#only the children in this show are honorable and that's because they're still innocent

[convenientalias]

Why Nirvana in Fire Wins at Revenge Story with Identity Porn

Nirvana in Fire was my first ever cdrama that was a revenge story with identity porn. Since then, I've seen many other dramas along similar lines. A League of Nobleman. Blood of Youth. City of Streamer. Fighting for Love. Legend of Anle. Long Ballad. Princess Weiyoung. Rise of Phoenixes. Sword Dynasty. Weaving a Tale of Love. Word of Honor. Some of them are quite good but none of them really hit the same way. So, apart from the fact that it was the first one I ever watched, I thought I'd made a brief list of reasons why I think Nirvana in Fire is the best.

Lin Shu's Identity

I just appreciate that when shit went down and Lin Shu's whole family and army and many of his friends were killed and he became a man on the run, he was a full-grown man (okay, still pretty young, but definitely not a child) with his own life and even an army position.

A lot of these identity porn dramas will have their MCs meeting ppl for the first time in many years, in disguise, but they only knew these ppl when they were children. Childhood friends are great and all that, but can they hit as hard as the complicated, fleshed out relationships that Lin Shu had and lost? He had a friendship of many years with Jingyan. He had an engagement and a longstanding friendship with Nihuang. He has friends from the army, younger cousins playing the role of "we don't even understand what happened back then and maybe that's better", older friends and relations who he actually knew as an adult.

Simultaneously, his past identity increases the threat of discovery for Lin Shu. He's a known factor to many, many people in the capital. Yes, they think he's dead. But small things like a hazelnut allergy or his mannerisms or his previous friendships with people are still memorable enough that even with a completely different face, if he's not careful, he might give himself away. He's not infiltrating a group of strangers or people who only knew him as a kid. He's infiltrating a group of people who were close to him for many, many years of his life.

HOWEVER. Lin Shu's identity is not so important that everyone in the capital is still obsessed with him twelve years later (with some exceptions). This isn't Mysterious Lotus Casebook where we're all still pining for Li Xiangyi, because...

2. The Chiyan Case Wasn't Even About Lin Shu?? (Also, No One Cares About That Ancient History Anymore (Jingyan, Sit Down))

The Chiyan case wasn't about the Lin family at all, really.

No one specifically wanted Lin Shu dead or had a big grudge against his dad or anything. It's all about power, military and political. For some conspirators, it was just about getting a leg up in court. But mostly, it was about Prince Qi, the previous crown prince. The Lin family just happened to be friends with him and ended up in an uncomfortable (highly murderable and frameable) position.

Lin Shu may mourn his family, but for the majority of the show, he doesn't talk about it. He doesn't talk about his mother and his family back at the capital either committing suicide or being killed indiscriminately. He only mentions his father's name a handful of times in the whole show. Lin Shu's drive is that his father's ARMY was killed, tens of thousands of men. That's the weight on Lin Shu's shoulders: the death of all these innocent men because they were in the way. The Chiyan Case; the Chiyan Massacre. The denouement of Lin Shu's victory (not to give too many spoilers) is not just his father's name being cleared of a treason charge. It's when there's finally a memorial put up for the Chiyan Army, with memorial tablets that he can publicly visit to pay respects.

Why does this make it a better revenge story with identity porn? A couple reasons. First, Lin Shu is very much the center of the story and has very personal beef, but he treats himself like a tool and his objective isn't about himself or familial connections (they're part of it but they're not everything). He doesn't even know all the people he's avenging. That's fine; he'll still carry that weight. I just think it's neat.

Second, the fact that the Lin family (and the whole Chiyan Army) were really just collateral damage for getting rid of Prince Qi really emphasizes just how careless the current regime is of the value of human life.

Third, as Meng Zhi says when Lin Shu comes to the capital, everyone at court is busy with their own little power struggles and no one has time to care about Lin Shu or protect him. Lin Shu's like yeah that's fine :) I'm not anyone's focus anymore and the Lin family has been swept under the rug like we never existed :) and no one even talks about the Chiyan case anymore for fear of being accuse of treason :) that's all okay because I'm about TO MAKE THIS EVERYONE'S PROBLEM ANYWAY and honestly the fact that everyone's trying their hardest to forget will just make them more oblivious when I come to fuck them up.

3. All Of This is Whose Fault, Again?

That's right, folks, we're in a show that knows that when shit goes down at court and your family gets framed for treason and the emperor orders them executed, sure, you can blame the conspirators who framed them all you want, but also, YOU KIND OF DO HAVE TO BLAME THE EMPEROR.

People have said enough about how great this is on a thematic level of accountability but seriously I've seen so many shows dodge this. ~It's not the emperor's fault bc he was misled by these conspirators~ or ~the emperor is only a puppet emperor, if he actually had power instead of this evil person, he would put everything right.~ Or, if they dare to blame the emperor, maybe he's just an evil emperor and was bad all along. NIF says yeah, he was lied to on many levels. There was a whole complicated conspiracy going on and many people to blame. But he could have taken things slower. He could have required better evidence. He could have trusted people who had supported him for many years, at least enough to listen to their side of the story BEFORE KILLING THEM. And why didn't he? It's not because he's an idiot. It's because he's an emperor, and emperors don't like seeing other people gain enough power to even potentially become a threat. It's because he wasn't looking for the truth, he was looking for an excuse to kill. And he's not unusually evil for that; this kind of callousness towards murder and grasping for power at all costs is more the norm at court than any kind of honor or morality.

The Emperor's a nice guy sometimes! He used to fly kites with Lin Shu when he was young! His sons give him a headache, but honestly, relatable, they'd give you a headache too! He likes Consort Jing and honestly, who wouldn't! And he killed one of his sons, one of his closest friends, and an entire army, and he would do it again without hesitation. He's not especially evil. Being an emperor is bad enough.

4. Other Bad Guys

It's worth mentioning that Lin Shu's opponents are not stupid.

Xie Yu and Xia Jiang, Prince Yu and the Crown Prince, even the Empress and Noble Consort Yue: They aren't all geniuses, but they aren't idiots flailing around in spite. They're pretty smart, and if Lin Shu wants to take them down, he has to be smarter.

It's also worth mentioning that this is not one of those shows where the protagonist happens to take down his opponents mostly by standing still and just defending himself when they lash out at him. This seems like an obvious thing in a revenge drama, but the number of times I've seen the opposite, the protagonist swearing revenge and then just struggling with self preservation.... but no. Lin Shu has A Plan. He is going to be proactive and actually take his enemies down. Admittedly he will do this by revealing their past misdeeds but this isn't a case of "the misdeeds will just happen to pop up". This is a case of "I will actively unearth skeletons from where you threw them in a well in an abandoned manor".

TO SUM UP

Without going into the things that make Nirvana in Fire a great show in general (great acting, good pacing and plotting, good costuming, and so on and so forth) I think the main things that make it hit for me as a revenge story with identity porn are 1) letting the MC's past identity be that of a grown man who actually had a life (more connections to the past, but also more to lose and more danger in the present as a result), 2) the fact that the offense that the MC is avenging wasn't even like a personal thing to the offenders (bc! it's fucking infuriating!), 3) the fact that the drama is willing to face the root of the problem (the problem is both corruption at court and the fact that the highest arbiter is flawed, not just individual conspirators), 4) the supply of multiple good antagonists, and 5) LETTING THE MC ACTUALLY, ACTIVELY PURSUE REVENGE AND THAT'S THE MAIN PLOT AND WE AREN'T SPENDING MOST OF OUR SCREENTIME ON SIDEPLOTS AND ROMANCE OR MERE SELF PRESERVATION. These may not seem like large things but my friends, you would be surprised how many revenge dramas I've watched at this point that can't do them.

ok I'm done ranting. Feel like most of this is actually stating the obvious but I'm just in a mood and had to get it out. (...also possibly I've been let down by some revenge dramas lately but I won't get into it. it's okay. we can't all be Nirvana in Fire; only Nirvana in Fire can be Nirvana in Fire.)

[hello-nichya-here]

Thank you for being sympathetic to Alicent and viewing her situation with actual nuance and understanding

I'm proship as they come but the way the majority of the HOTD fandom talks about her make me so deeply uncomfortable with how casually cruel and lacking of sympathy they are. Like yeah she's a fictional character, but yeesh, their hatred of her is so eerily close to actual IRL misogyny. It's one of the very few times when fictional discussion is crossing the reality line for me

Oh, it has absolutely turned into real life misogyny - there's a ton of idiots online threatening to do all kinds of vile thing to the actress because she dared to comit the crime of playing a character they don't like.

And I meant it, even as someone who is very firmly Team Black, the Greens are interesting, compelling, complicated characters that are fun to watch, so even when I'm pissed at one of them is a "love to hate" kind of situation, because they're still being entertaining.

And again, Alicent was objectively screwed over the entire show, by her father, her husband, and by her society in general. Did she sometimes make things worse for herself or hurt other characters who didn't deserve it? Yes. But so did Rhaenyra, Daemon, Viserys, Aegon, Aemond, etc. The whole point of that story is practically nobody stays fully innocent when there's a full on war going on, and EVERYONE becomes a victim of the circumstances in said war.

I might want Rhaenyra to be queen, but it IS objectively unfair how Alicent was raised to think her duty was to marry whoever her father picked for her and give her husband male heirs to inherit all he had, and she did that without complaining for the longest time - and then her husband not only doesn't want her children to inherit, but he also has the nerve to call his child of a previous marriage his ONLY child.

I would not blame her one bit if she started throwing stuff at Viserys while screaming "Then why the fuck did you marry me and make me have kids with you for? The fuck was that about?" Hell, she could snap one day give Viserys too much medicine to kill him once and for all, I'd say she was fully justified (and in the truly pitiful state he was in, he might actually thank her fo it).

It really is no surprise that, when Rhaenyra makes a toast in Alicent's honor, thanking her for all the devotion she offered to her father through the years, caring for him as his health worsens, it led to the ONLY time adult!Alicent says she believes Rhaenyra would be a good queen. It's the first time in YEARS anyone has thought of everything she was put through, everything she had to sacrifice for the sake of other people who didn't even deserve it - and so it becomes the first, and sadly last, time she sees eye-to-eye with her former friend, and recognizes that Rhaenyra's situation of "You were named heir then your father went and got you two brothers despite knowing that would likely cost you the throne" is also not fair.

Otto and Viserys are to blame for all this misery for everyone in both sides of the conflict (except maybe Daemon's, to some extent at least) - Otto for using his own daughter and grandkids as pawns in the Game Of Thrones, and Viserys for being a pushover that lets himself be manipulated AND uses "I'm just a sick, fragile old man mourning my beloved wife that I murdered" as excuse to justify remarrying and causing a ton of trouble for everyone just so he has someone by his side (and not even appreciating said person) and doesn't feel lonely.

Alicent's biggest sin was not realizing she should not have put up with this bullshit - but how could she considering how young she was when it all happened and the way she was raised to think she had to obey her father and husband no matter what?

[iguessitsjustme]

Word of Honor is checking so many of my boxes, I am truly kicking myself for not watching it sooner.

Found family

Gorgeous scenery

Violence

Older people still in the fight

Gay

Soulmates

Political games and intrigue

Pretty costumes

Charismatic characters

Women that fight and are their own person

An almost certain death for one of the main characters

Architecture

Fight scenes that look like dances

Stunning costumes

Mysterious and tragic backstories (sometimes at the same time!)

I could probably list forever. The only box of mine they haven’t ticked is hand holding and that is simply because they can’t. But oh boy even then they have come as close as they can possibly come to that.

[azurevi]

3 halloween tales (cater, jade & vil)

This is really random, but the ssr cards for the halloween show have given me many au ideas, so here are my self-indulgent stories inspired by them. The Cater one is especially long because I got a lot of ideas about it. For the Vil one.. it's pretty disappointing how it turned out, but I hope it's not too bad. PLEASE READ THE WARNINGS!

WARNINGS : death (all), mild mention of gore (cater), war + mild possessiveness + violence (jade) [let me know if there're more!]

the heart and its eternal weight

Cater is a cemetery caretaker. It isn't that he really loves it, but his father was one. He feels like it is only right to take after his steps.

He isn't into superstitions. Some people find distaste in his job, but it's something crucial for Cater. People, even after they're dead, should still be honored, and so deserve a hospitable place to rest. 

Everyday is a routine for him. Sometimes, though, the families of the passed talk to him about their stories and their emptiness once their loved ones are gone. Cater finds the beauty and softness in humans by hearing these stories, and it makes him even more dedicated to his job. 

It's natural to him, dying. His father was killed in an unintended accident, and sometimes it seems like his death could have been avoidable just as much as it was inevitable. He just wishes that he had had more time with him.

One of the lessons his father taught him about graveyard caretaking is to beware of ghosts. Those who recently died are more visible and intimate with the world of the living, and so they might appear before humans. Some are inhostile, of course, but there are malevolent ones.

Lore has it that some ghosts prey on hearts. It is said that the heart is the most important part of a human, as it is accountable for life, death and emotions. People believe that ghosts can be revived with a fresh, still-beating heart, and as a result the human giving up their heart will die in place of the ghost. Basically, the heart can also create ripples in the fabric of space-time.

Because of his job, he isn't all that popular among others, and he only has a few life-long close friends, his mother and sisters by him. So even if he has a crush on the most admirable person he's ever seen, he still won't make it known in fear of rejection. He figures that he still has time to figure it out.

And he's wrong. News about your tragic death spread around quickly like wildfire, and he's devastated. It feels wrong to even feel so, because he has never been acquainted with you in the first place.

Your body is buried in his cemetery, and a lot of people come to your funeral that day. Some of your family members are so heartbroken and pitiable, and so Cater offered to be their listener.

All he can hear is about the great work you've done, the care you put into everyone you met, the warmth that radiated off you while you were still alive. It breaks Cater how he's never had the privilege to know you, to experience all your graces with his own perspective.

One night, the moon is lit and hung up high in the sky, so close that it seems to be prying on Earth and the people roaming on it. Cater is patrolling with his lawnmower when he hears quiet and uncertain sobs.

He is creeped out, yes, but he's also curious. He's never seen a ghost before, and it could be a human for all he knows.

He's proved wrong once again, as he discovers your opaque body behind a giant tree. You are hugging their legs close to your chest, and a rotting hole's visible where your heart should be.

There's no way you can be hostile, and you certainly won't kill him for his heart, so Cater decides to approach you gently, tentatively, like you're smoke that will disperse the moment he intrudes.

To his surprise, you can hear him clearly, and even invite him to sit down with him. It's so bizarre -- a ghost asking for a conversation! But Cater doesn't mind as he pops down beside you. He notices how although you were no longer solid, it still feels like tense when his hand passes through you. Certainly it's because you've been dead not for long.

And so the two of you indulge in heartful conversations, and Cater finds himself regretting even more about how he never gathered the courage to go up to you. Mid-conversation you tell him about all the things that you wish you could've done and all the ideas you wished to spread.

Cater probably shouldn't have, but he is so absorbed in your ambitions and kindness that he offers to carry out all these great things for you. After numerous confirmations, you agree too to let him carry out your thoughts.

And so Cater works in his neighbourhood, sharing campaigns and donating, taking care of lost pets and cats and partaking in environment improvement. He's never felt so fulfilled before, and it's the first time he feels like he's genuinely making a difference in the world.

In times he's not representing you, he brings you up on the little hill behind the cemetery where the moon and stars are so close and vibrant, where they all dance in the dark ballroom and pulse in excitement of being seen. He wishes he could show you more hidden gems, but your spectral spirit cannot be too far away from your body. 

But it's enough.

A month passes and Cater notices subtle change in your behaviour as well as appearance, like how you're responding with less enthusiasm and how the hole in your chest is growing bigger. When he finally asks about it, he's told that ghosts generally only stay in the world of the living for 49 days, and their heart will rot away in this period. After that, they will have to go to the underworld, never be back again.

Cater is certainly shocked that the lore is more than a children's makeup story. He is well aware of the significance of the heart in relation to the soul and life. 

He asks if you'd like to have his heart instead, so bluntly and casually. You seem to return to their original intimate self when you refuse. 

"I'm already gone. It's you, the living, who should be making changes,"

So he pretends that you're not getting more and more unresponsive and less and less generous. He turns a blind eye against your wavering figure and how you can't be seen at all in the sun. He plays dumb when in reality, you're slipping away before his very own eyes, heart rotting away like nothing more than a fruit.

It hurts finally knowing and understanding someone and having to lose them. 

On the 48th day, you are already but a still, soulless shadow, leaning beside your gravestone and fresh, white flowers. Cater can still see you. Sometimes he thinks that you chose to be seen.

And he can't bear to see you go. To see your dreams go into flames, to watch such a pretty soul just - vanish.

So he gives you his heart. Alive and beating and sentimental. It doesn't even hurt a bit. 

You wake up immediately, your eyes glowing and body solidifying. 

"What have you done?" 

"What I can do to make a change,"

Time is starting to rewrite itself. Cater is going to die in your place. The space around you was warping and folding into itself, softly and rightly like a lullaby.

Just before you slip into darkness, you gather up a whole bunch of rose petals and desperately stuff them into the hole in Cater's chest, as if they can give him life in lieu of a heart, and you are sobbing and clinging onto his still warm arm, never wanting to let go.

It's all Cater wants, to save a wasted soul and to make a difference. 

And so he cradles your face, and leans in the moment everything goes black. When he wakes up again, he's weightless in the cemetery, where a bunch of well arranged roses lie on his buried body.

a melancholy specimen

To Jade, beauty needs to be preserved to be constant. It's just like flowers. They die away without proper care.

Just when he thinks he's seen all the beauties of the world and is getting bored of it, he meets you. A blooming flower sparkling in the bland, old boring world around it. He's immediately captivated - how a person can still manage to flourish in such a rotten world where everything is depressing and all man is for themselves!

You're the most elegant piece of art he's seen, and that's something considering that he owns a museum. Innocence lies in your eyes and bravery sings itself between your lips.

You find him just equally amusing -- gentlemanly, insightful and just a touch of flirtation. The two of you fall in love like Alice down the rabbit hole - amused and unstoppable, fascinated by the wonders evolving about.

But the world doesn't give a damn about love, nor do they understand your dreams of a bright future where everything is close to hearts. They call you both madness and nonsense.

"Their souls are tainted with war and sorrow. They are beyond the point of rescue. Victory and glory are all that can feed their ego,"

Jade is disappointed. War has gouged people's eyes out and filled them with wails and ash.

The two of you are the only stars in the night sky, still fighting for salvation, yearning for a better future where trees grow and flowers yearn for the sun. You promote and do your best to lift the veil of darkness off the world. 

But the sun doesn't understand either. War keeps going on and on, and people never have the time for aesthetic relaxations. It refuses to shed light on its pitiable humans.

"We should evacuate, Jade. They say a bomb is dropping tomorrow,"

Jade doesn't care and can't care. The most paramount thing is to open his eyes to the beauty of this world. He doesn't want to become one of those barbarous men, tasting dirt and blood on their tongue while they glorify violence and brutalness.

He stays behind while his neighbourhood dies away. You are the only ones yet to leave. 

"Please don't leave me, Y/N. You're the only light in my life,"

You can't bear to leave him, and so you stay. The bomb is dropped, and it's too close. Too hot. Too cruel, too inhumane. It ravages everything in its way, burning all the darkened things to the ash and bringing the only beauty left in this world with it.

Jade wails. Broken cries are engulfed by nearby explosions and the cackling of flames. Your soulless body lies amidst the destruction, just another wilted flower in the slit of a rock, deprived of water and sunlight.

He finally understands. Nothing can save the world anymore. It's gone way too far, and it will never recover from malevolence. All he can feel is pity for his world as his heart ache with spite.

Bandages around his hands, he wraps your corpse up completely, preserved underneath the layers. You will be his reminder that there was once a flower in this drought, an anchor keeping him from becoming one of those barbarians.

lifeless silhouette in the dark night

You can never recognize directions. You find yourself stumbling upon a seemingly inhabited mansion in the middle of the woods. Cold and bruised, you knock on its door.

Welcoming you is a tall man with blonde and lilac hair called Vil. His skin is unnaturally white, and his eyes seem to glow like orbs that eat your souls. But you are too tired to make notice of all these details, and he's kind enough to let you stay for the night.

He treats you with ravishing cuisine and a grand bedroom that was as grotesque as the rest of the house. Afterwards, he leaves you to rest, but not before warning you not to get out of the room post midnight.

You oblige- for the first half hour. Then you start to hear wails and footsteps that amplify and disappear. It's impossible to sleep.

The next morning, you confront Vil about it. He refuses to face the questions as he ushers you to get going, and so off you go.

You spend another day lost in the woods, then somehow come face to face with the mansion again. Vil is beyond shocked to see you, but then he breaks into a deep smile.

"It's almost as if you belong here,"

Weirdly enough, you could agree, There seemed to be an invisible force pulling you towards Vil. After dinner, he orders you not to leave the room again before making his leave.

Broken wails. Recurring footsteps. You can't bear it any longer, and you also wonder if Vil is aware of this. He properly is, and thus tells you to stay safe inside the room.

But dumb curiosity gets the best of you, and you open the door and step into the endless corridors.

The wails come from the host's room, where Vil is supposed to be. You're closing in when its door is suddenly flung open, and out runs a panting Vil.

"Vil? What are-"

His eyes are bloodshot and there's red stain in the corner of his mouth. Sweat dots his forehead. He looks disheveled and the complete opposite of how he was during dinner.

"You shouldn't be here. Get back - get back in!"

His voice booms in your skull, and you're running back to your room before you notice. 

It's another sleepless night.

To your luck, Vil doesn't wait for you to bring the incident up.

"Don't be creeped ou by it, please."

He seems very uneasy about it, but he's obstinate to give you an explanation.

Turns out that he is a vampire. One that has lived for 500 years and is waiting for his eventual death. He's seen everything in this world and lived through the best and worst of humanity. He understands people's fear about vampires, and so he resides in the remote part of the wood. He only ever drinks the blood of small animals that he hunt, and never has he once killed a man.

He knew nothing about what'd happen to him when he became a vampire. If he'd known about the repercussions, he'd never have become one in exchange of eternal beauty. Now he has to turn someone else into a vampire to end his immortality. It is only a cycle.

 Every night the moon rises and spills into his room, and he has to fight his urge to go out and taste the sweet blood of humans. 

There are times when he slips and loses control, but he always manages to get back to his senses. But it seems that your presence here in the mansion is awaking his desire to suck you dry.

You're bewildered to say the least, and frankly horrified. But at the same time you feel pity for him, for he is just a man who can't ever do anything as atrocious as hurting people.

And so you offer to end his suffering. Of course Vil disagrees. He just talked about how he never wanted to take a life, and now you're offering yourself to him? He'd never allow it.

But you're even more persistent. You keep staying in his mansion, and his sanity slips a little more every night. And you know that he's contemplating too, for he never tries to kick you out of his mansion.

"You deserve a rest, Vil. For your love and selflessness. For all the unspoken kindness you bestow on others. It is only fair that you get to rest,"

Vil has lived a life. He's but a mere walking corpse now, and a rest -- a sleep -- sounds just like what he needs.

And so he rests. Vil falls into a deep, serene sleep while you endure each and every dark night.

[voidstilesplease]

love and war

a demigod au [companion] ficlet

~•~

Theo's eyes snap open when he hears the loud honk from outside the motel they're staying. He sits upright in his makeshift bed on the cold floor. It's still dark, and when he checks the clock in the room, only an hour has passed since they went to bed.

He transfers his gaze at the sleeping lump on the single bed, wrapped tightly in the comforter like a human burrito. Stiles is dead to the world, open-mouth with a bit of drool on one side. He looks so young and innocent and can't hurt a fly like this. But under his pillow, Theo can see the handhold of his dagger. They're almost to the entrance of the Underworld now. More monsters are after them. Caution and vigilance are of utmost importance if they want to come back from this quest alive.

Soft snoring takes his attention from Stiles to the shape on the couch. Involuntarily, Theo scowls at the sight of him. Derek Hale, son of Poseidon. He still can't believe he's on a quest with him, or even that all three of them are together in some mad twist of fate and managed not to kill one another yet. Barely, but still. Their godly parents are the worst rivals and are the three Olympians on the verge of a war if Theo, Stiles, and Derek fail. The last thing they should become is allies.

Derek shifts and Theo notes that he looks uncomfortable in his position. It makes him oddly satisfied.

He hears the loud honk again, but it's apparent now that only he does among them. Otherwise, his two companions would have sprung up, wide-eyed and ready to pounce, no matter how exhausted they had been from a full day of running and fighting monsters.

Theo gets up to his feet, clutching the hilt of his sword, and approaches the window guardedly. With sure fingers, he pulls down the blinds enough to peek. The image that greets him gives him a moment's pause, lips parting in surprise. 

Outside, a spotless, white limousine casually parks on the deserted road. A muscular man in black jeans, combat boots, and a red muscle shirt underneath a black vest leans against it. There's a familiar sneer in his mouth noticeable even from afar, and though he's donning sunglasses, Theo knows his eyes are on him. 

He's imagined this happening since his claim at Camp Half-Blood. If he appears to him right now while Theo's in the middle of a make-or-break mission, things must be getting worse in Olympus. He usually communicates to Theo in vague dreams, in a voice in his head, in some other weird manifestation since this started, but never coming to him in the flesh.

He lets go of the blind, delays for a second of contemplative silence, and then opens the door to meet his father, the God of War, Ares.

~•~

He slows his steps as he nears the broad figure. Up close, Theo notices the fire reflecting from inside his glasses. He has heard from his siblings that their dad had fireballs in his sockets instead of eyeballs. And that any children of Ares are compelled by unexplainable force to meet those flares, cowering.

Theo stops and raises his chin to meet his father's gaze, and no matter how he tries and how tough he is, he still dips his head in submission to the god. He swallows, "Father,"

His reply was a terse and detached, "Son,"

Theo lifts his head again, not quite meeting Ares's eyes this time, and hesitates for a second, but asks, "What are you doing here, father?"

The god's face twists like he has swallowed a lemon. His head fastens in the direction of the room Theo is renting for the night. "You have such unpromising companions," he spats, glaring at the window as if he sees through it. Ares probably does. "The son of Poseidon I can scarcely forgive," his attention slips back to Theo, and even without the proper organs, Theo can feel the disgust that would be reflected in them if he had eyeballs. The disapproval is rolling like waves in his aura, and it makes dread crawl up Theo's spine. He hates that his father can evoke such emotions just with his presence. He's also starting to feel his blood boil. "but Athena's spawn?"

Theo bites his lip and balls his fists to avoid saying something that will make his father smite him to smithereens. That is not at all the way he had imagined his first meeting with his father to end.

"She dares call me a thief," Ares's voice does not rise, but it doesn't have to. Theo's hyper-aware of his father's rage, and it makes his knees quiver to kneel and supplicate. 

Theo forces to say the words, "Stiles is helping to find an end to this conflict,"

Ares scoffs, unimpressed. "And by an end," he crosses his burly arms. "You mean victory against our enemies in the war."

Theo shakes his head, breathing through his nose. "I was thinking about not starting a war at all."

The look Ares gives him makes his stomach coil, and he hates it. The god regards him similarly to an insect: small, insignificant, and revolting. "No child of War runs from war."

Theo breathes in deep, his blunt and dirty nails digging in the skin of his palms. "There isn't one yet, that is necessary."

Ares's face thunders and the fire in his eyes glow brighter. It seems the god expresses no aversion to smiting his son right then and there. "She slandered my name-"

"Ares, dear, do be nice now." A silky, feminine voice interrupts his father from inside the limo. And amazingly, the god's anger deflates, albeit grudgingly. He's still enraged, but he's holding himself back from committing a crime. Theo inwardly sighs in relief.

The god purses his lips, nose flaring slightly, "My Lady wishes to give you a weapon,"

Theo draws his eyebrows together, "Your Lady?" Just as he says the question, the answer comes to Theo. He remembers the afternoon Stiles discussed with him in their session about his father's amorous relationship with a fellow Olympian.

"Aphrodite is the goddess of love and beauty and is married to Hera's son, Hephaestus, the god of the forge. The union forced upon Aphrodite as it was a condition made by Hephaestus so he would free his mother, Hera, from being bound into a magical throne he built and tricked the queen of the gods into sitting. Zeus granted it, and so they were married. Aphrodite resented his husband because Lord Hephaestus was, in the standard of the divinities, ugly and lame, and therefore, not befitting the goddess of beauty.

The god tried to gain her affection by designing beautiful jewelry for her in his workshop. But she wasn't interested. Instead, she used the opportunity of his husband's work arrest in his workshop to be unfaithful and be with other gods or goddesses, and even mortals.

Then she met Ares, and they fell in love. They kept on having affairs with other immortals and mortals, but they always came back to each other -even though that's against the rule of formal infidelity of the Greeks."

"Bring him in, dear,"

The soft voice breaks Theo's reverie, and with a huff, his father motions him to the door as requested by the goddess Aphrodite.

He doesn't know what to expect the goddess of beauty would look like, but when the door opens, Theo catches a glimpse of the car's occupant, and he thinks he hallucinated Stiles for a brief moment. When he blinks, he now sees the flowing hair and feminine features instead of gelled up hair and slender muscles.

He takes a seat, and the door shuts. Theo finds himself captivated by the different aura that she emanates in comparison to what he had felt with his father. His skin feels warm instead of burning, and his heart steadies instead of races. He stares at the face of the goddess, and if he isn't so gone, he would have remembered his manners -whatever little he has. At least, the goddess doesn't seem offended by the rapt attention -she's probably used to it- but amused.

Theo had never mentally built a picture of the goddess, but he didn't expect for her to have moles sprinkled in her pale face or have amber, almost molten liquid, eyes. But she has an elegant upturned nose and pink cupid's bow lips, which are as expected. Her features remind Theo so closely of Stiles. That must be why he thought he saw him for a second there.

When she smiles, it even feels familiar to Theo.

"What do you see?" She asks.

"Um," Theo swallows and licks his dried lips. "Your beauty, goddess."

She emits a soft, coy chuckle. "It is not universal. Do I resemble someone specific that you know?"

The question throws him for a little, and he blinks. "Yes," He says honestly, figuring there is no point in lying.

The smile on her face broadens, "My beauty is an individual's perception of it, son of Ares. It is one or the other, depending on who's looking."

He frowns, confused. Before he can ask what the goddess is trying to say or process it himself, Aphrodite procures an object in her hands that she passes to Theo. When he looks down at the item, it's a palm-sized rose looking-glass. He sees his reflection as he studies it. It's a simple circular mirror with roses encrusted around it; each petal is elaborately carved.

"It is a present from my husband," the goddess says.

Theo nods, thinking it makes perfect sense. Something as well-crafted as the item he holds must only be from a god. 

"When you absolutely need it," she continues, "look upon the mirror, and help will come. It grants only one call."

He gives the goddess a quizzical look, "Why are you giving it to me, though, Lady Aphrodite? I am grateful and honored to receive such a gift," he hastily adds, remembering Stiles's warning of always showing gratitude to the gods. It avoids spontaneously combusting. "But I don't know why me?"

Thankfully, she seems to be in good spirits because she only inclines her head. "Do you think it appropriate if I gifted that to the children of my beloved's rivals?"

Theo made a humming noise.

"I must say," she adds, "I assumed if it was the son of Poseidon I invited, I know what image he would see in my face. But, I wonder," she gives Theo a look, her brown eyes twinkling in the same fashion as Stiles's when he formulates a clever, and devious idea. "If it was the son of Athena, whose face would he have seen between two?"

Theo pauses, caught off guard.

Then, the goddess straightens. "Remember. Only once. Choose the moment wisely."

Theo opens his mouth to thank her once more and asks what is in exchange for the goddess' generosity. Stiles had also taught him that gods don't just hand out presents to the mortals they favor without a deed or a sacrifice. But, the next time he breathes, he's back inside the room, sitting in his comforter on the floor.

He blinks rapidly and scrambles to his feet toward the window. He pulls the blinds aside and sees nothing but a deserted road outside where the limo has been.

He almost thinks he dreamt it, but when he looks at his hand, Aphrodite's mirror is in there.

"Remember. Only once. Choose the moment wisely."

~•~

[1][2][3][4][comp 1]

[kali-tmblr]

Problematic Atlas Quotes: Volumes 1-3

All of the places on Remnant put together have not produced as many jarring incongruities and mixed messages as Atlas. These are all quotes relating to Atlas that really stood out to me at the time and have stayed with me since.

Volume 1

Penny: I am combat ready! (Yeah, but are you ready for anything else? And who would send out a cute girl robot who was ONLY ready for combat?)

Weiss: The innocent never run, Yang! (Karmic law says that one will come back to bite your ass, Weiss.)

Penny: I don't have a lot of friends, but if I did, I would want them to talk to me about things. (We haven't seen this one come back around to Penny yet. Blake, yes. Penny, no.)

Volume 2

Ironwood: But ask yourself this: Do you honestly believe your children can win a war?

Ozpin: I hope they never have to. (Note that Ozpin believes they can. It's having to fight he considers a failure. Later revelations would make his view even more tragic.)

Ruby: But why not let us know you were okay?

Penny: I... was asked not to talk to you. Or Weiss. Or Blake. Or Yang. Anybody, really.

Ruby: Was your dad that upset?

Penny: No, it wasn't my father... (Ironwood speaks next. An early sign of Ironwood's controlling nature.)

Penny: I'm the world's first synthetic person capable of generating an Aura. (Tell me more.)

Penny: One day, it will be my job to save the world (The whole world? Seriously, tell me more.)

Penny: It's okay, Ruby. They're not bad people; I just don't want to get you in trouble. (And why would talking to you get Ruby in trouble? And why send her to a festival that encourages students to talk to each other if you won't let her talk?)

Penny: Just promise me you won't tell anyone else my secret. Okay?

Ruby: I promise.(If she HAD told Pyrrha, the whole debacle might not have happened. Will this come up again?)

Roman: As some of you may have heard, this right here... (Taps the giant mech) ...is Atlas's newest defense against all the scary things in the world. And thanks to my "employer", we've managed to snag a few before they, uh, "hit the shelves".  (Damn, Atlas, y'all got a lot worse security problems than Ruby.)

(The image of Penny dancing by herself at the ball surrounded by uniformed guards. Say what?)

Ironwood: Ruby, I feel it's appropriate to let you know that I think what you did last night is exactly what being a Huntress is all about. You recognized a threat. You took action. And you did the very best you could. (Ah well, that's nice. Doesn't entirely fit in with the rest of your character James, but it's nice.)

Ruby: Wait. You think this girl is connected to Torchwick and the White Fang?

Ozpin: It's possible. But we still lack the required evidence to link the two together.

Ruby: Actually, I... I think I remember her saying something about a hideout, or something, in the southeast. Just outside the Kingdom.

Ozpin: Interesting.

Glynda: I thought you said the intruder never—

Ozpin: Thank you for your cooperation, Ruby. Why don't you go and spend some time with your team? You have a big day ahead of you.

Ruby: Any time.

Ozpin: And Miss Rose, please try and be ... discreet about this matter.

Ruby: Yes sir. (This tells Ironwood several things. It tells him that Ruby will lie for Ozpin, that Ozpin will cover up Ruby's lie to protect her, and most importantly that Ruby and Ozpin TRUST EACH OTHER.)

Glynda: Why must your answer to everything involve a triumphant display of military bravado!? You treat every situation like it's a contest of measuring di—!

Ozpin: Glynda!

Glynda: Well, he does. (Tell me more, Glynda.)

Ozpin: You're a general, James. So tell me, when you prepare to go to war, which do you send in first? The flag bearers, or the scouts? (Why is a civilian Headmaster schooling a general with a lesson taught to greenhorn Lieutenants? And why does he have to?)

Ozpin:  We fought for countless reasons, one of which being the destruction of all forms of art and self-expression. (SOME kingdom has control issues.)

Glynda: You're a good person, James. You've always done what you think is best for the people, even against strong protest. It's admirable. But it's high time you stopped talking about trust and started showing it. (So Ironwood's trust issues are not new. Tell me more.)

Councilman 1: You've left us no choice! The Vytal Festival tournament cannot be broadcast, let alone held, if we are unable to ensure the safety of the citizens.

Councilman 1: Ahem... Therefore, we have reached out to the Atlas Council and together have decided that the best action is to appoint General Ironwood as head of security for the event.

Ironwood: Thank you, Councilman. Our Kingdom is happy to lend as many troops as it takes to ensure that the event runs smoothly and safely as possible.

Councilman 1: And we thank you, General.

Ozpin: Will that be all?

Councilman 1: For now. But after this festival comes to a close, we are going to have a serious discussion about your position at Beacon Academy. General Ironwood's reports over the last few weeks have left us somewhat... concerned. I am sure you understand.

Ironwood: This is the right move, Ozpin. I promise, I will keep our people safe, you have to trust me.(Damn dude, what did Glynda just say about trusting people? And why do you expect Ozpin to trust you when you clearly have tattled behind his back?)

Ironwood: You brought this on yourself. (Yeah, he did. By trusting you.)

Volume 3

I have already written a detailed post on the vast discrepancies between how Winter Schnee behaves and what she is trying to convey in her first scenes, titled "Snowbirds of a Feather". Suffice to say Ironwood isn't the only Atlesian sending mixed messages.

Ironwood: If you were one of my men, I would have you shot!

Qrow: If I was one of your men, I'd shoot myself.(So y'all have an acrimonious history as well. Okay.)

Goodwitch: While I wouldn't condone his behavior, retaliating like you did certainly didn't help the situation. ("Call yourself a grown-up? I've seen better behavior from first-year students! Why do I even have to say anything to you? Don't answer that.")

Qrow: You sent me to get intel on our enemy, and I'm telling you, our enemy is here.

Ironwood: We know.

Qrow: Oh! Oh, you know! Well, thank goodness I'm out there risking my life to keep you all informed!

Ironwood:Qrow-

Qrow: Communication's a two-way street, pal. You see this? That's the SEND button.

Winter: They had reason to assume you'd been compromised. (So, Ironwood, explain to me WHY, if you seriously think Qrow has been compromised, you haven't brought it up with HIS BOSS before now? Isn't that information kind of important?)

Qrow: Despite what the world thinks, we're not just teachers, or generals, or headmasters. The people in this room, the leaders of the other two academies, we're the ones that keep the world safe from the evils no one even knows about! It's why we meet behind closed doors, why we work in the shadows. So you tell me, James, when you brought your army to Vale, did you think you were being discreet, or did you just not give a damn!?

Ironwood: Discreet wasn't working. (Explain.)

 I'm here because this is what was necessary. (Explain.)

Qrow: You're here because Ozpin wanted you here! (Is it just me, or does anyone else think this sounds like it was an unpopular decision?)

Ciel: Ruby Rose. 15. Hails from Patch. Leader of Team RWBY. Status: Questionable. (Daaaammmn son. We need to talk. You ordered a full background check on a teenage girl just because she talked to your android? And then you gave it to your android's handler? And on top of all that, a gifted honor student from a multigenerational Huntsmen family who leads Beacon's first-year star team, who Ozpin clearly trusts, only rates as "Questionable"? Who doesn't rate as "Questionable"? Oh that's right. Qrow is also "Questionable", and so is Ozpin. Tell me, do you rate yourself as "Questionable"?)

Ciel: Penny? I believe it is best if we move on to our next location.

Penny: Could we have just a minute to talk? (No seriously, is Penny now not allowed any free time?)

Ciel: It's been precisely one minute, ma'am.(Apparently not.)

Penny: Ruby, there's something I've been wanting to talk to you about. I want to stay at Beacon.

Ruby: Penny, they'll never let you do that.

Penny: I know, but I have a plan.(Tell me more.)

Yang: You're from Atlas. What could we expect?

Weiss: Well, seeing as their Kingdom, academy and armed forces are all merged as one, I think we can expect strict, militant fighters with advanced technology and carefully rehearsed strategies.  ... Or whatever they are.(So even other Atlesians think Atlesians send mixed messages.)

Ironwood: For the past few years, Atlas has been studying Aura from a more scientific standpoint; how it works, what's it made of, how it can be used. We've made... significant strides. And we believe we've found a way to capture it.

Qrow: Capture it and cram it into something else. (Dude, exactly WHERE did Penny's Aura come from?)

Ironwood: What I believe and hope this to be is nothing more than the result of stress and adrenaline. When you're out on the battlefield, your judgment can become clouded in an instant. Sometimes you see things that simply aren't there. Even after the fight is past... (That answers that question. You don't trust yourself either. What happened to you?)

Ironwood: Ozpin, the girl... I-I can explain! (You've got a full scale Grimm invasion going on and you're more terrified of OZPIN? What did you do to create Penny, James? How ELSE have you betrayed Oz?)

Ironwood: Qrow! This isn't my doing! (Why did you automatically assume Qrow is attacking you instead of looking behind you? Guilt?)

This post is long enough already, so I'll finish later. While I may be overreacting to some of these statements, that doesn't explain all of them. It's looked from the beginning like there was something fishy going on in Atlas, especially having to do with Ironwood.

[ripples-in-the-river]

I'm posting this here (with the last one to show I really did write that) so I don't take like an hour of everyone's time in the comments to just rant about things.

So! Even Alphys admitted she was going to stop you but she didn't, because she felt it was an adventure. Basically, her love of anime saved you. And she tells you that. It's unclear how long this has been going on, I mean, we could argue that, in the light panels puzzle, Mettaton was there to rig the puzzle/spy on you. I mean, Alphys probably hacked into it to make it safe for you, you know? It was programmed to be random. But yeah, Mettaton tries to kill you -- to save humanity, which is honestly a great motive, I feel that, have fun.

But yeah! Undyne, Sans, Alphys, Mettaton -- Papyrus didn't know what would happen, he only thought you'd be captured. Dude's innocent. Doesn't even kill you at all. I mean, he does beat you up, and I doubt that if we saw him in any other context, any character whose motive is to capture your playable character would kind of be a bad guy, you know? I mean, I'm not going to go around town beating people up and locking them in my shed so I can impress people and crap. But it IS a video game so whatever. Ethics are butter.

But yeah -- most characters have had a motive to kill you, like, they WANTED to kill you except you beat them/out-determined them -- or something stopped them from it. But Asgore is the only one who has no motivation whatsoever to kill you. Like, everyone goes in detail about how killing you would BENEFIT them, how it's part of their life goal, their plans, their persona. But Asgore tells you he feels SAD, he's upset that you won't get to pass, he tells you to go live your life, he asks you to go prepare. Asgore is the only character whose motive is to help you, and whose agenda ISN'T like, all strung around killing you. His only reason is that the day his two children died, he yelled "this is war," and people took that seriously. I mean, maybe it was like, metaphorical? Maybe he didn't even think they'd actually want to kill all humans? Maybe it was more in a "darnit they killed our kids I hate them" way? But SERIOUSLY -- we know the only reason Asgore is doing this is because he wants to be there for his people. We know that he's only agreeeing because it makes his people happy. We see monsters as sweet people, which they are at some point, but also -- these people are the same dudes who keeps going on about "hey, have you heard? we're gonna kill another human and get out, sick". How many times do they talk so nonchalantly about killing humans who fall down? Like, it's been established that killing random kids to get to freedom isn't ethical. Toriel says it, everyone eventually tells you that, even freaking ASGORE keeps showing he believes it sucks, too. Yet the only reason it keeps happening is because, just like Undyne, the people of the underground are GLAD it happens. They WANT to get to the surface. And yeah, humans sucked, they hurt an entire kind of people just for some crap reason, they slaughtered them until they could only surrender, then they freaking SEALED THEM UNDERGROUND and left them there to die???? Like seriously????

And the game tells us that, and obviously you feel terrible. You're a human, you have to make things right. You can't leave them underground, you can't just do that. You feel part of those guys who hurt them. You're a human, you're the bad guy, you're their enemy, you hurt them. They're freaking justified, you say. Honestly, who doesn't want revenge? Who doesn't want freedom? Who doesn't want out of that situation?

Okay so edit: Asgore said that "every human who comes here must die". Textually, right? He did say that? Okay, so yeah, scratch that other thing. No reason. But he's still been the only character to not want to do that like, immediately after saying it. Everyone else had CONTINUED. Everyone else doesn't have that excuse that they're honor-bound to keep their promise to the people. That's only ASGORE. Yet you have Undyne CHOOSING to kill, you have a place where it's so mainstream that people like Papyrus can think that getting a place in the guard will make you COOL, you have kids talking about freaking UNDYNE in school. Like, can you believe if Toriel was here, they wouldn't even talk about that? Have you seen how she reacted, how horrified she was? She ran away for crap's sake, she even fought you to keep you safe, she came back to you and confronted Asgore. I don't think she would ever have worshipped the Guard like everyone does. But yeah, that's the thing. It's kind of part of the moral of the game how, when you do something for a long time, you lose your morals a bit. You become desensitized to what happens; Flowey explains how resetting made him bored of the world, and it's the same phenomenon that made the killing easy. So maybe after so much time talking about what the guard did, the underground started to normalize it, until there were no Toriels left to say, hey wait, these are kids, these are people, we can't murder them.

So yeah. And nobody really opposes it, except Asgore. Undyne fights you to save her people, just like Asgore. And maybe everyone does want to do that. Maybe that's just it, maybe it's kind of justified that they kill people who pass down? Right?

So yeah. We're left with that big moral dilemma at the end, becahsd we can't prove either point without disproving rhe moral of the game. Killing random kids is wrong, but the monsters are justified in killing them. So is it good or not? You're the bad guy since you're a human, but you're also just a random kid who fell down. Feel bad for what humans did, but also you shouldn't be killed, but also you should.

I mean, eventually, we can just say, yeah, Flowey's bad. Chara's bad. Whatever, you know? The few antagonists we see that you can't really befriend are the only ones we portray as evil. Everyone has a reason -- Flowey's bored to an extreme, Chara hates humans, we know and we support, they're all wonderfully crafted antagonists we're almost happy to see at this point. I mean, see how sympathetic we sjow them in comics or art? Flowey is grumpy and kind of a sarcastic, annoyed lil thing, who yells threats and might kill you sometimes, but overall he's fine. Chara's almost not scary after all those AUs where they're this killer whose violence is mostly used for dark humour or just comedy, they have a knife and threaten you but it's mostly dumb, and they like chocolate and screw around with Flowey. And whenever they're threatening, they'll be against Sans, or Frisk, to show the duality between them. And yeah, I guess it's just that there are no easy answers in this game so we make up our own. There's a reason things are called dilemmas, it's because they're hard to choose from.