#or well “existing”....the idea of it is out there is what i mean

[nymphea0]

Kurkans Mate.

Beast and his mate.

Yan! Ishakan x Reader

Manhwa :약탈혼 / predatory marriage

/ 약탈혼 (완전판)

: Adult Manhwa (18+)

Author/Illustrations : Saha / Hera(Art)

Halloo is neva again, is beens longs i had no post any story TvT... well i had some busy stuff to do, so hope you all forgive me.

And this first my series Manhwa chara, soons will be much chara came out, so stay alwalys love🦋🦋.

might have some bad grammars, correct me if there are any mistakes in the words in the story I wrote. Anyways i hope you all enjoys my story,love.- Neva🦋🦋

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Fire, blood and corpses'

is a view from a small village in the far west which has unspoiled natural beauty.

However, all of that was damaged when an invasion from a foreign continental kingdom came into conflict with another kingdom, resulting in several villages being affected by the conflict.

Day and night only the sound of screams, sadness, wrath, and much more, the beautiful village has become a sea of ​​blood of innocent people.

Village of a thousand nights, a village for nature people which has a million cultures and also unbeatable beauty. village for the Antrabeth race.

Hair is blue as bright as the sky, the brighter and smoother the hair, the higher the inner bond with nature.

They are a closed people, living in a mountainous environment covered by forests and sunlight. However, their blood is their curse, the anthrabeth race is famous for their blood which can cure all diseases for those who drink the blood and also the blood of those who seek a long, eternal life.

The Antrabeth race is the enemy of the witch and the kurkans, the witch really like experimenting and some stuff unormalize thing and the kurkans believe that marrying an antrabeth race will produce invincible offspring.

However, the world thinks that the Antrabeth Tribe is just a myth, because their existence cannot be proven.

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The stomping of feet and gasping for breath were silent witnesses in the night.

You, running with your aunt, managed to survive the post-war tragedy between the neighboring kingdom and the kingdom where you live.

The war between these two kingdoms caused damage to small villages, one of which was Antra village, a village for the Antrabeth tribe.

You and your aunt Reane are running from the pursuit of knights from an enemy kingdom who are ordered to kill women and kill men for blood.

Entering the border of the dense forest, your aunt stopped running, you who were running beside her also stopped, your breath was short, with the throbbing of blood flowing very quickly.

Your aunt could only stare at you sadly as you pressed your foreheads together.

"Run, nephew, don't let them catch you!" Your aunt's voice shook violently, ordering you to run as if this was a goodbye.

"What do you mean aunt?! We'll be safe, okay?" Enough lives have been lost tonight! I don't want to lose you too auntie!!." With a voice shaking with sadness you rejected your aunt's idea as if asking you to run.

"Don't be stupid!, they won't stop chasing us until one of us died. Listen nephew, the antrabeth tribe, our family is on the verge of extinction because of our blood, you have to run, save yourself."

"But auntie?! I can't!" you could only cry as your aunt pushed you hard.

"Run, don't let they catch you!" That was the last sound of your aunt running against the current, the voices of the enemy kingdom's knights shouting with a joyful hum as if they had caught a good catch.

You could only stare at the light of the torches and the sound of the horses' stampedes that were getting louder and louder. disappear. Your aunt, has been captured by the enemy knights.

Certainly, once they get your aunt's blood, your aunt will be killed just like that.

With tears streaming down your cheeks, you can only run forward, entering the forest deeper, the dark forest with the sound of animal sounds and moonlight are the only things that accompany your sad night.

Running with all your might you can only feel deep sadness, your mother and father were killed cruelly when your father and mother tried to save you, the inhabitants of the antrabeth tribe, the men were killed very cruelly, the women women and children were also killed old and young.

They only seek 1 thing, blood, the blood of the antrabeth tribe against the laws of nature, blood that can give long life like eternity and can cure all kinds of diseases.

Your blue hair is tangled, many leaves and twigs that's caught in your hair, the sweat that sticks to your forehead, the roar of your heart beating so fast that it adds to your running adrenaline.

Until your body is at the very high threshold because of tiredness from running and pushing yourself too hard, you stumble and fall, you faint on the mossy ground lit by the moon and surrounded by trees.

A thin mist covers your figure lying pitifully, as if nature is afraid if there is who tries to hurt you again.

Just when your eyes are almost completely closed, you see the silhouette of an old woman looking at you sympathetically. Until total darkness envelopes you.

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A young woman with her hands and feet covered in bandages to heal abrasions, lay weakly and helplessly on an old mattress that had not been used for a long time.

An old woman slowly wiped the dirt that covered the body of the young woman who was lying weakly.

In a soft voice the woman said

"What in seven hells did this poor girl actually experience?"

After cleaning the young woman, the old woman put on a long, soft nightgown.

Carrying a tray carrying a small bucket of murky water and a dirty towel.

Walking slowly, closing the bedroom door gently, leaving the young woman to rest.

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The sound of birds chirping melodiously decorated the beautiful morning in the middle of the dense forest.

Rays of light entered the slightly open window and illuminated a woman resting peacefully on the bed.

Frowning slowly, you opened your eyes slowly but surely, blinking to adjust your vision.

You see a room with minimalist furniture and decoration, with a very pungent smell of dust entering your respiratory tract.

Slowly waking up you look around, wondering who saved your life.

Then you slowly pull aside the blanket that covers your body, staring in shock, your hands and feet are covered with bandages that have a strong herbal aroma.

When you are about to get out of bed and try to stand up you fall onto the wooden floor, making a fairly loud sound.

'Dug'

'Dug'

'Dug'

The sound of quite heavy footsteps can be heard outside this room.

You who fell could only look towards the closed wooden door, until the door opened, indicating that someone had opened it.

There you see an elderly woman, her hair has white strands, skin that is no longer young, with a slightly hunched body.

"Why are you getting out of bed?!, you are not fully recovered!"

Walking slowly, the woman helps you to sit on the bed.

With a still weak voice, you asked the woman.

"Are ... you the one who saved me?"

The woman just nodded her head.

"My name is Esmera" the woman introduced herself as Esmera.

You also introduced yourself to her.

"You're from the Antrabeth tribe, right?" Emsera asked while gently stroking your bright blue hair.

You looked at her warily, thinking that Esmera might have saved you with another intention.

"Don't worry, I don't need your blood, this is just the first time for me to see the Antrabeth tribe directly."

Esmera, the old woman just chuckled softly seeing your confused face, while sitting slowly beside you she said.

"The Antrabeth tribe, everyone on the entire continent thinks that you are just a myth."

You could only stare in confusion, if the Antrabeth tribe is just a myth, why does the enemy kingdom know the existence of the Antra village?

You think, for the first time you finally realize one thing... the antrabeth tribe is a tribe that is close to nature, a village of a thousand nights, a village covered in thick fog and located in a dense forest, how could the enemy kingdom find the village where you live.

Many questions crossed your mind.

"I don't know what happened to you, , but from what I know, your presence can endanger you.".

You who were confused asked Esmera why that was.

The old woman just sighed while looking at you she said.

"Your tribe has not appeared on several common continents for more than 100 years, just your appearance is enough to shake the world."

You could only be silent hearing Esmera's words.

Then when you were about to speak, Esmera cut you off first.

"You are even more unsafe once you meet the Kurkans."

You who have been living in the depths of the forest just stared confusedly and chanted the name of the Kurkan tribe, asking Esmera what Kurkan is.

"Kurkans, are a tribe that has an extraordinary appearance and physical strength and is very strong, they are more often known as barbarians."

"In short, Kurkans will make you a partner if they find you, they are famous for kidnapping partners they choose through their animal blood instincts"

"The Kurkans consider partners important, and if they have acknowledged them as their partners, they will kidnap the person they consider to be their partner, forced or not, they will not let go of the partner they choose easily".

You just stared at Esmera who was busy checking the wounds on your hands and feet.

You then told me about what you experienced, the war, and the massacre.

Esmera looked at you sadly, the woman did not expect the tribe that was thought to be a myth to disappear overnight.

"Of course .... maybe you are the only one left"

Patting your shoulder, Esnera said.

"Let's change your hair and eyes first, because your hair and eyes are the most striking."

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That afternoon you passed by trying to walk slowly.

Esmera is a witch, you as an antrabeth tribe know from the elders to stay away from witches, especially dark witches. At first you were quite afraid of Esmera, but Esmera assured you that she had retired, because Esmera is a natural witch, a witch who guards this forest, the same forest where you fell, the same forest where you will live with Esmera.

Witches have many types, but the most famous are dark witches, because they like to hang their victims from trees, create blood rain, during the blood moon and legal witches usually have the ability to hypnotize their victims and do what they want.

And Esmera is a natural witch, a witch who is usually tasked with guarding a forest or natural environment, and they are witches with a retirement age, when they are 40 years old, they are required to retire, in short like that.

But you remain vigilant, because you have only just met Esmera not long ago.

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It's been 3 months since the incident you experienced before, now you live with Esmera, the woman is willing to take you in, because Esmera also said that sometimes she lives lonely, even though there are forest animals that accompany her.

Your hair and eyes have been changed by Esmera with a potion of drops, just 1 drop is enough.

Your bright blue hair and galaxy-colored eyes have changed to black and brown.

At first you were not used to it, but the effect of this potion only works for 5 hours, Esmera said to use this potion in certain conditions, such as going to the market or when you are being chased by something that could harm you.

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In the afternoon, as usual, you explore the forest with 1 white ferret and a wild deer. Of course you are in disguise, even though this forest is protected by Esmera's magic, you still have to be careful.

Walking enjoying the forest with your two friends on the path you usually take, only to find a man covered in a robe holding his injured stomach.

You who can't see injured people unconsciously approach the man,

"Hello?" you were surprised almost tripping when the man's face appeared in front of you, a handsome face, very exotic brown skin, and... his eyes that had a sharp structure that was bright gold shining.

You have never seen someone with such bright and beautiful eye color, unfortunately you are not aware that your eyes are also very bright and beautiful.

This is the first time you have interacted with someone other than Esmera and the Antrabeth Tribe, and you also don't know who this man is? And from what tribe. That doesn't matter, what's important now is to heal this man and ask him to leave here immediately.

"Go away! Leave me alone!" A harsh and mocking tone.

You don't like this man, okay face, very bad character. But you have the instinct to help others, obviously you won't let this man go just like that.

"I'll help you, in return please get out of here quickly."

The man just looked at you with a suspicious look, but he wasn't as rude as before.

You realized that Esmera would be here soon, and this man might die, because Esmera has a rule that men are destroyers, and they are not allowed to enter this forest.

You think of a quick way, 1 drop of your blood is enough to heal this man's wounds.

"Can you open your mouth?" Asking in a soft and friendly tone. You were only answered with a rough and arrogant voice again, seriously you are now thinking why is this man so arrogant and rude?.

"Why should I open my mouth?! My wound is in my stomach, not in my mouth!".

You dislike this man more and more, you know he suspects you but being rude is also not right and you also realize the two animals that come with you are moving more restlessly.

With one needle prick, you forcefully direct your index finger into the man's mouth, making him inevitably taste 1 drop of your blood.

The man, of course, was surprised and wanted to push you, but he stopped moving when he tasted your blood, blood usually smells like iron and has an unpleasant taste, but your blood, as sweet as nectar, has no iron smell at all.

You wipe your fingers on the man's robe, because there is his saliva left behind.

Then you stand up and say.

"Go immediately, don't ever come back"

Ride the wild deer and ferret that have stayed on your shoulder, you leave the golden-eyed man.

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The man just stares at you with a look that is difficult to interpret, then he lifts his shirt a little and sees, the stab wound in his stomach, slowly heals and leaves no scar at all, the man who feeling tired before, became fit and full of energy.

The man slowly stood up out of the forest, his mind still processing who are you?, how can blood heal a very deep and poisonous stab wound?. There were many questions in the man's mind.

The man walked and a few moments later, 2 other men came to the man's side bowing slightly.

"Your Highness, we have been looking for you, it is a relief to see you are okay" the man with a scar on his face spoke, with exotic skin too.

Then followed by a man who had blue eyes with exotic tan skin.

"The rebellion has succeeded your Highness, now all the Kurkans are waiting for you, Your Highness Ishakan".

The man... The King of the Kurkans, the new king of the Kurkans tribe, a tribe with animal blood, a tribe that has extraordinary physical abilities and looks, the King of the Kurkans tribe.

Combing his hair slowly, Ishakan only answered briefly to his two aides, Genin the man with a wound on his face, and Haban the man with blue eyes just stared at Ishakan in confusion.

Then Ishakan said.

"Have you two... ever heard of a case where blood can heal wounds in an instant?"

Haban and Genin just looked at each other. Genin as Ishakan's aide and right hand answered.

"I don't think there is any case like that and it sounds very unreal, your Highness".

Ishakan grinned and said.

"Too bad I just experienced it." Ishakan looked back into the dark forest covered in fog.

"I found something very interesting, a very interesting rabbit."

chuckling while grinning, Ishakan walked away followed by his two aides who just stared confusedly at the forest behind them and walked away, towards their kingdom, the large oasis at the western end of the continent.

Ishakan had found a figure that made his instincts scream ripples, the instinct to claim something that was rightfully his, his mate.

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*source Images : Pinterest

©️Nymphea0 2024 ,OG story, Project Dark Manhwa Character Series.

Please dont steal my work, or use without my permissions , Always be good people Dear. Much love , Neva🦋🦋.

Special Story for my Love; @snowflakes666 @nerdygoateepeanut

Tag list; @blurryperrtymoonlight @luminethebest @scenicelixir @n4muqr @cannyyyyy @athena-roy @sirenetheblogger

[jmtorres]

i just saw a post about how we just have to "live with" covid and wanting more protections from our government is unreasonable because we'll never wipe it out, it jumps species and is in all sorts of animal populations (like, true ok) so why even try to

and apparently the argument was aimed at people (who I haven't seen in the wild) who are arguing we should still be in lockdown. and i have mixed feelings about the idea of extended lockdown or attenuating isolations; but my main feeling at this point is not that the government should keep us apart but that the government should be trying to make it safer for us to be together

things the government could/should be doing about covid:

we know that ventilation/air movement helps a shitton. we should be incentivizing upgrades to ventilation systems in all public buildings with shit like rebates or tax deductions, while phasing in eventual legal requirements. (and uh. it has occurred to me that the US might actually be doing this sideways by there's currently this decade enormous tax incentives in re energy efficient upgrades for slowing climate change and you know. energy efficient hvac does tend to improve ventilation. extra point to biden here.)

mandatory paid sick leave so workers aren't under social or economic pressure to work when sick

passing out RT-LAMP tests like metrix that actually work instead of the rapid antigen tests that have become less and less reliable as the virus mutates

i don't know how you'd write this law but like 95% or more of computer-based work can be done remotely and companies should not be allowed to force people to return to the office. I know there's people who want to be back in person and I'm not saying they should be forced to stay home but ffs I know of at least two people CLOSE to me who worked remotely before the pandemic and at some point their workplaces tried to tell them they weren't allowed to do that anymore despite the pre-existing contracts. stop canceling remote work for people that want, need, or prefer it.

for that matter, every college lecture that was an online class during covid should still be offered as an online class, there is no reason to force students into auditoriums in person. you got the communications infrastructure up and running, why are you tearing it down. give people the OPTION. it increases accessibility for everyone!

covid vaccine immunity lasts about four months. this should be well-publicized and everyone should be able to re-up for free every four months. "every year, like the flu vaccine" is demonstrably not often enough. actually "for free" isn't good enough start handing out $10 gift cards you will be shocked at how many people who are resistant to the idea of vaccines will fold for $10 a shot

are there already laws on the books about masks in medical settings that some medical professionals are blatantly ignoring because they forgot what best practices were before the plague and they're 'tired of masking'? if not, pass laws. if so, fucking enforce them

oh another incentives for upgrades phasing into legal requirements thing: brass doorknobs and railings over stainless steel or whatever. microbes do not survive on brass surfaces

i mean. i know this one sounds too extreme to a lot of people but. UBI.

most if not all of these measures will prevent or ameliorate other pandemics of different diseases that may arise in the future. and just. generally improve our health and quality of life for other reasons.

I haven't felt safe to go to a concert since 2020. Maybe if I knew a venue was legally required to have ventilation to a certain standard and that none of the ticket takers and ushers were on the job sick to avoid risking loss of paycheck or job, and knew a larger percentage of the crowd had up to date vaccinations--maybe if any or all that, I might ever feel comfortable going to a show again.

wouldn't it be nice if those of us who have been disabled, by covid or other conditions, had accessible remote options but also occasionally felt safe enough to interact with and participate in wider society?

one of the arguments on the post I saw was how isolation was massively psychologically damaging and various strata of society were affected in all sorts of ways, from undersocialized kids to increased depression in--well across the board, I think. and here's the thing: WE KNOW. PEOPLE WITH CHRONIC HEALTH CONDITIONS, LONG COVID OR OTHERWISE, KNOW ISOLATION SUCKS REAL BAD. because we, both for our own health and due to disability ostracism, are still isolating and isolated more than most.

what are you as individuals or societies, what are our governments, doing to help make it safe and accessible to rejoin you????

[alatismeni-theitsa]

In "KAOS" nothing is anything, and everything is wrong

Two disclaimers: I am no stranger to modern art, and I have no issue with queerness in shows, or in my own mythology (I'm Greek). I am also aware that KAOS is a comedy. It's in the gutter of British comedy, but still part of the genre. At least I laughed every time they said "Oh God!". I don't believe this is the same person who wrote the great and amusing "End of the F**king World"! The premise of "The gods in our modern world" appeals to me a lot, so that wasn't my problem either. My general issue with KAOS is its horrible delivery, bad writing, and piss-poor Greek representation.

This is gonna be long and full of stupid gifs, so sit comfortably, grab a coffee or some popcorn and... pame!

The "ILoveGreekMythology" Kid

Art without context is just a pretty thing to look at. Most of the time, this context can be found within the art piece itself, as the artist has taken care to weave it in. KAOS refuses to connect itself to any context besides the names and a few vague powers. It aims to exist outside of those "boring old stories of the Greek myth" and be entirely "fresh and modern". Something impossible when the entire show and the meanings are based on ancient recorded material. In other words, KAOS is so meta that it ends up being nothing. KAOS cannot stand on its own because you need more than the viewers being familiar with the Greek myth basics to pull such a show off.

KAOS tells us "See? I know all the names of the gods, and what they did, and I know all the locations, so I am qualified to tackle this". More or less like any Western kid who takes all their knowledge from PJO and Marvel and proceeds to unironically hate ancient deities and make a girlboss out of Medusa.

Here's a Greek word for you guys, ημιμάθεια, meaning "half-knowledge". Α Greek saying very well declares "Half-knowledge is worse than no knowledge". The confidence of thinking you know enough often leads you to grave mistakes whereas the humility of not knowing prevents you from touching shit that you shouldn't. When you have no idea what the original myth is trying to say and spit on its meaning, knowing a few names and locations is just smoke and mirrors. I don't believe the audience fell for that.

And don't get me started on the "subversions". A good subversion is intriguing and thought-provoking. In KAOS, every twist was hollow - Greek myth related or otherwise.

"What if Euridice doesn't love Orpheus?" I don't know, babe. What if??? What was the point of that? What did you show us? That women's stories are dominated by men and men don't listen to women, perhaps? And you chose to twist... the love story of Orpheus and Euridice to show this?? One of the best and most tragic love stories Greek mythology has to offer?? You just mocked the myth, you didn't make anything profound out of it.

The Greek Stuff (Nothing salvageable)

I was surprised to see they had a Consulting Producer (Georgia Christou) and an Assistant Script Editor (Isabella Yianni) who happen to be Greek. And I stress that because those people probably weren't hired or utilized for being Greek. We are not sure they were involved in cultural decisions because we have no evidence and because shows with no Greek elements can have more Greeks than that on their staff.

Okay, perhaps they took 5 seconds to ask Isabella about a greeting - which they proceeded to say in a wrong intonation 🙄🤌It's where Poseidon says "ya sás" in the Fates, by the way. How he said it sounds more like "for you (pl.)" than "health to you (pl.)".

Surprise! The only Greek actor present (Peter Polycarpou) has less than 5 minutes of screen time and plays the caricature of an immigrant with a thick (and inaccurate Greek) accent. He has a canteen, selling falafel which is not Greek, and Dionysus buys from him an unidentified tortilla wrap (which... is also not Greek, if you haven't caught up).

For the show they brought in actors of Maori, Nigerian and Sierra Leonean, Pakistani, Black American, Latvian-Jewish, Iranian, Egyptian, Indo-Fijian and Malay descent and you tell me it was impossible for them to seek and find an English-speaking, skilled actor of Greek descent in a show regarding Greek heritage. Sometimes I wonder, do y'all hate us so much?

They considered Greeks only to give us a simple (and wrong) greeting and a stereotype. Crumbs, we are supposed to be happy with. By the way, there are over 70.000 Greek immigrants just in the UK, usually in the urban centers, many of them students or fairly young employees in the corporate workforce. Not the largest minority but not hard to spot either.

Another plague of Anglophone shows: Almost everyone's Greek name is shortened. Yes, we know their full names but we are told that we will use the short ones. Greeks and their "long and difficult" names am I right fellas? Because saying "Ariadne" apparently requires 5 years of Greek language training, and no English word ever has more than two syllables.

Coincidentally, short names are cool in Anglophone imaginary universes and the "long" names are not. it's so strange Anglophones never make universes where it's cool for Greek names to be spoken in full hmmm... They don't even want to practice saying a whole Greek name for just 2 minutes in preparation for a show full of Greek names. And don't give me that "Greek is hard" shit when we only talk about a few syllables. If Greek kids can learn English since first grade and people here can sing English songs and spell English names, you have no excuse.

They also said the name "Fotis" means light, which is close enough but... ugh.. It's like saying Sebastian means "respect". I am not sure if they asked anyone or what their research was here. If I had the writers in front of me, I'd be like:

(This character from an all-time favorite Greek show is called Fotis)

They also made the flag of "Krete" an alteration of the Greek flag and the local Cretan flag. Which is the stupidest move, because they had to remove the religious symbol of the cross to make the flag fit the universe. These are flags created based on 1) Christianity 2) the Greek Revolution of 1821.

National Greek flag to the left, local Cretan flag to the right:

Flag of the KAOS' "Krete":

The only time they seriously took into account anything Greek, was the time when they decided to remove the religious symbol of our ethnoreligion AND (from what I could observe) keep the nine stripes?? The nine stripes of our national flag represent the syllables in "Freedom or Death". The colors are from the white foustanela of the mainland attire and the dark blue vraka of the island attire, the clothing of the Revolution fighters. (That's more of a meta explanation but the characteristics of the flag were decided during and nearly after the Revolution.)

I think I don't have to explain it more but it's not a homage to put the nine stripes in an ancient era where they have no meaning, and to replace a cross??? Let's... not replace religious symbols on national flags, okay? Thank you.

Another cultural element they changed was making everyone have a dedicated coin to pay Charon. Orpheus has Euridice's coin, "her coin", and he's meant to put it on her before she got buried. In Greek culture, any coin would do. Sorry that our culture restricts your script, dear writers. I guess you had to bend this too, in order to create a cohesive plot with a semblance of a twist.

Finally, the many "Kerberus" dogs were cute and I can understand the creative decision behind that. However, in a show full of inaccuracies, this made me roll my eyes a little. I think the showrunners know that Kerveros is not a breed of dog, and there can only be one of him because he doesn't have any other "Kerveros" to breed with. On the other hand, as demonstrated from art/writing on the internet, quite a lot of Westerners are not exactly aware of how our monsters work, so forgive my uncertainty 😅

Nothing is Anything

Every element KAOS played with ended up meaningless. In the words of a Lifo article:

“Zeus is a paranoid authoritarian dictator in mid-life crisis who fears losing his power and murders his aides to vent. Hera is a promiscuous goddess who repeatedly betrays Zeus and has mutilated mute priestesses for protection. Dionysos is a spoiled and immature zoomer who, apart from pranks, indulges in orgies with all genders. Poseidon a sadistic god of the sea, who tortures the crew on his ship for fun. Prometheus is gay and killed his lover so he could overthrow Zeus. Orpheus is a famous pop singer and Eurydice does not love him. Theseus is black and gay. The Erinyes are tough-as-nails mechs that look like they stepped out of ‘Sons of Anarchy’. The Fates resemble a three-member jury in a talent show. The Trojans are a terrorist group that acts against the gods. Crete is more reminiscent of California than the Mediterranean.”

The "River Styx" is a sea, the "River Lethe" is a lake, the gods are nothing more than spoiled humans, the Moirai are drag queens, the Cave is a club where you have to take a quiz to enter the underworld, and generally everything is modern, flat, mundane and anticlimactic. The producers aimed to achieve a work so meta that a "river" is now a concept, a metaphor, whatever you have in your heart. And those who want to see a river when we speak of a river are probably uncultured swines and don't understand postmodernism. Never mind that rivers are rivers in Greek mythology for a reason. That's not culturally interesting enough to explore compared to the new, cool approach of not assigning meaning to anything. That totally shows love for the original rich and meaningful material...

And the reason behind all this subversion? Probably the shock factor. They brought the characters to a point where they said "We have to save the world from Zeus" - Zeus! The father of gods, heroes and humans! - just because they could. It gives off a certain type of smugness that I personally don't like. I mean, I would like the smugness and cheekiness of KAOS if it wasn't a vapid and practically meaningless show. As nothing symbolizes anything anymore, we are just led from hollow plot point to hollow plot point.

If you cut it out of any cultural influence and see it as a story then it's... okay, I guess. But when you consider that it's meant to derive from certain material and it fails spectacularly, it's not a good story. It forgets its bases and doesn't play with the ancient elements at all. Disney's Hercules did it better, FFS!

Bad Writing (pt.1)

KAOS is not without recognizable themes but their demonstration is so juvenile and heavy-handed that it fails to influence a viewer of average intelligence. For instance, "Riddy" says to her religious mother "You dedicated your whole life to Hera, what about me?" Okay, KAOS, we get it. At the same time, this theme nulls itself because it turns out that Ridy's mother was right to do what she did, as she had a greater goal in mind. (And this, kiddos, is called Bad Writing, because your themes and scenes contradict each other)

The biggest theme I spotted was a criticism of religion and religious people who say "Do as I say, not as I do" and create exceptions for themselves. Only, it's not a criticism of anything real, in this case. It's a fact that some people in the clergy tend to preach peace and love and then they do harm, but we don't know, for example, that The Goddess of Marriage is a cheater and yet she pressures everyone into strict marriages. By focusing their wrath on divine beings who are not known for their hypocrisy, the creators missed the mark.

I can give KAOS props for how it handled Trojans to reflect real issues regarding how immigrants and war refugees are mistreated and blamed. I'd argue it was the only (nearly) well-done theme in the whole show because it had the least on-the-nose delivery and some genuine/serious scenes. But that's it.

More Bad Writing!

Jeff Goldblum's Zeus is shit. He'd crap his pants in an argument with a stern Greek dad/uncle his age. Is this character supposed to be intimidating? (Laughs in Mediterranean) That's not to say that Goldblum is not a good actor, but this role wasn't for him. The same can be said for the other actors, too. They are competent but they only give off the air of "The Greek gods if they lived in London, from the minds of people who think beards and body hair are an affliction". In addition to being misplaced, the actors cannot show their talent when following a script that resembles a children's book.

Why does THE GOD Dionysus have the maturity of a 15-year-old? I repeat, The God Dionysus. He's a freaking deity, and a very old one at that. He is not a teenager neither in appearance nor in experience. In our culture, he is mystical, mighty, wise. Why did they downgrade him so? Just for the plot? This is not Dionysus just because you named him so.

The dialogue rarely takes itself seriously to the point it has you wondering at times "Do people talk and behave like that?". In a comedy where everything is meant to be already extreme and parodied. Even in comedies, something must occasionally be serious so there is a healthy fluctuation in tone and the funny moments can hit you. In KAOS very few scenes treated their impactful dialogue as it should be treated.

The queerness and diversity (good elements, in general) were worse off for being in KAOS. Like, I want these elements to be there. I'm just sad about the whole situation. It's not enough that the show is shit, now you also give an additional reason for conservatives to shit on diverse and queer characters because they are part of a stupid narrative.

I'm the type of person who doesn't mind the queerness of Astyanax and Theseus being lovers in the context of this specific show but they're still the oddest pairing to me because they're from the most irrelevant myths and eras. Also, Astyanax in my mind is a baby who died tragically, for little reason if we are honest, so to bring him back and make him a love interest is... ekh.

In addition, isn't Astyanax supposed to be crippled after a fall from the city walls when he was a baby? Sorry to change subjects but the show is so convoluted and with so many issues that it's extremely difficult to stay on track with what's wrong.

To the person who thought this show was a good idea:

Whatever. Bye. I'm fucking done.

[silhouetteonpaper]

Goodbye

Summary: It’s time for you to move out of the compound now that you’re ready to move onto bigger things in life—things you’re more passionate about. But what happens when that means leaving the person you love the most? Natasha Romanoff x Reader WC: 1,235 Warnings: Veryyy angsty, not proofread completely A/N: I’m going through some huge changes in real life so this was really therapeutic to write, I’m sorry in advance 🥲

Your hands grasp the rough edges of the cardboard box as you stack one on top of another. The collection of your items once sprawled across the room, now subject to a pile in the corner. All the things you’ve collected over the years, from clothing, to pictures, to memories, all with their own spot in the place you call home.

But you can’t call it home, not anymore. As of last week, you finally decided it was time to make a change. Sticking around the compound has made you miserable, each day leaving you beside yourself with boredom and a desire for more. So, you chose to commit to the one thing you’ve been dreaming of for years now; a new home somewhere you felt you belonged.

It’s not that you don’t feel a sense of belonging here in New York, you just knew this situation would never be permanent. It’s been years of waiting for the ‘right’ day to leave, and you soon realized it was only your procrastination—among other things—preventing you.

As you place the small box on top of the growing stack, the girl you’ve spent those years procrastinating for walks in. “How’s the packing?” Natasha’s warm smile lightens the whole room, now left dim and colorless by the lack of decoration.

You both eye the boxes. “Good, yeah.” Your answer sounds more like a question than a statement, but Natasha already knows how you really feel. After all, you’ve spent the last few years by her side. She knows you too well.

A relationship had stemmed a while back, but ended a few weeks ago when you both wanted different things. She loved you too much to hold you back, you loved her too much to leave; it was a decision you weighed on for a while. Now, you’re content as friends… or as content as someone can be after giving up a relationship that meaningful.

You’ll always have a longing for Nat, and her for you, but no one can change your true destinations in life. You’ve never been the superhero kind, and that’s alright with you. A part of you just wishes that didn’t mean leaving Natasha.

“What’s on your mind?” Natasha asks, surveying every inch of your expression. You sigh, rubbing your forehead out of uncertainty.

“Not now, Nat.” You breathe. The last thing you need right now is to confront the remaining pieces of the strings holding you and the redhead together. You’ve finally committed to this new path, and you can’t let yourself fall backwards.

She nods once, dropping the subject. Friends usually can talk about their feelings, but the two of you know it’s easier to be together than to be friends. Natasha sits on your bed, watching as you continue to throw the last remnants of your existence at the compound into a new box.

Her gaze falls on one of the few objects still sitting on your desk, a silver-framed photo of you and her both in uniform. Tony had just made you a custom suit, you were beyond ecstatic about it. Natasha was excited to finally have you on a mission, the two of you being inseparable.

But that novelty wore off quickly; you went from going on missions every week, to maybe once a month. You weren’t happy, and she knew that. But neither of you were willing to mention it out of fear of what the future would hold.

“I remember that day.” Nat speaks up, nodding toward the photo. You chuckle, looking at the large grin plastered on past-you’s face. You both were together, her arm is hooked around your waist. A faint flutter in your chest makes you crave for that touch—the idea of what could have been. But you swallow it just as you did with your grief over leaving.

“That was a while ago.” You brush it aside, going back to packing. You open your desk drawer, revealing numerous photos of the two of you taken over the years. Quickly and quietly, you slip them all into the box before Natasha has a chance to notice. No one needs to make this harder than it already is.

Natasha stays silent for a bit, but you can feel her eyes watching you. It’s easy to sense that she’s deep in thought, and you debate asking what’s on her mind. But she beats you to it with another topical conversation. “I’m excited for you.” She voices.

You want to agree, tell her you’re excited too. But the truth is, something else is getting in the way of that. There’s something more to it, beyond the idea of waiting until the right moment to leave—waiting until there’s absolutely nothing left between you and Nat.

As you run circles around your room packing boxes, you realize exactly what’s getting in the way. Fear. You’re scared of leaving behind a good thing in the chance there’s nothing for you anywhere else. You know how happy you can be here with Natasha, but it’s not enough. There’s a life for you to live outside of the time you both spend together, and the two of you reluctantly agreed on that.

Your fingers find the smooth edge of the picture frame, and you can’t help but feel the swell of emotion inside your chest. Natasha’s silent, studying your changing expression as tears suddenly fill your eyes. “Hey,” She stands, stepping behind you. The ghost of her hands try to offer you comfort, but Natasha leaves them at her sides. “Talk to me.”

She never asks you if you’re okay, or pretends like things are fine when they aren’t. She states things how they are, and it’s something you love about her. Even when Natasha’s blunt or too honest for comfort, you’re grateful it’s that over being stuck with what went unsaid.

You take a deep breath, so desperate to lean into Natasha’s non-existent touch. “I’m scared, Nat.” You don’t look at her behind you, just down at the redhead in the photo. “What if I don’t ever get something this good again? What if I’m making a huge mistake?”

Her expression softens. “You’re doing what’s best for you, remember? It’s okay to put yourself first. I want you to be successful in life.” Natasha voices in the most confident way possible. Neither of you are fully convinced, though.

“I’m scared to be on my own.” You finally admit, the salty tears finally rolling down your cheeks as you turn to her. It takes every ounce of self control for Natasha to not touch you, to not wrap you in a tight embrace and kiss you until there’s nothing left to fear. Instead, she looks at you with eyes full of love, and at one point—it was enough.

But it isn’t anymore. “I know.” She breathes, gazing into your glassy eyes. You nod slowly, aware that she’s not going to move a muscle, and neither are you. There’s no reason to keep torturing yourselves. You know what you have to do.

“Goodbye, Natasha.” You suppress the sobs building in your throat as the redhead’s expression falls. Both of your hearts finally ripped into two, never to be joined again. This is it.

She doesn’t speak, she doesn’t even frown. She just nods in return, leaving your bedroom like she was never there. And as of tonight, it’ll be like you never were either.

[gofishygo]

mito mito mito hihi 😋

i’ve been having some thoughts n i felt like sharing w the class newayssss

so i was having bubble tea earlier and i started thinking,,,,what cod characters would like it? i feel like price def wouldn’t,,simon wouldn’t mind it but he does def think its too sweet and proper tea is superior and blah blah blah (i acc don’t know im kinda divided on that like i hc him as a sweet tooth but bubble tea,,,ehhh i feel like he wouldn’t like it all that much like he’d be all grumbly about it,,, idfk

johnny and gaz i think would like it lots ,,

i also think alex wouldn’t like it abd farah would (i js like hc farah as this secret softie ok leave me alone 😞)

but THAT got me thinking,,,, what other food preferences would they have ?? i think gaz would rlly like sushi (saw a fan art of him on a sushi date w the reader and i forgot who made it but ):$/:)/&!:!!!!! it was so cute) and i also think gaz would handle spicy food well ?? and he would like seafood in general methinks (tryna think of some select seafood items he wouldn’t like but im drawing a blank bc im vegetarian shusbssjnsuen)

idrk ab simon and johnny and price,,,,,,out of them 3, i feel like simon or johnny would have the biggest sweet tooth (they’re on like completely dif ends of the spectrum character wise but shh i js know it) but they all eat A SHIT TON like the food could be burned or too salty or smth but if they’ve js come back from a mission then they’re eating that shit UP. and asking for seconds. and thirds. they would still give u food feedback if it’s some other day tho

also johnny is extremely passionate about haggis. no i have never tried it yes i js know he is ok moving on

KONIGGGG hmmmm,,,, i have no fucking idea lmao i think? a lot of german cusine involves bread and stuff,,,so……………i think he’d have rlly bland meals idk

i’ve been rlly into keegan lately but i cant come up w anything for him aaaa

also gaz would be the only one who knows how to use chopsticks. the others would learn fast being in the military and all but gaz and chopstick skills js make sense???

ANYWAY im soso sry for rambling sm lmao this is a lot of words,,,,,and this isn’t a req by any means !!! js needed to hear ur thoughts bc food is js calling to me like “ok but would blank character like this” like. urgh. ok im done now i think but yeah food preferences for cod characters of ur choice

ALSO !!! THE IOS SHARK STICKERS REMIND ME OF U,,,,,look at them$:!!;&:!3 OK IM ACC DONE NOW BYE BEY MITO HIPE U DONT FALL ASLEPE READING ALL THAT

AHHH hi weebun !! ^^ i was literally having bubble tea with my sister like a few hours ago and when i checked the inbox n saw this i BOLTED !! sorry for never responding to this, i forgot inbox existed..,

notes: shittily wrote as this as a warmup/just general yap :> sorry for messiness and incoordination.., platonic, no warnings !! unless ur lactose intolerant idk

so you'll be jus chillin w the 141 on base and then say something like "boba is absolute gas shits better than normal tea" and of course, since the majority of the taskforce is british, you get absolutely fucking jumped for it. like- keep in mind, you say this price, the NUMBER ONE TEA AND BISCUTS DEFENDER, so you do end up getting toilet duty for a week with the explanation of 'uncordial behaviour.'

but after your deployment, you are the one to arrange where the 141 meet up. it's a little ritual you guys have developed to stay connected in between missions, one that makes your friendship seem a bit more real. sometimes the only thing that keeps your eyes open and heart pumping. and since you're an absolute fucking menace, you ask if you can meet around the heart of london- and then drag them all into the nearest bubble tea store you can.

-

price... doesn't end up liking it. takes a total of two sips, nearly chokes on the pearls, and then sets the cup down. he claims he's been around long enough to know that this- like many other foods, is probably some 'trendy millennial bullshit that'll disappear in a solid few', but that doesn't help ease the insane side eye that he gets from the cashier.

but to your surprise, ghost seems somewhat okay with it. his face doesnt really change (from what you can tell- his mouth is still hidden due to some face mask he put on), but he seems neutral, relaxed, even. he mutters something along the lines of how it isn't too bad, but it doesn't beat a cuppa- to which you chose to ignore, and how he'll probably just stick to having an earl grey in the mornings. but a few months later, you catch him at the same boba store, and you cant help but giggle to yourself.

soap fucking inhales the drink. its genuinely concerning, to say the very least. he seems to like.. unhinge his jaw like some kind of snake, and then inhales the whole drink in what you think is a millisecond. and since he's the only scotsman on the team- thinks the whole 'tea n biscuits' ritual his colleagues have is utter stupidity, so not only does he now FREQUENTLY drink boba because he likes it- he also drinks out of utter spite.

gaz is the only one with a seemingly respectable opinion about boba, unfortunately. he's had it before, multiple times- it appeals to his sweet tooth and is the occasional treat after long missions. but unlike you, gaz does not value peace, and seems to keep egging soap on in chugging unreasonable amounts of the drink. (and he doesnt mention it, as he does not want to face the same punishment as you did, but he thinks that bubble tea is sometimes, just sometimes better than his cuppa.)

masterlist (some of my other stuff is better promise)

[just-a-itty-bitty-kitty]

Thinking about how the Narrator doesn't really know if the world stays saved when we die, and yet in some cases He tries to reassure/console us during our 'last moments'.

"You've paid a terrible price, but you've saved us all." He doesn't know that. Maybe He's just trying to describe it into existence, hoping that if you die with the thought, it'll become true? But in other times, He's sure that our death means doom for whatever world we've left behind. "The world doesn't stay saved if you die." Then why tell us that we've saved it?

I also think it's interesting how emotional Narrator gets by the end of each chapter 1. He treats us differently based on our actions and how we approach the situation.

If we try and save the Princess, he purposely makes our death as long and painful as he possibly can, presumably, out of pure spite. "It is agony. But you aren't dead yet." "She sinks the blade into your chest again, and again, and again... and you feel every inch of burning pain that slices itself into your body."

If we resist his instructions at first, but give in later, he seems genuinely apologetic. "This can't actually be how everything ends..!" "I'm sorry, but it is." or "As much as I'd preferred for things to have gone differently, I can't deny the reality of what has happened." He wants this to work, and he wants us to come out happy and content by the end of it.

He seems caught off guard in the Spectre route if we try to kill her while she's in our body. "Slay her would slay you. Are you sure you're willing to do that?" One would expect Him to immedietly be on board with whatever plan gets rid of Her, but the "heroic"(in His eyes) gesture immedietly makes Narrator develop a soft spot and start to worry for our well being. He doesn't like the idea of the hero being denied their happy ending.

He genuinely believes the Princess to be a manifestation of everything evil in the world and constantly denies her any personhood. It's not an active choice either, as Narrator is an Echo with a set amount of beliefs that cannot be changed. He never changes His mind about anything and one of His core beliefs is that He is right. He has to be, otherwise everything he'd done, everything he went through, it would all be for nothing.

That which was once a defensive thought, shaped by his own hurt and unwillingness to see another perspective, becomes a universal truth.

[nightswatchdisbandmentera]

I have a few jumbled thoughts about the ending of the Long Night, especially as it would relate to the whole idea of “the dragon has three heads”. The Long Night represents a disruption in a larger, cyclical framework—a period where imbalance overtakes the natural order. And within this context, I see each ‘head’ of the three-headed dragon as uniquely responsible for restoring balance and bringing the world back into harmony. Each ‘head’ embodies a distinct facet of restoring balance to the world, yet they work together, either in tandem or sequentially, to set things right once more. So I’ve been trying to tie together some thoughts I have regarding what each being in this triumvirate is uniquely suited to do. Because I personally don’t think any one person will be responsible for being the hero, as that just seems so antithetical to this series; and I also think the Long Night is just way too multifaceted to be ended by a singular action or person. 

This is what we know about the Long Night:

“Oh, my sweet summer child,” Old Nan said quietly, “what do you know of fear? Fear is for the winter, my little lord, when the snows fall a hundred feet deep and the ice wind comes howling out of the north.Fear is for the long night, when the sun hides its face for years at a time, and little children are born and live and die all in darkness while the direwolves grow gaunt and hungry, and the white walkers move through the woods.” “You mean the Others,” Bran said querulously. “The Others,” Old Nan agreed. “Thousands and thousands of years ago, a winter fell that was cold and hard and endless beyond all memory of man. There came a night that lasted a generation, and kings shivered and died in their castles even as the swineherds in their hovels. Women smothered their children rather than see them starve, and cried, and felt their tears freeze on their cheeks.” Her voice and her needles fell silent, and she glanced up at Bran with pale, filmy eyes and asked, “So, child. This is the sort of story you like?” “Well,” Bran said reluctantly, “yes, only …” Old Nan nodded. “In that darkness, the Others came for the first time,” she said as her needles went click click click. “They were cold things, dead things, that hated iron and fire and the touch of the sun, and every creature with hot blood in its veins. They swept over holdfasts and cities and kingdoms, felled heroes and armies by the score, riding their pale dead horses and leading hosts of the slain. All the swords of men could not stay their advance, and even maidens and suckling babes found no pity in them. They hunted the maids through frozen forests, and fed their dead servants on the flesh of human children.” (Bran IV, AGoT)

We focus so heavily on the Others—understandably so—that we often overlook some crucial details. The Others don’t exist in isolation. They arrive in the wake of an extreme winter, which enables their existence for they are “demons made of snow and ice and cold” (Samwell V, ASoS). And with the sun and its heat gone, they move within the darkness. So confronting the Others in battle, in and of itself, does not end the Long Night. The true struggle lies in addressing the elements that allow them to exist in the first place. To fully defeat the Others, our heroes must first restore light and the balance of the seasons.

No single character in this series has the ability to achieve this on their own. Even the key magical protagonists are only equipped to address certain aspects of the conflict. That’s why the dragon must have three heads, each embodying a crucial responsibility: one to restore the natural cycle and end the long winter, another uniquely positioned as the antithesis to the Others, and a third tasked with confronting darkness by bringing light back into the world.

By now, you can see where I’m heading with this, right? I believe the three heads are Bran, who represents summer and stands as the antithesis to winter; Daenerys, whose dragons are the direct counter to the Others; and Jon, who occupies a more complex role as both the one who harnesses light and embodies it. Beyond this, each of these characters has been positioned as a chosen one, with distinct yet mirrored magical destinies that set them apart from the other POV characters.

I’m reminded of a quote from Arya’s POV in Dance:

One time, the girl remembered, the Sailor’s Wife had walked her rounds with her and told her tales of the city’s stranger gods. “That is the house of the Great Shepherd. Three-headed Trios has that tower with three turrets. The first head devours the dying, and the reborn emerge from the third. I don’t know what the middle head’s supposed to do….”

While I have more detailed thoughts on this passage, for now, I believe Daenerys represents the first head, Bran the third, and Jon the middle. Each head is tasked with a unique responsibility—one that is specific to them, that the others cannot fulfill. To end the Long Night, the three heads work together, but each plays a distinct part. There is some overlap, particularly with the middle head, who might serve as the balance between the extremes, yet each figure is positioned to occupy a particular space within this framework.

So I want to lay my thoughts here and see if we can get some wider discussion 👀 

The first aspect of the Long Night - and perhaps the most important if we’re thinking of what makes it happen in the first place - is the long winter that precedes it.

Bran looked down. There was nothing below him now but snow and cold and death, a frozen wasteland…  (Bran III, AGoT)

This winter provides the very elements that sustain the Others: snow and ice. It’s this aspect that I believe extends humanity’s struggle during the Long Night. With an almost endless supply of ice and snow, can our heroes truly defeat the Others through direct combat alone? I really don’t think so. The abundance of snow, accompanied by a persistent cold, suggests that new Others can continuously be ‘created’. While this is largely speculative given how little we know about them, I find it compelling that the Others seem to materialize out of the darkness itself (see Prologue, AGoT). And when Sam kills the Other in Storm, it simply dissolves…

Sam rolled onto his side, eyes wide as the Other shrank and puddled, dissolving away. In twenty heartbeats its flesh was gone, swirling away in a fine white mist. Beneath were bones like milkglass, pale and shiny, and they were melting too.

And that might not mean much in and of itself, but I’m inclined to think of the ADWD prologue:

The white world turned and fell away. For a moment it was as if he were inside the weirwood, gazing out through carved red eyes as a dying man twitched feebly on the ground and a madwoman danced blind and bloody underneath the moon, weeping red tears and ripping at her clothes. Then both were gone and he was rising, melting, his spirit borne on some cold wind. He was in the snow and in the clouds, he was a sparrow, a squirrel, an oak. A horned owl flew silently between his trees, hunting a hare; Varamyr was inside the owl, inside the hare, inside the trees. Deep below the frozen ground, earthworms burrowed blindly in the dark, and he was them as well. I am the wood, and everything that’s in it, he thought, exulting. A hundred ravens took to the air, cawing as they felt him pass. A great elk trumpeted, unsettling the children clinging to his back. A sleeping direwolf raised his head to snarl at empty air.

The Other and the human skinchanger dissolving after “death” is so fascinating. And it raises many questions. Death wasn’t the end for Varamyr as his spirit went into his wolf. So is that the same with the Other who also dissolved into white air? As long as magic and suitable conditions (i.e., winter and all its elements) exist, then the Others can never truly die and thus could take on another form?

If that’s the case, then winter itself must be addressed to cut off the Others’ vital resources—along with the magic that sustains them, though we’ll get to that later. And who better to combat winter if not Bran Stark of “Winter-fell”?

Now you know, the crow whispered as it sat on his shoulder. Now you know why you must live. “Why?” Bran said, not understanding, falling, falling. Because winter is coming. […] Bran touched his forehead, between his eyes. The place where the crow had pecked him was still burning, but there was nothing there, no blood, no wound. He felt weak and dizzy. He tried to get out of bed, but nothing happened. And then there was movement beside the bed, and something landed lightly on his legs. He felt nothing. A pair of yellow eyes looked into his own, shining like the sun. The window was open and it was cold in the room, but the warmth that came off the wolf enfolded him like a hot bath. His pup, Bran realized … or was it? He was so big now. He reached out to pet him, his hand trembling like a leaf. When his brother Robb burst into the room, breathless from his dash up the tower steps, the direwolf was licking Bran’s face. Bran looked up calmly. “His name is Summer,” he said.

Bran’s wolf, a reflection of his own identity, only receives his name after Bran glimpses his magical destiny. With winter’s horrors looming, Bran must become the summer that rises to challenge it.

As the Prince of Winterfell, Bran’s title and inheritance—rooted in the Stark legacy from the first Long Night and Bran the Builder—signify a dominance over winter. He is the summer prince, heir to the place where “winter fell, defeated”.

“And who is Summer?” Jojen prompted. “My direwolf.” He smiled. “Prince of the green.”

Prince. The man-sound came into his head suddenly, yet he could feel the rightness of it. Prince of the green, prince of the wolfswood. He was strong and swift and fierce, and all that lived in the good green world went in fear of him. (Bran I, ASoS)

Because winter brings death to the land, summer is needed to restore warmth, vitality, and breathe life back into the world. And that’s why Bran’s identity not just as the “prince of the green”, but as the last of the greenseers (of course once Bloodraven kicks the bucket) puts him in a unique position during the Long Night. 

He will be the one to end the winter.

I’m still piecing together what this might ultimately look like, as we need more information about greenseeing and how Bran may fully harness it. However, from what we do know, it seems greenseeing is extends to earth magic—shaping and manipulating the natural world, as seen with events like the Hammer of the Waters. Additionally, greenseers can perceive past, present, and future, which essentially aligns with the passage of time. And isn’t that what the cyclical nature of the seasons embodies? Time flows, and with it come physical changes in the land: winter brings barrenness, spring rebirth, and summer growth. Humanity needs someone who understands this cycle and possesses the power to influence the earth itself.

Since Bran has already glimpsed the heart of winter, it’s possible he will find himself returning there, perhaps retracing the steps of the last hero. Additionally, the Isle of Faces and the God’s Eye, rich with weirwoods and sacred significance, seem like fitting locations for him to play a pivotal role in restoring balance; especially when we consider his role as a Fisher King/Grail figure who is linked with the renewal of once barren land. Whether Bran has to dig deep into the earth’s roots or manipulate the flow of time itself, the Long Night cannot end without his dominance over winter.

However, while restoring the balance of the seasons is crucial, neutralizing the immediate threat posed by the Others and their thralls is extremely important- and that’s where Dany comes in!

That night she dreamt that she was Rhaegar, riding to the Trident. But she was mounted on a dragon, not a horse. When she saw the Usurper’s rebel host across the river they were armored all in ice, but she bathed them in dragonfire and they melted away like dew and turned the Trident into a torrent. Some small part of her knew that she was dreaming, but another part exulted. This is how it was meant to be. (Dany III, ASoS)

I’ve argued before that, of our three chosen ones, Dany is the best suited to take on the role of military commander—and I don’t think that’s a far-fetched claim. She has one of the cleanest and most impressive military records in the main series, proving herself a formidable tactician. Not to mention, she commands the dragons—living embodiments of fire—who have been positioned as the direct counter to the Others, creatures of ice. While the Others bring cold and death, Dany and her dragons are fire made flesh, a force of life and renewal.

There are other narrative arguments for why Dany’s role is going to be so heavily militaristic. 

Until one day Prince Rhaegar found something in his scrolls that changed him. No one knows what it might have been, only that the boy suddenly appeared early one morning in the yard as the knights were donning their steel. He walked up to Ser Willem Darry, the master-at-arms, and said, ‘I will require sword and armor. It seems I must be a warrior.’” (Dany I, ASoS)

“No one ever looked for a girl,” he said. “It was a prince that was promised, not a princess. Rhaegar, I thought … the smoke was from the fire that devoured Summerhall on the day of his birth, the salt from the tears shed for those who died. He shared my belief when he was young, but later he became persuaded that it was his own son who fulfilled the prophecy, for a comet had been seen above King’s Landing on the night Aegon was conceived, and Rhaegar was certain the bleeding star had to be a comet. What fools we were, who thought ourselves so wise! The error crept in from the translation. Dragons are neither male nor female, Barth saw the truth of that, but now one and now the other, as changeable as flame. The language misled us all for a thousand years. Daenerys is the one, born amidst salt and smoke. The dragons prove it.” (Samwell IV, AFFC)

“Azor Ahai, beloved of R’hllor! The Warrior of Light, the Son of Fire! Come forth […]” (Davos I, ACoK)

Azor Ahai is said to be a warrior, and while Dany doesn’t fit the traditional image of what that means, she is still an active participant in warfare. Moreover, one of the central aspects of her character is her role as an agent of freedom:

“…this Mother of Dragons, this Breaker of Chains, is above all a rescuer.” (Tyrion VI, ADWD)

She has spent much of her arc directly combating slavery which might seem unrelated, but the Others come with their own type of bondage in their creations of undead. The slavery of the Others is not just physical, but spiritual, and Dany’s role in battling them aligns with her fight for freedom. She isn’t suited to combat winter itself, as Bran is, but her strength lies in physical battle, which Bran is not. To put it another way: if Bran is Frodo journeying into the depths of Mordor, Dany is Aragorn, turning Sauron’s eye with her dragons and leading the fight to defeat his armies.

But I don’t think her role ends there. 

The Others are not dead. They are strange, beautiful… think, oh… the Sidhe made of ice, something like that… a different sort of life… inhuman, elegant, dangerous. SSM

I’ve already mentioned that beyond the elements of winter—snow, ice, and cold—the Others are sustained by magic. Building on the idea of the Other dissolving into mist, it’s possible that magic is what binds these beings together: magic fuses a consciousness with snow and ice into a corporeal entity. So, in addition to battling them physically, our heroes—and Dany in particular—may have to confront this magic that gives the Others their form and power.

“Half a year gone, that man could scarcely wake fire from dragonglass. He had some small skill with powders and wildfire, sufficient to entrance a crowd while his cutpurses did their work. He could walk across hot coals and make burning roses bloom in the air, but he could no more aspire to climb the fiery ladder than a common fisherman could hope to catch a kraken in his nets.” Dany looked uneasily at where the ladder had stood. Even the smoke was gone now, and the crowd was breaking up, each man going about his business. In a moment more than a few would find their purses flat and empty. “And now?” “And now his powers grow, Khaleesi. And you are the cause of it.” “Me?” She laughed. “How could that be?” The woman stepped closer and lay two fingers on Dany’s wrist. “You are the Mother of Dragons, are you not?” (Dany III, ACoK)

The birth of Dany’s dragons seems to have strengthened fire magic, tying her deeply to the very fabric of magic itself. The AGoT bookend suggests that the Others’ ice magic and the dragons’ fire magic may be connected, part of a larger magical ecosystem, or perhaps opposing forces that coexist on opposite ends of the spectrum. Ice and fire, death and life—both seem bound by the same mystical forces. Given Dany’s connection to magic and the fact that the reemergence of her dragons parallels the resurgence of the Others, she seems best suited to combat the magic that enables the Others to take form—serving as an inverse to her bringing dragons to life. And this underscores her dual role as both a destroyer and creator of life

The specifics on Dany’s confrontation with the Others and the magic that creates them remains unclear. She could venture to the heart of winter/the Lands of Always Winter and face the source of their power, creating narrative symmetry between the dragons of the Lands of the Long Summer and the creatures from the Lands of Always Winter. Alternatively, she might find herself in the Isle of Faces if her dream of fighting the Others at the Trident is fulfilled literally. The Isle, with its rich magical ecosystem, would be a fitting place for such a climax.

Bran, too, seems destined to go to the Isle of Faces (I’m a firm ‘Bran, King at the Gods Eye’ truther). This could be where their paths cross and their roles intersect. Bran, with his deep connection to nature and time, might provide Dany with guidance on how to engage with magic and influence its effects on the world. With Bran’s knowledge and Dany’s firepower, she could then deliver the final blow. While much of this remains speculative, what is clear is that their roles complement each other.

And that leaves Jon, the “light bringer”.

They said the words together, as the last light faded in the west and grey day became black night. “Hear my words, and bear witness to my vow,” they recited, their voices filling the twilit grove. “Night gathers, and now my watch begins. It shall not end until my death. I shall take no wife, hold no lands, father no children. I shall wear no crowns and win no glory. I shall live and die at my post. I am the sword in the darkness. I am the watcher on the walls. I am the fire that burns against the cold, the light that brings the dawn, the horn that wakes the sleepers, the shield that guards the realms of men. I pledge my life and honor to the Night’s Watch, for this night and all the nights to come.” (Jon VI, AGoT)

It’s important to see Jon’s primary function as an extension of his current role. He is a man who watches for the night—a sentinel standing against the encroaching darkness. This role is deeply embedded in his identity, and it’s fascinating to see how it manifests in his prophetic dreams.

It’s black inside, and I can see the steps spiraling down. Somehow I know I have to go down there, but I don't want to. I'm afraid of what might be waiting for me. The old Kings of Winter are down there, sitting on their thrones with stone wolves at their feet and iron swords across their laps, but it's not them I'm afraid of. I scream that I'm not a Stark, that this isn't my place, but it's no good, I have to go anyway, so I start down, feeling the walls as I descend, with no torch to light the way. It gets darker and darker, until I want to scream." He stopped, frowning, embarrassed. "That's when I always wake." (Jon IV,AGoT)

Last night he had dreamed the Winterfell dream again. He was wandering the empty castle, searching for his father, descending into the crypts. Only this time the dream had gone further than before. In the dark he'd heard the scrape of stone on stone. When he turned he saw that the vaults were opening, one after the other. As the dead kings came stumbling from their cold black graves, Jon had woken in pitch-dark, his heart hammering. (Jon VII, AGoT)

The Winterfell crypt dreams contain many intriguing elements, but I’ll focus primarily on two key motifs: death and darkness.

Jon is the most natural fit for the middle head of the dragon because he exists at the intersection of extremes: light and darkness, destruction and renewal, death and life.

When the spirit stepped out of the open tomb, pale white and moaning for blood, Sansa ran shrieking for the stairs, and Bran wrapped himself around Robb’s leg, sobbing. Arya stood her ground and gave the spirit a punch. It was only Jon, covered with flour. “You stupid,” she told him, “you scared the baby,” but Jon and Robb just laughed and laughed, and pretty soon Bran and Arya were laughing too. (Arya IV, AGoT)

While Bran is connected to summer and warmth through his magical familiar, Jon possesses a unique sensitivity to death, embodied by his bond with Ghost.

He sniffed at the bark, smelled wolf and tree and boy, but behind that there were other scents, the rich brown smell of warm earth and the hard grey smell of stone and something else, something terrible. Death, he knew. He was smelling death. He cringed back, his hair bristling, and bared his fangs.  Don't be afraid, I like it in the dark. No one can see you, but you can see them. But first you have to open your eyes. See? Like this. And the tree reached down and touched him.  (Jon VII, ACoK)

Furthermore, Jon’s fate at the end of ADWD implies that through his death and eventual rebirth, he becomes a ghost in his own right—caught between life and death, existing yet not fully alive. This intertwines with his connection to darkness, as Jon straddles the boundary between light and darkness: a shadow.

All in black, he was a shadow among shadows, dark of hair, long of face, grey of eye. (Jon VII, ACoK)

“I can show you.” Melisandre draped one slender arm over Ghost, and the direwolf licked her face. “The Lord of Light in his wisdom made us male and female, two parts of a greater whole. In our joining there is power. Power to make life. Power to make light. Power to cast shadows.” “Shadows.” The world seemed darker when he said it. “Every man who walks the earth casts a shadow on the world. Some are thin and weak, others long and dark. You should look behind you, Lord Snow. The moon has kissed you and etched your shadow upon the ice twenty feet tall.” Jon glanced over his shoulder. The shadow was there, just as she had said, etched in moonlight against the Wall. (Jon VI, ADWD)

Shadows, like ghosts, are echoes of something once tangible. They arise from obstructed light, existing in a realm that is neither completely dark nor wholly bright, hovering between presence and absence. They highlight where light is absent. But shadows also exist only in the presence of light, revealing the delicate boundary between illumination and the lack thereof. 

So building on that idea, it’s significant that Jon’s frequent journeys into the Stark underworld, where death and darkness prevail, take a pivotal turn in ASoS when he becomes vividly aware of light fading in real time.

He dreamt he was back in Winterfell, limping past the stone kings on their thrones. Their grey granite eyes turned to follow him as he passed, and their grey granite fingers tightened on the hilts of the rusted swords upon their laps. You are no Stark, he could hear them mutter, in heavy granite voices. There is no place for you here. Go away. He walked deeper into the darkness. "Father?" he called. "Bran? Rickon?" No one answered. A chill wind was blowing on his neck. "Uncle?" he called. "Uncle Benjen? Father? Please, Father, help me." Up above he heard drums. They are feasting in the Great Hall, but I am not welcome there. I am no Stark, and this is not my place. His crutch slipped and he fell to his knees. The crypts were growing darker. A light has gone out somewhere. "Ygritte?" he whispered. "Forgive me. Please." But it was only a direwolf, grey and ghastly, spotted with blood, his golden eyes shining sadly through the dark…

This is particularly noteworthy because of a similar, parallel dreams:

That night he dreamed of the feast Ned Stark had thrown when King Robert came to Winterfell. The hall rang with music and laughter, though the cold winds were rising outside. At first it was all wine and roast meat, and Theon was making japes and eyeing the serving girls and having himself a fine time . . . until he noticed that the room was growing darker. The music did not seem so jolly then; he heard discords and strange silences, and notes that hung in the air bleeding. Suddenly the wine turned bitter in his mouth, and when he looked up from his cup he saw that he was dining with the dead. (Theon V, ACoK)

The fires that ran along the blade were guttering out, and Jaime remembered what Cersei had said. No. Terror closed a hand about his throat. Then his sword went dark, and only Brienne’s burned, as the ghosts came rushing in. (Jaime VI, ASoS)

The ASoS crypt dream runs parallel to Theon’s ACoK dream and Jaime’s ASoS dream, with a common element: the presence of death and growing darkness.

While the crypts are inherently dark, Jon perceives when other sources of light are extinguished—true to his role in the Night’s Watch, which is to keep vigil against encroaching darkness. This ability to sense the fading light underscores his ghostly nature, where he reflects light while simultaneously existing in a state of absence. It also highlights his role as a shadow, existing in the blending of light and darkness. As both a shadow and a ghost, he can navigate these dual states, acting within the world’s transitions between day and night.

Which brings us to what I consider a continuation of Jon VII; while that chapter is marked by a lack of light, this next chapter is characterized by an abundance of it:

Burning shafts hissed upward, trailing tongues of fire. Scarecrow brothers tumbled down, black cloaks ablaze. ‘Snow,’ an eagle cried, as foemen scuttled up the ice like spiders. Jon was armored in black ice, but his blade burned red in his fist. As the dead men reached the top of the Wall, he sent them down to die again. He slew a greybeard, a beardless boy, a giant, a gaunt man with filed teeth, and a girl with thick red hair. Too late he recognized Ygritte. She was gone as quick as she’d appeared. The world dissolved into a red mist. (Jon XII, ADWD)

At some point between these two dreams, Jon found (or even created) light and he wields it as a weapon. And it’s clear that Jon’s sword in this dream is the actual manifestation Azor Ahai’s Lightbringer:

“In ancient books of Asshai it is written that there will come a day after a long summer when the stars bleed and the cold breath of darkness falls heavy on the world. In this dread hour, a warrior shall draw from the fire a burning sword. And that sword shall be Lightbringer, the Red Sword of Heroes, and he who clasps it shall be Azor Ahai come again, and the darkness shall flee before him.” (Davos I, ACoK)

Lightbringer has two major requirements: to give off heat and to illuminate. Jon’s sword does both!

We’ve seen a number Lightbringer-esque weapons (e.g., Beric’s and Thoros’), but Stannis Baratheon’s sword is the most intriguing proxy.

Davos knelt, and Stannis drew his longsword. Lightbringer, Melisandre had named it; the red sword of heroes, drawn from the fires where the seven gods were consumed. The room seemed to grow brighter as the blade slid from its scabbard. The steel had a glow to it; now orange, now yellow, now red. The air shimmered around it, and no jewel had ever sparkled so brilliantly. But when Stannis touched it to Davos’s shoulder, it felt no different than any other longsword. “Ser Davos of House Seaworth,” the king said, “are you my true and honest liege man, now and forever?” (Davos IV, ASoS)

While Stannis’ sword is visually dazzling, it is, in essence, a well-made fake. Its bright glow meets one of the two requirements for “light-bringer”, yet its impressive variety of hues with no actual heat serve as a clue that it is not the true sword of heroes. When the world cloaked in darkness, a weapon that shines as brightly as the sun is undoubtedly a powerful symbol. And Stannis’ sword is bright….

….but it’s almost too bright. His sword emits the wrong kind of light—one that is all glamor with little substance. This great conflict is referred to as the “war for the dawn”. So what humanity needs is a reminder of the dawn itself:

As a red dawn broke in the east, Grey Wind began to howl again. (Catelyn X, AGoT)

A swollen red sun hung low against the western hills when the gates of the castle opened. (Catelyn IX, AGoT)

Dawn and the sun are often associated with red hues in the text, a color heavily tied to fire (e.g., House Targaryen and R’hllor). Stannis’ sword gives off light, but it lacks the essence of true warmth. In contrast, Jon’s sword is the real Lightbringer: it is hot enough to burn against the cold and it radiates the actual red hues of dawn, thus illuminating the world around it.

Jon’s role as the archetypal fantasy protagonist necessitates a magic sword—Lightbringer will be his Excalibur; his Anduril. But more than just being a weapon, his Lightbringer symbolizes the transition from darkness to light. Dawn, a moment of transformation, begins with deep red hues that retain the shadows of night before blooming into the full brightness of the sun. Like the early dawn, Jon straddles the line between night and day, existing between life and death, darkness and light. As the middle dragon head, he embodies balance.

I’m not really sure how that plays out in the endgame; hell, I still can’t figure out how Jon will “forge” Lightbringer in the first place. But he has to end up somewhere for his arc to reach its magical climax. I’ve speculated that Bran and Dany might find themselves at the Isle of Faces or the heart of winter. The latter is a strong possibility for Jon, especially if he too recreates the last hero’s journey; not to mention his connections to snow and winter. But he could also return to the Wall, a mighty structure that symbolizes the boundary between life and death. The Wall is also imbued with ancient magic that radiates outward (e.g., strengthening Mel’s magic and prolonging Maester Aemon’s life). Therefore, it could serve as the ideal location for Jon to reignite and wield the light that has long been hidden.

Though Bran, Jon, and Dany each have distinct roles in restoring balance, their actions are deeply intertwined, with shared themes across their arcs. Jon and Bran connect through their existence in darkness, as seen in their ACoK dreams. All three share connections to death: Bran inhabits the realm of the dead (Mel I, ADWD; Jon’s ACoK wolfdream), Jon embodies a ghost-like nature that straddles life and death, and Dany is called the “bride of fire, daughter of death”. Additionally, Jon and Bran are linked to winter, and both Jon and Dany share the legacy of Azor Ahai and Lightbringer, with dragon breath also echoing the red hues of dawn. Together, they are not just separate forces but three heads of the same dragon, working in concert to ensure that the Long Night ends and the cycle of life and death continues.

TL;DR:

The dragon has three heads, each with a unique role in maintaining the cycle of balance, despite their overlaps in common themes. Bran, the Prince of Winterfell, embodies summer and inherits the legacy of the kings of winter, making him the most suited to confront the Long Night’s origin: winter itself. The Long Night cannot end without Bran’s triumph, as winter represents death while summer signifies new life. Dany, linked to the ebb and flow of magic and the direct antithesis of the Others, is best positioned to engage them in battle and counteract the ice magic that enables their existence. As the perfect manifestation of fire magic, she serves as a powerful weapon, embodying the theme of destruction by being “breaker of chains”. Meanwhile, Jon straddles the boundaries of light and dark, life and death, destruction and creation. His unique position allows him to navigate these extremes, bringing forth the lost light while holding back the consuming darkness. As the embodiment of balance—dead yet alive, icy yet fiery—he ensures the proper equilibrium between these forces.

Dragons, symbols of life, fire, and summer, starkly contrast with the cold death represented by winter and its children. Daenerys, as the Mother of Dragons, embodies the nurturing aspect of life, actively bringing forth new existence by counteracting suspended states of life (e.g., awakening dragon eggs and freeing slaves). Bran, representing youthful vitality, symbolizes young life that is both born and maturing. Jon occupies a unique position in the middle; he is like spring, a new life emerging from darkness, akin to an awakened dragon—life once petrified but now revitalized. Together, these three form a multifaceted dragon that embodies various dimensions of life, each contributing uniquely to the fight against the Long Night.

[lotusarchon]

disco sings our tune (mk x reader)

content warnings: male reader, second pov (you/your), fluff drabble with some angst sprinkled, s5 spoilers (for anyone who still somehow hasn't seen it)

author's notes: okay this one was really sweet when i started writing it ☹️ i love mk dawg he's so aaaah

You're MK’s perfect match.

No, it wasn't because you liked Monkey King (he's such a big meanie to you), and it wasn't because you liked Pigsy's noodles (too spicy) and it wasn't because you were friends with Mei (you were but she always bullied you for trying to be MK's new bff ☹️), and it also wasn't because you pissed of Red Son by simply existing.

Nah, you were his match because you always matched his wild energy. Opposites usually attracted each other, but it seemed like similarities also drew each other in as well. And MK would have to be an ass like Macaque if he ever said he didn't enjoy your company.

And he appreciated you, he truly did. 

Even at his lowest point, even after everything he's done, your very presence filled him with joy.

“MK?” You gently pinched his cheek, bringing him back to reality. There you were, sitting next to him on the roof of Pigsy's noodles. You were smiling at him, your thumb rubbing the spot you had pinched with the sweet smile that you always wore.

MK stared at you, and felt tears threatening to spill, even when he'd cried enough in Monkey King's arms. 

If he had actually allowed the cycle to end, would you have been reborn? Would he have ever seen you again? If Xiangliu had never awakened him early, would he have ever met you?

His heart squeezed at the thought. The mere idea that somewhere out there, there was a universe where he would've never existed. That he'd never have met you….

“Don't cry. You're so sweet, MK. Have I ever told you how much I loved you?” One after the other the words tumbled from your lips, and your arms wrapped around him, hugging him close. Your presence, so warm and comforting, reminding him of what he could've lost…. “I love you. I love you to the moon and back! Don't cry, you're way too cool to cry!”

And so sweet..

He couldn't help but laugh, returning your embrace with his own.

“I know,” he said, allowing you to thread your hands through his hair, scattering sweet kisses across his face. “I know, and I love you too, (Name).”

“You better.” You gave him another kiss. From below, Tang was gagging at the sight, but you stuck your tongue out at him. “From now on, just trust me, alright? We're boyfriends! And I need you!! I mean, who else is gonna help me piss off Red Son?”

“There's Mei―”

“She hacked his socials and posted FNAF fanfiction.”

“Oh. Then yeah you do need me.”

“Exactly!”

@lotusarchon , 21.09.2024, all rights reserved. do not copy, repost or translate my works without permission. comments, reblogs and likes are appreciated!

[curioussubjects]

The Torn-Up Road: Part V [feat. Maelstrom (good ending version)]

Previous: Part I • Part II • Part III • Part IV

[jerreeeeeee]

i don’t know if i’m ever gonna write the fic but i’ve been thinking abt like. the eternal stockade. the implications. lup, a lich who was trapped in a dark featureless cell for a decade completely isolated with nothing to keep her sanity but her own mind. she has to put people in the eternal stockade. how many liches does she see herself in. how many liches started out just like her. how many liches are truly too far gone. and the only liches we ever see other than her and barry are edward and lydia. they’re certainly evil, but mad? they seem pretty sane. they’re not, like, tattered echoes of souls, they’re definitely still people. even as much of a grudge as lup surely has against them, wouldn’t they remind her incredibly strongly of herself? do they deserve to be trapped just like she was? for eternity? isn’t eternity what turned john to existential despair in the first place?

[stardustdiiving]

I notice Nahida is portrayed as frustrated or scolding of other characters (usually Wanderer) in fanon often but to be honest I don’t think Nahida really has that much of a temper where she defaults to that sort of thing very much….She can be angry and firm as needed but I really don’t think that’s her first instinct on how to assert herself in a lot of cases.

She instead really strikes me as someone who primarily gets upset when it’s on behalf of other people or someone embodying ideas she finds very devoid of care and compassion for others….but struggles to really be angry on her own behalf. Like, it’s pointed out it’s only until she’s actively being rescued that she finally says she’s angry at the Sages, and while she is openly angry then we see later everyone comments on how they seem to have gotten off days, which I touched on in this post and feel u can infer from that this idea Nahida struggles to be harsh even towards to the people who kept her in a cage for 500 years—which makes when u see how much she rationalizes being treated like this earlier on. She ultimately seems more concerned with the Sages mistreatment of her people vs their mistreatment of Nahida herself.

This feels consistent to why she seems pretty visibly disgusted with Dottore when they have their negotiation. Dottore is more or less an antithesis to everything she believes about wisdom and embodies a lot of malice and cruelty that Nahida would be really disturbed by. I personally like to write her lack of a temper in some areas as something that seems almost troubling — bc on one hand she’s very forgiving and kind despite through being a lot, but on the other this seems like it might be rooted in just genuinely not allowing herself to be angry to protect herself. But yeah overall I think unless you’re really causing an issue Nahida is more likely to give you a kind of frazzled sad puppy look and very politely ask you to be better as opposed to hitting you with a sandal or scolding you for it

In the case of her relationship with Wanderer specifically I’ve like, talked about how I feel people overlook the fact Wanderer makes a genuine effort to cooperate with Nahida and doesn’t really fight with her much…so i don’t think they’re often bickering with each other to the point Nahida has to get really firm with him. She seems to have a pretty interesting amount of patience with him especially post AQ, which again I think is helped by the fact Wanderer is genuinely trying to cooperate and she sees that. We do see her ask Traveler + Scaramouche to stop bickering in Inversion of Genesis but she is in my opinion very polite and at most a bit awkward about it, not scolding or irritated

[automatonknight]

here's the prick i was talking about^ i have so many thoughts and notes about him but they're mostly incomprehensible so when i organize maybe them i'll post them who knows

[toddtakefive]

thinking about todd and his resolve toward… not quite isolation, but being alone in a room full of people again. he goes along to the study room to sit on his own and do his homework, he sits at the poets table and follows along with what’s being said while keeping quiet, he goes to the meetings at all but doesn’t necessarily contribute (in fact, if you watch him when cameron is telling the story ‘from camp in sixth grade’, you can see that he recognizes it before any of the other poets but doesn’t voice it until they all have). he’s not alone, necessarily, if you want to get technical about it, he’s just lonely, and he’s generally okay with that. he doesn’t have friends and that’s fine, he doesn’t participate in class and that’s fine, he doesn’t have a relationship with his family and that’s fine—he could live without any real connection and he’d have been, more or less, fine.

the thing about when he says “i can take care of myself just fine!” is that he isn’t really wrong, you can infer that he’s been doing it his entire life anyway, it’s that ‘taking care of yourself’ isn’t the same thing as really living or being happy. todd’s an introvert, certainly, and even as he gets closer to the group he defaults to sitting quietly in the background, but he’s also denying himself community out of fear not introversion. todd isn’t friendless because he’s an introvert, although that definitely plays a part, he’s friendless because he pushes anyone that might want his company away. if anyone has every wanted for his attention in the first place. (neil’s unwavering interest in him is unique (even when it comes to the rest of the poets, who are fine with todd coming along and joining the group, but aren’t really hellbent on him being there in the beginning) and his refusal to accept it is a direct result of being so lonely growing up.)

there’s obviously something to be said about the implications of his parents neglect, and the more than likely fact that he grew up friendless, and how those both play a part in in him being so skilled at dodging social interaction/being so avoidant of it, but by the time we see him in the movie he’s all but accepted his fate as being alone his entire life. he’s already accepted being the family disappointment, and he’s already accepted he’ll never amount to anything, and he obviously doesn’t like it, but he’d have managed living with that knowledge without the confirmation that it was all wrong. would he have been miserable? almost certainly. but he’d have managed. he’d done it for that long already, anyhow.

[hanzajesthanza]

when sapkowski is all “i don’t believe in absolute evil” like he didn’t write like vilgefortz and leo bonhart and birkart grellenort likeeee okkkk but those guys were preeeetty evil though

[moeblob]

What Deacon thinks: what did that mean? did he want me to wear a collar too? why else would he mention my neck? i mean, if he /asked/ me i would wear one but he didn't so would wearing one be weird?

What Ymber meant: It's nice to be near someone who isn't tethered to this world to serve it with a physical reminder for all to see.

[hide-your-bugs-away]

i had a dream last night that there was an alternate cut of the NME Poll Winner's Concert (1965) that captured different angles of the bands performing and the Animals' portion of the show was an unchanging, straightforward shot of the whole band and i could see each and every moment Alan looked up at Eric (no jump cuts required) 😔🙏