#on a sour note

[innorality]

reconciliation with stack after the argument (part one here)

(part two of the angsty post I made)

you felt silly, truly. you honestly could not believe yourself as you walked towards Club Juke, their club—his club, holding onto the fur coat he had formely stolen for you. when you walked out after the argument, you had sworn to yourself that you would forget about him for good. screw him and his perfect smile, his honey-coated voice and his warm, familiar embrace.

truth is,

you felt ill without him.

7 years. it's been seven years since you had last seen him, and now that he's finally back, you had this underlying feeling that you couldn't just scream at him and leave. you needed him too much.

your heels dug in the grass below your feet as you walked hesitantly, finally getting to the door where Cornbread was standing. "now, that's a face I haven't seen in a while. how you been, sugar?" his deep husky voice comforting you, you smiled. "I don't... i don't really know." your fingers tightened against the fur of your coat. "I get it. it's been a long time." he walked down the two stairs that separated the both of you, getting closer to you.

"stack told me about the argument. i told him that no amount of money could teach him how to properly talk to a woman. that man's a true pain in the behind, ain't he?" his hand landed on the top of your head, petting it while you giggled. "hell yeah, he is."

"don't work yourself up, sugar. get in there and have fun, yeah?" you nodded and he stepped back, letting you in.

the loud music that was being played by a local band hit your ears, but you paid no mind. you headed straight for the bar, and sat infront of grace who was already grabbing a glass for you. "didn't expect to see you here." she commented, "nobody did." you shot back. "beer?" she went for the bottle and opened it, "please." you nodded.

"hope you've got some real coins to pay. all we get from the people here are wooden ones." she poured you a glass and slid it towards you, but a masculine voice echoed from behind you, overcoming the loud music with ease.

"it's on the house, for her." you didn't even need to turn around to know who it was. "if stack says so," grace shrugged, walking towards another client, leaving the two fo you alone.

you couldn't even get a sip of your beer before his hands slid around your jaw, cupping your jaw. he leaned down next to your ear. "you came." he affirmed, as if to confirm it to himself. "I had to see the club for myself." "and?" "definitely not worth the seven years." he quickly pecked your cheek before letting go of you and sitting next to you.

"you're still on about that." he looked straight at you but you refused to give him the pleasure of seeing your eyes. "how could I not?" and he surrendered, "you're right. i'm sorry." that caught your attention. stack was never one to admit he was at fault, and that realization made you turn to him slowly.

"i'm sorry for everything. for disappearing. for being so superficial. for not writing. for not even saying goodbye." he scooted over next to you and grabbed your waist, closing the distance between the two of you. he pressed his forehead against yours and your gaze flickered down to his lips.

"I love you." he mumbled. "say that again." "I love you."

"again."

"I love you."

"one more time."

"I love you more than anything else in the world."

you bit your lip and chewed slightly. you were torn between smashing the glass cup that was next to you on his head, and kissing him like you needed him to breath.

"fuck." you sighed out, looking back up at his eyes. "what?" he chuckled. "I really want to kill you, as of right now. but I also really, really, want to kiss you." and he smiled wider. that damn smile. "they say the line between hatred and love is blurry like fog."

"don't ever leave me again, elias." and you saying his name like that made his stomach twist in adoration, he really fucking misses you. "never again, I promise." and finally, he leaned in to kiss you. he pressed his lips against yours and you mirrored him, your arms snaking around his neck to cage him in.

you were weak for stack.

you were weak for elias moore just as much as he was weak for you.

[solshii]

I love the ponies they’re so cute T^T please feed us some more please TvT

of course anon <333 sorry for the wait!

notes

[marshmallowdarling]

I'm having a few drinks in my room tonight and... John Price who is a nice guy, a bit strict and blunt but he puts the wellbeing of others above his own including you. Ol' you who is head over heel's for the captain but remains (almost) normal infront of him to not make yourself look like a fool but that gets thrown out the window when you see him at one of the local pubs. You have a glass and a half of whatever alcohol you choose that night in you and your not drunk, or even tipsy at this point but you use it as an excuse as you blurt out all the things that have been circling in your head. "Your ass looks great in every pants holy fuck how does that work, your ass looks better than mine-" "The strap on your thigh makes my mouth water- hey does your tip touch the-" "I never though I had a daddy kink and I dont but for Captain Price I would call him daddy in a heart beat-" "Do you think he would let me lick his curly happy trail and chest hair?" His team mates watch on with a mixture of amusement and shock since they had watched their captain mope around when he thought no-one was looking since he thought you didnt like him back. Now they were just needing to help you two get together.... Soap wanted to try first but Ghost quickly reigned him in since he knew the Scott would probably end up in a threesome but the masked man had to hold the other back by the scruff whenever you blurted out about their captain because the Scott's mind was running.... Poor thing now Ghost has to help his problem as Gaz sweet talks you :(

[starcurtain]

"The Lion Has Its Own Historian:" Parallels Between Gorgo and Aglaea

While re-reading Mydei's "As I've Written" stories recently, I was intrigued again by the (seemingly impossible) section in which Aglaea unknowingly echoed Gorgo's words to Mydei, and this led me down a rabbit hole of thought: The roles of Aglaea and Gorgo--not only in Mydei's life but also in the story overall--form some interesting parallels that are worth looking at in closer detail.

Seize the Means of Control

Gorgo's ascension to a position of authority was predicated on power--not only on her martial prowess, which was expected in her culture (i.e. slaying a lion with her bare hands), but through her courage to meet the existing symbol of authority, Eurypon, in single combat and not concede. In Kremnos, status is conferred and maintained through violence. Though on the surface Gorgo defies this belief, she ultimately remains an active participant in Kremnos's tradition of "might makes right" through the Kremnos Festival, reinforcing rather than rejecting her culture's military-centric social structure.

Although Gorgo originally took part in the Kremnos Festival with the intention of beating Eurypon and seizing the throne of Kremnos for herself (presumably because she thought she could rule better), she ultimately chooses to accept his continued leadership and become queen instead, even granting him an heir to cement his legacy. In this way, despite presumably wishing for a less wasteful (of life) philosophy for the Kremnoans, Gorgo becomes one of the foremost beneficiaries of the very mindset she opposes. She clearly wants to reduce the meaningless bloodshed in Kremnos--she strongly rejects the notion of patricide, for example--but she doesn't (at this point) reject the overall structures of the Kremnoan culture, including the belief that combat ability should determine who leads.

In short, her position of authority was achieved strictly through her ability to oppose her foes.

Despite coming from a wholly different culture, one which (ostensibly) values debate, diplomacy, and the rule of law as the primary tools for establishing status, Aglaea's rise to power was remarkably similar to Gorgo's. The game confirms that the prominence and influence of the Chrysos Heirs in Okhema is no lucky accident--instead, Aglaea has clawed her way to the top, fighting tooth and nail to establish herself as a figure of authority in the Holy City.

We're told she exerts her pressure both through economic means, amassing wealth via monopoly on resources such as Amphoreus's internet, and through literal bloodshed.

The story dances around it, but Star Rail's marketing embraces it: Aglaea represents not just the joy of love but also the "deadliness" of romance, the figure of power in Okhema "pulling the strings" and making others dance to the tune of her vision for the future. She basically rules the roost in the Holy City in large part because of her capacity for violence, because of the literal physical and political power she wields as a demigoddess and the leader of the strongest group of fighters on their entire planet.

This "silk concealing steel" behavior reflects not just how she approaches any who oppose her--the Trailblazer and Krateros, for example--but also how even the NPCs throughout Amphoreus view her:

It's particularly Krateros's view of Aglaea which intrigues me, because the very same things he accuses her of are the things Castrum Kremnos is famous for (being warmongers, usurpers of power, etc.). By all rights, he should admire a "queen" such as Aglaea who rules by force and who is leading her people into the greatest war Amphoreus as ever known. And yet he and the rest of the Kremnoans seem to revile Aglaea for the very same things they saw as virtues in Gorgo.

The context is the key: Gorgo seizing power for herself is viewed as honorable and good because it happened in the context of Kremnos, while Aglaea's power struggle and military dominance occur within the so-claimed peaceful structure of Okhema's democratic society, casting her in the role of a "power-hungry tyrant" for the people living in Okhema, even those who should most appreciate her mindset.

Comparing Gorgo and Aglaea in this way highlights a key double standard in the way the Amphoreans react to women who rise to power, and makes it clear how thin the veneer of Okhema's "peace" really is. Stepping to the top rung of the social ladder through the threat of martial retaliation, Aglaea's battle against the Council and the Flame Chase's foes is no different from Gorgo tearing a lion apart with her bare hands, challenging a king, and taking her place at the top of Kremnos's hierarchy by seizing her weapon and making her stand. All that differs is how violence is received in their contrasting cultures, resulting in two diametrically opposed reactions from the "mere mortals" around them.

With Violence as Your Tool

I think it's important to emphasize that Aglaea and Gorgo also parallel each other not just in their rise to authority through physical power itself, but also in their stances on the necessity of that power: Both Aglaea and Gorgo (at least at first) view bloodshed as a necessary evil, an unpleasant facet of life that one must accept in order to achieve a goal. Violence, for both Gorgo and Aglaea, is a tool.

We see this clearly with Gorgo throughout her flashbacks, both in her initial fight with Eurypon (where she claims she would embrace the notion of death only so long as it is not "unnecessary") and in her other confrontations with Eurypon: Gorgo insists that the tradition of regicide must be broken and makes Eurypon promise not to lead Mydei to that path--yet later, she goes so far as to scold Eurypon when he shies away from his fate, essentially calling him a coward for fearing the prophecy that Mydei would one day kill him. "What prince of Kremnos hasn't killed his father?" she taunts, implying that, even as Gorgo fought to change the violent history of Kremnos, she still believed--at least at that moment--that refusing to face violence when it was foreordained made Eurypon a weak and unfit ruler.

However, we ultimately see this stance change. In Mydei's dream of training with his mother, Gorgo reveals that nearly losing Mydei completely changed her perspective on Kremnos's beliefs, finally killing any faith she had in their system of rule and their constant pursuit of Strife for strife's sake. She rejects the notion of combat being the ultimate test of a person's worth, explicitly casts aside her title and role as queen of Kremnos, and embraces a kinder identity as strictly "Mydei's mother." This is a crisis of faith brought on by experiencing the impacts of Kremnos's faith firsthand--by being forced to experience grievous loss, Gorgo is implied to have grown as a person, from one who is willing to accept violence as a tool to get ahead, into one who solely values peace.

These views, too, mirror Aglaea's pursuit of the Flame Chase Journey and her "hidden" feelings toward its necessary loss. We know already that Aglaea views the threat of violence as her go-to "means to an end" when it comes to achieving the Chrysos Heirs' goals.

She is not at all above putting people into harm's way to pursue the prophecy, such as letting Phainon take the Strife trial even knowing that he would fail, and she tells us players over and over again that her own humanity has nearly vanished, claiming that she now no longer has sufficient empathy for humankind to be swayed away from the path of Era Nova.

This is clearly not true (given how deeply she cares for Tribbie, how kind she is to Castorice, and how unwilling she is to actually bring any harm to Anaxa), but Aglaea insists on this emotionless illusion likely because it makes it easier to tolerate the cruelty required to continue pursuing her goal--she needs it to be true that the last of her humanity has already waned, because this is what makes it easier to accept that the Flame Chase Journey is a journey of "loss," one that is fueled by bloodshed.

It is an unfortunate truth of the prophecy that people will die in pursuit of the dream, that capturing all the coreflames and pushing the world forcibly into its next cycle will cost lives and require cold, rational decisions that will crush people's happiness and freedom. Aglaea cannot hesitate, cannot waver, cannot choose kindness over action.

But, like Gorgo, we know that accepting violence as a tool does not mean that the person wielding the tool is always happy to do so. As Gorgo loses her genuine faith in Kremnos's beliefs and begins to view training Mydei for war as nothing more than a rote requirement, devoid of meaning, Aglaea too struggles to uphold her emotionless facade, a protective cocoon whose cracks reveal the enormous weight she is bearing and how deeply the inhumanity of her own decisions wounds her.

We see this clearly in her character stories, where the actions and then later loss of her maid completely reshape her definition of "beauty":

And we also see it very clearly in her behavior toward Anaxa, where she hesitates at the crucial moment, unable to commit to the course of action that she herself set in motion:

Like Gorgo who longs for a softer world where she can simply be Mydei's mother, Aglaea too (no matter how much she claims) has not lost the part of herself that cares not only for the people closest to her but even for the innocents of the world, the boy who wants to bring his sister something beautiful, the girl who shares her bracelet...

Her nature, no matter how much of it has worn away, is at its core humble and kind--reviling the pain of others.

It's this fundamental conflict between love and what must be done that lends both Gorgo and Aglaea their depth as characters, that grants them both an air of nobility, in the way that everyone good who is suffers is noble. Being forced to cause harm without a desire to do so creates quintessentially contradictory characters, making the audience privy to both their external mettle and their internal hesitation, easily humanizing both of them. Aglaea and Gorgo are virtuous women whose cruelty is justified for the greater good. Yet in watching both of them struggle under the immense pressure of that cruelty, we recognize the inherent evil of a world that forces kind-hearted people into positions where bloodshed is their only path forward.

Both Aglaea and Gorgo are not women who normally hesitate to seize the tools available to them, or the kind of women who will shy away from wielding their strongest weapon--the threat of death--with impunity. The reaction to female characters who are willing to exert this kind of power over others (including over the men in their lives) both in-game and in the fandom (where Aglaea in particular is treated poorly for her "coldness") demonstrates how unique this particular type of female character still is, and suggests interesting overall power dynamics in Amphoreus that privilege women willing to utilize violence even above men who choose the same route, despite the strong patriarchal bent one might expect of a story with ancient Greece as its primary influence.

Mydei is not the son of Eurypon, but explicitly and always "the son of Gorgo" even in flashbacks where Eurypon is still alive; in Okhema, both the Chrysos Heirs and the Council appear to be primarily directed by women (Caenis occupies the more visible role of Aglaea's opponent than Lygus does), with all of Okhema's demigods (including Cipher) being female. Gorgo's violence is regarded as honorable; Aglaea is met with disapproval from her peace-loving society but no one ever actually dares to stop her. Perhaps Krateros comes closest, by defying Aglaea's will and entering the Strife trial without her permission, but even he ultimately has to be rescued from Aglaea's clutches by Mydei, who explicitly invokes his mother's name to ensure Krateros's safety. Say it with me: The male character with the highest social status in all of Amphoreus has to rely on the power and reputation of his mother to rescue another man from a powerful woman. Amphoreus really said "Ladies first." 💯

Anaxa's reactions to Aglaea are humorous but are also a perfect example of this overall social structure in Amphoreus which assumes strong women in power have an automatic degree of legitimacy because they are willing to seize violence as their means, despite violence being, in real-world cultures at least, stereotypically the domain of men. In 3.1, Anaxa simply accepts it as a given that he will become Aglaea's prisoner and that she will be able to do whatever she wants to him, because nothing in Okhema's social, political, or military structures would enable him to genuinely oppose her (if he even wanted to).

Even in his (sort of) fake-out "siding with the Council" phase, all Anaxa does is move himself from the grasp of one powerful woman to the next, shifting from being Aglaea's prisoner to Caenis's ace. Cerces even has an entire voiceline where she points out word-for-word that Anaxa is functionally just moving from one woman's cage to the next. Caenis in particular seems to view Anaxa as an object, a biting dog she can keep on a leash until she sics him on her enemy. Anaxa obviously is not so easily manipulated, but Caenis's threat about karma eventually comes true, and he nevertheless suffers the final wrath of the Holy City's society, being judged more harshly than anyone else for his seeming unwillingness to submit to the power of either woman in control of Okhema.

Both literally and thematically, the game tells us players that Aglaea and Gorgo are courageous and effective leaders because they live by the blade, because they are willing to harden their hearts and do whatever it takes, whether that means taking another's life--or their own.

To Usher in a New Era

Of course what really distinguishes both Gorgo and Aglaea's willingness to cause harm from malevolent forces in Amphoreus is their ultimate intent. Although both women are willing to do whatever it takes, they do so only in service to a greater purpose, one that they believe will better their world. In this way, Amphoreus's writers reinforce the underlying impression in Amphoreus's plot that women are more trustworthy and reliable leaders than their corresponding male counterparts. Slight side note on this, but it's kind of funny just how consistent this is--even "outside" of Amphoreus, Welt and Sunday had to turn to Herta to save the day, while inside Amphoreus, Trailblazer is still relying on Acheron's advice to get them through. (When you cater to the incels so hard you somehow loop back around into writing staunchly feminist plotlines...)

The message, repeated and unsubtle, is that there is a link between women's leadership and righteousness, with both Gorgo and Aglaea representing an idealistic desire for a better future for Kremnos and Amphoreus as a whole--one by opposing fate and the other by enforcing it.

Both Gorgo and Aglaea face prophecies that promise to reshape the world as they know it, prophecies which require them to make decisions that will ultimately cost them their lives in a desperate bid to influence history toward the best path. Gorgo rejects the prophecy she is given, determined to protect Mydei despite the destruction the omens claim he will bring to Castrum Kremnos.

Because of the players' predilections for Mydei, this choice to reject fate paints Gorgo as a heroine, an unselfish and moral person who will choose the life of an innocent child over she own safety. Her willingness to fight to the death to prevent Eurypon's atrocity against their son flies in the face of fate itself, attempting to stop an inevitable, self-fulfilling prophecy.

And, in fact, the game even teases us with the idea: What would Kremnos have been like if Gorgo succeeded? When Mydei returns to Kremnos, he either "envisions" or actually experiences (via timelines bleeding into each other), a seemingly parallel universe where Gorgo succeeded in saving him from the Sea of Souls, and where she clearly rallied the people of Kremnos to her cause. The Kremnos we see in that vision is entirely different from Eurypon's:

The people are happy, rejoicing and at ease, talking about pomegranates and writing and playing games with kids, while the sun paints the whole city in a soft and gleaming gold.

Contrast that with the Kremnos that Trailblazer and Castorice find when they travel back into the past where Eurypon betrayed his wife and left Mydei in the sea:

In the seemingly alternate timeline where Gorgo lives long enough to raise Mydei, the Kremnos we're presented with... looks a lot like Okhema. Looks a lot like the peaceful, idyllic Holy City where children frolic in the streets and the people are still full of light and life. By defying fate, we are shown (at least in some fragment of Amphoreus's timeline) that Gorgo achieves what she had longed for in Kremnos from the start, creating a better, gentler future for the people, prosperous and free of the cycle of Strife and meaningless violence that had plagued their kingdom for thousands of years. In this way, we can say that, for that lost timeline at least, Gorgo essentially achieved the Era Nova for Kremnos, ushering in a time of peace for her people. What Aglaea seeks, the game shows us that Gorgo was capable of achieving.

Conversely, Aglaea's path forward involves taking the complete opposite road: Rather than rejecting fate to create a better future, Aglaea seeks to embrace it. She has fully invested herself and her resources in the prophecy of the Flame Chase. She has to, because if there's no Era Nova to look forward to, then there's no hope at all for Amphoreus, and how can it be that something so beautiful is doomed to total destruction? If the Flame Chase Journey will end in a new start, if someone--anyone--will get to live to see the world born anew, then every sacrifice, every burden, every agony will have been worth it.

By embracing her prophesied fate instead of rejecting it, Aglaea is taking the same decisive stand as Gorgo, seizing the future of her world in her own hands and forcing Amphoreus along the path toward what she believes will definitely be a brighter future.

Not only does the description of Era Nova match the idyllic Castrum Kremnos we see under Gorgo's likely rule, but even the moments where both women truly make their stand and reckon with fate reflect each other as well: Gorgo demands her fellow Kremnoans stand with her, hoping they will see the wickedness of Eurypon's decision and reject blind faith in the prophecy they've been given. With her own strength, if even just Krateros alone had stood with her, she easily would have been able to push back against Eurypon's scheme. She lays out her vision for a different future, rejects the notions of the past, and is met with silence.

Meanwhile, Aglaea faces the Council of Elders in Okhema, where the decision about the Flame Chase Journey hangs in the balance, waiting on the final vote of a single person to join up with her cause. Just like Gorgo, the alignment of even one person to Aglaea's cause will make proof of her righteousness, prove the she's right. Aglaea lays down the gauntlet, demands the loyalty of her allies--and her leadership and vision are rewarded when Anaxa joins up with the cause, tipping the literal balance of the scales towards the new era Aglaea believes her efforts will bring to fruition.

(In essence, at the end of 3.2, we get to watch Anaxa do exactly what Krateros failed to--stand on the side of woman who wields justice.)

Ultimately, through they do it through diametrically opposite paths--rejecting and embracing prophecy, respectively--both women are characterized by their drive to create change, their refusal to accept a quiet descent into cruelty and darkness. Both take a stand, outlining their vision for the right way to go on, for a better, softer, brighter world, seeking the loyalty of comrades to legitimize their causes, and--failing that--willing to make the ultimate sacrifice of themselves to further their truly noble causes.

The strength of both women lies not just in their martial prowess, but in their unwavering dedication to a just cause, no matter the cost to themselves.

Generational Influence

What actually started me off on this whole look at Gorgo and Aglaea as thematic parallels was Mydei's scenes with Aglaea, particularly how he clearly considers her a role model for ideal leadership. While I won't go so far as to say Aglaea perceives herself filling any sort of maternal role for Mydei, I think the connection is obvious on Mydei's end: Having never gotten the chance to truly meet his mother, Mydei is almost certainly projecting "the leader my mother would have been" onto Aglaea. (Or perhaps we should say the opposite: The empty spaces in Mydei's mind when he thinks of "Gorgo" are sutured closed with Aglaea's golden filigree.)

Does this sort of praise sound a bit familiar? It ought to, because this is how Krateros describes Gorgo:

Both women are characterized by their ability to move people's hearts, to inspire hope, and to model ideal strategy for others.

So how could Mydei do anything but link Aglaea's leadership with the life he imagines his mother would have led if she had had the chance to rule Kremnos?

Consider the entire situation from Mydei's perspective: His people have just been (forcibly) rescued from an insane king whose true downfall began with his betrayal of wife, their nation's one genuinely noble leader. If Gorgo had been their ruler, none of this suffering would ever have happened. Fleeing the madness and death Nikador is bringing to Kremnos, the entire surviving host of his people migrate to the "Holy City," the (supposed) last bastion of light and peace and happiness in Amphoreus--which is effectively ruled by a woman so powerful that she knows and sees all.

Seemingly effortlessly, she commands respect and fealty, marshaling her forces to do battle with the might of her own sword, while fighting to maintain the very same values Mydei's mother wanted to bring to her own nation. While being unafraid of bloodshed, she treasures life more than anything else. She's honest, direct, and unflinching, but still, despite everything, kind and dedicated to protecting the world she loves.

Mydei doesn't know his mother but there she is. There's the "queen" that his mother should have had the chance to be. There is the leader that Kremnos needed. There is the powerful woman whose dream for the future could have single-handedly changed the course of fate.

Clearly, for lack of personal experience, the Gorgo in Mydei's mind is less a real person and much more an idealized figure. His only direct knowledge of her comes from one "dream," where she tells him that he's more important than the world to her (undoubtedly leaving Mydei to grapple with the question of whether that is something she truly felt or something he just wishes to be true, by the way). Mydei's only other frame of reference for his mother is Krateros's blind veneration, with Krateros constantly holding Gorgo up as the standard Mydei should meet.

Gorgo is clearly on an achingly high pedestal for Mydei. He shaped his entire youth around the need to avenge her, and then he shaped his entire adult ideology around her vision for Kremnos. In "our" timeline, Gorgo may not have lived to create the change she hoped for, but her goal was ultimately achieved nonetheless, through the inter-generational influence her memory had over Mydei. It was Gorgo's hatred of wasteful bloodshed that helped Mydei to hate it too. It was Gorgo's desire to change Kremnos's traditions that led Mydei to consider tearing down its dynasty. It's his mother's gentle love for her people that echoes in Mydei's same affection.

And through Aglaea, all those views and lessons were enforced. Before joining up with the Flame Chase Journey, the game tells us that Mydei's life was effectively still a hellscape even when he had his friends: They wandered the land with nowhere to call home and were attacked by (or themselves attacked) everyone they met, engaging in endless violence just to keep existing, while he watched his companions be brutally murdered one by one. At the risk of extreme understatement: Mydei was not living the life his mother wanted for him.

After joining the Flame Chase Journey, Mydei becomes one of the "heroes" who dedicates himself to protecting innocents and serving as a guardian; he finds a cause, does his best to create a new home for his people, and works to reshape their views towards the beliefs his mother espoused. Like Gorgo putting down her weapon and taking up the role of "just your mother," Mydei gets to (temporarily, briefly) let down his guard and live as just a person, cooking sweets, roleplaying with kids, and cuddling with chimeras.

He inches closer to the dream of finding meaning in finding peace.

And if it was Gorgo who inspired those choices, then it was Aglaea who made them possible--Aglaea who accepted the Kremnoan Detachment into Okhema, Aglaea who literally put aside her fear of Mydei to accept him as a fellow Chrysos Heir, Aglaea who guided him, Aglaea who modeled transformational leadership for him, Aglaea who gave him the final (if forceful) push he needed to commit to changing his people's future, destroying the bloodstained Kremnos of the past. In all his struggles to move forward, the threads of Aglaea and Gorgo's mirrored ideology lead Mydei through the labyrinth of uncertainty.

All things considered, Gorgo might actually be the character with the single most significant impact on Amphoreus's current plot other than the Trailblazer, because the guidance and beliefs she instilled in Mydei will live much longer than Gorgo and even Aglaea herself--may even live on through the end of the world and the rebirth of all of Amphoreus, because it is her exact ideology that becomes the backbone of Mydei's life advice to Castorice. When Castorice reveals their future, telling him the demigods of today's Amphoreus will become the titans of the new cycle, Mydei looks her in the eye and tells her the exact thing he learned from his mother and Aglaea:

Don't accept defeat--defy despair with everything you have and weave the future with your own two hands.

Perhaps nowhere do we see the parallels between Gorgo and Aglaea more clearly than in the "As I've Written" chapter, where we are told that what ultimately swayed Mydei's decision to join the Flame Chase Journey was when, completely without knowing it, Aglaea spoke the exact same words as his mother.

Though the organization of "As I've Written" is often unclear, making it difficult to determine which passages are actually linked to each other and which are entirely separate, I'm going to personally interpret the quote included in Mydei's third chapter as that special sentence once spoken by both Gorgo and Aglaea:

"The lion has its own historian, and the history of the hunt should not be held by the hunter alone."

Putting aside that all of this is completely impossible in the timeline as we know it (Mydei has no way of remembering the sentences his mother might have spoken to him, and none of the sentences in any flashbacks or her letter to him have anything to do with lions or historians), if this is the line echoed by both women, it is an obviously poignant phrase that would immediately signify to Mydei that Aglaea's ideology matches his mother's.

Although the English translation of "As I've Written" leaves A LOT to be desired (sometimes to the point of being entirely incomprehensible; I legitimately have no idea who okayed those translations, rife as they are with just straight up grammar errors lol), the origin of this phrase is unmistakable. It comes from the African proverb that is normally translated as:

"Until the lion has its own historian, the history of the hunt will always glorify the hunter."

Essentially, "History is written by the victors."

If we take the English translation seriously, what Aglaea and Gorgo would have been saying is that "the defeated" (which, by the way, is symbolized by the lion repeatedly in Kremnos's history) should have their own historian, and that no one should get to speak for them. That is, of course, that no one should get to speak for Mydei except himself--that he should take charge of his own destiny and write his own history into the books.

Krateros repeatedly insists that Mydei is the hunter, the one who should be controlling the whole hunting ground:

But Aglaea sees through Mydei in the first moment of meeting him--sees that he's not the victor but the victim, not the Kremnoan king-to-be but the "wandering lion" who is at risk of being slaughtered on the altar of Kremnos's glory. Kremnos's history is not the "hunting lion"--it's the lion hunt. Gorgo the founder killed the lion, Gorgo the mother killed the lion... So where does that leave Mydei, the symbolic lion?

This line is saying, Aglaea and Gorgo would both have been saying: I see you. I see that there's an entire unspoken legacy weighing on your shoulders, a horror you're fleeing from like wounded prey, a fierce desire in you to refuse the tale this world is writing for you. And in supposedly echoing Gorgo's words, Aglaea would also have echoed the very core of Gorgo's faith:

Those who have lost everything still deserve the chance to shape their own futures.

Those who have faced impossible odds, those who Fate itself has marked for death, those who would martyr themselves to secure the futures of others can and should still rage against the dying of the light, still fight with every tooth and nail to bring about a different ending.

When no one but (apparently) the ghost of Gorgo in his head had ever said it to him, Aglaea told Mydei:

If you want a different history, you can write it.

Of course he joined the Flame Chase Journey after seeing that its leader carries the very same deep-rooted goodness as his mother.

And while we're here talking about the mirrored ideologies and guidance both women have offered to Mydei, I also want to add a tiny aside about Aglaea's symbolic leadership of the other Kremnoans as well.

Although of course Mydei remains their de facto leader even in Okhema, Mydei himself makes a big deal out of the Kremnoans having submitted to Aglaea's authority, repeating in several places that the Kremnoans have a duty to follow her commands.

This isn't an off-hand statement; for someone who should have already been crowned king to state in his own words that his people should submit to someone else's authority is effectively tantamount to ceding his throne specifically to her--Mydei has essentially handed over the reins of Kremnoan leadership to Aglaea. He's the crown prince, but she's effectively the queen (that his mother never got to be). The promotional materials even label Aglaea and Mydei as occupying the same role ("King"). This is especially clear in how the Kremnoans refer to her. In multiple places, Aglaea is referred to as "the golden-haired usurper."

You don't get called a "usurper" unless people believe you're attempting to undermine their current ruler. In all but flat out saying it, the other Kremnoans perceive Aglaea as usurping Mydei's authority, despite Mydei himself willingly giving that power to her. Mydei isn't careless with the Kremnoans' futures, he doesn't shirk his duties as their crown prince, and he certainly would never surrender his power to a weak, unfit ruler. Undoubtedly, Mydei is comfortable with the idea of ceding authority to Aglaea in part because he recognizes his mother in her, sees the qualities that elevated Gorgo to royalty in Kremnos alive and well in Aglaea's Okhema. In this way, perhaps we could say that another factor contributing to Mydei's hesitance to take up Kremnos's throne might be a subconscious sense that the Kremnoans are already in the right hands, that Aglaea--embodying the ideal leadership Mydei projects onto the memory of his mother--is a better fit than he could ever be to lead them anyway?

Heck, while we're at it, I think it's even interesting that the cities of Okhema and Kremnos mirror each other so much, down to things that honestly don't make sense: We're told the legend explaining the lion heads on the walls in Kremnos, but... why are there are also talking lion heads all over Okhema's walls? Gorgo who tore the head off the Tretos lion is echoed in Aglaea, who rules a kinder, softer city still symbolized by the lion, where the talking lion heads get to be gossips and riddle masters instead of war strategists.

Okay, and the last silly thing I want to say: Aglaea would definitely not call herself a mother figure for Mydei, but after 3.2 reveals Gorgo's tough love methods, Aglaea's attempts at scolding him start to look pretty familiar, from her exasperated chiding to her genuine criticism:

Mydei has it tough, having to meet the expectations of women like these lol.

To Fade from the World

Sorry, that was a bit too light-hearted for me, so time to end this post with some more pain:

A final point I think worth comparing between Gorgo and Aglaea is the ultimate fate that both of them face in the story: Gorgo is already gone, but Aglaea is not far behind.

Gorgo's death in particular is treated as abominable. Kremnoans may be warmongers and Strife worshipers, but they're supposed to be honorable about it. Key to their obsession with combat is the idea of noble combat, between contestants who are each given a fair chance. Despite being Gorgo's greatest ally, Krateros does not stand up and join her in her revolt against Eurypon, likely because of that same "might makes right" mindset that shaped so much of Kremnos's decision-making: If Gorgo's cause was truly righteous, then she should have been able to stand up for it herself and win a duel against Eurypon. If it had been a fair contest as expected by Kremnoan cultural standards, then whoever won would have been considered the "correct" person, and no one could have contested the fair results.

But Eurypon's cowardice drove him completely from the path of Kremnos's sacred virtues, causing him to betray their values by betraying his wife, using poison to deny her her fair chance in the duel. This action--forsaking the core tenets of Nikador's divinity--marks the truest extent of Eurypon's downfall, and cements that he is utterly unfit to rule, lacking both the courage to confront his wife in fair combat and the honor to reject under-handed schemes to ensure victory.

Gorgo's death is treated as a tragedy, an act that entirely shapes the course of the story through Mydei's loss to the sea and his subsequent quest for vengeance. It was cowardly betrayal that took away Kremnos's path to a brighter future, locking the self-fulfilling prophecy of Kremnos's downfall into place.

And this, of course, is a perfect mirror to the prophesied end Aglaea is going to face, possibly sooner rather than later. Upon their ascension as demigods, each Chrysos Heir is told how their life will end. Aglaea's prophecy states: "You shall have your final bath in warm and radiant gold."

As Aglaea is most often seen there, the assumption is that she will literally die in the baths--Mydei states this in-game, saying "If a normal person heard that prophecy, they'd probably just stop coming to the baths." Aglaea effectively dismisses this threat (in a very Kremnoan fashion even, lol) by simply saying "Well, who cares? I like baths!" Whatever will be, will be; if her assassin has the strength to end a demigoddess, then truly, it doesn't matter where she goes in Okhema or across the world--fate will find her.

Of course, there's also the possible interpretation that "final bath in gold" refers simply to bathing in her own golden Chrysos Heir blood...

But in either case, the prophecy, Mydei's comments, and some plot leaks I've seen all point towards a violent and unexpected end--likely at the hands of a betrayal.

Like Gorgo, Aglaea will not live to see the world she wished to create, the softer, golden future she wanted to bring to her people. At the hands of her enemies, either facing it with honor or in an unexpected moment of vulnerability, Aglaea will be eliminated before the final hour, fading from Amphoreus's memory as the survivors succeed--or fail--to usher in the new era she sacrificed everything to create.

Although both unique characters on their own, entirely separate from each other, examining Aglaea and Gorgo's parallel plot points, core character traits, and their roles and influences on others throughout the course of the story reveals yet another incredible "echo effect" in Amphoreus's writing, aligning opposites--Okhema and Kremnos, Beauty and Strife--through eerily similar patterns and revealing the enduring thematic threads that bind together the separate portions of Amphoreus's tale.

More than anything, Amphoreus feels to me like a very Hamilton-esque "Who lives, who dies, who tells your story?" plot, one that hinges on the question of who has the power to shape and reshape the future of their world, who has the power to break through a pre-ordained structure and bring about a better end--who has the courage to sacrifice it all to seize the reins of fate itself.

Through Aglaea and Gorgo, the story reinforces a message about women in power, women who perfectly balance violence (the traditional domain of male figures) with love, with beauty, and with righteousness to shake the foundations of their world. In what they value and how they lead, the story mirrors and mirrors again, mise en abyme, the message that those who are willing to give it all for the greater good are the true crafters of our story.

(Perhaps all this is preparing for the presence of another woman, one just as willing or more to do all that must be done to usher in a brighter future for her world?)

The history of the hunt should not be held by the hunter alone.

The lion has its own historian--and so too does the lioness.

Although Gorgo and Aglaea will both fall before that golden Era Nova can be achieved, the marks they have left on Amphoreus's plot, through their legacies of defiance and grace picked up and carried, torch-like, by other characters, demonstrate just how central both women were to all that happened in the world's past and all that will happen in its future.

[king-candybug-backup]

More screenshots that killed me while working on that dumb disco stick memepost, but OH MY GOD, THIS ONE ESPECIALLY-

NEFARIOUS CREATURE

[fluffystuffies]

i have more cookie..and with these two cause they are sosoSO sweet i love them-

[cheruib]

i love plums we don’t give plums enough love on this website

[belanova]

Dash active look at my Brainrot actually

Explanation of how I got here! ✨ So in deltarune the person who talks to us in the beginning in the game might be two people

This is because the Japanese translation in the game the person who speaks to us is using the two alphabets of Kanji and Katakana

Which is really weird!!! katakana is only used for loan words so writing like this is really strange

The only other person who speaks like this is in Undertale is W.D Gaster (and queen but that's emphasis that she's a robot... Unless. 😳)

Then suddenly when the vessel gets yeeted the text turns back into Kanji and Hiragana, and refers to you as the player as Omae (which is kind of a distant way to say you)

The only other person in the Undertale who speaks like this is Chara (dun dun dunn) since the rest of Undertale avoids Kanji Chara stands out as using it extremely frequently and uses Omae for the player

Which is why people believe there is two people in the intro and the second person is Chara

HOWEVER I HAVE OPEN MY EYES TO A BIGGER POSSIBILITY .

ITS NOT CHARA!

The reason I don't believe it's Chara simply cause Chara is like.. dead

Lmao ik they can probably access supernatural dead powers and is technically the one you actually play in Undertale, but it seems strange for Undertale to be a game about keeping goodness in your heart and the power of friendship just for the other game to prioritize the geno route like that

but Yk who does have extremely similar quirks to Chara and would make the most sense to talk like them? Kris dreemurr

I think it would be a crazy crazy parallel of the games where in Undertale you get to name the fallen child, in Deltarune your protagonist names you

And frankly I think it just be cool if our protags first dialogue is telling the player that theyre not playing as the vessel but as them

[twistmusings]

Character Analysis of the Twisted Wonderland Dorm Rooms - Octavinelle

Dorm Room Character Analysis Series

Heartslabyul | Savanaclaw | Octavinelle | Scarabia | Pomefiore | Ignihyde | Diasomnia

Azul Ashengrotto

Azul actually has a lot of little touches in his room that are very cute. For one thing, his general decor lends itself to the idea that Azul likes the finer things in life. Truthfully, all of the dorm rooms are have shown a lot of attention to the character's actual stylistic preferences in the Guest room and Azul is no exception.

Rather than having a bedside table, Azul has a second safe in his room in addition to the large one he has in his office. This is interesting because, well, that means that there's things that are likely more important to him than the contracts he kept in his vault in his office. I'm certainly curious about what sort of thing Azul would choose to keep in a personal vault - are they especially important contracts to him? Money? Or, perhaps, just other things that are especially special to him. I know the kneejerk reaction for a lot of folks is to be that it's where he stores his coin collection, however...

Azul actually displays his coin collection in a frame! He has them mounted in velvet.

Several of the other characters have featured a feather pen and ink bottles in their room, however a cute touch is that Azul's pen is actually fish bones. This is a cute little insight into what they may use for pens underneath the Coral Sea. Or, perhaps, Azul just has a flare for the dramatic.

Azul has a trunk and several potion bottles on top of his wardrobe. The fact that Azul has these out in the open on top of the trunk likely means that all of the items in the trunk were potion bottles, and then because they were stored up so high, he placed the ones he commonly uses on top, rather than storing them back inside the trunk. Azul is otherwise very organized, so it would make logical sense that if he's not putting these away, they're likely out because he knows he's going to reach for them again.

This is honestly probably my favorite detail in Azul's room because these are terrariums. Azul never mentions having any interest in Terrariums, but Jade does, meaning that these are likely terrariums that Jade made for Azul and gave him as gifts. This is actually really cute, because though the Leech twins joke about leaving Azul as soon as he becomes boring in canon, this shows that Jade at the very least thinks of Azul in his free time when he's not at work or around Azul by obligation, enough to have given him gifts. it's also worth noting that Azul has these displayed, which means that they aren't a gift that's rotting away in a drawer or stowed away somewhere. It's also worth mentioning that the ones that have plants in them are alive, which requires at least some level of attention to them in order to maintain the environment inside. Little things like this show how much the characters actually care about each other.

Azul's hidden Mickey is next to his shelf of terrariums.

Jade Leech

Jade is an interesting case because he, like Ruggie and Trey, doesn't actually have much displayed in his room in terms of decoration. That being said, what he does have displayed are his terrariums. Jade being the sole member of the Mountain Lover's club, it seems like he probably spends a lot of his free time out and tending to either his plants in the greenhouse or actually hiking.

This isn't likely directly because of Jade, however it seems like Octavinelle as a whole have coat hangers and hat racks that are themed around octopi, which is possibly the cutest thing I've ever seen.

Jade is notably organized - he has his shoes on his shoe rack, his hat and scarf hung up, and his bed made. This will become more important when you see Floyd's half of the room.

There is also this object. While I'm not certain and it doesn't seem to be mentioned in any of Jade's vignettes outright, I suspect this may be a jewelry box. It's a little hard to tell in comparison to a lot of the items in the student rooms, though, so if anyone has any additional input, please let me know! Neither of the other two from Octavinelle have an object like this one in their rooms.

Jade's Hidden Mickey is on one of his terrariums.

Fun fact, Jade AND Floyd both have errors in their Night 2 versions of their backgrounds, as they are both missing the hidden Mickey.

Floyd Leech

Oh, Floyd, sweetheart, you live like this?

Jokes aside, Floyd actually has some things of note! While his side of his and Jade's room (canonically they share a room) is messy, he's messy in a different fashion than someone like Leona. Where Leona doesn't hang his clothes - Floyd does. Or at the very least, it seems like someone does it for him. (Given the haphazard hanging of his jacket, though, I would guess that he probably does it himself.) What does that tell us? Well, more than likely, Floyd gets small bursts of motivation to clean certain aspects of his room, and then grows bored and gives them up. To be quite honest, for those who know of or experience it, Floyd's organization style reminds me a lot of how ADHD folks tend to struggle with forming sustainable cleaning habits, as it's often easier to put something down rather than to put it away.

Snacks, literally everywhere. Floyd has snacks on his desk as well as on the shelf above his bed. It would seem that Floyd has a serious sweet-tooth, given the amount of sweets that we see in his room.

For the life of me, I could not tell you if this is a trash bin or not, but if it is, it looks like whatever Floyd put in there has teeth marks on it.

Another thing of note about Floyd's room, while there's a lot of things that are strewn around, there's not actually all that much trash around. He has a single empty container on his desk, but otherwise his floors are clean, and it seems like things that need to end up disposed are. Again, whether or not that's Jade intervening because they share a room, it's hard to say.

Floyd's hidden Mickey is on his pillow.

As was mentioned in Jade's section, both Floyd and Jade's Night 2 versions of their backgrounds are missing the hidden Mickey. Floyd's background has an additional error however!

Floyd's box of cookies is actually missing the box in his Night 2 artwork. If I had to guess, since I have experience with digital art, more than likely, the layer containing these details was accidentally deleted when making the edits for the Night 2 cards, resulting in these things disappearing when the background were published. It's a minor error, all things considered, and gave me a little giggle because now it just looks like Floyd has haunted cookies floating in his room.

Addendum

Excellent catch by @twistedminutia that Azul's fish bone pen is likely in reference to the pen Ariel signs her contract with in the original movie! (To be quite honest, and I know this is ironic given that this blog has such a heavy octavinelle theming, but the little mermaid was my least favorite Disney movie growing up, so I never would have caught this myself!)

[pearlprincess02]

olivia rodrigo and taylor swift's composite chart

sun

capricorn sun: a capricorn sun gives a relationship a sense of ambition, structure, and long-term potential, but it can also create a dynamic where both people feel pressure to meet high expectations. in the case of taylor swift and olivia rodrigo, their relationship has mirrored classic capricorn themes—mentorship, admiration, and eventual distance due to career-driven goals. their bond started with olivia looking up to taylor, but as olivia’s success skyrocketed, complexities arose—echoing capricorn’s tendency to navigate relationships through lessons in power, respect, and self-sufficiency.

sun in 2nd house: a composite sun in the 2nd house makes a relationship heavily tied to values, security, and material or artistic worth. in the case of taylor swift and olivia rodrigo, their connection has been deeply influenced by music, ownership, and creative integrity—core 2nd house themes. their dynamic took a turn when songwriting credits and royalties became a public discussion, reflecting how shared resources and artistic contributions can shape a bond. early closeness was overshadowed by industry pressures and evolving priorities, highlighting the challenge of balancing personal connection with creative and financial independence.

moon

leo moon: a composite leo moon brings passion, creativity, and dramatic emotional highs and lows to a relationship. in the case of taylor swift and olivia rodrigo, their connection has been fueled by admiration, artistic inspiration, and the emotional intensity that comes with being in the public eye. however, leo moons also crave validation, which can lead to tension when one person feels overshadowed. starting with admiration and shared love for music, but evolving into competition and misunderstandings as both shine in their own right.

moon in 9th house: a composite moon in the 9th house gives a relationship an expansive, idealistic, and sometimes distant emotional tone, often influenced by philosophy, travel, or mentorship. for taylor swift and olivia rodrigo, their bond initially had a mentor-student feel, with olivia looking up to taylor as a musical inspiration. however, as olivia’s career took off, differences in artistic vision and personal beliefs may have created emotional distance. starting with deep admiration and guidance but evolving into a journey where the student must find their own path, sometimes questioning what they once idolized.

rising/ 1st house:

sagittarius rising: a composite sagittarius rising gives a relationship an adventurous, larger-than-life energy, often playing out on a public or global scale. for taylor swift and olivia rodrigo, their connection was introduced to the world through admiration and shared artistic vision, but like many sagittarius-influenced dynamics, it evolved unpredictably. their relationship has been marked by inspiration, growth, and eventual divergence they started as close allies but navigated competitiveness and independence while remaining linked by their larger public narratives.

mercury

capricorn mercury: a composite capricorn mercury gives a relationship a serious, calculated, and sometimes business-like communication style. for taylor swift and olivia rodrigo, their exchanges—both direct and indirect—have been shaped by professionalism, creative ownership, and industry expectations. ehile there was once admiration and mutual respect, capricorn mercury’s reserved nature may have led to miscommunications or strategic silence rather than open dialogue. initial encouragement and inspiration, but ultimately a relationship where words are measured, and unspoken lessons hold just as much weight as what is actually said.

mercury in 2nd house: a composite mercury in the 2nd house makes communication in a relationship revolve around values, ownership, and material or artistic worth. for taylor swift and olivia rodrigo, their bond has been heavily influenced by songwriting credits, artistic integrity, and public discussions about creative influence. conversations—or the lack thereof—about who owns what in music have played a major role in their dynamic. started with mutual respect and collaboration but later saw tension over business, money, and creative control, showing how shared values can both unite and divide.

venus

capricorn venus: a composite capricorn venus gives a relationship a structured, goal-oriented, and sometimes transactional approach to love and admiration. for taylor swift and olivia rodrigo, their dynamic started with admiration and respect but has been shaped by industry politics, professionalism, and lessons in artistic ownership. capricorn venus relationships often involve longevity but can feel cold or distant when personal and business interests collide. a mentor-protégé relationship where admiration eventually meets competition, highlighting the challenges of maintaining warmth in an industry built on status and success.

venus in the 2nd house: a composite venus in the 2nd house makes a relationship deeply tied to values, possessions, and material or artistic worth. for taylor swift and olivia rodrigo, their connection was built on admiration and shared artistry, but as questions of songwriting credits and ownership arose, it highlighted the tangible aspects of their bond—who inspires who, and who gets credit for what. starting with mutual respect but ultimately clashing over creative success and recognition, proving that in the world of fame, admiration and competition often go hand in hand.

mars

sagittarius mars: a composite sagittarius mars brings a relationship a sense of adventure, boldness, and sometimes impulsive energy. for taylor swift and olivia rodrigo, their connection has been marked by creative ambition, a shared drive for success, and a willingness to push boundaries. however, this energy can also create tension, especially when individual goals or approaches clash. two people driven by their own passions and missions, with the potential for both fierce collaboration and conflict as they navigate their paths, all while challenging each other in unexpected ways.

mars in the 12th house: a composite mars in the 12th house creates a relationship marked by hidden motivations, subconscious drives, and sometimes secretive or passive-aggressive energy. for taylor swift and olivia rodrigo, their connection may involve behind-the-scenes struggles or unspoken competition, with both individuals grappling with inner tensions about their public personas and creative expression. this placement can also point to a relationship where one or both parties channel their energy in more subtle ways. their deep bond occasionally masked underlying frustrations or unaddressed competition, particularly as they both navigated their careers and relationships in a highly visible world.

all observations are done by me !!! @pearlprincess02

celeb's masterlist

main masterlist

[paddysol]

sometimes i wonder if zam looks down at his hands covered in redstone and cant help but thinking its blood. and in the end if theres any real difference when those same hands are being used to build and wield weapons....

[jonahmagnus]

Horrid Henry but Pokémon :3

Authors note: if this doesn't format correctly, I'm throwing this post into a woodchipper

More under the cut! ✂️

- Henry and Peter both got Zoura from their parents as starter pokemon. Peter got the well behaved one with the rare white fur" and Henry got the "scrappy leftovers". That "well behaved rare one" is infact, the equivalent to a pokemon corpse (hausian zoura, google it), so this action will have consequences.

-Henry isnt allowed to set off on his journey until he's 14 because he isn't "mature" enough (fair) and when he is, he's expected to take 12 year old Peter with him. He promptly ditches Peter (which Peter expected, and had already slipped a pokedex and some potions into Henry'a bag when he wasn't looking) and sets off to meet up with Ralph.

-Ralph is waiting for Henry to start his journey because their gonna travel together. His family gave him four starter pokemon when he was ten, two of which he gave away to Margert and Susan because he was ten years old and could not have taken care of four pokemon.

⁃Henry is predominantly a ghost type trainer because he looks like a haunted Victorian child and his starter pokemon is a corpse.

Susan and Margret team up and become the absolute menaces of the forest areas. Like their killing the local rattata population.

-Susan and Margret are so good at double battling that they beat all the team rocket grunts in the area by themselves ♡ gym leaders everywhere are trembling from their buggy swag

-Henry and Ralph get a bad reputation, mostly earned by cheating in battles, and robbing people. They are who they are. ♡

TEAMS

The start:

Henry: Zoura, Zubat, Yangoos

Ralph: Fennekin, Froakie, Skitty, Buizel

Peter: Hausian Zoura, Eevee, Shuppet

Susan: Pacharisu, Spinark, Joltik, Dewpider

Margret: Chespin, Scyther, Pineco, Karrablast

By the end:

Henry: Zorark, Crobat, Gumshoos, Mawile, Rockruff, Sabeleye

Ralph: Delfox, Greninja, Floatzel, Delcatty Espeon, Shellos

Peter: Hausian Zorarak, Chandelure, Banette, Sylveon, Alohan Ninetails, Mismagius, and frostlass that he keeps in the box, alongside a Rotomdex.

Susan: Pacharisu, Aquanid, Galvantula. Beedrill, Parasect, Ariados

Margret: Chesnaught, Scyther, Escavalier, Forretress, Shuckle, Heracross

[brainworms-all-night-long]

Would you guys be mad at me if I made Mangey covered ears to tails in blood that's most likely not his

[ghoooooooooooooooost]

?

[sour-stardust]

MattMello Week Day 3: First Date

Ik it's Thursday but I fell asleep before finishing this so here's Wednesday's art

Anyways they're at the arcade (Matt's idea ofc)

[partyofthemind]

Enjoying Norah Jones's Come Away With Me with an Allagash Coolship Red.