. This idea is supported by the introduction of Bram Stoker’s ‘Dracula’, which takes many ideas from ‘Carmilla’. Many literary theorists suggest that Bram Stoker wrote ‘Dracula’ as an answer to the female centric ‘Carmilla’, choosing to re-focus the story upon men, with women being forced back into smaller, weaker roles.

Further transgressions of boundaries, including the transgression of religious boundaries, can be viewed in ‘The Company of Wolves’. This story mocks religion through an intrusive narrator who informs you ‘you can hurl your Bible at him and your apron after, granny… and all the angels in heaven to protect you but it won’t do you any good.’[15]This is the intruding narrator mocking the two key aspects that Carter believed held women back, that being the ‘Bible’and the ‘apron’, which is a not just a symbol of stereotypical femininity; a feminist literary study showed that almost every female character in a fairy-tale wears an apron, referencing their roles as the housewife. seems to be Carter herself, who openly stated that she thinks “Mother Goddesses are just as silly a notion as father gods. If a revival of the myths of these cults gives women emotional satisfaction, it does so at the price of obscuring the real conditions of life. This is why they were invented in the first place.”[16]Rather similarly, in ‘Carmilla’, Le Fanu presents Carmilla’s aversion to religion, and portrays a fight between Carmilla and Laura’s father, which could represent an argument about nature versus God. Carmilla speaks against Christianity ‘”Creator! _Nature! _” said the young lady in answer to my gentle father. “And this disease that invades the country… and under the earth, act and live as Nature ordains? I think so”’[17]. The caesura used between the words ‘creator’and ‘nature’ not only symbolises her anger, but in placing a caesura here, Le Fanu separates God from Nature, and therefore denies religion the claim of creating everything. This scene contrasts with Le Fanu’s own background, whose father brought up the entire household with strong Catholic beliefs.

This questioning of religion perhaps suggests why there is also a transgression of moral boundaries in both texts. The ‘Trembling Victims’ within ‘Carmilla’ and ‘The Lady of the House of Love’ are Laura and the Soldier. Both texts include a similar juxtaposition of feelings towards the ‘monster’. In ‘Carmilla’, Laura portrays the Gothic feature of ‘The Uncanny, in people’s reaction to her; “but there was also something of repulsion. In this ambiguous feeling, however, the sense of attraction immensely prevailed.’[18]This shows that Laura subconsciously knows that something is wrong with Carmilla, because like most Victorians of the time, she reflects the belief that the appearance of a person was an indicator of their moral standing. Carter’s ‘The Lady of the House of Love’ has a similar scene in which ‘Her huge dark eyes almost broke his heart with their waiflike, lost look; yet he was disturbed, almost repelled, by her extraordinarily fleshy mouth’[19]The descriptive imagery and modified noun phrases work to emphasise the Countess’ appearance and how the soldier is affected by this, and it also represents the notion of the ‘Male Gaze’, the theory presented by Laura Mulvey, that women are either sexual objects there to satisfy men, or the housewife. The two notions are represented in the Gothic genre as the Femme Fatale and the Trembling Victim, and the Countess in ‘The Lady of the House of Love’ has facial features that are stereotypical of both women. Her ‘huge dark eyes’ and ‘waiflike, lost look’ are used often in the description of innocence, whilst her ‘extraordinarily fleshy mouth’ is a sign of sexualisation. Freud’s theory of ‘The Madonna and the Whore’ also comes into play here, as the Countess and Carmilla both bear qualities (both physically and metaphorically) of innocence and sexuality. The presentation of the soldier as a Trembling Victim links with Angela Carter’s view that not only should women become more masculine, but that men should also embrace femininity.

Laura in ‘Carmilla’ transgresses the sexual boundaries placed around her by choosing to refuse medical treatment from her father and the doctor. In doing so, she rejects the idea of curing her illness, which is a metaphor for lesbianism, and becomes free to make her own decisions in regards to her body. She takes on the dominant role in saying ‘I would not admit that I was ill, I would not consent to tell my papa, or to have the doctor sent for’[20]by making her own decisions regarding her wellbeing. The first-person pronoun ‘I’ is used so that the readers understand that Laura is the sole maker of these decisions. Through this illness, she has been able to gain freedom from her father. According to Christy Byks, Laura’s illness is a visualisation of what Victorian’s believed homosexuality was: a disease that needed to be cured. Byks says “Two ideas are at work in this passage. First is Laura’s father’s attempt to control the women who are becoming “ill” and dying; the men want to “cure” her (Laura) by making her well and keeping her among the living, for it is in death that the women break free… By making these interactions with Carmilla a medical problem, the situation can be contained and defined, thus still under the control of men”[21]. Angela Carter also provides transgressions of sexuality when placing women in the dominant position. In ‘The Company of Wolves’, it is the girl who makes the first move towards sexual intercourse, as suggested by the removal of her clothes in the extract ‘The thin muslin went flaring up the chimney like a magic bird and now came off her skirt, her woollen stockings, her shoes, and on to the fire they went, too, and were gone for good[22]’. A simile is used to present the girl’s clothes as a ‘magic bird’, and this personification of her clothing suggests that by removing her clothing, the girl, like a bird, is free to go wherever she wants to. The use of listing used within this quote also suggests that layers are being removed, eventually revealing the girl’s real desires beneath. Angela Carter herself believed that women were not given an equal role in sex, as stated in her book ‘The Sadeian Woman: The Ideology of Pornography’. In her comparison of Justine and Juliette, she states “Women do not normally fuck in the active sense. They are fucked in the passive tense and hence automatically fucked-up, done over, undone.”[23]and it is clear that this idea of a preference of submissive women over dominant ones had a large influence on how Angela Carter shaped her female protagonists and their attitudes to sexual desire, especially in regards to ‘Wolf-Alice’, who’s title character, like the Marquis De Sade’s Justine and Juliette, was originally housed in a convent after being found with the wolves.

The portrayal of the convent in ‘Wolf-Alice’ itself does not conform to the traditional view of religion, and instead transgresses religious boundaries by presenting the nuns not as kind, helpful religious figures, but instead as oppressive matriarchs; the nuns’ only purpose in the story is to attempt to integrate Wolf-Alice into the human society they live in, evidenced when ‘The nuns poured water over her, poked her with sticks to rouse her’[24]and ‘Therefore, without a qualm, this nine days’ wonder and continuing embarrassment of a child was delivered over to the bereft and unsanctified household of the Duke’[25]. When they find they are unable to manipulate her into becoming like everyone else, their choice is to pass her off to a male figure instead, whose house is described as ‘bereft and unsanctified[26]’, which is ironic, as it means the nuns, extremely religious beings, abandon their ward in a house that is considered unholy. This irony serves the purpose of being a metaphor for how society treats outcasts as whole, by isolating them from those considered normal. Angela Carter herself believed religion to be mythical, and stated “I’m interested in myths because they are extraordinary lies designed to make people unfree”.[27]The second transgression of religious boundaries in ‘Carmilla’ is during the funeral scene where Carmilla states ‘Besides, how can you tell your religion and mine are the same… everyone_must die; and all are happier when they do.’[28]and uses a caesura, perhaps to indicate the way she views life. The use of ‘Why you must die--_everyone_must die’[29]indicates how short life is, and the suddenness of death is reflected in the caesuras. Furthermore, the use of ‘your religion and mine’ seperates the two, and conflicts with Victorian ideas of religion. Christianity was considered the one true religion, and therefore Carmilla suggesting she followed another religion would have been heresy. As well as this, her pain at hearing religious hymns in the line ‘”There! That comes of strangling people with hymns!”’[30]presents the idea of a supernatural aversion to religion and foreshadows the reveal of Carmilla’s vampiric nature.

In conclusion, the varied transgressions presented within the two novels provide solid evidence of both authors’ awareness of the problems that are faced by females within traditional literary roles, and both Carter and Le Fanu are able to present their arguments using a variation of language features and characters whilst managing to keep a strong theme of female sexuality at the forefront of their stories.

[1]‘The Bloody Chambers & Other Stories’ by Angela Carter [2]‘Carmilla’ by Joseph Sheridan Le Fanu [3]‘The Bloody Chambers & Other Stories’ by Angela Carter [4]Carroll Davids on: How Does Angela Carter Deconstruct Conventional And Repressive Gender Identities In The Bloody Chamber [5]‘Carmilla’ by Joseph Sheridan Le Fanu [6]Colleen Damman on: Women's sexual liberation from Victorian patriarchy in Sheridan Le Fanu's Carmilla [7]‘The Bloody Chambers & Other Stories’ by Angela Carter [8]Elizabeth Signorotti on: Repossessing the Body: Transgressive Desire in Carmilla and Dracula [9]‘The Bloody Chambers & Other Stories’ by Angela Carter [10]‘Carmilla’ by Joseph Sheridan Le Fanu [11]‘The Bloody Chambers & Other Stories’ by Angela Carter [12]‘The Bloody Chambers & Other Stories’ by Angela Carter [13]‘Carmilla’ by Joseph Sheridan Le Fanu [14]Christy Byks on: Women's sexual liberation from Victorian patriarchy in Sheridan Le Fanu's Carmilla [15]‘The Bloody Chambers & Other Stories’ by Angela Carter [16]‘The Sadeian Woman: The Ideology of Pornography’ by Angela Carter [17]‘Carmilla’ by Joseph Sheridan Le Fanu [18]‘Carmilla’ by Joseph Sheridan Le Fanu [19]‘The Bloody Chambers & Other Stories’ by Angela Carter [20]‘Carmilla’ by Joseph Sheridan Le Fanu [21]Christy Byks on: Women's sexual liberation from Victorian patriarchy in Sheridan Le Fanu's Carmilla [22]‘The Bloody Chambers & Other Stories’ by Angela Carter [23] ‘The Sadeian Woman: The Ideology of Pornography’ by Angela Carter [24]‘The Bloody Chambers & Other Stories’ by Angela Carter [25]‘The Bloody Chambers & Other Stories’ by Angela Carter [26]‘The Bloody Chambers & Other Stories’ by Angela Carter [27]Angela Carter on: Religion by SlideShare [28]‘Carmilla’ by Joseph Sheridan Le Fanu [29]‘Carmilla’ by Joseph Sheridan Le Fanu [30]‘Carmilla’ by Joseph Sheridan Le Fanu

#literature #academics #literature essay #gothic writing #gothic literature #carmilla #dracula #angela carter #joseph sheridan le fanu #feminism #writing #academic writing #academic essay #gothic essay #writing essay #essay

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officialyourdailyinspiration · 3 years

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Devotional Hours Within the Bible

by J.R. Miller

Jesus on the Way to Jerusalem

(Matthew 19:1-2 and Matthew 19:13-26)

The words, "He departed from Galilee," have significance, when we consider the circumstances, which give them a peculiar sadness. This was our Lords' final departure from Galilee. He had been brought up there. Much of His public ministry had been wrought there. In that part of the country, He had met with the kindliest reception. He had multitudes of friends in Galilee. He had performed countless miracles there, and had been a comforter of numberless sorrowing and suffering ones. Now He was leaving the dear familiar scenes - and the people He loved so well. No wonder the throngs followed Him. The farewell must have been tender.

Some incidents of the journey are given. One was a discussion with the Pharisees concerning divorce. Jesus in His words gave most important teaching on the sacredness of marriage. "So they are no longer two, but one. Therefore what God has joined together, let man not separate."

Another incident was the bringing of little children to Him that He might bless them. It is not said that the mothers brought them - but this is probable. The language in Luke strengthens this inference. "Then little children were brought to Jesus for him to place his hands on them and pray for them." The disciples probably thought their Master ought not to be troubled with babies and little children, and so they rebuked those who were bringing them. But Jesus was moved with indignation when He saw what His disciples were doing, and said, "Let the little children come to me, and do not hinder them, for the kingdom of heaven belongs to such as these." This was one of the few times when it is said Jesus was angry. It grieved Him to have his disciples try to keep the children away from Him. He would not have anyone kept from coming to Him - but if any are more welcome than others, they are children. Very beautiful is the picture we see. He welcomed the children to Him, took them in His arms, laid His hands on them and blessed them.

Another incident in this journey to Jerusalem is that of the rich young ruler who came to Jesus with such earnestness, and then went away from Him so sadly. All that is told to us about this young man's coming to Jesus, shows us his sincerity and earnestness. "A man ran up to Him - and fell on his knees before Him" (Mark 10:17). The running shows how eager he was, and his eagerness tell of an unsatisfied heart. He seems to have attained the best that a young man could reach, without taking Christ into his life. He was young, with powers fresh and full. He was rich, with the honor, ease, distinction and influence that riches give. The fact that he was a ruler shows the confidence his fellow men put in him. Is moral character was above reproach, for he said, without boasting, that he had scrupulously kept the commandments. He was a man of winning disposition, for Jesus loved him and was drawn to him in a peculiar manner. It would be hard to conceive of a man - with more to satisfy him.

Yet with all his good qualities, his worldly advantages, his good name and his conscience void of offense - he was not satisfied! He needed something more to make his life complete.

The question which this young man asked of Jesus is the most important question ever asked in this world. "What shall I do that I may have eternal life?" We do not know how much he understood about the eternal life concerning which he inquired. The fact, however, that he asked the question, shows that he had at least some glimmering of the better life for which he hungered. No matter how much pleasure, or how great success, or how high honor one may gain in the world, if at the end of three score and ten years - he passes into eternity unsaved - what comfort will it give him to remember his fine success on the earth?

A rich man failed in business. He gathered up the fragments of his wrecked fortune - a few thousand dollars. He determined to go to the West and start anew. He took his money and built a splendid car, furnishing it in the most luxurious style, and stocking it with provisions for his journey. In this sumptuous car he traveled to his destination. At length he stepped from the door of his car - and only then thought for the first time of his great folly. He had used all his money in getting to his new home, and now had nothing with which to use there. This incident illustrates the foolishness of those who think only of this life - and make no provision for eternity .

Answering the young mans question, Jesus turned his thoughts to the commandments. "If you would enter into life, keep the commandments." He referred him to the law, which he might show him how he had missed the mark, how far short he had come of gaining life by his own obedience. "You know the commandments." It is easy enough to imagine one's self quite obedient, while one puts easy interpretation upon the Divine law. But when one has seen the law in all its lofty purity, in its wide spiritual application, in its absolute perfection, and then has compared his own life with it - he soon learns that he needs a Savior!

A pupil may think his writing is good - until he compares it with the copy at the top of the page, and then all its faults appear. The young artist may think his pictures are fine - until he looks upon the works of some great master, and then he never wants to see his own poor painting again. So long as on has no true conception of the meaning of the commandments, he may think himself fairly good; but when he undertakes what the commandments really require, he is at once convicted of sin. There must have been pity in the heart of Jesus, as He looked upon the young man and heard him say glibly, "All these things have I observed from my youth." He did not know what he was saying, when he spoke thus of his own obedience. But Jesus very frankly answers his question, "One thing you lack!" (Mark 10:21). He was not far from the kingdom of God, and yet he was not in it. Many men are good, almost Christians, and yet not Christians. It may be only one thing that is lacking - but that one thing is the most important of all, the last link in the chain that would unite the soul to the Savior. It is the final step that takes one over the line - from death into life, out of condemnation into glorious blessedness. One may go to the very edge - and not step over; he may reach the door - and not enter. Almost a Christian - is not a Christian. Almost saved - is still lost.

Jesus made a very large demand upon this young man. He said to him, "Sell everything you have, and give to the poor… and come and follow Me." This is not a prescription for being saved by good works - that is not the way Christ saves men. He saw this young man's weakness, that with all his excellent qualities - his heart was still wedded to the world, and the test which He gave, required him to give up that which stood between him and eternal life. He would not be saved by giving his riches to the poor. Charity is not a way of salvation. But the young man could not be saved until his idol was broken! So the demand was to get him to give up his money - and take Christ into his heart.

It was a hard battle that was fought those moments, in this young man's heart. It grieved him not to be able to enter the circle of Christ's followers - but he could not pay the price. "At this the man's face fell. He went away sad, because he had great wealth." He wanted to go with Jesus - but he could not accept the conditions. Let us think of him after this day. He kept his money - but every time he looked at it - he would be forced to remember that he had give up Christ and eternal life for the sake of it. He would see written over his piles of gold and his deeds and bonds, "These things cost me eternal life!" His experience was just the reverse of the man who found the pearl of great price (Matthew 13:46) and then sold all he had - and bought it. The young ruler found the pearl, asked the price, and considered the purchase - but did not buy it, because he was not willing to pay so much.

As the young man turned away Jesus was grieved, and said to the disciples, "How hard it is for the rich to enter the kingdom of God!" Just so, it is not easy to be rich - and to be a Christian. Christ spoke many earnest words concerning money and the danger of loving money. Yet not many people seem to be afraid of getting rich .

One morning a pastor found on his pulpit desk a bit of paper with these words on it: "The prayers of this congregation are requested for a man who is growing rich." It seemed a strange request - but no doubt it was a wise one. No men more need to be prayed for - than those who are becoming prosperous, becoming rich.

A priest said that among all the thousands who had come to him with confession of sin - not one had ever confessed the sin of covetousness. Men are not conscious of their danger - when they are growing rich.

Jesus did not say that a rich man cannot be saved. He said, "With men this is impossible; but with God all things are possible." This means that every man growing rich, needs God in order to be saved. If riches master him, he is lost. Unless God is his Lord - he cannot enter the heavenly kingdom.

There is a story of a rich man, one of whose ships was delayed at sea. When one day had passed with no tidings, the man was anxious, and with each added day his anxiety increased. At length, however, he awoke to the fact that his money was having a tremendous hold upon him. He then ceased to worry about the ship and became anxious for his own soul. He was determined to break the perilous mastery, and taking the value of his ship, he gave it at once to a charitable object. We all need to deal thus rigorously with ourselves, whether we have only a little money or much - that money may never be our master - but that Christ may be Master always; and money our servant, to do our bidding and Christ's.

#Devotional Hours Within the Bible #Jesus on the Way to Jerusalem #Matthew 19:1-2 #J.R. Miller #Matthew 19:13-26 #July 30 #2021

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justforbooks · 3 years

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Robert Lee Frost was born on March 26, 1874. He was an American poet. His work was initially published in England before it was published in the United States. Known for his realistic depictions of rural life and his command of American colloquial speech, Frost frequently wrote about settings from rural life in New England in the early 20th century, using them to examine complex social and philosophical themes.

Frost was honored frequently during his lifetime and is the only poet to receive four Pulitzer Prizes for Poetry. He became one of America's rare "public literary figures, almost an artistic institution." He was awarded the Congressional Gold Medal in 1960 for his poetic works. On July 22, 1961, Frost was named poet laureate of Vermont.

The poet and critic Randall Jarrell often praised Frost's poetry and wrote "Robert Frost, along with Stevens and Eliot, seems to me the greatest of the American poets of this century. Frost's virtues are extraordinary. No other living poet has written so well about the actions of ordinary men; his wonderful dramatic monologues or dramatic scenes come out of a knowledge of people that few poets have had, and they are written in a verse that uses, sometimes with absolute mastery, the rhythms of actual speech". He also praised "Frost's seriousness and honesty", stating that Frost was particularly skilled at representing a wide range of human experience in his poems.

Jarrell's notable and influential essays on Frost include the essays "Robert Frost's 'Home Burial'" (1962), which consisted of an extended close reading of that particular poem, and "To The Laodiceans" (1952) in which Jarrell defended Frost against critics who had accused Frost of being too "traditional" and out of touch with Modern or Modernist poetry.

In Frost's defense, Jarrell wrote "the regular ways of looking at Frost's poetry are grotesque simplifications, distortions, falsifications—coming to know his poetry well ought to be enough, in itself, to dispel any of them, and to make plain the necessity of finding some other way of talking about his work." And Jarrell's close readings of poems like "Neither Out Too Far Nor In Too Deep" led readers and critics to perceive more of the complexities in Frost's poetry.

In an introduction to Jarrell's book of essays, Brad Leithauser notes that "the 'other' Frost that Jarrell discerned behind the genial, homespun New England rustic—the 'dark' Frost who was desperate, frightened, and brave—has become the Frost we've all learned to recognize, and the little-known poems Jarrell singled out as central to the Frost canon are now to be found in most anthologies". Jarrell lists a selection of the Frost poems he considers the most masterful, including "The Witch of Coös", "Home Burial", "A Servant to Servants", "Directive", "Neither Out Too Far Nor In Too Deep", "Provide, Provide", "Acquainted with the Night", "After Apple Picking", "Mending Wall", "The Most of It", "An Old Man's Winter Night", "To Earthward", "Stopping by Woods on a Snowy Evening", "Spring Pools", "The Lovely Shall Be Choosers", "Design", and "Desert Places".

In 2003, the critic Charles McGrath noted that critical views on Frost's poetry have changed over the years (as has his public image). In an article called "The Vicissitudes of Literary Reputation," McGrath wrote, "Robert Frost ... at the time of his death in 1963 was generally considered to be a New England folkie ... In 1977, the third volume of Lawrance Thompson's biography suggested that Frost was a much nastier piece of work than anyone had imagined; a few years later, thanks to the reappraisal of critics like William H. Pritchard and Harold Bloom and of younger poets like Joseph Brodsky, he bounced back again, this time as a bleak and unforgiving modernist."

In The Norton Anthology of Modern Poetry, editors Richard Ellmann and Robert O'Clair compared and contrasted Frost's unique style to the work of the poet Edwin Arlington Robinson since they both frequently used New England settings for their poems. However, they state that Frost's poetry was "less [consciously] literary" and that this was possibly due to the influence of English and Irish writers like Thomas Hardy and W.B. Yeats. They note that Frost's poems "show a successful striving for utter colloquialism" and always try to remain down to earth, while at the same time using traditional forms despite the trend of American poetry towards free verse which Frost famously said was "'like playing tennis without a net.'"

In providing an overview of Frost's style, the Poetry Foundation makes the same point, placing Frost's work "at the crossroads of nineteenth-century American poetry [with regard to his use of traditional forms] and modernism [with his use of idiomatic language and ordinary, every day subject matter]." They also note that Frost believed that "the self-imposed restrictions of meter in form" was more helpful than harmful because he could focus on the content of his poems instead of concerning himself with creating "innovative" new verse forms.

An earlier 1963 study by the poet James Radcliffe Squires spoke to the distinction of Frost as a poet whose verse soars more for the difficulty and skill by which he attains his final visions, than for the philosophical purity of the visions themselves. "He has written at a time when the choice for the poet seemed to lie among the forms of despair: Science, solipsism, or the religion of the past century ... Frost has refused all of these and in the refusal has long seemed less dramatically committed than others ... But no, he must be seen as dramatically uncommitted to the single solution ... Insofar as Frost allows to both fact and intuition a bright kingdom, he speaks for many of us. Insofar as he speaks through an amalgam of senses and sure experience so that his poetry seems a nostalgic memory with overtones touching some conceivable future, he speaks better than most of us. That is to say, as a poet must."

The classicist Helen H. Bacon has proposed that Frost's deep knowledge of Greek and Roman classics influenced much of his work. Frost's education at Lawrence High School, Dartmouth, and Harvard "was based mainly on the classics". As examples, she links imagery and action in Frost's early poems "Birches" (1915) and "Wild Grapes" (1920) with Euripides' Bacchae. She cites the certain motifs, including that of the tree bent down to earth, as evidence of his "very attentive reading of Bacchae, almost certainly in Greek". In a later poem, "One More Brevity" (1953), Bacon compares the poetic techniques used by Frost to those of Virgil in the Aeneid. She notes that "this sampling of the ways Frost drew on the literature and concepts of the Greek and Roman world at every stage of his life indicates how imbued with it he was".

Robert Frost's personal life was plagued by grief and loss. In 1885 when he was 11, his father died of tuberculosis, leaving the family with just eight dollars. Frost's mother died of cancer in 1900. In 1920, he had to commit his younger sister Jeanie to a mental hospital, where she died nine years later. Mental illness apparently ran in Frost's family, as both he and his mother suffered from depression, and his daughter Irma was committed to a mental hospital in 1947. Frost's wife, Elinor, also experienced bouts of depression.

Elinor and Robert Frost had six children: son Elliot (1896–1900, died of cholera); daughter Lesley Frost Ballantine (1899–1983); son Carol (1902–1940, committed suicide); daughter Irma (1903–1967); daughter Marjorie (1905–1934, died as a result of puerperal fever after childbirth); and daughter Elinor Bettina (died just one day after her birth in 1907). Only Lesley and Irma outlived their father. Frost's wife, who had heart problems throughout her life, developed breast cancer in 1937, and died of heart failure in 1938.

Frost died in Boston on January 29, 1963 of complications from prostate surgery. He was buried at the Old Bennington Cemetery in Bennington, Vermont. His epitaph quotes the last line from his poem, "The Lesson for Today" (1942): "I had a lover's quarrel with the world."

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#JUST FOR BOOKS #Robert Frost #Famous Birthdays

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whentheynameyoujoy · 3 years

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Women in SPN—Is it Really That Bad?

TL;DR: Somewhat, yeah, it kinda is.

This is going to be a series of long ones, people.

Before I jump head first into this giant vat of weird toxic shit, let me say something:

The thing about most of the female characters is that on their own? They’re perfectly fine, ranging from serviceable to the occasional flash of thematic brilliance. Barely any of them qualify as “this is hateful on its face and incompetent regardless of context and the writers should feel bad for ever conceiving of it”, i.e. the normie benchmark for justified criticism. It’s only when you put these characters next to each other that a worrying pattern emerges;

Although discussions about sexism in the media were very much a thing in the mid-2000s, as well as shows with characters whose primary role wasn’t to serve a man’s needs, I can’t honestly claim that the flaws of SPN are out of the norm for its time; and

The first few seasons could really do with a PSA at the start of each episode, something along the lines of “A part of the reason why female characters are killed off or written out with such regularity is rabid superfans who couldn’t abide anything with tits brushing against J2, srsly, the writing team and the 2000s’ fan base were a match made in hell, except it wasn’t the writers who couldn’t do with bitching on their LiveJournals about the gall of women to exist in the show, choosing instead to harass the creators and actresses and wives and call them every sexist insult under the sun AND I MEAN WHAT THE FUCK IS WRONG WITH YOU PEOPLE HAS THERE EVER BEEN A CESSPIT AS DISGUSTING AND NUKEWORTHY AS THE SPN FANDO—“

Anyway.

SPN has a legacy (as a posterchild for not knowing when to bow out gracefully, but legacy nonetheless) and isn’t watched in 2005 but in the year of our Lord Today. Meaning that as time goes by, the issues surrounding the show’s production retreat into the background and only what’s on the screen remains, to be judged on its own merits.

So let’s run down a list of the more noteworthy and relevant female characters of the first arc, focusing on their characterization, role in the narrative, and end. In the conclusion to this series of posts, the sum of characters will be analyzed as a whole to see if there are any unique tendencies in the show’s handling of women as opposed to that of men. I’ll do this for the original five seasons as the recent finale went out of its way to say that nothing after season 5 was strictly speaking necessary so why bother.

(Also because I died of frustration in season 8 and vowed not to subject myself to any more of the post-apocalypse fanfic era)

Angels, while strictly speaking genderless clouds of energy, will be classified as men or women depending on the apparent gender of the vessel they spend most of the time riding. The same goes for demons where I also take into account their stated gender while they were alive. That’s because although beings like Meg, Ruby, Anna, or Lilith can’t technically be considered women in the show’s present day, their consistent preference for conventionally attractive and/or female vessels throughout the original arc makes claims of genderlessness essentially meaningless. For all intents and purposes, we’re watching girls and women on screen.

Baby—the only true NB of the first run

All right, time to jump.

Say hi to our ladies!

Mary Winchester

Killed in the very first scene to give the story a reason to exist, she remains an active presence throughout the first arc where she has a wide-reaching influence on the plot and characters, driving the conflict on several levels. Fleshed-out more and more with each appearance to be more than just “the dead mom”, she’s portrayed as protective, pro-active, capable, and assertive, mirroring the duo’s desire for normal life and their inability to have it. Her story comes full-circle in season 5 when the personal tragedy of her fate is embedded in the wider tragedy of the Winchester family curse and the overall theme of destiny.

Status: Dead as of s5

Importance: Major

On her own: Textbook example of fridging… and that tropes aren’t bad in and of themselves.

Jessica Moore

Comparatively, if anyone doubts fridging can evolve into something meaningful, Jess drives the point home by having no personality and no point but to prop up her boyfriend before she ends up pinned to the ceiling, the reveal of which is the most interesting thing about her entire existence. At best she’s a symbol of Sam’s civilian life, at worst an obstacle to be removed for the story to happen.

Status: Dead as of s5

Importance: Major in terms of manpain, non-existent otherwise

On her own: A cardboard cut-out, barely qualifies as a character

Missouri Moseley

A psychic and the primary reason why John Winchester even knows to wipe his ass. Appears once over the course of the first arc yet everyone wants her to come back years later—that’s how awesome she is. Has this fantastic trait of being compassionate and empathetic while not taking a single speck of shit from anyone, especially when it comes from the two main dumbos who might just as well have been raised in a barn. Is very particular about the pristine state of her coffee table.

Status: Alive as of s5, killed in s13 (wait, what?)

Importance: Major…ly wasted potential

On her own: As strong a character as Bobby Singer, and as worthy of being elevated to the main cast.

Lori Sorensen

The writers can’t figure out why anyone in the universe would care about Jess either so they insert an intentionally awkward romance subplot to convince people the time’s not yet ripe for Sam to stop grieving and start slaying. The result’s… erm… well, awkward. Lori’s naïve, sheltered, devout though accepting of her non-repressed friend, and sort of on a religious crossroads because of her hypocritical preacher father. I guess the virginal power of her virginal virginity does… something in the plot? Primarily a vehicle for Sam to mark the stages of his moving on.

Status: Alive as of s5

Importance: Minor

On her own: A bit done. Like a bit lot. Like a “could be a trope namer” bit lot.

Meg

Boom, baby!

Arguably the chief antagonist of season 1 and one of the best things about it. The first one to point out the pervasive toxicity of the Winchester family business, so props for perceptiveness. Possesses the standard qualities of a lower-level henchman—manipulative, no-nonsense, and quietly sinister which, while not exactly groundbreaking, sets her apart from the other bad guys in the season as they tend to have no distinguishing characteristics at all. Plus Nicki Aycox makes the role seem more unique and “lived-in” by projecting a sense of understated amusement at the two main chucklefucks. Is one of S1’s turning points in blurring the lines between monsters and humanity. Has a face transplant twice—once to have revenge (good on her) and the other time to pursue someone else’s goals again before getting stomped into the ground like a mook.

Status: Alive as of s5 (?), killed in s8

Importance: Major

On her own: The actresses do most of the heavy lifting. Which doesn’t mean I don’t love watching the character burst onto the scene and announcing the end of the Winchester brand of bullshit.

Layla Rourke

A terminal cancer patient in a religious cult, she’s a more mature take on a Lori-type character and the themes of faith and doubt. Serves as a conduit for Dean’s budding survivor guilt, self-loathing, and sense of worthlessness. Is kind and cheerful, with strong hints that she’s relying on forced optimism to get through the days; also understanding of the circumstances of others while realistically freaked about the possibility of death. Weirdly, she enters the episode already in a state of acceptance and leaves it just as accepting when it’s confirmed that yeah, she’ll die soon. All expressions of anger at the injustice and senselessness are left to her mother which somewhat undermines the “struggling” portion of Layla’s character and renders the final scene where she makes peace with her fate a bit hollow.

Status: Implied dead

Importance: Minor in the overall narrative, major in the episode and Dean’s development

On her own: I want to like her, I really do, just… if only she were allowed to get pissed, once.

Cassie Robinson

Dean’s ex and that’s pretty much all there is to her. I struggle to pinpoint a single personality trait of hers—the 2000s idea of a “strong woman” and “not like other girls”, perhaps? Undermined as a love interest because TPTB don’t show the happy or any parts of her relationship with Dean so really, why should anyone care if two sniping assholes with little to no chemistry get back together? Memorable for being in a horribly scored softcore scene which YouTube tries to convince me lasts for shy over a minute, not the week I remember it to. Involved in the show’s first and last attempt at incorporating the issue of anti-black racism.

Status: Alive as of s5

Importance: Minor

On her own: She’s in the racist truck episode. ‘Nuff said.

Sarah Blake

A sophisticated people-person conversationalist with a love of high art and a deep sense of introspection. Ascends to the state of godhood by being able to pull off pigtails while adult. Bonds with Sam over responding to loss by crawling into a shell but deciding to move on. Doesn’t care for your fancy schmancy fine dining, Romeo. Isn’t ashamed to openly talk feelings which includes her explicitly asking Sam if they have a thing going on (honestly, this is such a breath of fresh air for a normcore romance). Despite being scared out of her wits, she refuses to be shoved into the helpless civilian box after learning about the existence of the supernatural; Dean creates a Pinterest wedding board in response.

Status: Alive as of s5, pointlessly dragged back to be murdered in s8

Importance: Minor in the overall narrative, major in the episode and Sam’s development

On her own: A great love interest that has enough writing behind her to fool you into thinking she’s something more.

Up next, whenever I feel like it, seasons 2 and 3!

#spn #spn critical #supernatural #supernatural critical #sexist writing #mary winchester #missouri moseley #meg masters #sarah blake #layla rourke

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ramblings-of-a-mad-cat · 3 years

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Oh, I will be the first to admit that messing with people's memories is highly questionable at best, and the Moonlaces know that. They spent ages agonizing over the decision, going back and forth over it all and trying to figure out if there was any other conceivable way. But they wanted to give little Calliope as much protection as they possibly could, and the best way to do that was to make sure no one could trace her back to them, and small children don't exactly excel at keeping secrets. So, even though it tore them up inside, they came to the conclusion that it was for the best that she not remember them, at least not until after the war.

Talia ended up being the one who worked the magic. It just so happened that in the course of her work in her private cursebreaking firm (which focuses on cursed objects and people, and involves no raiding of tombs) she had come across rather a few memory spells and through figuring out how to unravel them had gained a unique understanding of how they worked. She knew the subtle difference between erasing and suppressing a memory, and how best to make it retrievable at a later date without harming the person in question.

However, this? Making Calliope forget everything she'd ever known in preparation for sending her away? This was extremely emotionally stressful for Talia. In many ways she was more Calliope's mother than their shared mother was. Mr.&Mrs. Moonlace, while loving parents, had always been very busy people, working Ministry jobs (that I've never specified lol) and so whenever she was available to Talia ended up handling Calliope's day-to-day care. If Talia wasn't able to watch her Calliope was with their brother and his boyfriend/fiance/husband/whatever label they were using that week. (I'll talk about them in another ask because they're fun) So, yeah, the older siblings had essentially split custody of Calliope most of her life, they were the ones who were raising this little girl for the most part. They were the ones most heartbroken over this turn of events. And in turn those extreme emotions effected the magic. That wish Talia was holding in her heart that she didn't have to do this, that Calliope could have kept her memory, influenced the spell and, unbeknownst to Talia, it was incomplete. Calliope would always have vague memories of her birthfamily, and of just how loved she was. And those memories would only unobscure themselves more over time. Never completely, it would never break on it's own, but still.

The Moonlaces had always intended to find her after the war, to make themselves known and restore her memory. If she was happy with her muggle parents they weren't going to take her away, but they intended to be a part of her life again in whatever way they could. Unfortunately, by the time the war ended and it was safe that young muggle couple had divorced and moved, and they had no way of knowing where they had gone, or which parent Calliope had gone with, leaving the poor Moonlace family utterly heartbroken once again. They could only hope that Calliope would reenter the wizarding world on her own one day, and that by chance they'd meet again.

I'll likewise admit that there are justifiable situations when it comes to the use of memory charms. There's obliviating muggles to protect the secrecy of the wizarding world, and...yeah, that's about it. Even that is a bit of a gray area, especially if they realize what you're about to do and express opposition to it. I guess you could also argue that it's okay, if a person is say, blackmailing you with private information, to respond with the ultimate power move and erase said information (and nothing else) from their mind. Basically what Talbott wanted to do to Merula. Sure, you could make a case for that...but I don't know, I'm still not sure about it. In this case? Sorry, I'm still gonna say I don't approve, even if I'm sure they thought they were doing the right thing. It's the inverse of what Hermione did, and yet it's also so much worse because it was parents doing it to their young child.

Oh my god, the more I hear about this, the more it's kind of like the most recent storyline in Doctor Who, for those who have seen it, except with an arguably more noble storyline. The whole idea of a certain figure in the child's life being more important to them than their birth parents is something else I will never not relate to for the personal reasons of my own life shenanigans. Actually, this entire idea reminds me a lot of the Remembrance timeline because this is basically what Luca goes through, being subjected to a memory charm that is incomplete (though in their case, it's because they have inherent resistance to mental magic at the time, long story) but damn if this tale isn't tugging on my heartstrings. I cannot help but love that Talia made a wish and it came true, all through magic. That is actually destroying me with how beautiful it is, how dare you. That said, as much as the tragedy of them losing her in the sea of the muggle world does make me choke up as well...I mean, what did they expect? It's kind of the risk they took.

#Harry Potter Analysis #Harry Potter #Harry Potter: Hogwarts Mystery #Harry Potter OC #Harry Potter Fanfiction

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thisiswhatwereupagainst · 4 years

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We come from the land of the ice and snow From the midnight sun where the hot springs flow This is Snowbird aka Narya aka Anne MacKenzie, a founding member of Marvel’s Alpha Flight and one of my faves. Here’s a post all about her!

Snowbird is the daughter of a moral man, Richard Easton, and the Inua goddess Nelvanna. The Inua are the gods of the Canadian north in Marvel canon. While their name is clearly from the term “Inuit” they are not a pantheon (originally a trinity but then expanded) from any real-world culture, but they are drawn in such a way to suggest they are meant to reflect Indigenuous Canadian peoples, and when they are expanded from a trinity to a true pantheon, real-world Inuit deities like Kadlu and Sedna are added to their number. This raises some problematic issues all around, but it is what it is, so moving on--- Nelvanna is the only female member of the original trinity as they appear, and thus was tasked with conceiving a half-human child with Richard Easton when he stumbled into their realm after finding an ancient artifact at a Canadian archeological dig near the Arctic Circle, since Richard was a man. The reason they needed a half-human child was to combat The Great Beasts, immensely powerful entities. They had been trapped thousands of years ago in a prison realm by the Inua, but in modern times the magicks holding them began to weaken. Knowing the Great Beasts would break free soon, the Inua wished to produce a champion, a demi-goddess child born of both man and god, belonging to both worlds, who could fight them on this plane. Nelvanna successfully conceived a child with Richard, but he was driven mad by the experience of consort with the divine, and he lived out the rest of his life as a hermit until he attempted a ritual to summon one of the Great Beasts. This succeeded, but his life force was consumed in the process, and his remains settled on the bottom of the salt lake where the Great Beast called Tundra once stood. Richard’s spirit would live on as an evil entity, which Snowbird eventually faced and put to peaceful rest at last. But back to Snowbird---obviously, the baby that Nelvanna conceived was Narya, who became Snowbird. As Nelvanna was about to give birth, she summoned Native Canadian shaman Dr. Michael Twoyoungmen to a place of power to assist her. The being she gave birth to was unstable, a transmorph, lacking real form, and Michael knew that he had to mystically bind it to Earth or else it would have never been able to possess a human form. He did so, and the baby at last assumed a human form, that of a little blonde girl with alien features who was already a year old. Having been bound to the land of Canada itself at her birth gave Snowbird her greatest weakness----she could not leave the boundaries of Canada without weakening and, if she did not return soon enough, death. Michael raised Narya alone in a cabin in Banff National Park, where she began to learn the customs of Earth and how to use her fantastic powers---specifically, she could shapeshift into a snow-white version of any animal native to the Canadian Arctic lands. She notably preferred to eat what she hunted in her animal form, not joining Michael or his guests, the Hudsons, at dinner. But she had stranger qualities still---at only three or four chronological years, she already looked like a young woman, albeit a strange elfen one. After Michael explained to the Hudsons that Narya was not only a metamorph but a demigoddess, James Hudson invited them both to join Alpha Flight. They agreed, and were given the codenames Shaman and Snowbird. While her primary goal was always to battle the Great Beasts as she had been born for, Snowbird also dutifully served the interests of Department H and the Canadian government, and to this end took on a human identity, that of Corporal Anne MacKenzie. She used her shapeshifting power to adopt a more fully human appearance, and worked at an RCMP post somewhere in the North West Territories of Canada. However, she had the ability to sense whenever one of her enemies, the Great Beasts, awakened, and would leave whatever she was doing immediately to do battle with these monsters. This ended up costing her her job, though she likely cared little. Snowbird had a cold, distant, aloof persona, almost alien, and at one of her teammates expressed that she gave him “the heebie jeebies” to which her foster father Michael said he was not alone in, suggesting that others were regularly unnerved by her. Indeed, Narya was very much as inhuman mentally as she was physically. Alpha Flight (1983) #3 describes her as such: "Her innermost memories dwell beyond human comprehension, and she remembers the oldest snows." She seems to innately know all her own powers, even those she never used before---such as the ability to compel others to aid her against the Great Beasts should she wish--and to know that her destiny is to fight The Great Beasts, which she will automatically do despite any fear she might have. While it is possible Michael taught her the latter, it is just as likely that she simply was born knowing it. Other powers she displayed were: - Flight - Resistance to extreme cold - She's able to sense magical energies, disturbances to the land she's tied to, and the proximity of her teammates - If her teammates invoke the Great Spirit, she senses that and will come to their aid. - Post-cognitive vision, being able to see what happened in the past in a place. For instance, she looked at a plane crash and was able to basically play it back before her eyes as she looks at the wreckage in order for her to figure out what caused it. It seems there's a limit though, as in another issue she can't do it because whatever happened was 12 hours or more ago, which she can tell by tracks, showing she has tracking skills, likely from her wildnerness upbringing by Shaman and animal-like abilities - As mentioned, she can magically/psychically compel others to help her fight the Great Beasts against their wills While Snowbird originally hoped that once she vanquished all the Great Beasts, her time on Earth would be done and she could ascend to the paradise where the other Inua dwelled, her path changed when Doug Thompson, a colleague from when she had been Anne McKenzie, professed his love for her. Though she originally denied him, she eventually revealed her real self, Snowbird, to hi. She tried to tell him that she could not return his affections, but Doug simply grabbed and kissed her – the first kiss Narya ever received. Taken by surprise and filled with human emotions she had suppressed to this point, Snowbird could no longer deny that she was attracted to Doug too, however, she wanted him to fully know what he would get involved in and showed him her so True Fires, her godly form, a strange and terrifying sight to behold. Yet Doug loved her still, and so once all the Great Beasts were slain, she returned to him and wed him, asking him to teach her to be human. But in doing so, she bound herself to a mortal man, and thus the Inua, whom she had longed to join, cast her out for this sin. Eventually she became pregnant, and just as she had grown up rapidly, so too did her pregnancy rapidly advance. The birth was dramatic, with Snowbird rapidly shifting out of control, displaying her True Fires in her agony. The Inua appeared and offered Snowbird one last chance to join them in Paradise; ridding herself of the stench of mortality. They warned her that after the child was born they would have nothing to do with her. Afraid and suffering unbearable pain, Narya almost agreed – except that she was afraid of losing the people she loved and who loved her back. Snowbird told her mother that she couldn’t leave what she had found on Earth and with that, the Gods left. Narya still needed to reach sacred ground before she could give birth, just as she too had been born in a sacred place. Due to her own resentment of her father, Talisman aka Elizabeth Twoyoungmen, Michael’s daughter, tricked her. Dr. Strange had brought her to a place of power, yes, but it was a place of power because there was an ancient sorcerer buried beneath the frozen wasteland. Strange did not know this, but Talisman did---and said nothing. Soon the birth was set in motion, and almost instantly, Pestilence, spirit of the ancient sorcerer, possessed and corrupted the child. Talisman knew this would happen; her plan was to watch her father try and fail to save the day, and then step in to do so herself. Yet she found herself unable to best Pestilence either, and he beat Alpha Flight, including his own “mother”, and fled, taking his new body, that of Narya’s unnamed son, with him. As horrible as this was, Nary considered this might be a blessing in disguise. She thought that perhaps if she abandoned her child and husband, then the Inua might reconsider rejecting her, and welcome her back into their fold. Understandably, her husband was upset by this, and angrily stormed off, vowing to find their son himself. He said he now realized that not being human, he could not expect Snowbird to know what motherly love meant. And yet, it turned out, she did---though it saved neither her nor her son. While the rest of Alpha Flight were busy with another mission, Shaman and Snowbird located Pestilence in the mining town of Burial Butte. Once they got there, the pair learned that Douglas, Snowbird’s husband, had gotten there before, and had been infected with a fatal disease by Pestilence. Pestilence had realized that the baby’s pure spirit was slowly overcoming his influence. Only by it being killed could Pestilence could roam free and possess someone else again. To this end, he controlled Snowbird, and forced her to kill him, releasing his spirit, while the body of the child, her child, perished at the claws of its own mother. Snowbird died too, shot down by Heather Hudson in a too-late attempt to stop her from killing her “son” and releasing the sorcerer. Pestilence escaped, but mother, father, and child were all dead. Alpha Flight laid the family to rest in beautiful glass coffins, and, at their funeral, the Inua appeared, offering the dead Snowbird one last chance to join them in their Paradise. Snowbird’s soul, however, demanded that her husband and child must be allowed to come with her as well, or she would not come at all. Though no mortal had ever been allowed in the Inua Paradise before, her divine family made an exception for the first time, and allowed her mortal one, and all their souls went to dwell there in happiness together for eternity. As with many Marvel characters, death was not the end for Snowbird. Pestilence possessed her soulless body briefly, before being forced out by Shaman, at which point the soul of Walter Langkowski aka Sasquatch, another deceased member of Alpha Flight, took it over. No longer housing a divine spirit, Snowbird’s body became that of a human-looking woman---but still a woman, with Walter’s soul inside. So for about two years, Walter went by Wanda. Yeah, he was walking about in the dead body of his teammate, don’t think about it too hard. Perhaps also due to her divine nature now being absent from her body, “Wanda” Langowski did not get any of Snowbird’s powers with her body, but instead retained his--er, her?--own, that of shifting into a Sasquatch, albeit a white one now. Wanda became Walter again eventually, and years later, Snowbird was discovered alive in an A.I.M. laboratory. Alpha Flight and Wolverine freed her and took her along to Department H, where excessive tests revealed her to be indeed really Snowbird. What A.I. M was doing with her and how she came back to life has yet to be revealed. The canon explanation is that she has regenerative powers that went to work while she was buried, but this doesn’t track at all because, again, her body didn’t stay buried, Walter was running around in it. Apparently the writers just...forgot this, and for extra irony had WALTER of all people be the person who came up with this explanation. Seriously. I just go with the idea the Inua brought her back for God Reasons and she doesn’t know why yet and then A.I.M. got ahold of her before she could rejoin her team. She also lacks being bound to the Canadian lands anymore, and I miss that limit, I thought it was cool. I like a lot of things about Snowbird. Firstly, I think the fact she can turn into animals, that’s really cool, and the limits of them always being Canadian helps temper it, and I think them always being white is a neat touch. I like that she’s WEIRD and INHUMAN and unnerves people, I like that her design is meant to be CREEPY INSTEAD OF PRETTY and I like that she actually FALTERED in being a good mother in a really HORRIBLE way that women (at least heroic/good women) don’t usually get written as even considering without becoming villains for it, I like that when she does show humanity it’s not just compassion or maternal love, it’s also BEING A DICK LIKE HUMANS CAN BE . She’s a pretty cool character and I’d like to RP as her one day. I also have some thoughts about why I think she, as a character who is literally meant as the embodiment of Canada itself, should be rewritten/re-designed as a Native Canadian woman, but those are for another post---this is just about who she is as it is. Which is a neat character with a pretty design! Fun fact: In the Ultimates universe, it’s Danielle Moonstar who is a member of Alpha Flight bearing the codename Snowbird. Instead of the powers of 616 Dani or Snowbird, she wields the ability to create and control blizzards, which she uses to overpower that universe’s Storm.

#snowbird #alpha flight #narya #anne mckenzie #marvel

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howwelldoyouknowyourmoon · 3 years

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Moon’s Divine Principle Theory Applied

by John H

The Bait, the Hook and the Resolution … and the false promise of eventual release.

The Divine Principle, which, whether conceived by Moon or not – he most likely stole it in part or totally from other Korean sects – is the message. Not peace, not love, not kindness or understanding, not forgiveness and most certainly not freedom.

The Bait:

First you need to attract people to hear your “life changing” theory and since you can catch more flies with honey, use that. A great big instant family, new instant friends, the brother or sister you never had but wish you did. Offer them “unconditional love”. Never was this love more conditional than in the Unification Church – but never mind that for the time being. Promise them perfect happiness, perfect fulfillment, perfect health, a perfect husband or wife, perfect children … promise them The Kingdom of Heaven.

The Hook:

OK, so now you’ve got their emotional attention – which really is the most important part – work on making it sound air tight logically. It doesn’t have to be logical at all, just sound logical. This isn’t as hard as it may seem when using a closed system, circular reasoning and dense long lectures which on the surface sound well researched. If they swallow some key unprovable premise the rest is an easy sell. It also doesn’t hurt if the recipients are well seasoned and buttered with plenty of bliss inducing fuzzy wuzzy. You want open, relaxed and receptive, a baby at their mother’s breast, not critical and defensive. Just when they are starting to feel that they have arrived and all is right with the world and themselves, set the hook … hard ! You’ve just painted a glowing paradise, the shores of which they could see in the near distance with the scent of magnolia blossoms wafting over a calm sea. Well, you can’t go there just yet and the reason is, and here you go for something universal, mysterious and primal and what could be more universal and primal than sexuality – or as a Divine Principle lecturer would say “The reason is the Fall of Man.”

Resolution:

After you invent the disease with which all of humanity is afflicted, then you propose the cure. This cure, make no mistake, is exclusive and unfortunately comes at a cost, a very high cost. The rest of the Divine Principle goes about realizing its very contrived forgone conclusion, which is that no one holds the key to this dilemma (the Fall of Man) but Sun Myung Moon. He has literally got you by the balls, Bubba. There is no resolution except on his treadmill. (indemnity?) Pay up!

That is the message.

Is it worth keeping?

All the talk about love, sacrifice and service was mostly that, talk. Oh, the members for the most part were sincere (even most of the indoctrinated leaders, they probably believed they were justified or even great in making members suffer for their own benefit). All of the effort was subverted as a result of their misguided trust and the great amount of energy offered, the sacrifice and service, was in bolstering Moon’s power, influence and economic standing. The theory, Divine Principle, justified and even demanded that. To not compliantly fall into line and be a subservient, obedient and hard working member was to be a problem member.

Don’t forget, if forgetting this was even possible in the Unification Church, that you are fallen and have no value without the “messiah”. No value meant just that – no voice, no autonomy, no rights other than to follow the directives given through the appointed chain of command.

The key prerequisite for a leadership role in Moon’s church was obedience and loyalty to him and the ability to bring in the money and new members – who could themselves bring in more members (who could bring in more money) – and nothing else. Personal qualities like compassion, kindness, etc., be damned. That is unless, of course, they were used for the above purpose.

A part of the Divine Principle (again the theory or “message”) in keeping fallen people in line, fallen people being everyone except Moon himself and his family of course, is the part on the “four fallen natures”.

1. Not seeing from God’s point of view (meaning Moon’s)

2. Reversal of dominion (don’t you dare try to second guess your Moon appointed leader or override their directives)

3. Leaving one’s position (stay where you are put)

4. Multiplication of evil (evil here is anything not condoned by Moon, especially don’t publicly critique or spread doubts of any kind or sow any seeds of dissent)

It could have been simplified into one easy to follow directive:

“Shut up and do as your told, you worthless piece of shit.”

I guess camouflaging it in a more academic and layered way would make it more palatable. The meaning is the same though.

The common thread that runs through the entire Divine Principle (the message) is one of control and compliance within a rigid top down pyramid structure. To think otherwise is to be fooled by the window dressing (all the talk of love, and world peace, etc.)

That is the message.

Is it worth keeping?

John H

_____________________________________

It doesn’t feel right because it isn’t right

Sun Myung Moon makes me ashamed to be Korean

Sun Myung Moon’s theology used to control members

Sun Myung Moon’s Theology of the Fall, Tamar, Jesus and Mary

#Divine Principle #manipulation #Sun Myung Moon #Hak Ja Han #Unification Church #John H

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darkpoisonouslove · 4 years

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Erendor x Samara Headcanons

This somehow happened... even though they are literally my least favorite Winx characters. I wanted to develop them somewhat more so that I could stop despising them so much. I think it worked... even though there are some problematic things.

TW for mentions of murder and infertility.

It was a semi arranged marriage in that Erendor was the one who was having negotiations with Samara’s family since he was already king. His parents were currently residing at one of their numerous estates, however, and were as removed from the ruling of the kingdom as possible since the monarchy was hanging by a thread. Erendor had to find a way to settle the growing tension for which he needed some strong allies and it just so happened that Samara’s family was the most influential.

Samara was actually a second child but her elder sister was already promised to a nobleman from another famous lineage and pulling that apart would be bad for the monarchy as well as the other family was bound to turn against them. So Erendor was to marry Samara and have the endorsement not only of her family, but also the new house that her sister was to join soon. They had a perfunctory engagement that only served to not make it look like the situation of the monarchy was so dire that Erendor was taking desperate measures to stabilize it. They married as soon as possible to fortify the alliance and start working on continuing the royal bloodline.

Samara was extremely good at pretending and showing exactly what was expected of her. Her mother had been dragging her to beauty pageants ever since she’d had anything to show in the talent portions of the competitions and she’d learned from little to read what people expected from her and then show them just what they wanted to see. She could get under anyone’s skin and steer them into doing whatever she wanted. It was the skill she’d perfected while her sister had spent more time in education as they’d hoped for a better marriage for her. Samara’s mother had hoped exactly for that result as it gave them guarantee that Samara would be able to control her husband while they controlled her to give them even more influence and power.

Erendor was wary of Samara at first. He was way more observant back then when the future was being built on a day to day basis and he’d seen enough to know she could charm anyone, which made her the one with the real power in their marriage. He had to win her over on his side if he wanted to ever have any real control over Eraklyon and that would be a challenge since she already had everything she could want, including the crown. He could never beat her at her own game so he tried a different approach by being dangerously honest with her which threw her off every time to give him an opportunity to peek under her facade and get to know her better.

He learned that the price of her smile was a ring on her finger and the price of her heart was holding her hand in his. She was indeed used to getting everything she wanted but he hadn’t known she wanted commitment to her that her family had never shown as they’d been using her ever since she’d learned to walk and freedom that she could only get if she had more power in her grasp than her mother held. He paid enough attention to her to learn how to never disappoint her with a gift and gave her the choice of what to do with the power she held – give him equal control of it by taking his hand or keep being pulled like a doll by the strings her mother had wrapped around her until death cut them off. He gave her the decision to choose whose hands to put the control over the kingdom in and that was more than her family had ever given her.

Her mother never expected that Samara could choose her husband over them. She’d never thought that a man could win her daughter’s trust after she’d raised her to view people as means to an end because that was how they’d view her. It was too late by the time she realized she’d made a mistake by demonstrating that to Samara herself. Her daughter had all the important people in her hand and she put them in Erendor’s pocket to throw her family so out of the loop they would never be able to come back. They lost any control they had not just over the kingdom but over most of their estate and assets as well and had to leave Eraklyon before Samara bankrupted them completely. She didn’t spare the family her sister married into either in case her mother tried to make her comeback via them and all the wealth was distributed to the struggling economical branches to patch up both the holes in the kingdom’s resources and those in the people’s trust.

The monarchy was saved and the two of them were left with their blooming alliance. They got along perfectly when he asked her opinion on everything and let her handle most of the diplomacy, only ever interfering when his presence was needed. Outside of the throne room, their shared time was limited by mutual agreement. Samara liked to use her newly found freedom to choose her personal endeavors herself and Erendor could use the break on his ego (he knows he couldn’t have done it without her but sometimes it is still hard to swallow his pride even though Samara has never flaunted the fact in his face, perhaps due to her own experiences of being dependent on someone else).

Besides, it takes them both a little while to process whatever slips into one of those honest conversations they tend to have in the middle of the night–there’s always room for Samara in his bedchamber and she’s rarely refused an invitation to go as well–or early in the morning over breakfast. He still catches her off guard–and himself, too–when he admits something that requires trust that their mutually beneficial deal does not justify. Samara actually likes it because it feels like she can trust it’s real and she’s even confessed a couple of things herself on her own initiative even though the word love has never been approached by either one of them. Erendor’s honesty is always blunt and has zero romance to it but Samara prefers it that way as she’s not sure how long it will take her to trust romance.

It all seemed well until they learned that Samara had fertility issues that got in the way of conceiving an heir. Samara retreated and locked herself into her bedchamber. She wouldn’t even let Erendor in, let alone go to the throne room or even the dining hall. Erendor had to forbid all maids and other servants from going to her until she came out, steaming about him breaking their deal that they were equals and he couldn’t control her. Not the best plan to get her to talk in hindsight but he didn’t have much choice.

They talked once Erendor explained himself and she calmed down. She was upset not only over the discovery of her problem but also over the fact that all their efforts in putting the monarchy back together had been wasted. Erendor tries to reassure that nothing has changed – she is still the queen (aka indirectly reassuring her that he wouldn’t divorce her over that which not only went through her head but she was also leaning towards after he broke their deal). They can still adopt a child and the monarchy will have an heir. Samara warns him that his brother will not stand to have someone outside the bloodline take the throne from under his nose. She knows the ambition and bitterness of being a second child and her family wasn’t even in line for the throne. Erendor promised they would figure it out but, meanwhile, there was a war brewing between the Ancestral Witches and Domino and his alliance with Oritel was enough of an excuse to buy them some time to think.

As it turned out, the solution presented itself. The royal dog breeder almost lost control of the hounds as she prepared them for a hunting session. After Erendor only didn’t bite her head off in the literal sense, Samara had her turn as well which saw the woman breaking down and confessing that she’d found herself pregnant and abandoned by both the father and her family. Samara instantly pieced together the plan that could be the solution to all their problems and after Erendor agreed, they offered the woman to give her baby to them. They would make him a prince and she could see him grow with every one of his needs taken care of if she would keep her mouth shut about the deception they were pulling. They reached an agreement and brought their scheme to fruition by presenting the boy as the royal heir while the official version was that the dog breeder’s baby was stillborn.

Distrustful of the emotional goodbye the woman said to her child, Samara decided to tie up their loose ends. Erendor had already dealt with the doctor supervising the birth through semi-legal means and it was just the mother that could reveal their ruse. Samara poisoned the dogs with a mix just strong enough to drive them mad with pain but not kill them so that they would attack their breeder and tear her to shreds. It happened almost as she’d planned it but before the dogs could be put down by the guards, they slipped away, having been pulled out of the effect of the poison by the grief over killing their caretaker. The woman had an unusual gift for training the animals and immense skills to top it off that Erendor could have never rivaled even despite his time in Red Fountain spent taming dragons. She was known as a dog whisperer and the animals had all formed a bond with her that was unbreakable so when they killed her, they turned into mindless beasts with the rage and pain of betraying their own mistress like that.

The hounds got lost in the forest to spread all over the kingdom and terrorize it for years to come. With everything else that was happening, Erendor’s focus was not on getting rid of them. The alliance with Domino was broken to the result of losing an entire city and being plagued by guilt. Without their strongest ally, the kingdom was soon swallowed in wars and debates over the future of the monarchy. The hounds were yet another crisis that was pulling Eraklyon thin over all the fronts it was stretched on.

The problem only got solved once Sky signed up for Red Fountain. Along with Brandon and a handful of other soldiers, he tracked down the hounds and killed them to stop them from wrecking havoc. Curiously, they didn’t run from him or try to attack him which he found odd but shrugged off as his gift for taming dragons obviously working on other animals as well (they never had hounds in the palace again after the “accident” with the last dog breeder). The last hound was the only one that put up a fight but it turned out it was because she had a puppy she was trying to protect. Unusually for dogs, it was only one. A small white female dog. It was so little Sky could snap its neck with two fingers but he took pity on it and took it in, swearing to his parents that he could tame it and make sure it would never hurt anyone. He named her Lady to further his point as she was extremely well behaved and obeyed every one of his commands, even letting Samara pet her despite her obvious dislike of the queen.

Lady was put down after going rabid out of the blue and attacking the queen. Samara didn’t like having to worry whether the dog wouldn’t tear her to shreds if Sky weren’t there to stop it so she got rid of it as well. Over the years she’d tried to provide for Sky both the warmth and discipline he would need to turn into a good prince as she didn’t want him growing up the way she had and being a pawn in the schemes of others. There was a certain duty to be upheld as an heir to the throne (of a country falling apart no less), though, which was why she and Erendor were pushing the marriage with Diaspro on him. The girl was more than respectful towards them despite being a spoiled brat otherwise and she was a princess aka their best choice for his fiance. They could use an alliance amidst the brewing situation in the kingdom.

With the years and the state of Eraklyon going downhill after the alliance with Domino fell apart, keeping the kingdom afloat was weighing down on Erendor on top of the guilt her felt for his deal with the Ancestral Witches and he became more selfish and rudely outspoken. He didn’t care much about diplomacy when he was counting on Samara to take care of it. She herself started falling into the rabbit hole of being queen and having the power to make everyone bow to her, however, and she abandoned her persuasive way with words for more forceful approach. After the whole fiasco with the dog breeder, she had to make sure nothing else would go astray to topple their unstable thrones and she had less and less patience for coaxing people to go her way rather than coercing and even forcing them to. The image of the monarchy was falling apart once more which was why Erendor was so hasty about passing the title of king down to Sky. Their son was very well liked amongst both the high society and the commoners so they had to leave the power in his hands at least in appearance.

#winx club #winx erendor #winx samara #erendor x samara #winx sky #winx headcanons #headcanons #can you tell why she named sky sky?

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