#probably a good time to scour through some arts I haven't posted! I say every time and never do

[skelizard]

Adamai from Wakfu, using only CMYK pencils.

[merlinficreview]

Accidental Memory in Case of Death Review Part 1!

Accidental Memory in the Case of Death by derryere

Word Count 74987

 So I know it’s been forever but working night shift really does fuck normal basic human functions all over the place and that’s why I haven’t been so on top of my shit here.

This fic is my favorite fic ever. Seriously. It’s even a reincarnation fic which I normally hate. I was scrolling through the Merlin tag the other day and noticed that this had just recently been posted on AO3 so what better time to review it? There aren’t any chapters so I’ll just have to break this up some other way.

As always italics represent direct quotes from the fic and bold represents italicized writing within the fic.

Let’s do this!

“He takes whatever sleep he can get.” That’s our opener. Not looking good for this kid here. Mystery character is sleeping on a train bench. Like a hobo. Smells like fic!Merlin to me!

“The compartments' low windows angle the morning sun, letting the light through and colouring it a shade of brown in even, rectangular shapes on the platform floor. He blinks and numbly takes notice, wading through the brightness of it, not quite sure what day it is or how to differentiate this morning from any given morning of the past three years.” Well that’s a sort of depressing outlook. I’ve been there before though.

Mystery character makes it to campus and goes to class to sleep, just to be woken up by a friend named “Art” who appears to still be high from the previous night. Sometimes he and Art sleep through their classes, “On days like that, they quarantine the back of the hall, splaying themselves over the chairs that weren't made for sleep at all, dozing off to the sound of lectures they'd attended before in previous years but in which they—every time again—had forgotten to pay attention.”

What is going on that this character needs so much sleep? Why is he not sleeping at home? Does he have narcolepsy? I am concerned. Also, pay the fuck attention. College is way too expensive to be failing multiple classes multiple times. P.S. and spoiler alert: “Art” is not Arthur which took me a ridiculously long time to realize the first time I read this. You’re welcome.

Mr. Narcolepsy observes his fellow classmates and this is where, though we don’t know it yet, we get the introduction to the second half of our pair: “Then that particular group of girls who always sit together—and out of all there's only one he thinks is hot but she never looks up at the right time—sitting next to Heineken, a broody kid who takes his skateboard to class, and whose real name is forever lost due to a supposed incident during first year introduction that involved a beer bottle, an unsavoury way of putting it to use and a partner too drunk to care.” Ok then.

“Someone calls him, a mate or someone's mate, a sharp, ‘Oi, Tony,’ usually toward the end of the lecture or maybe even after it, as they saunter their way towards the cafeteria. ‘You up for it, tonight?’” Tony? What the hell?

Ok, yes I’ve read this before so I already knew this but the first time I read this I was hella confused.

Anyways, Tony goes home and tells his mother he is going out. He parties all night, which we don’t see and this is actually fine because the way it’s written, it doesn’t feel like an eye roll worthy, SHOW US, DON’T TELL US moment. Nothing feels missed by us not being at this party.

So then Tony goes home and awkwardly goes to his mother’s room, loudly eating cereal, sitting at her “bedside.” He wakes her up and they have a conversation which is written kind of oddly because we only get his side of the conversation. I originally read this as he was talking to her on the phone and was confused as to why he went to her room to call her, and also a little concerned. Tony tells her to go back to sleep. Why are you being so weird about your mother, Tony?

Magical Paragraph Break with: “(day one)”

Arthur and Merlin are having a conversation about being king. Merlin asks Arthur what the one thing he would do for himself would be. Arthur’s response is, “’I don't know,’ he says. ‘Allow sparring indoors? Always wanted to do that. Like a sparring room, where you can, sort of—jump on the tables, and all, with the swords and . . . I don't know. I'll cut down on the dances, probably.’ He thinks about this for a moment, and then, ‘I hate dancing.’” Merlin makes fun of him but I think it’s kind of cute that Arthur wants to spar indoors. It would be dangerous so they’d have to make up some rules so no random castle worker doesn’t accidentally walk in on the middle of a sparring match and get hurt. Anyways, what I like about Arthur’s response is that it’s 100 percent something for him and wouldn’t negatively impact anyone (unless there were no rules) and Arthur probably so rarely just got to have fun growing up so this could be the one thing he can do for enjoyment. Merlin says the one thing he would do is paint the castle green. I also approve of this.

Merlin then changes the subject and asks about Arthur’s future in terms of getting married. He gets really upset during the conversation, you know because he’s in love with Arthur. Merlin asks Arthur if he’s even been in love and Arthur says he has. Then there’s awkward silence until Arthur asks Merlin the same question. Merlin asks how one knows when they are in love and Arthur says Merlin would know. Then Arthur kisses him and they race to the castle which of course ends up with Merlin straddling Arthur, as you do, “Merlin doesn't feel the gifted victory is any less of a victory when he rolls them over in a bit of a scuffle and ends up on top—straddling Arthur, holding his hands to the ground over his head. Arthur is beaming up at him, eyes bright with the playfulness of the game, and he wordlessly laces his fingers with Merlin's—sending both their hearts skidding and sliding and falling all over themselves within their chests. Merlin fills up and then runs over with it, with the goofy grins and wide eyes, and leans down in a brief, quick movement—lightly kissing Arthur, for just a moment.” What I like about this is that it’s kind of sweet? Like even though it includes the annoying cliché of boys being boys playing and oops, now one is on top of the other trope, it’s kind of adorable.

Back to Tony: Tony is once again sleeping in a public place. I don’t understand this. Why doesn’t he sleep at home like a normal person? Quit bothering your mother and go to your room and sleep, dude.

Tony recognizes someone and thinks about how he occasionally sees people from high school on the train on Fridays going back home. “Usually, Anthony has no one's company to resent but his own.” Damn, Tony.

The person he recognizes is Heineken, whose actual name we don’t know yet. They make awkward eye contact and the train comes to an abrupt unscheduled stop. Heineken lights a cigarette to which Tony tells him he can’t, so Heineken leaves the train. Fair enough.

Tony gives him an annoying party pooper lecture about how the train could leave ASAP and Heineken is just 2Kool4Skool so he points out that the situation is sketch anyways because the doors to the train shouldn’t be unlocked. P.S. spellcheck doesn’t highlight 2Kool4Skool.

Anyways, Tony gives in to peer pressure and follows Heineken. Heineken finds some ruined stone structure.

Tony makes super awkward conversation, “’You're a second year, aren't you.’ Anthony strolls after as the guy skips over the wall, following its inclining path—up a slight hilling easily mistaken for higher grasses. ‘What of it,’ he says, flicking what's left of his smoke to the ground, stepping on it as he goes. Anthony shrugs. ‘Nothing. Just . . . ‘ He pushes himself off on his knee, climbing up the ascend. ‘We have some classes together, don't we?’ ‘Do we?’ A quick, wry glance. ‘Never noticed.’ Noting the thick sarcasm to that, Anthony nods while pursing his lips into a thin line. He looks down and pretends he and his friends haven't—once or twice in a distant past—on seeing this guy skate across the campus path, shouted something ugly in his direction for the sake of a laugh.” Yikes. Be more of an asshole, Tony. It’s also super weird that he’s hanging out with Heineken like this after he’s been so horrible to him.

Heineken continues on even though Tony suggests they go back, “The momentum gives him a bit too much movement and he nearly runs the last few steps, jogging into the field before setting in a slow walk toward the single boulder placed—quite randomly—in its middle.” Sword in the Stone boulder maybe?

As they approach the boulder, Anthony asks Heineken what his name is and Heineken refuses to tell him, pointing out the nickname Tony and his stupid friends gave him. Then, “’Look at this,’ he says, tentatively pulling at something sticking out of the veined, grey surface. Anthony turns, comes to stand closer and feels a cackle of his own escape his lips at the sight of eroded metal—a distinct hilt of some sort—peeking out of the stone.” Heineken tries to pull it out; he fails so Anthony gives it a try. For a second, it seems like it’s going to work but then there’s a magical gust of wind and the next thing we know, Tony is being woken up by the train conductor and told to get off the train. Heineken isn’t there.

Tony walks him and when he gets in, he wakes up his poor mother. He tells her he fell asleep on the train, “’Yes, well, that wouldn't happen,’ she tells him as he makes for the open kitchen, rifling through the cabinets, ‘if you went to sleep at decent hours. Like the normal human being I raised you to be, yes. Not a hamster.’” She knows what’s up.

Tony goes to bed and has some weirdass dreams about going into the woods and killing boars with spears. Gee, I wonder what that’s all about?

“It stays strange when he looks at the microwave and marvels at it, thinks: how peculiar. It is strange when he scours the room for a pendant he forgot somewhere before realising that What, and What? And that he doesn't have a pendant, hasn't ever been given one by a great-uncle because he doesn't have a great-uncle and it stays strange throughout the day—giving him headaches, confusion thumping at his temples, and he thinks it's perhaps really gone on for too long, he's gone without regular sleep for too many years and that's it, he's gone mad, he's gone off his rocker and this is how— “ So... Tony’s having a bit of an off day.

Tony’s weird friend Art calls and asks him to hang out. “He goes out that night. He goes, Fuck the exams, and changes his shirt, ruffles his hair and—looking in the bathroom mirror—hollows his cheeks, slaps the sides of his face to a quick rhythm. He listens for the telltale honking of the small car when it stops out in the street, and when it comes he jogs down the stairs, keys in hand. I'm going, he calls out to the rooms of the house. Be back later.” Well that’s an interesting way to get ready.

“’Wait, Anthony, come here for a second,’ his mother replies from her bedroom behind the kitchen, and he goes—smiles in the doorway as she makes a vague gesture for him to come near, help her out without actually saying it. He crouches by her side, then, lets her hold on to his neck as he lifts her out of the chair and sets her down on the bed.”

I don’t understand the relationship Tony has with his mother. Is she an invalid? Why is he lifting her out of chairs and tucking her into bed? She was perfectly capable of walking over to him the night before.

At the party, Tony and Art and another friend of theirs get into a fight. Tony hits his head. “It could be his addled brain reacting to the blow that confuses him for a moment with a rushing flash of things he doesn't remember ever happening but that are still in his head.” Ominous.

Tony says to Art that they’ll have a story to tell people about the party. “’Not much of a story, though, issit?’ Art says. ‘Some tosser shoved at you and you bravely retaliated by fainting the fuck all over yourself. Well done, Tones. Well done.’” Ahahah nice one, Art. That actually made me laugh.

Tony not at all subtlety brings up Heineken to Art and asks what his real name is. Art says his last name is Hawk, so we finally realize Heineken is supposed to be Merlin, what with the name connection. Tony gets super defensive about the rumors surrounding Hawk and the beer bottle. Art says the other person involved in the incident tried to sue Hawk. “’He's supposedly really filthy rich, you know,’ Art cuts in. ‘The Hawk bloke. So, yeah, all I'm saying is—you never know what his family did to keep it all hush hush. You know how they are, old money and all. Don't take very kindly to bottles up the arse.’ ‘This is bullshit,’ Anthony says, deadpan, adding a small laugh. ‘Seriously, Arthur. This is complete bullshit.’” See here’s where my confusion is, I don’t understand why the author decided to call Tony’s friend Arthur. It just makes everything so much more confusing which is why it took me forever to decipher who was supposed to be whom.

After the party, Art and Tony get something to eat and Art tells Tony there is something different about him, cue flashback annnnnnd scene.

Magical Paragraph Break: “(day two)”

Arthur decides that he and Merlin should take a little trip and Merlin is beautifully sarcastic about it. Arthur teases Merlin that he’s going to take someone else, which of course Merlin can’t have.

So they go on their trip, which is on foot for some reason. “Halfway up the incline, Merlin gives up and collapses on the dusty road, all sweat and heaving breaths, one arm slung over his face. He hears Arthur come to stop a while ahead and chuckles, breathlessly, as he yells, ‘Don't worry about me, Arthur!’ He vaguely waves his free hand in the air, dismissing the approaching man. ‘You just keep on keeping on. Really. I'll be fine. Here. Dying. You just—just save yourself, go, don't look back.’” Merlin is me any time I’m required to do anything physical.

Arthur offers Merlin a piggyback ride and it’s adorable even though Arthur is sweaty and gross. “’You are a very sweaty man,’ Merlin tells Arthur a while later, cheek resting on his shoulder.  Arthur, a bit breathless with exertion, tries for a sarcastic laugh but gets as far as a puff of breath. ‘I am carrying you up a hill,’ he says on an exhale. ‘You might want—to show—a bit more—‘ The gravelly stones crumble under them, and Arthur steadies his footing. ‘—Gratitude.’ Merlin smiles into his neck, holds on a bit tighter and says, ‘You are soooo strong.’ And, ‘The power of your arms is enough to render us mortals speechless.’ Arthur grumbles and Merlin moves his lips close to his ear, adding a quiet, ‘My Arthur. So chivalrous.’ ‘Shut up,’ Arthur says, but strokes his thumb along the side of Merlin's knee all the same—small, continuous rhythms all the way to the top.”

They look over the hill at the kingdom and makeout a bit. End flashback.

Meanwhile, Tony is losing his shit. He’s sitting in the classroom the day of an exam and waits for Hawk to show up. “Anthony is walking before managing to register the way his heartbeat picks up, the way his nerves—already frazzled and out of sorts all weekend—jolt to attention like a warning as he approaches the boy. ‘We need to talk,’ is how he starts, standing closer than strictly necessary—angry for no good reason.” Be creepier, Tony.

Tony is super confrontational about the train situation which I had honestly forgotten about for some reason. He asks Hawk if they were on the train together and Hawk gives a nonanswer. Serves Tony right. “With huffed breath, Anthony lets his hand drop. ‘What do you mean what if—what does that even mean? Jesus, I—was there a crash? I mean . . . ‘ He runs his tongue over his lip, nervously, blinking rapidly. ‘Something's wrong. In my—‘ In a shaky pause, he briefly touches his forehead. "I can't—think right. We . . . got off the train, right? That wasn't—I didn't dream that we . . . ‘ At this the boy's bravado slips a little, and there's a bit of an edge to his voice when he replies, ‘I don't know.’” Tony gets kind of mean and blames it all on Hawk. Hawk rightfully tells him to fuck right off. Then Hawk just awesomely just skateboards away, ignoring the fact that they have a test.  Tony thinks about following him. “He curves the board as he reaches the double doors, pushing them open without even stopping, and Anthony is going to shout something—something insulting, loud, anything, but the intention gets stuck in his throat at the familiar yet impossibly alien idea of something like this, of him and the boy and a fight, a market and—oh, don't walk away!—the stumbling, the laughter, like nothing that had ever happened before and yet—“ Awww, memories!

Tony goes back to the room for the exam and continues to have a fractured reality, getting confused about the scene in episode four of Merlin with the golden chalice. Damn straight, I knew the episode number right off the top of my head, in case you were wondering.

Anthony leaves the exam hall and catches up to Hawk, grabbing his arm. This next whole scene is so good, you’re getting it all.

“The boy's arm tenses under his grip. The movement of muscles shifts against his palm, through the fabric of his plaid shirt, and Anthony's heart is sent racing. The inexplicable reaction of recognition has him fixing his jaw, clenching it, trying to hold it down—keep at bay the dozens of ideas, thoughts and pleas that push at his mind, clearly not his, never his, yet somehow there, like a noise that's been turned up.  The boy doesn't move. He stares at Anthony with a furious lack of understanding, a tenseness, a sense of suspense in those expressive, wide-set eyes. It is such an odd face, such a peculiar sharpness and build, but he feels no need to look at any particular part of it—the image so easily detailed in his mind already—thinking of a birthmark on the side of the boy's neck before his gaze flitters down to see it.  His breath leaves him as his hand slips down the boy's arm, holding on still but now to his wrist. Swallowing, he runs his thumb over the edge of the sleeve—then tugs under it, brushing over the warm skin, back and forth on the inside of his wrist.  ‘Merlin,’ he says, croakily, not sure what it means but feeling it all the way to the pit of his stomach.  The boy takes in a shaky breath. ‘Fuck,’ he whispers on the exhale, and his fingers curl down—briefly touching Anthony's before he snatches back his hand, fisting it at his side. He glances around quickly, as though wary of anyone having seen them, and on finding the quad as good as deserted save for distanced voices—a faraway visitor taking a picture of old corridor arches—turns back to Anthony, licking his lips as he says,

‘Not here.’ And, ‘Come on.’”

How good is that? I like the, “noise that’s been turned up,” description. And Anthony calling him, “Merlin.” Hawk realizing that he’s not the only one with these visions and giving in for a second. My heart, guys.

So then they introduce themselves. Hawk’s first name is Emory and he tells Anthony they are going to his house.

They get to Emory’s apartment and there’s some awkward frantic frottage. The part I want to point out is this,  “’Fuck.’ Emory tightens his hold, the rolling, upward movements of his hips losing accuracy as he gasps out, ‘Arthur, god, Arthur, don't—‘ All Anthony can do is reply with a low, ‘Merlin,’ and, ‘Merlin, Merlin, Mer—‘ as he kisses his way down his jaw, tilting up to get his teeth on those lips--Christ, those lips—but Emory turns his head with strained certainty, muscles moving as he clenches his jaw. Anthony tries to follow it, but Emory stops him with a forced, ‘Don't.’” Emory’s reaction to Anthony calling him Merlin is important later. For Reasons. Afterwards, Anthony just leaves without a word.

Magical Paragraph Break: “(day three)”

Merlin is super busy doing the work of a bunch of other servants because Arthur has given him nothing to do for two days. Arthur finds him working and says they should go for a ride. Merlin tells him he can’t. “Arthur wants to know why. Why, why must Merlin ruin all the fun, must insist on getting himself absolutely filthy doing a job that isn't even his to begin with rather than have mad fun with Arthur—which is, theoretically speaking, more or less his job. ‘Because,’ Merlin explains quietly, ‘the rest of the household dislikes me enough as it is.’ Arthur gives him a disbelieving look. He pushes off the table, flopping onto the bench next to Merlin without much grace. ‘Why would they dislike you?’ Merlin pauses for a moment. ‘Do you know of any other servant who gets time off to laze about with his master because it's too hot to work?’” I can’t say I blame the other servants. I’d be so pissed if I was working my ass off and there was one coworker who I looked over at and was doing nothing. Oh hey…

Arthur then proceeds to follow Merlin around bothering him when he’s working. It’s cute but oh man I would be so pissed if I was Merlin. Arthur spends his time making sexual comments and asking stupid questions, “Arthur flitters behind him as he works, following him around with that stupid grin, chewing on the fruit and asking what's that (‘A spatula.’ ‘Oh, right.’), what was that? (‘Dunno.’ ‘Felt like—the ground was, uh, shaking.’ ‘They're probably just taking down the chandelier upstairs.’), and once, when they're alone, sliding close with a hey, hey, what're you doing? ‘Washing the cutlery, Arthur.’ ‘Is the cutlery dirty, then?’ ‘What?’ ‘Is it very, very dirty, Merlin?’ ‘What?’ ‘Is it very, very—‘” 

HAHA Four for you, Arthur, that made me laugh. I’ll even forgive the mess that is the structure of that paragraph.

Merlin throws dirty dishwater at Arthur, they play fight and then Arthur decides to help Merlin wash dishes. “Merlin raises his eyebrows at it, but doesn't look up—doesn't say a thing. Arthur, all nonchalance and soapy clumsiness, starts to idly chatter about the feast. The new servant maid who set fire to the tapestry. The tapestry they used to have in the east wing with the weird imagery that made no sense until someone hung it upside down one day, and once it did make sense it had to be taken down altogether.” This is hilarious. I could totally see something like that happening.

Afterwards, they make out a little in a corridor. I feel like they could have easily been caught but what do I know. End Scene!

Anthony is still having a meltdown. He googles “King Arthur” and “Merlin”, learning nothing, then for extra funsies googles “gay.” He starts watching gay porn but can’t get into it. Then he has a little flashback of Arthur and Merlin and has a big gay crisis about it after he gets turned on.

Anthony spends the next few days hiding out in his room with all these new memories. His mother reminds him he’s missing another exam. Damn, how long has Anthony been locked up in his room? How many exams does this class have?

Anyways, Anthony misses the exam but hangs outside the room looking through the doors to see if he can find Emory. Like a total fucking weirdo. Art comes out of the classroom and Anthony asks him if Emory is in there. “’I don't know?’ Art says by way of a question, looking puzzled, as if unsure of the funny in the joke. ‘I don't give a shit? Look, Anthony, are you—‘ ‘You were just in there, what d'you mean you don't know? I mean, for fuck's sake, the guy has a skateboard with him, how fucking hard is it to miss someone walking around with a—‘” Calm down, Anthony. Damn. Not everyone is obsessed with Emory like you are.

Anthony then stalks his way over to Emory’s apartment and bangs on his door so much a neighbor comes out and tells him to leave since Emory isn’t there. Anthony just goes back the next day. Damn, dude. 

He ends up buzzing the neighbor’s apartment and the neighbor tells him Emory is at work at the supermarket nearby. Anthony then stalks Emory at his place of work. Not. Fucking. Cool. He demands that they talk. “’It's . . . ‘ He sighs, rubs a hand to his brow. ‘It's getting worse. I don't know. I keep on—remembering. You. And, well, these things that we—‘”  Emory isn’t a fan of having this conversation at work, you know, with coworkers around. So they go into the alley behind the store. Which wasn’t a very good idea because then Anthony shoves him up against the wall and the start more awkward frotting. They continue calling each other Arthur and Merlin.

When it’s over, Emory attempts to go back to work and they have a little fight because Anthony doesn’t want him to leave. “Emory, going from wary to a kind of angry in a flash, lashes out in a hissed, ‘Listen, you're having your weird, quarter-life gay—crisis of—whatever. I don't care. And somehow, ironically, you've decided to take it out on me. So excuse me if I'm not thrilled to—‘ ‘Do not,’ Anthony interrupts with another half-aborted step. ‘Do not make me out to be the crazy one. Don't even—You were there. On that train. Out there. You were there. You—when I touch you, you call me—‘ ‘Shut up.’ Emory says it with a threatening finger in Anthony's direction, then again, ‘Shut up. Stop.’” What I like about this is that we get another subtle hint that Emory isn’t 100% cool with all of this.

Emory ditches work and they go back to the train to find the field again. It’s not there so they decide to drive up the next day. Emory tells Anthony to pick him up at his parents’ house.

The next day Anthony discovers that Emory lives in a massive house. Anthony runs into Emory’s brother who knows exactly who he is since they attended the same school. Emory finds them and they leave on Anthony’s motorcycle.

They reach the field and the big boulder isn’t there. After looking around they sit down in the grass and Anthony asks Emory about the big house. “He turns away with a scowl. ‘Don't talk to me like you know me.’ Anthony stares at the back of his head. He frowns, notes the tense set of his shoulders under his worn shirt—the taut lines of his back. Reaching out, soothingly stroking the small, exposed stretch of skin along the side of his lower back, Anthony quietly says, ‘I do know you.’” Poor Emory. Anthony needs to fucking chill.

Anthony asks Emory if he remembers other people from back then. “’They're not my memories.’ Looking at Anthony, then, serious and nothing like the short glances from before, Emory says, ‘We're not them, you know.’ ‘We look the same,’ Anthony replies, feeling weirdly defensive of this point. ‘Yeah, but that's a part of the mindfuck. And that's what it is.’ He keeps his gaze level, earnest. ‘A mindfuck.’”

Emory mentions how confusing the whole thing is, “’I know. Me too.’ Anthony tries to catch his eye. ‘But I remember him, though. All of it. It's like . . . at least it feels like I'm remembering you.’ ‘I am not him. I'm not.’” So again, we get the hint that Emory is super uncomfortable with all of this and Anthony is oblivious.

When they get to Emory’s apartment, Anthony asks him to go get a drink with him and Emory tells him he wants to ignore whatever’s been going on and that he and Tony aren’t friends. Anthony is upset by this but he doesn’t really argue. After Emory goes inside, Anthony calls up his friend Art to hang out. He and Art go to a club where he hooks up with a guy who looks like Merlin/Emory. Art catches him and asks him about it. Anthony gets super defensive and then leaves.

That’s it for this part. Off to an interesting start. I like how Anthony and Emory have different names and personalities from their previous incarnations. I also like how much the flashbacks/memories negatively affect them. Often times when you read a reincarnation fic, Arthur and Merlin just kind of are like, “huh. Ok then!” and it’s all easy peasy. This feels like something much more organic to what would happen if this was a real situation and I like that. It also like Emory’s constant insistence that he isn’t Merlin, something Anthony isn’t quite willing to grasp, which will end up causing a bunch of problems later on. My only criticism would be that the structure of some of the paragraphs is odd but whatever. It’s not so bad that it distracts too much from the story.

Until Next Time: