#lucy does a write

[charmspoint]

At the last possible second, Suguru stops himself from killing the villagers that had trapped the two little sorcerer girls. He calls Satoru instead. He brings them back to the school. He tries to continue his life.

But with the dark thoughts still swirling around his head and Satoru unable to admit that Suguru could ever do what he had almost done, will he be able to heal or will he end up walking down the same bloody road always predestined to him?

Chapter two is up!

[melverie]

Can I just say that I absolutely LOVE how ever since they all found out that MC is human and was brought here against their will, it was Lucifer who kept insisting that they shouldn't be the ones to trap MC in the Devildom. That whether they want to stay or not is a decision MC has to make themself and that the brothers should support them no matter what they end up choosing

And now that the moment is finally here, now that MC has confirmed that they indeed plan on heading home, and now that all of his brothers agreed on helping them get back, having forged a pact and lending their powers to do so—

Now that he knows that he's the final piece needed to send them back; that the lingering idea of the yet to be forged pact between them is what's stopping MC from potentially leaving their side for good, leaving his side for good—

Now that they have finally gotten to this point, he realizes something. And he's unable to live with it

And so, he goes back on his word.

He's taking that choice from them.

"I don't want to."

Lucifer's pride is what keeps his voice leveled and neutral, as if it were just another day. As if he everything was completely fine. As if he didn't feel this pain in his heart, almost as if someone had rammed a dagger through his chest over and over and over again

To most people, he'd appear to be in perfect control of his emotions—if only his gaze wouldn't completely obliterated that frail façade of his. The way his beautiful dark eyes shimmering with a hint of blood red silently plead, beg MC to stay...

Internally, he is breaking apart because he knows what he is doing isn't right. He knows that he shouldn't trap them like a bird in a cage, and yet he can't help himself. Not in this situation. Not when it comes to MC

'No'

He—Lucifer, Avatar of Pride himself—is the last thing trapping the very person that finally made him realize what his sister had meant forever ago

'I won't let you go'

How one day, someone would stumble their way into his life, and how he'd love them so wholeheartedly and so deeply that everything else would become trivial as long as he'd get to hold them in his arms

'I can't let you go'

Someone that he'd happily throw away everything for, not even considering any alternatives if only for the shred of a chance at just one last tomorrow with them

'Please stay with us. Please stay with me'

Everything.

'I cannot lose you, MC'

Even if they'll never forgive him for it.

"I'm not going to forge a pact with MC."

[desos-records]

[Spoilers for Empty Grave]

"Save yourself for me"

I am once again losing my mind over a single line from Lockwood & Co. It means so much with so little.

Because he isn't saying 'save yourself because I'm the one who deserves to take on risk and danger more than anyone else' which is what Lockwood from previous books would say.

He's saying 'I cannot stand you getting hurt. I know I can't stop you from doing something stupid anymore than you can stop me, but save yourself because I love you. Save yourself because you love me.'

Repeatedly throughout the series Lucy and Lockwood are just: 'I care about you, please don't hurt something I care about.'

Which is why Lucy stays because she can't stand him getting hurt either. From the minute she learns about his self-destructive tendencies she's been quietly saying 'save yourself for me' because she's afraid he won't save himself for his own sake.

It absolutely guts me. Why is it always 'Come off it, you know I'd die for you' and never 'Save yourself for me,' which means infinitely more.

[alexiethymia]

You gave her a free pass just ‘cause you like the way she looks at you.

At first she looks at you in wonder, with slight awe, a country bumpkin in wonder of the big city, and you admit to being flattered. That shine fades away the more she gets to know you, George, the more all of you get to know each other, but it doesn’t disappear entirely. 

Instead, it’s tinged with exasperation, a slight roll of the eye here and there, a gobsmacked expression at your nerve (she calls it recklessness, you call it daring), and most times she looks at you like she wants to wring your neck. You admit you are amused. You throw her a roguish smirk and part of you can admit you want to rile her up (-but mostly, mostly you just want to make her laugh, the same way you can’t help but laugh, smile, because of her from that first defiant “I’ll wait”, eyes dark and feral). She looks at you with challenge, demanding if you’re good enough for her, and you admit it’s irresistible. 

You’ve always been drawn to dangerous things, and the more you get to know her, you realize Lucy Carlyle is far more dangerous than any Visitor. 

Later, under a spell, a ghost’s hold, she looks at you like she loves you - ‘You love me, don’t you?’ It’s not her words, it’s not her actions, it’s not her, just Annabel speaking through her, but - her face, her smile, her eyes as she looks at you are sweet. You don’t know who’s really under a spell between the both of you. ‘You love me, don’t you?’ - the ghost asks through her. It should be an easy enough question to answer, so why can’t you?

She looks at you in pain - I am drowning - and you want so much to save her, even if you are the cause of it. Her tears make you feel as if you’re suffocating along with her, and you’re back to being a little boy again, helpless to save anyone who’s ever mattered. The moment those words leave her mouth, fear grips your heart. Better off dead? Her of all people? You didn’t matter, but she was Lucy Carlyle and that was not the way it was going to be. 

She looks at you with eyes full of understanding, absent of the blame you so richly deserve. With apologies falling from your lips and your hand in hers, you can’t help but draw the comfort that you hardly deserve. 

You’re still the cause of her tears, and though you don’t deserve it, deserve anything from her, after what you just put her and George through, she looks at you as if she wants you to live - just live. 

You’re tired, so very tired - of Kipps, Barnes, of everything. But you come home - to her, and though you admit to feeling a bit off-balance (even if Kipps does deserve it, the pompous prick), she just looks at you, bemused, and you can’t help but sigh. It’s not quite a smirk, not quite a smile, just a slight lift in the corner of her mouth that you are endlessly fascinated by. She promises you tea, and you would promise her anything and everything. 

Later on, you don’t know how it could have gone so wrong so fast but she looks at you like she hates you. And you feel like you could almost hate her too. There is bitterness, so much bitterness, that you wonder if you have another Annabel Ward at home, but this is all you - your insecurities, your vulnerabilities. You can admit that you only got that mad because she poked at the exposed heart of you, at open wounds that haven’t even scabbed over. 

No matter how you feel though - how she makes you feel - she is still your responsibility. She may prod at open wounds, but you’ll make sure hers are closed and have a chance to heal. She looks at you - she looks at you like she wants so badly for you to believe her. She looks at you like you could break her (which fair enough because you’re pretty sure she can break you too). She looks at you like what you think matters, like you - Anthony Lockwood, not just Lockwood - matter, to her. For the first time, your gaze isn’t fixed on her eyes. Giving in to instinct, it drops. 

We can’t let you go. 

Who are you fooling? 

You trade toast for a smile. Hardly a fair exchange in your opinion. Lucy frowns more often than not, and she keeps her smiles like a secret treasure stuck close to her heart. It is during quiet moments like these in the wee hours of the morning that you feel like an ungainly relic man who would do anything to claim it for your own. Rather than Lockwood’s dazzling acts of courage, it is Anthony who can coax those rare and precious smiles out of her. Pity that you find it so hard to be the boy you once were. 

You’re afraid, so very afraid. Once again you feel like that helpless boy, never good enough, never enough. What on earth could you have to offer against Fittes, when that had been her dream and you were just a last resort. You know you sound pathetic, close to pleading, hell you will plead if that’s what it takes, sod your pride - to get her to stay, just don’t leave, don’t leave (me). (Not again). But Lucy never does what you expect, does she? Because she looks at you, she looks at you like you are enough. She looks at you like home. You can’t help if your breath catches and the half-sob that rises along with it. But luckily, for all her Talent, she doesn’t hear.

You were naive. That earlier fear doesn’t even compare to what you feel now. That was juvenile, this is paralyzing. You don’t fear death, not anymore when you fight it on a daily basis for a living. Being ghost locked doesn’t compare to this - fear, paralysis, desperation. For Lucy’s life to be snuffed out and for you to be the cause - your fault, always your fault - sucks all the air out of you. You can’t breathe. 

You could almost hate how she looks at you because she looks at you like she’s willing to give you a second chance. You want to so badly - to unburden yourself, to her. But she doesn’t deserve the ghosts you carry (-is what you say to yourself because you’ve always been a narcissistic bastard who wants to look good. Kipps’ voice echoes, in the end she’ll leave and you’ll be the one to make her). Her disappointment is an easy enough pill to swallow because nothing else matters besides the fact that she’s - alive, alive, alive. 

She looks at you like you disgust her, as if you were worse than any Visitor. You’re worse because you’re a living corpse who’s already lost your heart. You’ve fallen far from that pedestal, but in a strange way it comforts you because you’re finally being looked at the way you deserve to be looked at. And yet, with tears in her eyes (of which you are once again the cause, it’s always you), she looks at you like she still cares about you. And oh, what a right and proper bastard you are for letting this happen. Because you’ve vowed that you were never going to leave anyone behind the same way you were left behind, but you don’t want her to leave you behind either. (You’ve always been a walking contradiction.)

You’re shaking, you can’t (-breathe, you can’t breathe), but you grip her hair like a lifeline, and she grounds you like a lightning rod, hands cradling your cheeks. You lean in to that warmth (it’s cold, so cold). Her voice calls to you and while you’ve always been a shit Listener, somehow you manage to open your eyes. She looks at you, frantic and half-crazed, but somehow you can finally breathe.  

After your unexpected swim, you just want to draw her close, to cradle her as proof of life, but she pushes you away with everything she’s got. It shouldn’t sting as much as it does. You swallow your words. For all that you thought that you couldn’t handle the way she looks at you, at the way it rearranges everything inside of you, the absence of her gaze pierces worse than any rapier. The silence worse. 

You would take her biting words over this, relish it even, the chance to parry or to let it land and litter her marks all over your skin. You’d wear those scars proudly. 

But then she turns and looks at you, with rage. And even through the haze of exhaustion, you cannot help but think she looks glorious, fiery even as she trails water from the Thames. But with that rage is something that wasn’t there before - fear. She looks at you like she doesn’t know you and that’s worse than anything you’ve experienced tonight. You tell yourself that you can live with her disappointment, but for you to be the reason why this defiant girl cowers and curls into herself is the most unforgivable sin. 

You realize you are selfish because even though you’ve sinned against her so much already, you still crave her forgiveness. Even though to remain with you is to risk being dragged down to the depths, you still don’t want her to let you go. 

You’ve always known it, Lockwood. You’re a hazard to yourself and the people you love. This is proof. 

You apologize, and you await her judgment. She gives you salvation. She makes your heart pound and your blood boil. She makes you remember what it’s like to be alive.  And yet, she also quiets your mind and lets you breathe like nothing else. You can’t quite remember what it was like to live before her. She’s the adrenaline in your veins. She’s the great big gulp of air you greedily take in after drowning for who knows how long. She’s quite the walking contradiction too, his Lucy. 

With a bland look and a quip, she saves you anew, again and again she keeps saving you, and oh you finally get it. You speak softly because you don’t want to shatter this precious, tender moment. It’s not about how she looks at you, but it’s about how you look at her - how you’ve always looked at her. Her eyes are mirrors which reflect your own, and as you heave in a great ragged sigh, you realize you look at her like you love her - with ache, and tenderness, and gratitude, and awe.

You love her. 

Later you fight like you have a lot to live for - and you do - you fight for Lucy and George, and you fight for yourself, for the chance to see them again, for the chance to - just live. 

And in the dawning light, though she doesn’t quite smile that smile you adore, her relieved gasp is worth more than front-page news, all the tea in London, and chocolate biscuits combined, because it means that she - they are alive.

Just reckless enough.

And she finally looks at you like she’s proud of you. 

[l3viat8an]

Ro... my sweet angel... what do you think about leaving soft sweet marks on Luci's neck to wake him up :(

Nsfw

Jules! Sweets you’re gonna killll me- Like I think it would be sm fun~ Really Luci is just sooo ahhhfuckin’hot yk?-

(Sorry if there’s a typo or something I’m at work and not supposed to be on my phone lmaoo 🧍🏼‍♀️)

Waking up before him doesn’t happen often. But when it does you’re in for a treat~ getting to see the Lucifer looking peaceful and content! after all he’s got you in his arms <3

Start slow and really have fun!! a gently kiss or two first, gauge his reaction before you start nipping at his neck~

Enjoy the soft, involuntary, gasps that leaves his lips when you press your lips to his exposed neck. Doing it again a little harder, this time nipping ‘n sucking at his pale skin just enough to leave a little pink mark.

Checking that Lucifer still appears to be asleep and doing it over and over again until half a dozen little marks cover the side of his neck and you’re still not done-

Now we all know Lucifer is a sly bastard- after the second or third mark he’s definitely awake….if you were paying close enough attention you might’ve noticed the way his breathing slows…as he pretends to stay asleep.

Letting you can continue your sweet assault. Letting you mark him. Letting you relish your final moments of glory before he takes the reigns.

Once he’s decided you had enough fun…or maybe you found a sweet soft~

Either way Lucifer’s eyes snap open and one of his hands moves to tangle in your hair, gently pulling you away from his neck…

Guiding your head up, making you come face to face with him. If you try to pull away (who would actually pull away? Idk but for this let’s say you do-) Lucifer simply chuckles, moving to sit up. and pulling you with him, all the way into his lap, “Oh darling, you’re not going anywhere. It’s my turn now.”

[things-stronger-than-fear]

can we talk about the katniss/lucy gray parallels (or lack thereof) for a sec?

they're superficially the same, because of the things we talk about all the time: they're both female victors from 12. there are things that come with that culture and background -- the mockingjay, the plants, the songs. those similarities aren't so much between them as people, as individuals -- they're born of coming from the same culture. the most significant thing they share is their resilience; their spirit of resistance and rebellion. their defiance.

but really, all those things they share, only serve to demonstrate just how different they are as individuals (because personality is different from upbringing or values).

we parallel their sarcastic bows, but they're so so different. lucy gray is a performer mockingly curtseying and saying "kiss my ass", where katniss is a hunter who doesn't have time for this society bullcrap.

they both sing the hanging tree, but as i've ranted about, their renditions show how different they are: lucy gray, again, a performer with a spirit unbroken, loud and charming and sassing right to the capitol's face, daring them to defy her, daring them to look away. katniss, again, a hunter, quiet but unyielding, sparking rebellion under the capitol's nose.

they both won their games, but in such different ways. lucy gray charmed the snakes (both literal and in the form of one coriolanus snow), while katniss threw down with weaponry.

lucy gray said look at me, care about me. katniss said fight for me, fight with me.

and so what we see is that they are not at all the same person, but that's what's so important. because it's not just one person or one type of person that puts their foot down and rebels. we don't need a specific kind of Chosen One to light the spark -- anyone can.

[enlichened]

The thing thats consistently bothered me the most in the fallout show is the racism. I would hesitate to recommend it because of that alone. And there was obvious love that the set and prop designers, actors, costume department, and even maybe the writers put into the show! There are themes and characters in fallout that i'm certain would resonate with fans of color!

It KILLS me that so many of the fallout entries are damn well unplayable/watchable in this regard because the writers simply Don't Care how the people in their work are presented. That this like hugely popular world with a lot of worldbuilding and thought behind it does such wrong to so many people, fans and otherwise, that you cannot find any game in the series that does it right or well. It alienates a lot of people who might've been fans just because the majority white creators and fanbase don't give a shit, and I'm sick of it.

it's not enough to say "in the fallout in my head that racism doesn't happen," you actually have to put some things into PRACTICE. Allow space in your head, your games/show, your fan spaces for people of color! notice and say something when you see racism coming from media, yourself, and others!

[lucydoodlessometimes]

Down the rabbit hole we go!

I know what I said about the rest of the Lunar chronicles art, but have you considered: I wanted to rewrite Miraculous Ladybug to my tastes instead?? so here. have bunny miraculous felix, or better known as Lapin Blanc.

[biscuitrule]

I need a 5+1 fic that’s just like “5 times the skull overheard Lockwood talking to himself about Lucy and one time Lucy heard it herself.”

[allbridgesburn]

fic: all your wasteland flowers [chapter v]

the ballad of songbirds and snakes; lucy gray baird/coriolanus snow; R, 5/?

Freedom. 

For the last few years, freedom has been nothing but a fantastical concept to her, a dream far outside her reach. A child’s tale, the kind she tells Mallory before bed.

But it is close now, so close. Almost at the tips of her fingers. Foolishly enough, Lucy Gray begins to hope again.

-

or: Lucy Gray Baird survives Coriolanus Snow. However, she's not the only one. [post-canon]

read @ ao3

[charmspoint]

At the last possible second, Suguru stops himself from killing the villagers that had trapped the two little sorcerer girls. He calls Satoru instead. He brings them back to the school. He tries to continue his life.

But with the dark thoughts still swirling around his head and Satoru unable to admit that Suguru could ever do what he had almost done, will he be able to heal or will he end up walking down the same bloody road always predestined to him?

[onas-batlle]

wip from narla’s pov !!

[see-arcane]

A Gothic Tale of Two Weird Old Men: Dracula, Van Helsing, Ignorance and Obedience

So, we’ve gotten to the garlic flowers. And the first point in the novel where, on my first read, I felt a tiny prickle of recognition and unease. This section in particular made a little exclamation point pop up over my head:

"Oh, Professor, I believe you are only putting up a joke on me. Why, these flowers are only common garlic."

To my surprise, Van Helsing rose up and said with all his sternness, his iron jaw set and his bushy eyebrows meeting:—

"No trifling with me! I never jest! There is grim purpose in all I do; and I warn you that you do not thwart me. Take care, for the sake of others if not for your own." Then seeing poor Lucy scared, as she might well be, he went on more gently: "Oh, little miss, my dear, do not fear me. I only do for your good; but there is much virtue to you in those so common flowers. See, I place them myself in your room. I make myself the wreath that you are to wear. But hush! no telling to others that make so inquisitive questions. We must obey, and silence is a part of obedience; and obedience is to bring you strong and well into loving arms that wait for you.”

Now, full stop, Abraham Van Helsing means well. He’s a heroic old dude driven by goodwill—and, we can assume later, perhaps a bit of personal history with this particular malady. We’re going to see in later chapters that he is absolutely down to fight for far more than just Lucy and his protégé’s sake. Better still, he provides a great foil against the common themes that so far endanger characters who get in Dracula’s path. Skeptics are endangered because they only acknowledge the truth of the bogeyman in their midst when it’s too late while the frightened believers are too paralyzed by the threat to make a move. Van Helsing combines the Scientific with the Mystic, acknowledges both as equally important, and uses them to his advantage.

Knowledge is power and all that. Dracula really does get away with most of the shit he does half the time because his victims don’t know what they’re dealing with. (The other half of the time, it’s because he’s just bulldozing through victims on a spree, RIP Demeter crew.)

The Count is usually the one holding all the cards and using his advantages to cause harm. Van Helsing brings his own intel and uses it to help to the best of his ability.

That being said?

(Mild spoilers below)

The first time I read through Dracula—and, honestly, every time since—I can’t help picking up on how precariously close Van Helsing treads to the Count’s M.O. of manipulation and Dramatic Withholding of Information with his young charges. Granted, I can let some of it slide via the, ‘But no one would believe me if I said it was a vampire! I had to keep quiet about my reasons!’ excuse.*

*(But, sir, could you not conjure up some convincing medical-sounding bullshit?? It’s the 1890s, they would have bought anything. In fact, why was it only down to you and Jack keeping watch, Dr. Drama? There’s a whole house staff here. Yes, fine, there’s Mom with her weakheartitis, but as long as you spin it as some minor irritation that needs checking in on for updates, it should be fine. And why does Lucy have to keep quiet about the flowers? Why can’t she say it’s for her sleep? Or her health? Or a good luck charm from the doctor, it would be Terribly Rude to Be Rid of Them (read: Against every Victorian bone in hers and Mama Westenra’s body to chuck them). Anyway.)

Without giving too much away, I feel Stoker kind of tips Van Helsing’s charisma points a little too far over the edge in future scenes. Mixed up in a shitton of future The Power of Christ Compels You! overtones, there is a lot of frankly bonkers acting from the rest of the cast when it comes to interactions with/gratitude to Van Helsing for [REDACTED] reasons.

As in, characters are going to start kissing the ground this old man walks on. (metaphoric)

And kissing his hands. (Literal. Yes, Godfather style.)

Dracula was lucky to get flipped off by his Brides. Van Helsing will have these youths rally around him and Every Syllable He Breathes as if it were actual factual gospel (which some is, naturally). With a notable exception in a very livid Jonathan Harker when we get to [REDACTED]. Shout out once more to Bram Flakes for accidentally making this solicitor man Spicy+ after certain events.

Most of me wants to believe Van Helsing’s effect on the others is just Bramarama Stoker pouring all his personal fantasies of being the Lauded and Heroic Professor Doctorman (who happens to share his name, no big deal, ha ha) into this character while the others sing his praises.

But the lit critic in me sees an uncomfortable amount of parallels between Dracula’s casual arcane actions, gaslighting and coercing with Jonathan and Van Helsing’s likewise casual mysterious measures, corralling, directing, and borderline mesmerizing the rest of the cast to follow his lead exclusively, with or without offering the full details of the situation, as we see with Lucy. He’s a good man and an interesting character, but there are Some Scenes that make me wonder if he isn’t using some kind of lowkey hypnotism to make things run a little smoother in the vampire hunter brigade.

[originalwinnercheesecake]

Hearing about the Hunger games continuation and thinking about all the Story continuations/prologues I wish we could get for The Underland Chronicles

Gregor's dad

I want To know what Gregor's dad (Who I want a name for... Steve, Lee, Heidi... What is his name? ) first trip to the underland was like. How was he found and brought to Regalia? We know he met Vikus and Luxa's Parents, SO what did he think of them? The Books say he stayed in Regila for two weeks (During which time he was very worried about his pregnant wife, children, and mother) and that he took a BB gun from the Museum. So I am guessing he knew about the war with the rats, but his family was in hell and he felt he had to get back soon. What happened during his capture.

I don't really want to know about his torturous time with the rats, but I would like some on how he was able to keep both hope and his humanity, the interesting relationship he is hinted to have had with Ripred in book 3 (He says Ripred used to feed him sometimes. He also was not scared of Ripred, Even though he was a rat and was "pretending" to attack his son). And lastly I want to know what coming home felt like for him and why, unlike his wife, the experiences did not make him fear or hate the underland.

Ripred

Speeking of Ripred I want All of his backstory, being a pup and growing up with his litter mates. Going into battle and finding out he is a Rager. How this made him famous all around the Underland, but also made him hated by enemies, and feared by allies, unless they needed him. What was going on when He tried to "Take over the fount with an army of Lobsters"? Seriously the Rat's don't even want The Fount. It is surrounded by rapids and sea monsters! What did was your interest Buddy?

Also I want to see his Mate, their family, and how their loss first broke him then made him change his stance on the war. Him building his relationship with the human side. Going up to the Overland to visit Libraries. His view of his relationships with Gregor and Lizzie and how it feels to him to being taking care of kids again after so long.

Hamnet

Up Next is Hamnet. Solovet and Vikus son, the beloved twin brother to the wife of the King/Queen, Brother in Law to the King (recently reread has me thinking they had more of a business relationship than a familiar one), the Regalian Army's most skilled soldier, and for a long time he was Solovet's heir to becoming captain of the Army, because everyone thought he was just like his mother. This is what everyone thought, but they thought wrong. Unlike Solovet Hamnet felt guilt. Guilt that drove him to speak against his mother in a war meeting to which she locked him in the dungeon for a month. When he was finally let out he went back to being obedient to her and buried his grief down, let it eat away at him, until one last horrible act (As a solider) destroyed him.

But give me Hamnet's complete story. Show him being a ruthless soldier and a fearsome killer on the field of battle, then coming home to be a loyal son, good friend, loving brother, and doting Uncle; becasue that is how many soldiers have to be. Show me him not being Okay but doing his best to hide that because that is all he could do. Then show me when everything went to far, and when he decided to leave Regalia, everything he knew and loved and run to a place that he and all his allies feared, for good reasons. Show me him missing his former friends and family. But also show me him meeting Frill and her deciding to take a chance and help him, him also taking chance and letting her (The books generally imply he wanted to leave his old life but did not expect to make anew one). Give me him learning about life in the jungle. How the animals there do not attack each other and instead employ a method of survival where first you hide, then you try to give a warning, then run. fight last. Show me him finding an overland women lost in the jungle and helping her. With the pair eventually forming a relationship and going on to have a child. Why did she never return to the Overland? Hamnet is a good father to Hazard, but you cannot tell me that he wasn't terrified during the entire pregnancy. Anything about Hamnet has to end where he ended. Having to once again fight in a pointless battle on behalf of Reglia, that the city once again brought on itself and got nothing out of. Our tragic beauty

Ares

Speaking again of Tragic Beauties I want Ares to. What kind of Stuff did he get up to to earn the reputation of a reckless, rule breaking, ...thrill seeker?...strength tester? To where he bonded with Henry to be able to get away with more. What were things like in the time HE and Henry were together. I don't think it was all bad. The Books clearly state that what hurt Luxa, Ares, Aurora, Nerissa the most was that they had loved Henry and could remember good things about him. Things that no longer felt the same after he betrayed them, and things they struggled with only becoming memories in the wake of his death. But the also show me his side of his and Gregor's bond, of him coming to love Gregor like he once loved Henry, and how their friendship helped him move on from the Trauma Henry put him through.

Nerrisa

This last one will never happen because its not really Susanna Collins style, but since none of this will happen, I want more Nerissa. What is it like for her loving her family and people so much, but knowing with her frailty and the Kingdom consistently being on the brink of war she cannot protect them. Show me what her visions are like for her. Note whatever we learned about Sandwhich I do believe Nerissa is an actual visionary. Her Visions of a bad and mysterious fate happening to Henry, Hamnet living for 10 years and building a diverse family, and Gregor being secretly being hidden away in the dungeon by Solovet...all came through.

Knowing that I have another question: Did she know suspect that Sandwhich was a fraud? Nerissa spends more time in the Prophecy room, analysis them than any other character. Many of the "misunderstood translations" are later "explained" by Nerissa. She got Gregor and the other questors off death row by replacing Boots with the Bane as the aforementioned "Baby" in the prohpecy and telling everyone: "they actually did complete the prophecy, you are are safe from the imaginary threats Sandwhich illueded to. Let them go and let's get back what's actually going wrong." When Greogor sobs about not understanding what the point of the journey to the jungle was (It had no point) and how him fulfilling the prophecy did not make everything better, Nerissa twist the prophecy to being about a war for the cure and reminds Gregor that because of what they discovered in the Jungle the council was forced to give the Gnawers the cure instead. Lastly she loves the one Prophecy that suggest hope for peace, even though its title is the only suggestion of it. On the day of the surrender she knowing her cousin will want to make the wrong choice about how to end this. So when she see's Ripred marked himself with an X (If Gregor and Luxa knew he did it himself there was no way Nerissa did not, she was always smarter than the pair of then) she decided to lend him a hand in getting everyone to believe he is the peacemaker, and they need to have peace. I really love the theory that Nerissa had realized what Sandwhich and the prophecies were and spent the books studying them, so she could try and mitigate the damages they caused.

[stargazerdaisy]

Rating: Teen And Up Audiences

Archive Warning: No Archive Warnings Apply

Relationship: Tim Bradford/Lucy Chen

Additional Tags: Post-Episode: s02e11 Day of Death (The Rookie), Healing, Emotionally and physically, tim is emotionally constipated, and lucy is dense at first

Summary:

But now he was faced with the aftermath. The cost of getting her back had been high, for her most of all...It seemed like the worst injury, at least physically, that she was leaving with had happened well after Caleb was dead.

At least three of her ribs had broken or popped out of place when she was given CPR. He broke them when he performed CPR. And now she was wincing and turning away from him in pain.

It was all his fault.

Tim struggles though his guilt at seeing Lucy in pain, after her rescue from Caleb. Bit by bit, day by day, as she heals physically, he heals emotionally.

[devereaux]

SIMONE KESSELL as FAITH COOPER (part 3 of ? because i have no self-control) My Life Is Murder | 3.10 - Killer Fashion