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forkingandcountry-if · 11 months ago

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For King and Country is an 18+ period immersion fantasy fic which seeks to combine the extensive background work and history associated with high fantasy titles such as LOTR with more ‘realistic’ storytelling and settings. It may contain distressing content like depiction of regressive attitudes (sexism, misogyny and prejudice), major injury to the characters, character deaths, blood, gore, abuse and optional sexual content. More specific warnings will be given at the beginning of each chapter.

Chapter 1 Out Now! (277k words)

Remember those long summer days when the countryside was green and life was still young, when you were but a little culver and all the world was promised for you.

But summer has ended. Amidst the furore and tumult, autumn crept in unnoticed, finding you unprepared, still a greenhorn.

Now, the old order is dead, yet the Empire endures. In this new and uncertain world, what are you willing to do for your King and Country, O little culver?

Ah little tragedies, that you could not remain in the safety of your family's country manor, that they could not shield you once again from this world.

You must take to the capital at once, like all men and women of good birth, for king and country and the glory of the commonwealth! The spirit of progress and change has swept through the nation. The heady days of revolution are long over, and the streets have been washed clean of blood and filth. Invited to serve in the King's Army and attend university as a ward of the king, you must answer the King’s call. Navigate and become increasingly entangled in the web of intrigue, gossip, violence, and ideas that swirl around the nation. Enter a society radically different from the one you were raised to expect. These are the years that will decide your fate and that of your fellow countrymen. Act wisely, for it is not often that the world is within your grasp.

Features

Fully customize your MC. Choose your pronouns, sexuality, appearance and more. Assume the identity of a citizen of noble birth and experience the story through their eyes.

Romance one of eight ROs or engage in a polyamorous relationship with a pre-selected two of them. The only possible poly route is the Young King and the Queen Ruler.

Practice and specialise in the skills of the King's Army with the option for swordplay, marksmanship, offensive galderquid and diplomacy.

Define your political leanings on the leading issues of your time.

Debate, engage and make allies and enemies with the various competing factions and interests that flock to the city.

Study at Azma University, earning your lecturers admiration for your diligence, intellect, ambition or adventurousness or cruise through relying on your wealth and ability to hide.

Help to stabilize or sabotage the Empire.

Don't lose your head.

Critical Lore*

Talent

Galder denotes the practice of magic within our nation, a discipline requiring extensive study and mastery. The ability to manipulate Galderquid, the fundamental essence of magic, is a rare and intricate skill, demanding years of rigorous training to achieve even moderate proficiency.

Every individual possesses a basic affinity for Galderquid, but those with exceptional potential are identified through comprehensive evaluations conducted by village or city physicians around the ages of 12 or 13. These assessments determine the individual's capacity for advanced magical education.

Upon evaluation, candidates are assigned a national rank based on their proficiency. Those demonstrating exceptional aptitude are offered state-sponsored education at the Azma Univetsity at the age of 18. Others are placed in various other institutions or may pursue private tutelage.

Galder is often referred to as the "fifth philosophy," characterized by its non-intuitive nature. Mastery requires adherence to rigorous methodologies grounded in reason, first principles, and established precedents. The study of Galder encompasses several specialized fields, each with distinct applications and techniques:

Sympathetic Galder: This field focuses on influencing the minds of individuals or animals. It includes practices such as illusion creation, language translation, emotional manipulation, and sleep inducement.

Transmutative Galder: Involves altering the intrinsic nature or form of objects. This process generally relies on the principle that the original and transformed items must possess equivalent 'worth.' The approximate worth of common subjects of transmutation can be found in any good transmutation book.

Invocation Galder: Pertains to the summoning and manipulation of natural elements, including water, earth, fire, and wind.

Clerical Galder: Associated with the Church, this field is predominantly closed practice. However, educational institutions provide instruction in healing and charming, which are also fundamental aspects of clerical magic.

Archery: Involves the use of Galder to manifest a bow and arrows composed of energy. These projectiles deliver significant blunt damage upon impact but they have more varied usage and techniques as taught by bow-masters.

Blade-Use: Similar to Archery, this field focuses on creating blades, swords, or daggers from Galder. These weapons inflict substantial blunt damage but they have more varied usage and techniques as taught by blade-masters.

The Second Civil War

The Second Civil War, also known as the Revolution, erupted ten years ago and lasted for two years, reshaping the political landscape of the realm. The conflict ended with the ascension of King Edmund I of House Wynd, following a tumultuous period of unrest and upheaval. The war’s roots lay in years of widespread discontent under King Wulfric I Wynd, whose governance was marked by controversial policies and growing resentment among the populace.

The immediate trigger for the war was King Wulfric's deathbed decision to legitimize his illegitimate son and name him heir presumptive, bypassing his eldest daughter, who was widely expected to ascend the throne. This unprecedented act enraged both the nobility and commoners, particularly in Redeemist regions, where it was seen as an affront to both justice and religious teachings. Protests erupted across the empire, with laborers and yeomanry deposing officials loyal to the usurper in a series of violent uprisings. Martial law was declared as the disinherited princess rallied loyal houses and nobility to her cause.

The rebellion gained a critical leader in Marshal Walthe Courtney, a veteran of the unpopular Eleven Years’ War. Courtney’s military acumen and strategic alliances with peasant uprisings turned the tide of the conflict. Alongside the Princess’s royal forces, his army executed a series of decisive sieges, culminating in the Siege of the King's Seat, where the usurper was overthrown.

The war concluded with a great council of the great houses instituting sweeping reforms. Though the monarchy was retained, it was bound by a codified constitution, the Grand East Code, ensuring limits to royal power. Tragically, the Princess died on the battlefield, leaving behind a will that named her youngest brother, Edmund, as the rightful heir. She bypassed their older brother, Cassian, whom she described as “too choleric and red-blooded in his aspect for the duties of kingship,” appointing him as regent until Edmund came of age at 18.

The post-war reforms sought to balance power and placate the revolutionary factions led then by Courtney:

Parliamentary Restructuring: The previous weak bicameral parliament that had been unable to prevent the amendment of the Act of Succession was replaced by a unicameral National Assembly with expanded suffrage for yeomanry and laborers owning sufficient land. Eligibility criteria were simplified, and elections were set to occur every eight years.

Military and Noble Oversight: Nobles' heirs were required to serve as wards of the king for 24 months upon reaching the age of 18, receiving military training and living in the capital. This was framed as a means to unite the realm but also served to prevent rebellion and strengthen Edmund's legitimacy.

Expanded Education: Azma University, previously exclusive to the nobility, was opened to all individuals of suitable skill, broadening access to education and opportunity.

General Walthe Courtney, hailed as a war hero, was appointed Lord Protector with sweeping powers to some extent by the demand of the peasant army he'd led. He served as Commander of the Armies and a critical stabilizing force throughout Edmund’s reign and Cassian’s regency. The King’s Council was restructured to include the elected Premier, who could recommend cabinet appointments, although the King retained the final decision. Early in his reign, King Edmund has established a precedent of accepting the recommendations of both the Premier and the Lord Protector, balancing the demands of reformists and royalists alike.

The King's Army and Azma University

The King's Army, colloquially known among the common folk as the Small Army or King's Life Guard, serves as a voluntary armed force in peacetime within the Empire. Its primary role is to function as a national guard, maintaining peace and order across the extensive and diverse territories of the Empire and swear loyalty solely to the King.

During periods of peace, the King's Guard is comprised of volunteers who contribute to the stability of the nation. However, in times of war, the monarch is vested with the authority to implement conscription, thereby obligating the great houses to raise men to fight for their king.

Following the Great Council of 421, significant reforms were introduced regarding service in the King's Guard. Those heirs of great houses are now required to complete two years service and training within the King's Army as wards of the king although this time can be commuted upon ascension as Lord/Lady Paramount of their house. This training is relatively light compared to full military training, designed to balance the economic and educational responsibilities of these citizens with their military duties.

Azma University is a theological university founded in the year 262AR by Trista of Azma, a master of theology and galder and was recognized by the King as a royal college in 289AR. It's Faculty of Theology is unrivaled across the entirety of the world and is considered one of the foremost institutions for education in galder, theology and philosophy.

Azma admits its students on the basis of the national ranking system and the census taken each year, those students with a sufficiently high natural affinity for the study of galder are offered a place in which to study it beyond the common extent offered by tutors and hedge-witches.

Azma has in recent years, following the second civil war and the increase in punishment by religious courts for physicians who attribute false rankings, with an increased student cohort particularly from the yeomanry and international scholars though the large majority of the general cohort remains largely consisted of the children of nobility.

Beyond its Faculty of Theology, Azma University is one of the foremost institutions driving forward the development of innovations regarding farming and building, mechanics and the engine'ering class that has developed in major cities across the Empire.

Situated in the capital city, Azma University benefits from its central location in what is often regarded as a hub of youthful energy and societal activity. Its reputation as a center for young nobles and genteel individuals enhances the college's role as a key venue for social introduction. It is frequently heralded as a place where the most advantageous social and matrimonial matches are made, positioning it as a pivotal institution in shaping the elite's social landscape.

The Empire

The Empire, as it is commonly known, is a vast realm governed by the Nine Paramountcies and the Imperial Household, all of whom rule from the King's Seat. This grand structure of power was forged between the years 23 ANU (Anno Non Unitus, or Year of the Ununified) and 1 AR (Anno Rex, or Year of the King) through the conquests of King Adan I, who earned the title "the Unifier."

From its inception, the Empire adopted an expansionist stance, which has characterized much of its history. This policy of territorial growth has been met with widespread approval among its citizens, largely due to the substantial wealth and resources it has brought to the nation. As the largest empire in the world and the unifier of the continent, it has established itself as the dominant lingua franca of common, further solidifying its influence and stature.

Throughout the Empire's history, the Imperial Household and the title of King have primarily been held by House Galagar, reigning from 1 AR to 399 AR, and later by House Wynd, from 399 AR to 438 AR. There have been instances where other houses acted as regents, temporarily holding the title on behalf of House Galagar, such as House Champion (348 AR-352 AR) and House Abbey (9 AR-13 AR & 154AR-155AR).

Despite its vast wealth and dominance, the Empire has faced relatively frequent rebellions in its paramountcies where calls for independence have persisted. Historically, these uprisings have been met with swift and overwhelming military responses. However, recently in 399AR during the Wyndham Rebellion, King Hendrick the Conqueror succeeded in overthrowing House Galagar and replacing it with his own house who have led the empire since.

*The lore detailed here is accurate but also only extends as far as the protagonist's knowledge of these subjects at the present time of the fic, some detail will be lost or may have been withheld from the MC and they may have misconceptions.

Romances

When the advisors are not praising his good sense, nor the bards his mirth, the church his piety or the poor his generosity, the question emerges just who is King Edmund I Wynd?

The young king thrust into a position of power who uses it as well as he knows how, having learnt from the mistakes of his grandfather and father and the long shadow of war that is still cast over the continent?

Or is he merely the figurehead, installed after a turbulent civil war, a king whose true authority has been surrendered to the councilors around him, contenting himself with the trappings of kingship rather than its substance?

Alas who is to know?

Name: King Edmund I Wynd

Age: 21

Height: 6'5

Appearance: Edmund stands at a 6'5, noticeably lanky although his seemingly permanent jaunty posture appears to cut an inch or two of him. He possesses short bronde hair styled in such a fashion that it appears wind-swept and fashionably ruffled with various products used to achieve the effect. He possesses a lean athletic physique although it is evidently achieved through some sort of diet or exercise for aesthetic rather than being muscles created by years of work. He nearly always has a relaxed expression with a smile and his pale face is framed by his grey eyes.

(he/him) poly-route, solo-route

Tropes: Life of the Party, Commitment Issues

Could it be that she, the queen consort, wields the true power behind the throne, acting as a surrogate for her kind lord, who never could bring himself to grasp the reins of authority?

She possesses the strength and allure of a king in her own right. Under her vigilant oversight, the king’s armies have routed the empire's foes, and now her gaze turns inward, determined to root out the treacherous elements within the realm.

Yet, amid her march towards peace at the end of a sword, there are those who seek to see her order destroyed. How long can it last? A queen consort without an heir, without children, lacking a direct claim to the throne, aging, and some even question her bond with the king himself.

Name: Veronica Abbey-Wynd

Age: 36

Height: 5'9

Appearance: Veronica stands straight at a tall 5'9 although her heels often push her to 5'11 or even 6'0. She has long wavy chestnut brown hair although more often than not it is in an updo of some sort for practicality. She has a healthy physique with faint lines and wrinkles, with an olive skin as well as doe-shaped deep brown eyes. Somehow a picture of beauty and severity, all the soft lines of her body somehow harsh.

(she/her) poly-route, solo-route

Tropes: scary hot, masc women

Walthe Courtney, Commander of the King’s Armies and Protector of the Realm, emerged as a formidable figure in the Second Civil War. Leading the rebels with unmatched martial prowess, he earned the acclaim of being the finest swordsman in the land. His valor and leadership were instrumental in overthrowing the usurper-king and restoring order to the fractured realm.

In the aftermath of the bloody conflict, he was celebrated as a folk hero—a commoner who rose to lead his people to victory and bring about a semblance of peace. His contributions were rewarded with knighthood and elevation to nobility, an ode to his honour.

Now, as Protector of the Realm, Walthe ensures the continuation of stability with a steady hand. Yet, despite his efforts, a persistent thorn remains, a challenge beyond even his considerable grasp, casting a shadow over his otherwise successful stewardship.

Name: Walthe Courtney

Age: 43

Height: 5'11

Appearance: Walthe has short, practical wavy black hair streaked with grey throughout, reflecting years of experience and hardship. their muscled, well-built stature is a testament to their years of service. He has warm tanned skin, indicative of his heritage being from the centre of the continent. His light green eyes stand out against his rugged features, with a determined, piercing gaze.

(he/him/they) solo-route

Tropes: The Stoic, No Sense of Humour, Heroic BSoD

From the day his family and house declared for the usurper-king, it was clear that Lorn Greenspan, the youngest of seven brothers, would be sent away as a ward.

Only eight years old, he had to play his part, leaving behind the familiar chill of his home—its cold peaks and harsh landscape fading from sight. He was a pawn in a conflict he could scarcely comprehend

His father had told him plainly that he must be strong—because until the day their house bent the knee, Lorn would remain a ward, and his father had no intention of surrendering.

Forced to adapt, Lorn became useful, talented, indispensable—not out of love for those his family would call captors, but out of necessity. Now, he stands as your closest advisor and a member of your house in all but name—cool, calculating, indifferent. Yet beneath that icy exterior burns a quiet resolve. Though he never expects his father to yield, he is determined to see his homeland again, even if it means waging war to bring it to heel.

Name: Lorn of Greenspan

Age: 18

Height: 6'0

Appearance: Lorn has a thick head of dark chestnut hair, gently wavy, it is always styled fashionably with pomade and volume. He has a tawny complexion and almost amber, brown eyes that if you didn't know him you'd think were perpetually concerned and caring rather than probing and scanning. Though under his stylish clothes you couldn't tell it, his body is lean and athletic from harsh training.

(he/him) solo-route

Tropes: advisor-turned-lover, secretly-in-love, black cat

The unbroken line of Galagar Kings may have fractured at Kirston Wall, but the proud Highland rulers never truly relinquished their claim. To them, Hendrick the Conqueror and his descendants are nothing more than traitors. Yet, they understand that a king's throne is grounded in the right of conquest, and so they bide their time, quietly assembling their forces, tempering their men, and honing their blades.

Preparing for the inevitable clash, they drill relentlessly through lashing rain and violent gales, each generation more convinced of their righteousness and the frailty of their enemies. The realm may slumber in uneasy peace, but in the Highlands, war is always on the horizon.

Kent Galagar, the young Lord of Kirston, was shaped by this belief from childhood. His father, his grandfather, and his great-grandfather—all were kings in their own eyes, their thrones stolen by usurpers. To Kent, acknowledging this truth makes you an ally, a friend. To deny it brands you an enemy, destined to be crushed when the time comes.

For Kent, proud, arrogant, and stubborn as he may seem, the world is divided by a simple truth: those who support the Galagar claim, and those who will fall before it.

Name: Kent Galagar

Age: 18

Height: 5'9

Appearance: Kent possesses a mane of thick, raven-black hair, often left loose or tied back with a leather strap. His skin is scattered with freckling, with a pale complexion. He has piercing blue eyes and a gaze that can shift from arrogant levity to fiery determination in an instant. His powerful frame is unmistakable, with broad shoulders and a chest that strains against the fabric of his tunics. His physique is defined—broad-shouldered and muscular, but not overly so, with a build that suggests both agility and power. His movements carry the confidence of someone who knows his strength and is unafraid to use it.

(he/him) solo-route

Tropes: Intense, enemies to lovers, jerk with a heart of gold

The nobility are arrogant, cruel, greedy, scheming, and foolish—qualities Arfryn has learned all too well through her peripheral access to them. Her current place among them is no accident but the product of the sweat, blood and tears of her entire family.

Born to a guildman father and a common mother from the east continent, Arfryn witnessed firsthand how the shifting tides of national conflict mirrored the fortunes of her own family. Every struggle either bolstered their wealth or teetered them on the brink of ruin, a fate shared by the yeomanry at large.

Her father, Jasper Caldwell, is the first Premier elected from the Small Parliament, a yeoman elevated by the newly enfranchised class. He has—in no uncertain terms—made it clear that his own position hinges on the peace of the realm.

Arfryn, understanding these dynamics, sees through the superficial grandeur of the nobility. Though she finds them to be the very embodiment of arrogance and folly, she is determined to bend them to her will. For now, she plays the game—offering smiles, be gracious, and dance while they are watching.

Name: Arfryn Caldwell

Age: 20

Height: 5'11

Appearance: Arfryn has a striking presence with her rich, deep brown skin and loose, jet-black braids that cascade down her back. Her eyes are a penetrating dark brown, revealing a sharp intelligence behind a charming, amiable demeanor. She dresses in elegantly simple fabrics that highlight her natural grace—always muted and refined to suit her surroundings but always at the very forefront of courtly fashions. At 5'11 her movements are deliberate, blending seamlessly into the nobility’s world, designed to make her easy to like and hard to hold grudges against.

(she/her) solo-route

Tropes: Steel Magnolia, Dark Feminine

In public Dean Champion is everything a Lady-Knight should be, prodigiously skilled with both galder and weapons, valiant, chivalrous and extremely popular amongst all who meet her or have the chance to witness her in action.

She like many knights is also spoiled to a fault, her suits of armour gleaming and her squire-boys tasked with keeping them so, as they are expensive and extravagant. Indeed she wears them because all people like a performance.

In private, Dean has dedicated herself entirely to her studies at Azma University, determined to learn all there is about the study and practice of galder and perhaps indeed the deeper secrets that only the great masters know—all the better to become both loved and indispensable to the state.

As the younger sibling of a line with many children, she does not expect to ever inherit and nor does she ever want to, she is entirely content with her career as a tourney knight and the life she's lead in the King's Seat thus far. Indeed Dean has long been utterly convinced that she'd make an awful Lady Paramount, she is convinced utterly that all those like her that revel in the spectacle, the fervor of battle and tourney alike are utterly unsuitable for such position.

Name: Dean Champion

Age: 19

Height: 5'9

Appearance: Dean has long deep auburn hair, typically braided for both practicalities sake and fashion, with strands often escaping to frame her face. Her skin is fair as if she'd somehow escaped the sun of both her home and the tourney. Her hazel eyes are bright and framed by dark eyelashes. Dean's build is athletic and commanding, showing off the results of rigorous training and combat practice, yet she carries herself with a grace that befits her status as a renowned Lady-Knight. Her entire demeanor projects a sort of graceful confidence, like that you'd expect of a Prince of ages past.

(she/her) solo-route

Tropes: The Lady and Knight, Knight in Sour Armour

Fran has long understood that she commands little respect at court—indeed, as a bastard, she finds herself dismissed even within her own family. Yet there is one, a young Lord who is but a child, who gave her legitimacy, who looks up to her, and has earned her unwavering loyalty. Her beloved little brother.

It is for him that she accepted the king's invitation to the King's Seat, to train in the King's Army. She wants to be his eyes, his ears, and his sword.

True loyalty is a rare commodity among the highborn, for what do they owe anyone but themselves and their own appetites?

She is content to endure their scorn and wear the title "Loyal Hound" with pride. After all, what insult lies therein? A good hound is strong, lethal, obedient, loved, loyal, and free to roam so long as it always returns. And return to him she will.

Name: Fran Radwell-Cadderly

Age: 18

Height: 5'7

Appearance: Fran's dirty-blonde hair is cut short, falling just above her shoulders—a length chosen for practicality rather than fashion. Her complexion is fair, lightly sun-kissed from time spent outdoors, with a few sun-spots across her nose and cheeks. Her eyes are a dull blue-green, carrying an intensity that contrasts with her otherwise unassuming features. Her build is lean and wiry, reflecting a life of rigorous training, with a strength that belies her slender frame. Though she dresses simply, her presence is commanding, a blend of quiet confidence and restrained power and it makes her feel much bigger than the 5'7 she stands at.

(she/her) solo-route

Tropes: Guard Dog, Loyal Companion, Golden Retriever

Additional

Dashingdon Demo: out now!

Cogdemos Demo: out now!

Pinterest: not yet available

Art: not yet available

Feedback Survey: not yet available

All Asks and Reposts are appreciated, work will be slow but steady and a demo should be ready shortly!

ask me lore questions please, I have far too many notes on this.

#current wip #interactive fiction #status: wip #choicescript #for king and country #forkingandcountry-if #if demo

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subzeroparade · 1 year ago

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Two new chapters of Wormwood, feat. more Caryll and Micolash.

Chapters: 4/6 Fandom: Bloodborne Rating: M Relationships: Gehrman/Laurence, Laurence/Ludwig Characters: Gehrman, Laurence, Ludwig, Maria, Micolash, Caryll, Simon, the Healing Church and various assorted cameos.

The creation of the Hunter’s Dream, because men would rather burn down cities or sell themselves to a god than talk about their feelings. Toxic politics and toxic relationships with the added downside of an out-of-control plague. Series: Part ½ of Dim-lit Halls for Ancient Dogs Summary:

To buy yourself another day, another night of the Hunt, you spun your tales. Now they unravel at your feet, and the gods will not take you gently by the hand. They will grip your head and wrench you below the surface, drag you down into your basest, most vulgar form. Perhaps beasts are immortal. But is this the eternity you wanted?

Updated weekly. Follows the same timeline as the rest of my Bloodborne work.

#bloodborne #bloodborne fanfiction #split these two up because they were a little unwieldy in size and thematically separable #features the academic slap-fight that Laurence and Micolash have been in since Byrgenwerth #and let escalate over 20-some years #from a debate on methodology into a city-wide rivalry #which as an academic I think is entirely likely and believable #I still seethe about things said to me at conferences 10 years ago #anyway one more chapter after this for Part 1

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mecachrome · 1 month ago

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📊 LANDOSCAR AO3 STATS (may 2025)

notes

sorry this literally took 2 weeks to write... unfortunately the data was retrieved april 28 and it is now may 12.

other work: i previously wrote a stats overview that covered landoscar's fic growth and breakout in 2023 :) i've kept some of the formatting and graphs that i showed there, while other things have been removed or refined because i felt they'd become redundant or unnecessary (aka they were basically just a reflection of fandom growth in general, and not unique or interesting to landoscar as a ship specifically).

methodology: i simply scraped the metadata for every fic in the landoscar tag (until april 28, 2025) and then imported it into google sheets to clean, with most visualizations done in tableau. again, all temporal data is by date updated (not posted) unless noted otherwise. this is because the date that appears on the parent view of the ao3 archives is the updated one, so it's the only feasible datapoint to collect for 3000+ fics.

content: this post does not mention any individual authors or concern itself with kudos, hits, comments, etc. i purely describe archive growth and overall analysis of metadata like word count and tagging metrics.

cleaning: after importing my data, i standardized ship spelling, removed extra "814" or "landoscar" tags, and merged all versions of one-sided, background, implied, past, mentioned etc. into a single "(side)" modifier. i also removed one fic entirely from the dataset because the "loscar" tag was being mistakenly wrangled as landoscar, but otherwise was not actually tagged as landoscar. i also removed extra commentary tags in the ships sets that did not pertain to any ships.

overall stats

before we get into any detailed distributions, let's first look at an overview of the archive as of 2025! in their 2-and-change years as teammates, landoscar have had over 3,409 fics written for them, good enough for 3rd overall in the f1 archives (behind lestappen and maxiel).

most landoscar fics are completed one-shots (although note that a one-shot could easily be 80k words—in fact they have about 30 single-chapter fics that are at least 50k words long), and they also benefit from a lot of first-tagged fic, which is to say 82.3% of landoscar-tagged fics have them as the first ship, implying that they aren't often used as a fleeting side pairing and artificially skewing perception of their popularity. in fact, over half of landoscar fics are PURELY tagged as landoscar (aka otp: true), with no other side pairings tagged at all.

this percentage has actually gone down a bit since 2023 (65.5%), which makes sense since more lando and oscar ships have become established and grown in popularity over the years, but it's also not a very big difference yet...

ship growth

of course, landoscar have grown at a frankly terrifying rate since 2023. remember this annotated graph i posted comparing their growth during the 2023 season to that of carlando and loscar, respectively their other biggest ship at the time? THIS IS HER NOW:

yes... that tiny squished down little rectangle... (wipes away stray tear) they grow up so fast. i also tried to annotate this graph to show other "big" landoscar moments in the timeline since, but i honestly struggled with this because they've just grown SO exponentially and consistently that i don't even feel like i can point to anything as a proper catalyst of production anymore. that is to say, i think landoscar are popular enough now that they have a large amount of dedicated fans/writers who will continuously work on certain drafts and stories regardless of what happens irl, so it's hard to point at certain events as inspiring a meaningful amount of work.

note also that this is all going by date updated, so it's not a true reflection of ~growth~ as a ficdom. thankfully ao3 does have a date_created filter that you can manually enter into the search, but because of this limitation i can't create graphs with the granularity and complexity that scraping an entire archive allows me. nevertheless, i picked a few big ships that landoscar have overtaken over the last 2 years and created this graph using actual date created metrics!!!

this is pretty self-explanatory of course but i think it's fun to look at... :) it's especially satisfying to see how many ships they casually crossed over before the end of 2024.

distributions

some quick graphs this time. rating distribution remains extremely similar to the 2023 graph, with explicit fic coming out on top at 28%:

last time i noted a skew in ratings between the overall f1 rpf tag and the landoscar tag (i.e. landoscar had a higher prevalence of e fic), but looking at it a second time i honestly believe this is more of a cultural shift in (f1? sports rpf? who knows) fandom at large and not specific to landoscar as a ship — filtering the f1 rpf tag to works updated from 2023 onward shows that explicit has since become the most popular rating in general, even when excluding landoscar-tagged fics. is it because fandom is getting more horny in general, or because the etiquette surrounding what constitutes t / m / e has changed, or because people are less afraid to post e fic publicly and no longer quarantine it to locked livejournal posts? or something else altogether? Well i don't know and this is a landoscar stats post so it doesn't matter but that could be something for another thought experiment. regardless because of that i feel like further graphs aren't really necessary 🤷‍♀️

onto word distribution:

still similar to last time, although i will note that there's a higher representation of longfic now!!! it might not seem like much, but i noted last year that 85% of landoscar fics were under 10k & 97% under 25k — these numbers are now 78% and 92% respectively, which adds up in the grand scheme of a much larger archive. you'll also notice that the prevalence of <1k fic has gone down as well.

for the fun of it here's the wc distribution but with a further rating breakdown; as previously discussed you're more likely to get G ratings in flashfic because there's less wordspace to Make The Porn Happen. of course there are nuances to this but that's just a broad overview

side ships

what other ships are landoscar shippers shipping these days??? a lot of these ships are familiar from last time, but there are two new entries in ham/ros and pia/sai overtaking nor/ric and gas/lec to enter the top 10. ships that include at least one of lando or oscar are highlighted in orange:

of course, i pulled other 814-adjacent ships, but unfortunately i've realized that a lot of them simply aren't that popular/prevalent (context: within the 814 tag specifically) so they didn't make the top 10... because of that, here's a graph with only ships that include lando or oscar and have a minimum of 10 works within the landoscar tag:

eta: other primarily includes oscar & lily and maxf & lando. lando doesn't really have that many popular pairings within landoscar shippers otherwise...

i had wanted to explore these ships further and look at their growth/do some more in depth breakdowns of their popularity, but atm they're simply not popular enough for me to really do anything here. maybe next year?!

that being said, i did make a table comparing the prevalence of side ships within the 814 tag to the global f1 archives, so as to contextualize the popularity of each ship (see 2023). as usually, maxiel is very underrepresented in the landoscar tag, with galex actually receiving quite a boost compared to before!

additional tags

so last time i only had about 400 fics to work with and i did some analysis on additional tags / essentially au tagging. however, the problem is that there are now 3000 fics in my set, and the limitations of web scraping means that i'm not privy to the tag wrangling that happens in Da Backend of ao3. basically i'm being given all the raw versions of these au tags, whereas on ao3 "a/b/o" and "alpha/beta/omega dynamics" and "au - alpha/beta/omega" and "alternate universe - a/b/o" are all being wrangled together. because it would take way too long for me to do all of this manually and i frankly just don't want to clean that many fics after already going through all the ship tags, i've decided to not do any au analysis because i don't think it would be an accurate reflection of the data...

that being said, i had one new little experiment! as landoscar get more and more competitive, i wanted to chart how ~angsty~ they've gotten as a ship on ao3. i wanted to make a cumulative graph that shows how the overall fluff % - angst % difference has shifted over time, but ummmm... tableau and i had a disagreement. so instead here is a graph of the MoM change in angst % (so basically what percentage of the fics updated in that month specifically were tagged angst?):

the overall number is still not very drastic at all and fluff still prevails over angst in the landoscar archive. to be clear, there are 33.2% fics tagged some variation of fluff and 21.4% fics tagged some variation of angst overall, so there's a fluff surplus of 11.8%. but there has definitely been a slight growth in angst metrics over the past few months!

—

i will leave this here for now... if there's anything specific that you're interested in lmk and i can whip it up!!! hehe ty for reading 🧡

#adflkahsdflakhsdlfkahdf i wrote all of this and then lost 80% of my draft. so i had to write it all again #sorry this is a lot shorter than last time too T__T i honestly just felt like a lot of the old graphs were irrelevant #hopefully some of the information is still interesting though even if it's not particularly surprising!!#landoscar #*s

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koiukiy-o · 2 months ago

Text

orphic; (adj.) mysterious and entrancing, beyond ordinary understanding. ─── 006. the phenomenologist.

-> summary: when you, a final-year student at the grove, get assigned to study under anaxagoras—one of the legendary seven sages—you know things are about to get interesting. but as the weeks go by, the line between correlation and causation starts to blur, and the more time you spend with professor anaxagoras, the more drawn to him you become in ways you never expected. the rules of the academy are clear, and the risks are an unfortunate possibility, but curiosity is a dangerous thing. and maybe, just maybe, some risks are worth taking. after all, isn’t every great discovery just a leap of faith? -> pairing: anaxa x gn!reader. -> tropes: professor x student, slow burn, forbidden romance. -> wc: 4.4k -> warnings: potential hsr spoilers from TB mission: "Light Slips the Gate, Shadow Greets the Throne" (3.1 update). main character is written to be 21+ years of age, at the very least. (anaxa is written to be around 26-27 years of age.) swearing, mature themes, suggestive content.

-> a/n: they exchange emails. i repeat. they exchange. emails!!! potential double update because the next part is 80% finished, hehe <3 i also wrote this chapter when i was on painkillers (and i still man) so if i sound like a DUMBASS in some parts i. it was not on purpose i swear. -> prev. || next. -> orphic; the masterlist.

Lunchtime rush has taken over the cafeteria. You sit tucked into a corner with Kira and Ilias, your tray pushed halfway aside, your drink sweating onto the wood between you.

Kira’s been nursing her tea for the past ten minutes, eyes half-closed, listening more than speaking. Her food sits untouched. Ilias, meanwhile, is attacking his fries like they insulted his ancestors. There’s a kind of intensity to it—surgical, almost reverent.

“Did they change the oil in these?” he mutters. “They taste like shit.”

You glance at him. “Then stop eating them?”

“Don’t tell me how to process pain.”

Kira snorts.

A clatter near the door draws your attention—trays, muffled apologies, the scuffle of shoes against tile. You glance over. Mydei and Phainon stand just inside, scanning the crowded room with the mild disappointment of people who’ve made peace with the fact that they’re not going to find a quiet spot.

There are no empty tables left.

Mydei catches your eye first. His gaze holds yours, half a question in it. Before you can think better of it, you lift your hand slightly in a wave and gesture to the open space on the bench beside you.

“There’s space here,” you say.

Phainon perks up like a dog hearing its leash jingle. He nudges Mydei forward with the edge of his tray, clearly done pretending to be patient.

“You’re sure?” Mydei asks, already sliding toward the end of the bench without waiting for a response.

Kira shifts slightly to make room, offering Mydei a small smile. “You’re not usually out here.”

You glance between them. “You guys know each other?”

“We share a class,” Phainon says, almost too quickly. “Philosophy.”

“Oh,” you say. “That sounds… interesting.”

Kira stifles a laugh, shrugging. “It’s not that bad. Once you get past the dread.”

“We had to spend an entire week arguing whether perception is a primary act or a constructed one,” Mydei adds, glancing up. “Phainon wrote his midterms in poetic verse.”

“He rhymed ‘intentionality’ with ‘banality,’” Kira says.

“And you gave it a B,” he points out.

“She peer-reviewed it,” Mydei says, jerking her chin toward Kira.

You blink. “Wait—students grade each other?”

Kira nods, twirling the packet between her fingers. “Sometimes. It’s part of the methodology. Subjectivity and all that.”

“That sounds fake.”

“No, ontology sounds fake,” Phainon says without missing a beat.

“They sit behind me,” Kira says, “and keep having whispered debates over whether Merleau-Ponty would’ve survived group work.”

“He wouldn’t have,” Phainon says, solemn.

Mydei picks at the corner of his sandwich. “He might’ve thrived.”

You raise an eyebrow. “And you don’t mind them talking behind you?”

Kira shrugs. “I correct them when they’re wrong.”

“He finds it sport,” Mydei murmurs, flicking his straw wrapper at Phainon.

“I would die for neither of them,” Kira adds after a moment, “but I would cite them.”

“High praise,” Phainon murmurs, looking genuinely touched.

There’s a beat of quiet, the kind that usually signals someone’s about to break into a joke—except Ilias doesn’t. He’s staring at Kira like she’s hung up the moon, eyes soft, brow faintly furrowed in something like awe.

You glance at him, then back at her. She’s busy poking at the ice in her drink, oblivious.

“Oh my god,” you mutter under your breath, just loud enough for him to hear. “You’re hypnotized.”

“I am not,” he says, way too quickly.

You raise an eyebrow.

“I’m… admiring her academic rigor,” he adds weakly.

“Is that what we’re calling it?”

Ilias groans and hides behind the menu. Kira, still completely unaware, crunches a piece of ice and asks if anyone wants to split dessert.

You're about to say yes, please, when a shadow falls across the table.

A flicker of awareness down your spine. Some instinctive ripple that tenses your shoulders before your mind even catches up.

You feel it before you see him.

Your head turns—too fast, on reflex. Eyes already landing on the figure passing between tables.

Professor Anaxagoras.

Your heart kicks once, too high in your chest. He’s not in his usual long coat. His sleeves are rolled to the elbow, collar slightly open, and the book in his arm looks worn at the edges. The woman walking beside him—elegant, composed, and unknown to you—matches his stride like they’ve been walking in step for years.

She moves like a dream you only half-remember—gliding by his side, wrapped in soft earth-toned fabric that shimmers faintly when the light catches it, like morning mist through tree branches. Her voice, low and melodic, curls around her shoulders, spilling down her back in lazy waves, pinned with something that’s shaped suspiciously like gold-tipped antlers, and her scent—something like old paper and wildflowers—lingers long after she’s gone. There’s a stillness to her, a gravity that pulls your attention without ever asking for it. She doesn’t need to raise her voice or call for silence—she could just look up, and the room would fall into reverent hush. And when her mouth moves, you almost forget that she—

Ilias lets out a low whistle under his breath, not loud, but pointed. “Damn.” Kira glares at him.

You don’t respond. Can’t, for a moment.

Anaxagoras walks past without pausing, the conversation between him and the woman low and self-contained. You catch a word or two—nothing sharp, nothing you could hold on to.

“Who was that?” Kira murmurs, eyes still following their backs.

Phainon, who hadn’t seemed particularly alert, straightens faintly. “Cerces,” he says, tone low but certain. “She used to guest lecture. Phenomenology.”

Mydei doesn’t look up. “She was supposed to take a position here last year. Didn’t.”

It starts like a pinprick, something almost too small to name.

You glance toward the table where they’ve just sat—tucked near the back, partially shielded by a wooden column.

She’s speaking, but her tone is too quiet, and Anaxagoras doesn’t look like he’s listening, so much as… enduring.

A slight shifting in your chest, a tensing in your jaw. Your gaze drifts—too often, too long—toward the corner table where Anaxagoras sits with her. Cerces.

Kira murmurs. “Are they… friends?”

“Not unless you count hostility as a form of bonding,” Mydei says without looking up.

“They hate each other?” Ilias asks.

“They disagree on principle,” Mydei replies. “She called his lecture on spatial memory ‘a diluted myth disguised as hypothesis’ once.”

Phainon lifts his head slightly, blinking at the table. “Is that not flirting?”

You give him a look.

Ilias snorts at your reaction.

Phainon shrugs, resting his head on his arms again. “Just saying.”

Anaxagoras isn’t smiling. Cerces never does, apparently.

You glance back over to the corner booth, where Anaxagoras and Cerces are still sitting, barely exchanging words but clearly in some sort of intense standoff. She speaks with measured precision, and Anaxagoras listens—almost too intently.

Like he’s hanging on her every word.

For some reason, you can’t stop looking. You’re not sure why, but something about it bothers you. Anaxagoras, as unreachable as he is, sitting with someone else like that—it doesn’t sit well.

(Why doesn’t it sit well?)

You don’t even notice how your gaze hardens until Ilias speaks up.

“I thought you were the only one he bantered with,” he says suggestively, though there’s a sharp edge to his voice. It’s off-hand, but the tone feels pointed.

You snap your attention back to him, eyes flicking to Ilias, then to Kira, and finally to Mydei, who’s still half-focused on his andwich. It’s not what he says—it’s how it feels, like he’s digging his finger into a gaping wound in your chest.

“What?” you say, the word coming out a little more defensive than you’d like. "What do you mean?"

Ilias raises an eyebrow, eyes gleaming with a bit of mischief, but he looks like he’s holding back a comment. “Oh, nothing. Just that—well, I thought it was kind of your thing with him, y’know?”

Logically, of course, it’s not just you. It never was. Anaxagoras is a professor, and a professional one at that. He interacts with plenty of people. You were never the only one. But why does it bother you so much now? Why does seeing him there with Cerces feel like something you were supposed to have? Hell, you’ve only been his student for a couple weeks.

Then, from behind you, Phainon’s voice breaks the silence, casually chiming in. “You know, you and Anaxagoras would be a good match.”

Your head snaps around to him, eyes wide, caught completely off guard. You try to catch your breath, but your heart suddenly seems to be beating a little too fast. What did he mean by that? The words feel heavy in your chest, but you can’t quite explain why. You shake your head, trying to brush it off, but you can’t stop the small pang of unease that bubbles up.

Mydei, sitting beside Phainon, glances at him sharply, narrowing his eyes, but the clueless guy keeps munching on his food, completely unaware.

Ilias brightens. “That’s what I’ve been saying!”

Kira, meanwhile, shifts in her seat, a thoughtful smirk pulling at the corners of her lips. “I can see it, actually,” she says, leaning toward you and giving you a look that’s half-encouraging, half-teasing. “You two would have that whole academic rivalry thing going on. Very couple energy.”

Her smirk grows as she watches you react. The comment is light, but you can feel the sting of it.

And of course, Ilias adds to it. His grin is too wide, too knowing. “Late-night debates and discussions on the meaning of the universe... sounds like a dream weekend to me.”

Your pulse picks up speed at the thought, and suddenly, you’re on edge, wondering why this is even a thing now. Your mind races with thoughts that you can’t quiet: why is it bothering you? Why is it bothering you this much?

Is it bothering you?

You shift in your seat, trying to keep your face neutral, but the flush creeping up your neck betrays you. “It’s not like that,” you mutter, your words defensive, even to your own ears. You don’t know why you feel so worked up.

Ilias notices the shift in your tone, the subtle defensiveness in your voice. His grin widens, and he leans forward, clearly enjoying the discomfort he’s stirred up.

You’re too aware of the heat rising in your face. “I’m not—” you snap, perhaps a little too sharply. “You’re being illogical. We’re students, he’s a professor. Our professor. And he’s not even my type—”

Ilias, clearly enjoying this, leans back in his seat with a dramatic flourish, one hand raised as if making a grand announcement. “You know,” he says, his voice dropping to a near-whisper, “I think I’ve figured it out.”

You glance at him, raising an eyebrow. “Figured what out?”

“You.” He pauses, letting the words hang in the air for just a moment, before leaning in closer, his grin mischievous. “I don’t think it’s Professor Anaxagoras himself. Oh no, no, no. You’ve fallen victim to something far worse.”

You cross your arms, giving him an exasperated look, but choosing to play along. “And that is?”

“You’ve fallen for his mind,” Ilias says, lowering his voice as if he’s revealing some deep, untold secret. “That black hole of academia. The more you resist, the more it pulls you in. You, my friend, are powerless against the seductive pull of his— of his lectures!” He pauses for dramatic effect, letting the silence linger. “It’s inevitable. You’re already caught in his gravitational field.”

You roll your eyes, trying to keep a straight face, but it’s hard when he looks so pleased with himself. “Ilias, you really need to stop watching sci-fi movies. You’re starting to sound like—”

He ignores you, continuing on in full dramatic flair. “I’m telling you, it’s like you’re destined for this. Like some tragic hero—fated to fall for the untouchable professor.”

You squint at him. “Ilias—”

“Star-crossed lovers, of course that’s what you are.” He raises his hand dramatically, as if making a proclamation. “The one who must suffer in silence, tortured by their own growing attraction while the object of their affection remains completely oblivious!”

You stare at him, half-annoyed, half-amused. “Okay, Romeo, calm down. I’m not falling for anyone, especially not Anaxagoras. He’s our professor.”

“Oh, please,” Ilias scoffs, flipping his fries around on his plate. “That’s the classic denial phase. It’s always like this. First, it’s ‘He’s a professor, this isn’t real,’ and then it’s ‘Oh no, I’m just interested in his intellectual prowess.’ And the next thing you know, you’re writing him anonymous love ;letters about the meaning of life.”

You choke on your drink. “What?!”

Ilias leans back smugly, clearly relishing your reaction. “That’s the part I’m really looking forward to,” he says, completely unbothered by the chaos he’s creating. “The dramatic confessions of forbidden love. You’ll be at the front of the lecture hall, staring at him with those eyes—the ones you don’t even realize you’re doing—until one day, you slip and—bam!—an accidental ‘—Because I love you!’ in the middle of a class discussion.”

You nearly spit your drink out at the absurdity of it all. “Oh my God, Ilias, shut up. That is not—”

“Oh, it will happen,” he says confidently, nodding like he’s just cracked the code of your life. “I can see it now. ‘Professor Anaxagoras, I can’t live without your...philosophical insights...’"

Your face burns even more now, and you throw a napkin at him. “You are insufferable.”

Ilias catches it mid-air and theatrically wipes his brow, pretending to be exhausted by the sheer drama of his own predictions. “Oh, I know. But it’s all part of my genius,” he says smugly. “You’ll thank me when you end up in a tangled, academic love triangle involving forgotten artifacts and ancient texts.”

You roll your eyes, trying not to smile. “Not gonna happen.”

“You say that now,” he says with a smirk. “But I’ll be here when it all goes down. You’ll come crawling to me for advice on how to handle the tension.”

You eyes automatically glance over at the table where Anaxagoras and Cerces are still sitting, and without meaning to, your stomach tightens just a little.

Ilias notices the shift in your expression immediately, his grin widening again. “Oh! What’s this? A little moment of clarity? I can feel it! Your heart’s racing, isn’t it?”

“No,” you mutter, looking away quickly, but the playful glint in his eyes makes you want to strangle him.

“You can’t hide it forever, my friend,” he says, tapping his finger against the table. “The romance is coming. The fated love between the professor and the student, like something out of a tragic novel. And when it happens? Oh, I’ll be the first to say ‘I told you so.’”

Kira, who’s been quietly listening to the whole exchange, smiles at Ilias in that quiet, amused way she does. For a moment, her eyes are soft, entranced by his antics.

Ilias doesn’t notice, of course. He’s too busy reveling in the thought of his own brilliance. “And when you’re finally ready to confess, I’ll be there. Right behind you, cheering you on. I’ll be your emotional support coach. Don’t worry.”

You groan, slumping forward. “Please stop.”

“Fine, fine.” Ilias leans back, clearly not done but pretending to be. “But you know the truth, deep down.” He lowers his voice to a whisper again. “You’re already halfway there. And when the sparks fly... don’t say I didn’t warn you.”

You fight to keep the smile off your face, but it’s impossible. “You’re unbelievable.”

Phainon, who’s been slumped halfway over his tray like a cat napping in a sunbeam, lifts his head at last, amused. He says lazily, “Ilias managed to build an entire three-act tragedy in the time it took me to finish my sandwich. I’m surprised.”

“Don’t encourage him,” you say flatly.

Phainon ignores you. “So what’s the title? Ode to a Lecture Hall Affair? Or A Treatise on Yearning, Featuring Poor Life Choices?”

“I like that second one,” Mydei says, without looking up. “Could be a bestseller if it comes with footnotes.”

Ilias snaps his fingers at both of them. “Finally. Some cultured taste.”

“You’re literally projecting an academic romance onto the person least likely to pursue such a thing.” Mydei deadpans, still not looking up.

“That’s how all the best ones start,” Ilias says with a wink. “Tragic self-denial. Emotional repression. That’s the good stuff. You think I want this story to be healthy?”

Phainon tilts his head at you, tone suddenly a little too calm. “So. Do you like Naxie?”

You nearly choke. “What?! No— …N- Naxie?”

“Mm,” Phainon hums, as if making a mental note, completely ignoring the question in your tone. “That sounded like a lie.”

You sit up straighter, voice too quick. “It’s not a lie. I don’t have feelings for him.”

Ilias finally looks up with a beaming smile. “You only get that loud when you're trying to convince someone, and in this case, it is yourself!”

“I am not loud,” you snap. “And I am not trying to convince myself of anything. There is nothing to convince myself of.”

“You’re so flustered right now it’s almost poetic,” Ilias says, grinning ear to ear. “Like watching tower of logic collapse in real time. It’s beautiful.”

Mydei hums thoughtfully. “I wonder what Anaxagoras would say if he heard this.”

You freeze, throwing your head back to look at his table.

Kira bites back a laugh. Ilias gasps dramatically.

“Oh please,” he says, clutching his chest like he’s just been shot. “If he heard this? He’d probably just blink in ancient Greek and then spend fifteen minutes dissecting the philosophical implications of desire as a failed mode of cognition.”

Phainon wheezes, practically howls at that, “And- and he’d do the thing,” he adds, his voice breathless, “Where he raises an eyebrow and smirks at you and then pauses for exactly four seconds.”

Kira giggles quietly. Ilias points like he’s struck gold, practically screams— “Exactly! The pause! The man weaponizes silence like it’s part of the syllabus.”

As if on cue, from the other side of the room, Anaxagoras shifts slightly in his seat—one subtle glance cast toward your table, recognizing the voice. Not long. Just a flicker of movement, but it’s enough. His eyes land on Ilias—still half-mid-monologue—then slide to you.

He nods in acknowledgement.

You nod back.

He smirks.

And looks away.

Cerces doesn’t glance over. She sits serene and unaffected, like her presence was never meant to interact with the world around her.

You’re too aware of the sharp prickle under your skin. You feel wrecked, utterly wrecked, even after he looks away.

Ilias notices. Of course he does.

Your eyes widen at his face, and you contemplate dragging his drama-ridden soul into the nearest chalk circle and trapping him there with nothing but an introductory ethics textbook and a looping recording of Anaxagoras’ driest lecture on epistemological drift.

Or maybe you'd just pin him to a whiteboard and force him to define “romantic projection” in front of the class while Kira holds up increasingly incriminating flashcards titled Things You’ve Said Out Loud.

“You’re not even subtle,” you mutter, eyeing him like you’re mentally selecting a power drill.

Ilias grins, unbothered. “Subtlety is for people who don’t have prophetic insight.”

“You’re a menace.”

“I’m a visionary,” he corrects, reaching for another fry with the smugness of someone who just cast a match into a very flammable bush.

You make a low noise, possibly a groan, possibly the sound of his spirit exiting his body. “If you keep talking,” you say without lifting your head, “I will hex your shoes to squeak every third step.”

“I’ll do it,” Mydei says.

Ilias throws his hands up. “You’re all just mad because I’m right.”

You glare at him. “I’m mad because you’re loud.”

Ilias points at you like he’s presenting a final thesis. “And yet—flushed cheeks. Shifty glances. Heightened vocal pitch.” He sets his hands down with finality, attitude dripping in his gaze. “The data is there. I’m merely analyzing it.”

Kira sips from her drink with the serene expression of someone watching a documentary on slow-burning disasters. “I think you should be very afraid,” she tells him lightly, smiling. “I think they’re planning your downfall.”

“Please,” Ilias says, waving a hand. “If they wanted me gone, I’d already be framed for something weirdly specific.” He raises his voice for the rest of the table, almost announcing, “Don’t be surprised if I wake up one morning and am suddenly framed for impersonating a tenured professor in order to smuggle a haunted relic into the archives!”

Before Ilias can spiral into another dramatic reenactment of his imaginary academic crimes, a quiet hush rolls over the table.

You look up.

Professor Anaxagoras.

He stands just behind Ilias, hands folded neatly behind his back, a ghost of amusement curling at the corner of his mouth like he’d been standing there long enough to hear something he shouldn’t have. His gaze flicks briefly over the group, then settles on you—warm, sharp, and startlingly direct.

“I must admit,” he says lightly, voice like dry parchment curling in a fireplace, “that’s disturbingly plausible.”

Kira makes a sound—half choke, half squeak—and Ilias nearly drops his drink. Mydei straightens just slightly. Phainon blinks up at Anaxagoras like he’s not entirely convinced he’s real.

You forget how to breathe.

Anaxagoras raises an eyebrow at you in mild inquiry. “When are you turning in your application?”

Your confusion must show, because his brow lifts just a fraction higher, something unreadable flickering in his expression. He waits.

You blink. “I’m not applying. Professor.”

It’s quiet for a beat too long.

His eyes widen—only slightly, but enough to notice. Then something more subtle shifts in his expression, as if the air around him has rearranged itself. He tilts his head, his gaze narrowing just a fraction. Then—unexpectedly—he smiles.

Not the cold, amused smile he offers to half-baked arguments in lecture, or the small polite one he reserves for administrative nonsense.

This one feels different. Quiet. Introspective. Like you’ve said something that has genuinely surprised him.

“Would you excuse us for a moment?” he says, addressing the table but looking only at you. “A word.”

Kira glances at you, and Ilias makes a dramatic slicing motion across his throat like he’s already composing your eulogy. Phainon props his chin on his hands, watching with all the intensity of a wildlife observer about to witness a rare predator interaction.

Your heart kicks up hard, then stumbles.

You stand slowly.

“Sure,” you say, not sure at all.

Anaxagoras steps aside, letting you pass, his presence folding into the space beside you with such unassuming weight that the rest of the world suddenly feels quiet.

Behind you, Ilias mutters, “He pulled the ‘a word�� move! I’m going to eat this fry solemnly, in case it’s the last one I ever share with them.”

Kira shushes him with a swat.

You walk just a few paces before he speaks, voice low and deliberate.

“You’re not applying,” he repeats. Not a question. A repetition for clarity. For the sake of confirming it aloud.

“No,” you say softly. “I’m not. I was never going to.”

That gets his attention. His eyes cut back to you, something almost imperceptibly shifting in his posture. “No?”

“Studies on consciousness isn’t my field of study,” you say, level. “And I’m not interested in pretending it is for the sake of a symposium.”

He considers that, expression unreadable. “A reasonable position. If a narrow one.”

You raise an eyebrow at that. “I’m not sure being selective with my time is narrow.”

“Selective,” he echoes mildly. “Or avoidant?”

You exhale through your nose. “I just don’t see the value in wasting my time on something I don't care about in a symposium I don’t want to attend.”

He tilts his head. “Cerces is one of the most rigorous thinkers in the field. Even those outside her discipline benefit from her lens.”

You squint at him, not bothering to mask the skepticism in your tone. “I thought you didn’t agree with her methods.”

There’s the briefest pause, the lightest shift in his expression. Then, without missing a beat:

“Disagreement doesn’t preclude respect.”

“Right,” you say flatly. “That’s what everyone says about their academic rivals.”

His mouth twitches at that—barely. “Have you been reading up on me?”

You blink, caught off guard by the shift in tone. His voice is playful—but there’s a glint of challenge there. You recover fast.

“No,” you say, a little too quickly. “One of her students brought it up. Just now. In passing.” You clear your throat, glance away, and add on awkwardly, “—Professor.”

He doesn’t comment. Just watches you with an amused glint in his eyes.

“You might change your mind,” he pauses, “I’d like you to read a few papers.” He says with a finality.

You cross your arms. “You’re suggesting I read Cerces?”

“I’m suggesting, you examine the argument before rejecting the premise.” He lets the words settle for a beat. “I will send you a couple. You can draw your own conclusions.”

There’s a pause. One breath. Two.

You hesitate. “Fine.”

“I’ll need your email.”

You rattle it off without looking at him, the syllables falling out in practiced order, a thin attempt at professionalism. He offers his phone without a word, calm and unreadable, and you take it before you can think twice.

You type—carefully, trying not to fumble—but your pulse stutters anyway.

When you hand it back, his fingers brush yours.

Barely. A blink. A breath.

But it jolts through you like static, immediate and stupidly vivid. You freeze, absurdly aware of how warm his hand is, how close his attention suddenly feels even though he’s barely moved.

It was nothing. Just skin.

But your brain short-circuits like it’s something else entirely, and now you’re hyper aware of everything—the silence, the distance between you, the way your stomach tightens for no logical reason whatsoever.

You don’t look at him. You refuse to look at him.

He takes the phone back, and his voice is quiet. “I’ll forward them tonight.”

You nod, hoping he doesn’t notice how tense your shoulders are. “Okay,” you say, and your voice comes out a little too soft.

You hate how your face feels warm.

“Thanks.”

He gives you a sharp nod, turning back already.

His eyes flick back to you once—just once—before he returns to the booth, slipping back into the conversation with Cerces like nothing ever happened.

You stay where you are, steadying your breath.

What the hell?

-> next.

taglist: @starglitterz @kazumist @naraven @cozyunderworld @pinksaiyans @pearlm00n @your-sleeparalysisdem0n @francisnyx @qwnelisa @chessitune @leafythat @cursedneuvillette @hanakokunzz @nellqzz @ladymothbeth @chokifandom @yourfavouritecitizen @sugarlol12345 @aspiring-bookworm @kad0o @yourfavoritefreakyhan @mavuika-marquez @fellow-anime-weeb927 @beateater @bothsacredanddust @acrylicxu @average-scara-fan @pinkytoxichearts @amorismujica @sandwichkun

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#❅ — works !#honkai star rail #honkai star rail x reader #hsr x gn reader #hsr x reader #anaxa x reader #hsr anaxa #hsr anaxagoras #anaxagoras x reader #hi hi if i missed adding anyone on the taglist i am so sorry i js realised i forgot to add one of u on the prev update :") augh im so.

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rehobothacademicservices · 23 days ago

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librarycards · 22 days ago

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Free link (valid for 3 months) to "Access Fictions" in TSQ's "Toward a Trans[]Crip Theory" issue. It was an honor to be part of this issue and this journal, especially with this paper, based on a chapter of my doctoral dissertation.

Abstract:

Disability studies has traditionally presented “access” as an unqualified good and a material one at that. However, engaging with the potentialities of mad opacity show us the way in which demand for access to transparency and frictionless understanding reproduces ableist institutional violence. Engaging with various strategies of opacity practice by users on Tumblr, particularly those that participate in what the author calls xenoidentity /alterhuman spaces, this article will address the stakes of both maintaining and questioning the importance of opacity. The author also offers the opportunity to consider what kinds of knowledges are inextricably linked to practices and indeed policies of opacity and opaque care. Rather than offering simplistic solutions, the author invites the reader to sit together in a position of access friction engendered by not only the presence of people who happen to be racialized, trans, and/or Mad in a disability space, but also by thinking capaciously with transmad histology, methodologies, and localities.

#mine #readings #disability #madness #transmad #i did not write this abstract in case it wasn't obvious lmao

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skaldish · 11 months ago

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Alright folks. Here it is, my theory of what Ragnarok actually represents. It is very messy and I'm not sure I'm going to be able to actually convey my understanding clearly like I try with most things, because genuinely this is shit I would write a doctorate-level thesis on.

But we're going to try anyway.

So. After doing a lot to try to replicate animistic thinking, as well as taking a VERY deep read of the Norse myths, my theory is that Ragnarok is specifically allegory for societal collapse—the "end of the world" imagery and such is meant to convey what this feels like.

Recall what Odin says in Grimnismal. It goes something like this, since I can't be arsed to find the exact quote:

Huginn and Muninn fly over the world every day; while I fear Huginn ("thought") may not return, I fear Muninn's ("memory's") absence most.

When a society collapses, so does it's memory. It loses its technology, its methodologies, its paradigms, and everything it has learned about the world up to that point. Gone. Entire chapters of history erased.

What causes societal collapse is not always a conquering force, but is oftentimes the result of circumstances that a society orchestrates for itself. Think Rome.

People who have gone through societal collapse will probably develop an invested interest in figuring out how to prevent it entirely, so they don't have to start society all over again.

It's one thing to preserve the memory of "things collapsed and here's why" using a story. But it's another thing to do what apparently the Norse people did, which is cultivate a methodology for cognitively hardening their own society against collapse, using stories as a way to do it.

Like...I'm not kidding when I say they legitimately knew how the human mind works, and then built an entire system of stories and narratives that intentionally support the mind's freedom, cultivation, and agency. I can only convey a fraction of how this works in this post because the rest requires a deep-dive into behavioral psychology and neurological development.

All the tales leading to Ragnarok demonstrate various instances where the gods choose to follow their own agendas at the expense of the real people and forces in the world. All of these little things contribute to the magnitude of the event that is Ragnarok.

The tales represent these transgressions using allegories rather than literal events. This is because these stories were designed for children, who don't process information through a prefrontal cortex like we do as adults. They don't have them yet. But this gives kids an intuitive understanding for how circumstances of collapse feel, so they can recognize them in all their forms.

Loki is an allegory for the mischief we feel as children, and for the behaviors we demonstrate before we get to the age where we start valuing cooperation. In the myths, every time Loki causes mischief in ways that creates problems, the gods get mad at him and threaten Loki's life until he fixes his mess. Loki eventually becomes vindictive, kills Baldr in a jealous fit, and then is punished by being bound and buried beneath the ground, only to fight against the gods in Ragnarok.

The surface-level takeaway is a lesson in parenting: If we punish kids for their mischief, they're going to become vindictive adults, and these adults are going to have it out for the rest of society because they've been disenfranchised.

But it doesn't just end here. Consider how we punish ourselves for our own sense of mischief, beating ourselves up for having "problematic" thoughts and trying to bind and bury those thoughts in the depths of our mind.

These thoughts come from a place our mind known as the limbic system, which is focused on avoiding pain and seeking pleasure, and—most importantly—does not understand the world or make decisions using logic and reason, but in terms of what feels enjoyable and what doesn't.

We tend to call this system our inner child.

When we punish our inner child, that child starts doing exactly what Loki does and resorts to malicious and petty tricks. We can hold this behavior at bay until something causes us to "snap" (like Jörmungandr's tail does) and out comes the malice of the disenfranchised inner child, which creates a terrible cascade of social consequences for us.

Now, if we were to listen to these stories as kids, we would naturally be very upset whenever Loki was threatened of punished, because we think out of the limbic system at that age and Loki is meant to represent us—specifically, the state of being a kid. We would see what comes to pass, with Loki being imprisoned and fighting the gods against Ragnarok, and it would become clear to us that there's consequences for punishing mischief AND also causing too much of it.

Now I don't know about you, but I was very motivated by a sense of justice as a kid. Hearing Loki's arc would have inspired me to learn how to be friends with my sense of mischief while also learning to use it in ways that were cooperative and social, because this would have been how I could right the wrong I felt was done to Loki. It would also mean my own limbic system will not fight against me in the future, but be a modality of thought I can always access. (This is the beauty of the way the Norse myths are crafted; they are designed to instill knowledge of the world using mechanisms that reinforce one's own sense of agency and competency, so rather than being told the moral of this tale, it sets me up to run right into the conclusion it wants me to draw, but in a way that makes me feel smart and therefore inspires me to value it.)

The binding of Fenrir serves a similar allegory. When we become explosively angry in the way that Fenrir represents, it consumes our wisemind the same way Fenrir consumes Odin during Ragnarok. But this only happens if we bind Fenrir/our anger. By demonizing this nature of ours simply for existing, it will not only refuse to listen to us, but also turn against us. Remember that Fenrir was willing to socialize and cooperate with the gods before his betrayal.

(Honestly, I believe this is why ulfheiðnar existed the way they did. Even though the animalistic rage of ulfheiðnar was too terrible for domestic society, it was not demonized, but instead given a social function. People would learn to understand and partner with their own sense of rage, and I'm guessing this is also how they were able to keep their sense of reason and priorities straight even while going berserk from psychoactives.)

These two examples serve to illustrate how societal collapse stems from binding or punishing our own natures. But also fearing our own nature as mortals factors into it.

For example, Naglfar. This is a ship constructed of dead people's fingernails, and its completion is part of what signals the beginning of Ragnarok. But as the story goes, we can delay Naglfar's construction by trimming the nails of the dead before we bury them.

Naglfar represents "neglect for the dead," and this is significant because the act of no longer viewing the dead as people is sort of like the canary in the coal mine for no longer view each other as people...and no longer seeing people as people is what defines Ragnarok.

A society is at peace when its people have no fear of death, and having no fear of death comes only by incorporating death as a normal and familiar part of life, just like we do with birth. Our relationship with death is a litmus test for our relationship with our own humanity—if we fear the dead and cannot see them as human beings, then we are always going to fear a part of our own humanity, and be at war with it. The simple act of keeping the nails of the dead well-groomed because it stalls Naglfar's construction was a way to remind people why such a simple act was profoundly important.

And these are just the things that I can think of off the top of my head that are the most obvious examples. There are—and I shit you not—multitudes of these things laced within the Norse myths.

(I haven't even gotten to the part about how the Norse creation myth uses what the womb feels like to characterize it. Telling this story to very little children helps them establish a sense of familiarity, belonging, and secure attachment with the entire world from the get-go. If they learn the world is everything they've already experienced, then their bodies will never be afraid of it, because nothing about it will feel unknown or unknowable. Like, how fucking dope can you get.)

So here's where we get to the really dense irony of all this: Why we don't pick up on all these nuances as Westerners and have so far missed this entirely.

It is for two reasons.

The first is because our society values the things that the Norse people identified as contributing to societal collapse—namely, the act of conquering/competing against other forces and conquering/competing against our own natures. The transgressions of the Aesir are not things we register as problematic because to us they're normal.

The second is that we don't think animistically. The way we are taught to convey, interpret, and transmit information is designed PURELY by and for the prefrontal cortex, with neglect to everything else (if you ever wonder why Americans look weird in how we behave, this is why). But because we only prioritize communicating this way, we're missing out on all the context added within the Norse myths. These myths function the same way Old Norse kennings did, in that they are designed to speak to ALL areas of the brain at once and in tandem, but if we only engage with it using one part of the brain, we're only going to get a small piece of the picture and the rest is going to look weird.

(Little experiment for you: Try to logic something out in your mind or think through a complex problem without using words or sentences to do it. Use any other kind of thought-process besides language. I promise you that not only is this possible, but it yields a completely different kind of experience and conclusion than you might otherwise reach.)

Honestly, I don't even think Snorri himself fully understood what he was looking at when he was recording the Norse myths. I think he was just writing them down according to how they were told, word-for-word. But his cluelessness is our good fortune now, because he not only preserved the cultural stories, but also what I consider an entire cognitive technology.

And every time I look at it, I can't help but think about the generations of people who sat around the fire in the dead of winter, weaving, crafting, and figuring out better ways to fortify their society, raise kids so they became fine and truly fearless people, and conserve information. This is, as far as I'm concerned, real magic.

They knew some shit.

#ragnarok #zan speaks #norse paganism #I'm sorry if this is incomprehensible #I tried

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opbackgrounds · 6 months ago

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The Romanticism of One Piece I: Definition

Part II Full essay posted on AO3 here

“Romanticism is the star which weeps” —Alfred de Musset

One Piece is a Romance. It’s the title of the opening chapter as well as the first volume, and was liked enough by Oda that he recycled it for the first chapter and volume after the time skip. Sprinkled throughout the story Luffy and others will declare certain moments to be romantic. But what does that actually mean?

If you go to website for Mirriam-Webster and scroll down to the fourth definition, you’ll read that romance is “a: marked by the imaginative or emotional appeal of what is heroic, adventurous, remote, mysterious, or idealized

b: often capitalized : of, relating to, or having the characteristics of romanticism”

It’s this second aspect of romance that I want to focus on today, because while One Piece is imaginative, and emotional, and adventurous, the roots of the manga dig much deeper than these superficial traits and tap into the much bigger movement that at one point dominated the Western World.

As with many things, Romanticism is a concept that at its face seems quite simple, but the more you try to pin down specifics the more it squirms into something amorphous and difficult to define. In his lectures on Romanticism, Isaiah Berlin described it as, “the greatest single shift in consciousness of the West” before spending an entire hour of his introductory lecture trying to distill it down to its purest essence. In the Romantic movement we find our modern ideas of imagination, childhood, and sentimentality. Its influence dominated everything from politics, philosophy, poetry, literature, art, music and architecture. From the Romantics was born the Nationalism of the late 18th and early 19th centuries, which would lead to tragic results in the 20th. It spanned Europe and America, the Western world alight with hope after the French Revolution only to watch with horror as it was followed by the Reign of Terror, Napoleon, and the wars he brought to the rest of the continent.

Pinpointing dates is difficult, but for simplicity’s sake it’s easiest to put it as lasting from approximately the mid 1700s through the mid to late 1800s. As Romanticism was a pan-European movement, it didn’t hit every place at the same time. It swept from France through Europe and eventually America at its own pace, blooming and dying independently of one another, with various precursor movements such as the Storm and Stress era in Germany, as well as holdovers lasting well after the golden age ended, the last embers clinging on until the First World War. Romanticism picked up the local flavor of wherever it went, the Romantic ideals of France related but not identical to the Romantic ideals of Germany, just as the Romanticism of William Wordsworth wasn’t the same as the Romanticism of Lord Byron.

When attempting to define Romanticism, it is perhaps easiest to see it in what it was trying to push back against. As with every movement, the Romantics were in conversation with the past, in their case the Enlightenment thinkers of the 17th and early 18th centuries. The Enlightenment as a movement is just as difficult to pin down as the Romantics, but on the whole it said that there was one, specific way men should live their lives, that there was a formula for happiness and improvement of the human condition using reason, science, and an appropriate methodology. While the various Enlightenment figures all disagreed what that methodology was, for the most part they all agreed that it existed. It favored cold, hard logic, a celebration of science and of learning, and was hopeful for a future where humanity could better itself through its own effort by understanding the universe in which it lived.

The Romantics looked at all of this, and said…no.

There are other factors to consider when discussing Romanticism, such as the increase in urbanization following the Industrial Revolution and the political instability brought on by corrupt, crumbling monarchies and the revolutions they spurned, but in my mind this defiant no is the beating heart of Romanticism. It’s a philosophy that emphasizes the self over all, prioritizing feeling over reason and experience over logic. In fact, to the Romantic, there was no knowledge without feeling.

Institutions such as the church lost some of their power even as the Romantics became more obsessed with spirituality and the occult. The idealized, pastoral past of their beloved romantic ballads was yearned for even as revolts broke out against the monarchies that ruled in those stories of old. There was veneration of the child and the so-called Noble Savage, who were free from the corrupting forces of society and civilization. Freedom was the rallying cry, with abolition, women’s, and animal rights movements all stirring within this time period, but there was no greater freedom than the freedom of self. To do what you wanted when you wanted to do it.

There was a preoccupation with individual genius, and there was little that could bolster one’s career more than living fast and dying young. The Romantic world was one where death was frightfully common, with the increased density of the rapidly growing cities leading to frequent breakouts of disease even as populations boomed. Nearly half of children didn’t live to see their fifth birthday, and for those who did survive to adulthood, the political instability of the time made the future seem uncertain. Better then, to reject the all-consuming industry of the modern age and the cities that seemed to destroy more than they built in favor of spending time alone in the glories of nature and their own imagination, living as they pleased, beholden to no one but their own conscience.

You’ll notice in the examples that I quote that most are white men and most of these men were well-educated. It’s a simple fact that the opportunities they were afforded were different than women and people of color, and their voices were amplified as a result. While there’s been increasing scholarship in recent years to diversify the canon, and there’s good fruit to be found in that regard, it must be acknowledged that the worldview shaped by the most famous Romantics is limited by this singular perspective.

That being said, there can be a more universal application to Romanticism, and One Piece proves that. The defiant no to the binding chains of society and the enthusiastic yes of personal freedom is something that we all feel at one point or another, and it’s what makes up the core of One Piece. Romanticism is a cosmic wanderlust, the ability to poeticize everything both great and small, the neverending search for, well…that depends on the person. But the important part is that they do search and they do dream. And it’s that search that I want to explore in more detail as I dig into specific aspects of Romanticism, and how One Piece applies.

#opbackgrounds #the romanticism of one piece #romanticism #one piece

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