#the line of succession ends with him

[groenendaelfic]

There are two unpopular Young Royals hills I’m willing to die on.

One is that Wilhelm is a prince and a minor, he can’t abdicate from shit. Not formally and not legally. Not yet and not for a while.

The other is that Wille will never be able to live in a normal apartment building, be it as Crown Prince or after having given up his titles.

[ofswordsandpens]

I fear that "fire bending didn't come easy to zuko" and "zuko isn't a prodigy" (both true) has somehow snowballed into "zuko is a bad or at best average fire bender".... which simply isn't true, especially by the end of book 3

[carlyraejepsans]

hibiscia!!! Sorry if youve explained before but is there something specific about reset-remember fics that you hate? I don't really like them either but for me it's just because I feel like a lot of authors type sans in very ooc ways

They're completely antithetical to Sans' character arc for the sake of cheap and easy angst. The nature of his brand of cosmic horror isn't in reliving his life again and again, that's Flowey's. Sans knows OF the anomaly, knows that it's manipulating time and knows it's a threat to the entire universe, but he doesn't know how or why, because he doesn't remember.

And that's crucial! him being mostly in the dark in spite of the MANY warning signs about us... because it's in that doubt that he remains hopeful. YES we could potentially end the world... but what if we don't? yes we have unimaginable power over everyone else and we can bring back time, but what if we're just.... sad? he needs that gap in his knowledge so he can take a leap of faith across it, it's his entire character arc in the pacifist run. sans THINKS he's given up, he wants to have given up, he chose to do it because there's a comfort in that. in contenting yourself with good food and bad laughs. there's peace. but he hasn't given up, not really. on himself? maybe. but not in us.

there's no way to have that arc if he remembers resets.

[wonder-worker]

Thinking about Elizabeth Woodville as a gothic heroine is making me go insane. She entered the story by overturning existing social structures, provoking both ire and fascination. She married into a dynasty doomed to eat itself alive. She was repeatedly associated with the supernatural, both in terms of love and death. Her life was shaped entirely by uncanny repetitions - two marriages, two widowhoods, two depositions, two flights to sanctuary, two ultimate reclamations, all paralleling and ricocheting off each other. Her plight after 1483 exposed the true rot at the heart of the monarchy - the trappings of royalty pulled away to reveal nothing, a never-ending cycle of betrayal and war, the price of power being the (literal) blood of children. She lived past the end of her family name, she lived past the end of her myth. She ended her life in a deeply anomalous position, half-in and half-out of royal society. She was both a haunting tragedy and the ultimate survivor who was finally free.

[greenerteacups]

oooh please someday tell us what you think of GOT

oh, no, it's my fatal weakness! it's [checks notes] literally just the bare modicum of temptation! okay you got me.

SO. in order to tell what's wrong with game of thrones you kind of have to have read the books, because the books are the reason the show goes off the rails. i actually blame the showrunners relatively little in proportion to GRRM for how bad the show was (which I'm not gonna rehash here because if you're interested in GOT in any capacity you've already seen that horse flogged to death). people debate when GOT "got bad" in terms of writing, but regardless of when you think it dropped off, everyone agrees the quality declined sharply in season 8, and to a certain extent, season 7. these are the seasons that are more or less entirely spun from whole cloth, because season 7 marks the beginning of what will, if we ever see it, be the Winds of Winter storyline. it's the first part that isn't based on a book by George R.R. Martin. it's said that he gave the showrunners plot outlines, but we don't know how detailed they were, or how much the writers diverged from the blueprint — and honestly, considering the cumulative changes made to the story by that point, some stark divergence would have been required. (there's a reason for this. i'll get there in a sec.)

so far, i'm not saying anything all that original. a lot of people recognized how bad the show got as soon as they ran out of Book to adapt. (I think it's kind of weird that they agreed to make a show about an unfinished series in the first place — did GRRM figure that this was his one shot at a really good HBO adaptation, and forego misgivings about his ability to write two full books in however many years it took to adapt? did he think they would wait for him? did he not care that the series would eventually spoil his magnum opus, which he's spent the last three decades of his life writing? perplexing.) but the more interesting question is why the show got bad once it ran out of Book, because in my mind, that's not a given. a lot of great shows depart from the books they were based on. fanfiction does exactly that, all the time! if you have good writers who understand the characters they're working with, departure means a different story, not a worse one. now, the natural reply would be to say that the writers of GOT just aren't good, or at least aren't good at the things that make for great television, and that's why they needed the books as a structure, but I don't think that's true or fair, either. books and television are very different things. the pacing of a book is totally different from the pacing of a television show, and even an episodic book like ASOIAF is going to need a lot of work before it's remotely watchable as a series. bad writers cannot make great series of television, regardless of how good their source material is. sure, they didn't invent the characters of tyrion lannister and daenerys targaryen, but they sure as hell understood story structure well enough to write a damn compelling season of TV about them!

so but then: what gives? i actually do think it's a problem with the books! the show starts out as very faithful to the early books (namely, A Game of Thrones and A Clash of Kings) to the point that most plotlines are copied beat-for-beat. the story is constructed a little differently, and it's definitely condensed, but the meat is still there. and not surprisingly, the early books in ASOIAF are very tightly written. for how long they are, you wouldn't expect it, but on every page of those books, the plot is racing. you can practically watch george trying to beat the fucking clock. and he does! useful context here is that he originally thought GOT was going to be a trilogy, and so the scope of most threads in the first book or two would have been much smaller. it also helps that the first three books are in some respects self-contained stories. the first book is a mystery, the second and third are espionage and war dramas — and they're kept tight in order to serve those respective plots.

the trouble begins with A Feast for Crows, and arguably A Storm of Swords, because GRRM starts multiplying plotlines and treating the series as a story, rather than each individual book. he also massively underestimated the number of pages it would take him to get through certain plot beats — an assumption whose foundation is unclear, because from a reader's standpoint, there is a fucke tonne of shit in Feast and Dance that's spurious. I'm not talking about Brienne's Riverlands storyline (which I adore thematically but speaking honestly should have been its own novella, not a part of Feast proper). I'm talking about whole chapters where Tyrion is sitting on his ass in the river, just talking to people. (will I eat crow about this if these pay off in hugely satisfying ways in Winds or Dream? oh, totally. my brothers, i will gorge myself on sweet sweet corvid. i will wear a dunce cap in the square, and gleefully, if these turn out to not have been wastes of time. the fact that i am writing this means i am willing to stake a non-negligible amount of pride on the prediction that that will not happen). I'm talking about scenes where the characters stare at each other and talk idly about things that have already happened while the author describes things we already have seen in excruciating detail. i'm talking about threads that, while forgivable in a different novel, are unforgivable in this one, because you are neglecting your main characters and their story. and don't tell me you think that a day-by-day account tyrion's river cruise is necessary to telling his story, because in the count of monte cristo, the main guy disappears for nine years and comes hurtling back into the story as a vengeful aristocrat! and while time jumps like that don't work for everything, they certainly do work if what you're talking about isn't a major story thread!

now put aside whether or not all these meandering, unconcluded threads are enjoyable to read (as, in fairness, they often are!). think about them as if you're a tv showrunner. these bad boys are your worst nightmare. because while you know the author put them in for a reason, you haven't read the conclusion to the arc, so you don't know what that reason is. and even if the author tells you in broad strokes how things are going to end for any particular character (and this is a big "if," because GRRM's whole style is that he lets plots "develop as he goes," so I'm not actually convinced that he does have endings written out for most major characters), that still doesn't help you get them from point A (meandering storyline) to point B (actual conclusion). oh, and by the way, you have under a year to write this full season of television, while GRRM has been thinking about how to end the books for at least 10. all of this means you have to basically call an audible on whether or not certain arcs are going to pay off, and, if they are, whether they make for good television, and hence are worth writing. and you have to do that for every. single. unfinished. story. in the books.

here's an example: in the books, Quentin Martell goes on a quest to marry Daenerys and gain a dragon. many chapters are spent detailing this quest. spoiler alert: he fails, and he gets charbroiled by dragons. GRRM includes this plot to set up the actions of House Martell in Winds, but the problem is that we don't know what House Martell does in Winds, because (see above) the book DNE. So, although we can reliably bet that the showrunners understand (1) Daenerys is coming to Westeros with her 3 fantasy nukes, and (2) at some point they're gonna have to deal with the invasion of frozombies from Canada, that DOESN'T mean they necessarily know exactly what's going to happen to Dorne, or House Martell. i mean, fuck! we don't even know if Martin knows what's going to happen to Dorne or House Martell, because he's said he's the kind of writer who doesn't set shit out beforehand! so for every "Cersei defaults on millions of dragons in loans from the notorious Bank of Nobody Fucks With Us, assumes this will have no repercussions for her reign or Westerosi politics in general" plotline — which might as well have a big glaring THIS WILL BE IMPORTANT stamp on top of the chapter heading — you have Arianne Martell trying to do a coup/parent trap switcheroo with Myrcella, or Euron the Goffick Antichrist, or Faegon Targaryen and JonCon preparing a Blackfyre restoration, or anything else that might pan out — but might not! And while that uncertainty about what's important to the "overall story" might be a realistic way of depicting human beings in a world ruled by chance and not Destiny, it makes for much better reading than viewing, because Game of Thrones as a fantasy television series was based on the first three books, which are much more traditional "there is a plot and main characters and you can generally tell who they are" kind of book. I see Feast and Dance as a kind of soft reboot for the series in this respect, because they recenter the story around a much larger cast and cast a much broader net in terms of which characters "deserve" narrative attention.

but if you're making a season of television, you can't do that, because you've already set up the basic premise and pacing of your story, and you can't suddenly pivot into a long-form tone poem about the horrors of war. so you have to cut something. but what are you gonna cut? bear in mind that you can't just Forget About Dorne, or the Iron Islands, or the Vale, or the North, or pretty much any region of the story, because it's all interconnected, but to fit in everything from the books would require pacing of the sort that no reasonable audience would ever tolerate. and bear in mind that the later books sprout a lot more of these baby-plots that could go somewhere, but also might end up being secondary or tertiary to the "main story," which, at the end of the day, is about dragons and ice zombies and the rot at the heart of the feudal power system glorified in classical fantasy. that's the story that you as the showrunner absolutely must give them an end to, and that's the story that should be your priority 1.

so you do a hack and slash job, and you mortar over whatever you cut out with storylines that you cook up yourself, but you can't go too far afield, because you still need all the characters more or less in place for the final showdown. so you pinch here and push credulity there, and you do your best to put the characters in more or less the same place they would have been if you kept the original, but on a shorter timeframe. and is it as good as the first seasons? of course not! because the material that you have is not suited to TV like the first seasons are. and not only that, but you are now working with source material that is actively fighting your attempt to constrain a linear and well-paced narrative on it. the text that you're working with changed structure when you weren't looking, and now you have to find some way to shanghai this new sprawling behemoth of a Thing into a television show. oh, and by the way, don't think that the (living) author of the source material will be any help with this, because even though he's got years of experience working in television writing, he doesn't actually know how all of these threads will tie together, which is possibly the reason that the next book has taken over 8 years (now 13 and counting) to write. oh and also, your showrunners are sick of this (in fairness, very difficult) job and they want to go write for star wars instead, so they've refused the extra time the studio offered them for pre-production and pushed through a bunch of first-draft scripts, creating a crunch culture of the type that spawns entirely avoidable mistakes, like, say, some poor set designer leaving a starbucks cup in frame.

anyway, that's what I think went wrong with game of thrones.

[xlillyle]

"We can delay the mission for another two minutes."

[mechazushi]

Fortitude Privilege {Staring Yu/Na and Base Inspector} (A short story)

After everything had settled down, they let Kafka do what-the-fuck-ever. That also includes snuggling on his boyfriend at anytime during work hours.

Vice Captain Hoshina was the first to leave the training room when Iharu passed by with a new recruit. He was showing her around the expansive base when he was presented with an opportunity to have a down to earth meet-and-greet with the base's second in command.

"Hey! Vice Cap! Good timing. Yunna, this is our Vice Captain Hoshina. Vice-Cap, this is Yunna. She's a transfer from Division Seven." Iharu took the lead on the introductions while the two of them were exchanging salutes. They all began trading questions with each other, busy distracting themselves with platitudes to not notice another person turning a corner and coming up behind Hoshina. A tall, burly, and clearly tired individual shambled up behind the vice captain and slumped over his shoulder unceremoniously, almost knocking him over.

"Oof, Kafka! Is everything okay?" Hoshina said calmly at the intruder. The man he called Kafka just wrapped his arms lopsidedly around Hoshina's left shoulder as he dug his face into the crook of his neck on the right.

" 'M fine. Drained" He mumbled incoherently, sacrificing vowels in his state of exhaustion. He nuzzled his nose affectionately in the curve of Hoshina's neck and took a noticeable whiff. "New cologne's nice."

Yunna, the new recruit, became visibly flushed as she continued to stare on. Iharu was already completely desensitized to this and just continued his conversation with the Vice Captain. Noticing the state of shock on the newcomer, Iharu took a second to explain what was happening.

"This is Kafka Hibino. He's the Captain's and Vice Captain's boyfriend. Everyone has learned to just let him get away with this bullshit." Iharu smiled cheekily at Yunna after he had finished.

"What am I supposed to do when he's like this? Tell him 'No'?" Hoshina said as he crossed his arms. He felt the rumbling of deep throated laughter coming from the man on his shoulder.

"Conveniently leaving out the fact that I'm also a kaiju." Kafka said as he lifted his head a little just to speak clearly. Yunna made a small squeak of surprise as the revelation made all the pieces click into place.

Down the hallway behind Iharu, everyone could hear another person aggressively shouting as they came down their direction.

"Aw, shit." Hoshina whispered under his breath.

"Who's that?" Iharu questioned as he turned around to look.

"Base Inspector. Probably looking for me to bitch about something inane." Hoshina continued. Iharu took that as a sign to whisk the new person off to a different location, sensing a need to disappear before he got themselves caught in possible corporate crossfire. Hoshina prepped his best Resting Bitch Face as the lanky inspector approached viciously.

"Afternoon, Inspector." Hoshina said in a deadpan manner. He took a longer look at the man coming toward him and noticed he recognized none of the man's features.

'Hmm. I wonder if he's new?' Hoshina thought. His hopes were raised a little, thinking that this possibly new base inspector wouldn't have the same stick up his ass like the last two did.

"Vice Captain Hoshina. Just the person I was looking for." The inspector called out. He opened his mouth to begin what was most certainly about to be a mindless rant concerning some slighted offence over some breach in paperwork or protocol, but quickly shut it when he noticed Kafka making no move to acknowledge his presence.

"Well, I was going to bring up your continued disregard to execute less leniency toward how officers structure their reports, but now it seems I should take over instilling basic officer conduct as well." The Base Inspector straightened his square framed glasses and leveled the most demeaning glare at the tired, hairy, lump that had made its place on Hoshina's shoulder.

"Oh, lay off. He said he's tired." Hoshina countered. He was beginning to wonder if a mightier-than-thou attitude was a requirement to being an inspector.

"Lethargy is no excuse for blatant indifference to higher authority." The stringy looking man sniffed haughtily. A threatening, rolling, and loud inhuman growl emanated from Kafka, still not looking up from his place at Hoshina's side. Hoshina chuckled as he ruffled his hair while he talked to him.

"Mind being a dear and head up to Mina's office for a bit? The only adult in the room needs to discipline this child, apparently." Hoshina spoke in hushed tones, sounding incredibly loving into Kafka's ear. Only a more disappointed growling whimper was heard in response.

"You could beg for more cuddles if she's in there." Hoshina sang quietly as he nosed Kafka's hair. The slacked-spined man lifted his head to stare disapprovingly at the unwanted interloper before planting a smooch to his Vice Captain's cheek and walked away, radiating an irritated aura all the way down the hall. The two that were left followed his path and waited for him to turn around a corner before continuing the discussion.

"You do know that having a relationship between a higher authority figure and an officer is prohibited, correct?" The inspector said as he turned back to face Hoshina.

"You know that man has a fortitude rating, correct?" Hoshina snarked.

"Don't you mean an aptitude rating?" The inspector returned wearily.

"No, fortitude." Hoshina reiterated firmly as he stepped closer into the inspector's personal space, " Ya'know, because he's a kaiju and all." The inspector tried not to express it, but he seemed taken aback. first from the clear hostility, then from realizing what Hoshina meant.

The inspector's lips flapped open and closed for a moment before letting slip a small, simple "oh."

"Were you not made aware that we had such a person within our ranks?" Hoshina asked poignantly.

"I was made very aware of such personnel." The inspector said as he adjusted his glasses again, "What I wasn't made aware of was how much leniency he seems to be permitted to have because of such an obscenely paltry standing." The inspector spoke with baseless higher authority, attempting to recover from finding himself on the back step. Hoshina could feel his lips being stretched thin over his teeth as he felt the need to use them to rip the throat out of this obstinate and unwarranted trespasser.

"Then you should have also been made aware of how that man had not only saved the lives of millions, but also saved the planet six times over consecutively." While being shorter than the inspector, Hoshina did a fine job of making it seem like he was towering over the other man.

" As... notable... as those achievements are, it shouldn't take away the fact that a relationship between an officer and a Vice Captain is unconducive to to the workplace since it could be used to unjustly gather sway in one's ranking." The base inspector held his position in the conversation, but was forced to slink down in height as he cowered under Hoshina's invasive presence.

"Ohh, trust me. The higher ups have made it very clear that he's already achieved the highest ranking they'll allow him, and that's being an exploitable weapon." Wrath tinged the edges of his words as he managed to climb higher over the base inspector.

"There is nothing in this world that he hasn't earned by not working his ass off for. So excuse me for thinking that the least he's owed is the right to express some fuckin' PDA." Hoshina could feel the tips of his lips curl into an unfriendly smile with an uncanny amount of teeth showing.

"If you really want to drag rank over this and piss off a man who's capable of leveling all of Western Japan for no decent reason, be my guest. If you have nothing drastically important to talk about, like something that's impeding the health and wellness of my officers, then I bid you farewell and hope your day is as wonderful as you are." Hoshina reclined back onto his heels and crisply marched away from the inspector, who still wasn't recovered from the invasion of personal space and was stuck being slant backwards, even as Hoshina moved out of eyesight.

Minutes later, Hoshina had found himself in Mina's office. Hoping to join in on Kafka's sudden bout of needed physical closure, he slipped past the threshold and quietly dumped his gym bag next to the door. Taking up most of the center of the room in front of the desk, was Mina, sandwiched between Bakko and Kafka. Reclined against the tiger formed monster, Mina looked silently overjoyed to have an asleep Kafka nestled between her legs as he rested his head on her stomach. Laying tilted on his side, the left portion of his face was buried in Mina's clothes while his arms had dug a hold around her midsection, framing his head. A low vibration hung in the air, getting louder as Hoshina snuck over.

"Need me to pry him off?" Hoshina lovingly muttered into Mina's forehead as he planted a small smooch as well.

"Later. Now, I need you to grab my phone!" Mina tried to contain her excitement as quietly as she could while gently brushing her free hand through Kafka's hair, the other being trapped under his heavy shoulder.

"Yes, he looks adorable, doesn't he?" Hoshina playfully rolled his eyes as he made moves to stand up.

"Well, yes, but you can't tell me you can't hear this?" Mina's smile was wide as she looked up at Hoshina. He took a second to listen as he processed the low rumble in the room.

"Is... is that not Bakko purring?" Hoshina questioned.

"No, he's awake!" Mina harshly whispered in joy as she jabbed her finger behind her, "This is all him!" She pointed her finger again at Kafka, emphasizing her revelation.

Hoshina made a quiet, deep throated cackle as he comically tiptoed around her desk to grab the phone and pull up the camera. He managed to settle onto the floor and shimmy his way under Mina's free arm as he held the camera close to Kafka's face. They got at least a good minute of audio, starring his purrs before Hoshina decided to end it there, not wanting to push their luck.

"It's a shame he can't purr all the time. Instead of the sleep talking, I mean." Mina commented as Hoshina made himself more comfortable in their embrace on the floor.

"We wouldn't be able to get out of bed in the morning if he did." Hoshina muttered sleepily as he finally stopped shifting when he found a good spot to settle into. Mina brushed his hair for a second while she returned the forehead kiss from earlier before relaxing into the warm and heavy pile she had unintentionally made for herself.

@iceclew

I hate to ask this from ya, but... Have you seen this yet? If you didn't have an opinion one way or another, that's fine. Just wanted to ask.

[yore-donatsu]

“This script sucks...”

[sanguine-tenshi]

... I'm gonna have to write an Astarion/Lae'zel fic ain't I?

[yshtal]

I think it would be rly sick if you went to go build a crow rook and the surname was Arainai

like…. just another little compradi trying to bring glory back to your house - rinnala and taliesin are dead by the house’s hand, zevran failed and deserted, guili murdered in the night, all semblance of power lost once again. the house is trying to claw its way back up, futile as it seems. that’s the way of house arainai, isn’t it? talon to knife to talon to knife to nothing, same as it’s been since the house first lost power in the early dragon age. but you, bright-eyed little crow, you’ll break the cycle, won’t you? for the family?

after all, caterina’s prized heir is right there - the demon of vyrantium, the infamous mage killer, sleeping just down the hall. you can be quiet, can’t you? all those means at your disposal, and all the opportunities you could want. you could find a way in under that armor, get to something soft and bruisable and make it bleed. he’s far from home, isn’t he? without a friend? confidantes are few and far between - even a demon must get lonely.

maybe he’d even trust you. you’re a clever little bird, right? you can find something to exploit. after all, what does a would-be talon do except claw, except maim? what else would you be good for? there is no gentleness to crows - you are here to deliver a message: run, little demon, quick as you like.

house arainai will make carrion of you yet.

[starwarmth]

We were seated by the fire, as just now described, and Miss Havisham still had Estella’s arm drawn through her own, and still clutched Estella’s hand in hers, when Estella gradually began to detach herself. She had shown a proud impatience more than once before, and had rather endured that fierce affection than accepted or returned it.

“What!” said Miss Havisham, flashing her eyes upon her, “are you tired of me?”

“Only a little tired of myself,” replied Estella, disengaging her arm, and moving to the great chimney-piece, where she stood looking down at the fire.

“Speak the truth, you ingrate!” cried Miss Havisham, passionately striking her stick upon the floor; “you are tired of me.”

Estella looked at her with perfect composure, and again looked down at the fire. Her graceful figure and her beautiful face expressed a self-possessed indifference to the wild heat of the other, that was almost cruel.

“You stock and stone!” exclaimed Miss Havisham. “You cold, cold heart!”

“What?” said Estella, preserving her attitude of indifference as she leaned against the great chimney-piece and only moving her eyes; “do you reproach me for being cold? You?”

“Are you not?” was the fierce retort.

“You should know,” said Estella. “I am what you have made me. Take all the praise, take all the blame; take all the success, take all the failure; in short, take me.”

“O, look at her, look at her!” cried Miss Havisham, bitterly; “Look at her, so hard and thankless, on the hearth where she was reared! Where I took her into this wretched breast when it was first bleeding from its stabs, and where I have lavished years of tenderness upon her!”

“At least I was no party to the compact,” said Estella, “for if I could walk and speak, when it was made, it was as much as I could do. But what would you have? You have been very good to me, and I owe everything to you. What would you have?”

“Love,” replied the other.

“You have it.”

“I have not,” said Miss Havisham.

“Mother by adoption,” retorted Estella, never departing from the easy grace of her attitude, never raising her voice as the other did, never yielding either to anger or tenderness, “Mother by adoption, I have said that I owe everything to you. All I possess is freely yours. All that you have given me, is at your command to have again. Beyond that, I have nothing. And if you ask me to give you what you never gave me, my gratitude and duty cannot do impossibilities.”

“Did I never give her love!” cried Miss Havisham, turning wildly to me. “Did I never give her a burning love, inseparable from jealousy at all times, and from sharp pain, while she speaks thus to me! Let her call me mad, let her call me mad!”

“Why should I call you mad,” returned Estella, “I, of all people? Does any one live, who knows what set purposes you have, half as well as I do? Does any one live, who knows what a steady memory you have, half as well as I do? I who have sat on this same hearth on the little stool that is even now beside you there, learning your lessons and looking up into your face, when your face was strange and frightened me!”

“Soon forgotten!” moaned Miss Havisham. “Times soon forgotten!”

“No, not forgotten,” retorted Estella. “Not forgotten, but treasured up in my memory. When have you found me false to your teaching? When have you found me unmindful of your lessons? When have you found me giving admission here,” she touched her bosom with her hand, “to anything that you excluded? Be just to me.”

“So proud, so proud!” moaned Miss Havisham, pushing away her grey hair with both her hands.

“Who taught me to be proud?” returned Estella. “Who praised me when I learnt my lesson?”

“So hard, so hard!” moaned Miss Havisham, with her former action.

“Who taught me to be hard?” returned Estella. “Who praised me when I learnt my lesson?”

“But to be proud and hard to me!” Miss Havisham quite shrieked, as she stretched out her arms. “Estella, Estella, Estella, to be proud and hard to me!”

Estella looked at her for a moment with a kind of calm wonder, but was not otherwise disturbed; when the moment was past, she looked down at the fire again.

“I cannot think,” said Estella, raising her eyes after a silence “why you should be so unreasonable when I come to see you after a separation. I have never forgotten your wrongs and their causes. I have never been unfaithful to you or your schooling. I have never shown any weakness that I can charge myself with.”

“Would it be weakness to return my love?” exclaimed Miss Havisham. “But yes, yes, she would call it so!”

“I begin to think,” said Estella, in a musing way, after another moment of calm wonder, “that I almost understand how this comes about. If you had brought up your adopted daughter wholly in the dark confinement of these rooms, and had never let her know that there was such a thing as the daylight by which she had never once seen your face—if you had done that, and then, for a purpose had wanted her to understand the daylight and know all about it, you would have been disappointed and angry?”

Miss Havisham, with her head in her hands, sat making a low moaning, and swaying herself on her chair, but gave no answer.

“Or,” said Estella, ”—which is a nearer case—if you had taught her, from the dawn of her intelligence, with your utmost energy and might, that there was such a thing as daylight, but that it was made to be her enemy and destroyer, and she must always turn against it, for it had blighted you and would else blight her;—if you had done this, and then, for a purpose, had wanted her to take naturally to the daylight and she could not do it, you would have been disappointed and angry?”

Miss Havisham sat listening (or it seemed so, for I could not see her face), but still made no answer.

“So,” said Estella, “I must be taken as I have been made. The success is not mine, the failure is not mine, but the two together make me.”

Great Expectations, ch. 38

[slightlytoastedbagel]

actually On Your Feet gave us two good things (well. three if you like Realize which I do). Kohane's "it's frustrating" line and the great crack fic idea of Vivid Bad Squad getting cancelled online for skipping school to yell at The Kotaki Taiga as he was about to go back to America.

[lesbiancolumbo]

sweet smell of success / feature film directed by alexander mackendrick / short story written by ernest lehman / book by john guare

[favoritejohn]

the prettiest ending fairy 🧚🏻‍♂️✨️

[queerasian]

succession script posting