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thesherrinfordfacility · 5 months

Note

i was rewatching s1 yesterday and i had a thought that is bothering me a bit.

thing is, as much as i love the flashbacks (i dare say sometimes they are my fav part of the episodes), i think they are messing up a bit with the storyline. i love that they show us how their relationship developed over time, but i think sometimes they’re going a bit too far considering the point we find them in different points of history.

you’re gonna tell me that the same aziraphale that went through everything they went through in the land of uz then could bot possibly think of helping crowley with the arrangement? that the same aziraphale that looked like that at crowley in 1941 then was like “heaven will win and it’ll all be rather lovely” when talking about the final war between heaven and hell?

if you think of the events in chronological order, they just, don’t make much sense.

oooooh anon i like where your head's at!!!✨

now, below the cut is a disgustingly long spiel going through each flashback and minisode, that tbh was just simply self-indulgent - a lot of it leans into philosophy and ethics (for which i also apologise but it's a Special Interest) and i realise that that may not have been - at all - what you were looking for in a response.

so, to give a tl;dr - i personally think the way that aziraphale parries back and forth in his character development makes perfect sense. it does seem very much like one step forward, two steps back, at times - that i grant you - but i don't think it was ever meant to be strictly linear as time has gone on. more that it's a delve into how and why aziraphale makes the decisions that he does, what factors might be influencing him to make those decisions/behave the way he does, and what this says to us about his reluctance behind the apocalypse and the events of s2.

pre-fall:

so to my mind, we immediately learn some crucial things about aziraphale, right from the get-go. he's polite, and kind - even without having really gotten a formative impression of the angel who crowley was (AWCW). but once he does (and develops his little crush), he becomes astutely interested in what AWCW's doing, asking questions about his work and its purpose. he shares information about his own work, not realising ahead of time that a) AWCW wouldn't have known the plan for his creation, b) how upset he would be once learning it. he's very cautious when AWCW starts getting lairy about it, intimating that he's prepared to challenge god (however innocuously he meant it) on her plan, and evidently feels - expresses - some kind of fear that it would lead to reprisal.

garden of eden (4004BC):

this is an aziraphale that seems very much to be proven right, when you take the above pre-fall context into account. the fall has happened, and aziraphale now is even more aware of the consequences of stepping out of line. but aziraphale is naturally someone who dances that line, when you consider that he gave away his sword - which he suspects to have been the wrong thing to do. so when confronted with crawly, this person that he used to know as an angel, it only hammers home that aziraphale has to behave, and be in fear of the worst possible outcome, which has now been actualised. the punishment - arguably the worst punishment possible for an angel - has happened, it's irrefutable, and there's nothing to say it can't happen again.

so aziraphale valiantly tries to remain the devout, loyal, upstanding angel - and at this point genuinely believes heaven to be the side of good and light, even if he panics when he acts in a way that shows his own true colours... ones that are arguably not very angelic at all (grey). he counters crawley with heavenly rhetoric when it's clear that he at least thinks crawly has a good point, he even laughs with him over a joke that could literally mean his own ruin, and abruptly catches himself, stops laughing. to me, he's scared and, by all accounts, has good reason to be.

mesopotamia (3004BC):

so here we come to aziraphale in the thick of attempting to be a true agent for heaven; we immediately open with him acting somewhat with unease at the proceedings, even before crawly appears (hands, shifting on his feet). once he has to explain to crawly what's going on, he shares the rumour (rumour, because the line is "from what i hear, god's a bit tetchy...") that god is wiping out the local population. crawly is obviously aghast, especially when aziraphale confirms the children too - but aziraphale is equally, albeit more taciturnly, repulsed by it. his meek, bracing, tight-lipped '...mhm!' pays testament to that.

but aziraphale, once again, cannot speak out against god and heaven - he simply can't, the risk is too great. plus... well, he has to have faith in god, that she is good and just, and this is all the right thing to do; what could it possibly mean if god is awful? aziraphale isn't awful, we know he's (by large) a naturally kind and gentle person - so if god is not that, and aziraphale loses faith, what does that mean for aziraphale? doesn't that make him bad? evil? so no, he has to rationalise for god, and heaven, and ultimately himself that this is all for a greater purpose - god isnt wiping out all the locals! she's going to put up a rainbow! promise not to do it again!

uz (2500BC):

okay big section (op note: first of many to come, as it turns out) here. for ease, im going to be writing the following with the below metas in mind:

that god doesn't actually intend/want to hurt the children, but to honour free will will not get involved (X)

an oddly poetic ditty on the lies in job, and seeing through them (X)

slightly unrelated but i think worth bearing in mind: i personally think the s2 minisodes are recounted from crowley's pov (X)

so aziraphale seems to have arrived in order to stop crawly getting up to some mischief, and is countered that crawly (on behalf of satan) has essentially been granted some kind of diplomatic immunity to carry out the destruction, namely, of job's goats, and his children. obviously crawly is going to do no such thing, but places the blame for the whole thing squarely on god. aziraphale, however, does not think that that is in fact what god wants (and tbh, re: the first linked meta, i think he's half-right). so, whilst still thinking that crawly is there to actually do harm, he tries to cajole crawly into doing the right thing. they then work out that, for all intents and purposes, they are actually on the same side by nature of sharing a common agenda. crawly tests him again in the mansion, but aziraphale has seen through him, and they remain united.

where it gets tricky is the ox-rib scene. aziraphale doesn't initially recognise the free will that crawly is acting upon; he's not on hell's side, so ergo he must be on heaven's side. the concept of being on your own side evidently is shocking to aziraphale - above all, it just sounds lonely. aziraphale asserts specifically that he is on god's side (which i think, tbh, is a pretty telling thing in and of itself - he doesn't say 'heaven'). and still believes he is acting by god's true will; however, crawly counters that he's talking about the god that wants him to hurt the children. aziraphale hesitantly agreed that yes, that is the same god he's talking about... "but-".

now, idk how aziraphale was going to end that sentence, but id like to think that he still disagrees with crawly's conclusion - to agree would void everything that he said before, right? everything he said with tentative conviction. so, at best, aziraphale would have argued back that crawly is wrong, and that's not what god wants... but i do think aziraphale sees god's lack of intervention as troubling, at the very least... because if god didn't want it to happen, why didn't she stop the storm above them destroying the house? i think he's now put back in a position of being very uncertain as to what god wants... in which case, how can he possibly argue against crawly's assessment? he can't, because he's literally just borne witness that god hasnt intervened on any of it. ultimately, aziraphale still doesn't quite understand the concept of free will, and how he's just as capable of it as anyone else - in helping to save the children, he wasn't acting in accordance with what he thought god's will was, but instead based on what he himself considers to be the right thing to do.

and then we come to the last couple of job scenes; he helps crawly in the trick to bring back the children to job and sitis, and, on the cusp of their subterfuge being revealed, lies to the archangels under immense pressure, under the weight of the knowledge, even in that moment, that he will fall for it. his fear, stemming all the way back from eden (and arguably before, even if only a fear of consequence), has been brought to its reckoning. at the rock, he is adamant that he's going to fall - he "lied, to thwart the will of god" - and has resigned himself to it. crawly obviously states he's not going to deliver aziraphale to hell (and presumably the fall has some physicality to it; ie. aziraphale doesn't feel like he's fallen anyway). but then crawly reveals that aziraphale might just - just - be more on his own (their? not yet?) side than he previously thought. and frankly, i think that scares the fuck out of aziraphale; he's not crawly, he's not confident/headstrong/convicted enough to do that, and besides - hell seems to be fine with crawly doing his own thing as long as his work is done ("i go along with hell as far as i can")... heaven presumably wouldn't at all let that slide. aziraphale can't afford his own side; there's too much to lose.

golgotha (33AD)

immediately we're confronted with not only a more cynical crowley, but almost - i think - a more cynical aziraphale, and the way they act definitely makes sense to me in a post-job context. crowley immediately jabs at aziraphale, thinking that aziraphale would act righteous in seeing jesus on the cross - and yet, aziraphale counters that he's "not consulted on policy decisions"... which begs the question of what aziraphale would have said or done, if he were. we know he tried arguing back in job against gabriel and michael about what the plan was for job, and i don't think this would have been any different... if he had been given the chance.

this exchange though, i think, is one of the best bits of dialogue in all of s1, and potentially gives really interesting insight into where aziraphale stands at this point:

because... well, jesus is not only the son; he was a good and kind person, attempting to teach others to do the same. isn't that what god and heaven stands for? but no - the policy decision, god's plan - is that her son must die... brutally, and in tremendous pain and suffering. that surely can't be something aziraphale can reconcile easily - and yet, with job in mind, he absolutely can. i think he knows its wrong, that it's not right, but it is - this time - absolutely god's plan. and what happened the last time that he intervened? that fear still lives in aziraphale here, i think; and plays a major part in not only aziraphale having to quash what he thinks is the right thing to do, but also forces him to accept that what god is doing must be right and good. it must be for a reason, that god is allowing this one, and aziraphale is still in a place where he fears acting against god could have dire consequences.

rome (41AD):

tbh i don't think there's too much to say on this; it's clearly a more personal scene than the heavier ones that have come before it. i do think that aziraphale being keen on seeing crowley again does speak to crawly's line about how having your own side can be lonely, and aziraphale is readily seeking companionship from the person who knows how that feels? maybe? to add to that, the callback to tempting crowley into the oysters - all feels very acutely like the events in the job minisode might have been on his mind. we know from the script book that aziraphale is there on a heavenly assignment too (tutoring nero), which might play into the loneliness even more. so whilst aziraphale may not be entirely comfortable with having his own side, i'd like to think this scene certainly indicates he's made some personal reflection on the concept.

wessex (537AD):

another (we presume) heavenly assignment of fomenting peace - and i don't think aziraphale and crowley have seen much of each other since rome (going by aziraphale's slip, yet again, in his name). but what transpires is the realisation that their respective head offices essentially have them cancelling out the other's actions, resulting in crowley putting forward the idea of the arrangement. aziraphale isn't immediately opposed to it, not outwardly - but he does poke holes in the viability of it. he initially baulks at the prospect of lying to his superiors (given job, it's fair that he'd be pretty reluctant to chance doing that again), and then finds out that the surveillance that heaven seems to keep on him is not a risk that crowley feels from hell; "...as long as they get the paperwork."

so immediately, we're shown that the chance of discovery is higher with aziraphale, and the associated risk of that will again drum into him that he needs to toe the line very carefully. i don't think the arrangement necessarily offends him on a personal level - im sure that the logic appeals to him, as well as the chance to slack off - but that crowley would... almost tempt him into it? or at least try to talk around his concerns, and still try to push him? at the very least, it scares him off. though, frankly, i think it did work; not only by 1601 does it transpire that they have in fact done favours for each other since this scene, but even the dialogue... the below screams to me somewhat 'lady doth protest too much':

globe (1601):

a few things are apparent in this; that aziraphale is pleased to see crowley again, that they are meant to be meeting in clandestine/crowded settings to avoid detection, and the arrangement has been in effect - in all but name - for some time. the latter is interesting; aziraphale clearly doesn't have an issue personally with the premise of doing favours for each other, but he draws the line at making it an official thing. if heaven ever asked why aziraphale was doing what he was, he presumably knew he could at least attempt to talk his way out of it, retain some semblance of plausible deniability, but if it were acknowledged that he and crowley have a formal arrangement, that increases the risk.

but it's no longer just the risk associated with heaven; it's the risk associated with hell. compared to 537AD when aziraphale indicates that his reluctance is complete to do with the potential repercussions from heaven, this time he seems more preoccupied with the repercussions crowley could face from hell. now, it could be that aziraphale is using it as an excuse - a cover for his true concerns that lie with his own safety - but i don't think so; over a millennium has passed since wessex, and they've clearly met "dozens of times" since then. i think aziraphale's concern does shift over to what would happen to crowley should they be found out. again, he looks happy to see him, and it's crowley that first remarks that the globe was meant to be busy. if crowley presumably is the one more worried about detection, aziraphale would understandably take that to be a reason for concern (despite what crowley says, "[they] don't actually care how things get done, they just want to know they can cross it off the list"), but nonetheless he agrees to the arrangement.

paris (1793):

this time, we learn that aziraphale is actually being monitored relatively closely; heaven is keeping an eye on his miracle usage, claiming that a sufficient number of them are frivolous to warrant a strongly-worded note from the supreme archangel himself. it therefore stands to reason that whilst he still absolutely could miracle himself out of this situation, he attempts to talk his way out of it first. but it also, once again, reinstates that discovery of the arrangement, and their affiliation, is very possible.

crowley turns up, freezes the guard, and 'rescues' aziraphale, who then learns that crowley is taking advantage of humanity coming up with their own atrocities, and claiming credit for it (and initially - and mistakenly - taking that to mean that the reign of terror must be crowley's doing) - but when that's been cleared up, and he thanks crowley for the 'rescue', crowley counters that expressing that specific thing out loud could lead to consequences from his bosses (ie the arrangement doesn't matter because the job gets done, but actively helping the opposition on a personal level? big no-no... which makes me wonder how crowley is possibly able to separate the two... by doing blessings etc., surely he is helping the opposition?). both of them vocalise very clearly that they're aware of the risks - both expressed and subtext - of them interacting with each other closely, but equally they both have no intentions of stopping it, or holding off until things have died down. they're both under scrutiny, and yet still proceed to play with fire by going to lunch.

in terms of what this means for aziraphale's own character development, i personally think it indicates how his feelings for crowley have been emerging since around 1601; the threat of discovery is real, but the friendship, companionship, and the feeling of being understood and known is more and more compelling. but aziraphale isn't stupid, he still knows that there is danger involved with the two of them associating so closely, but i think at times he loses a grasp on how very real that danger is, because of the feeling that crowley gives to him instead (maybe not love, on either part, just yet - but certainly a sense that crowley is very important to him).

edinburgh (1827):

i'll readily admit that i found this minisode a really difficult conundrum when trying to reconcile its events with aziraphale's character development so far, but i think ive at least gotten part of the way there? maybe? (and a small reminder of my... hesitancy... in whether or not this minisode is from aziraphale's perspective).

so aziraphale seems to still be very much set in the black-and-white perspective, right? more than that, he's stating that angels and demons do not have the free will to choose to be anything other than what they're meant to be - good and evil respectively - whereas humanity gets to choose. and stating the obvious, but aziraphale doesn't understand that the reality of being human (poverty, in this case) means that morality doesn't always have a place in survival, and therefore free will gets slightly skewed in that you end choosing to do something you perhaps wouldn't otherwise do, if you felt you had a true choice.

you could argue that this is a regression from the previous history that we've already looked at - and initially i would agree... but i think we have to consider that throughout all of this, aziraphale considers himself - and tbh, he is - a good person. so far, his actions have proven that, bearing in mind the overarching 'threat' (however far you want to extend the scope of that) of heaven, and he extends his empathy to those that are also good on their own merit (including crowley!). but what aziraphale is now having to contend with is what happens when circumstances mean you don't have much room to be a good person; does that condemn them? does that make them worthy of punishment? how can it, when everyone just doing their best with what they have?

when we get to the conversation with dalrymple, the surgeon explains the reason why the bodies are needed in the first place. what i think is also interesting about aziraphale's rationalisation of this whole quandary is the following:

because aziraphale has a point. he's understanding where dalrymple is coming from, acknowledges it, but it's the exploitation angle here that he's now unable to reconcile. sure, fine, you need the bodies for medical advancement, but you're using people who will do anything to earn money to survive, encouraging them to put themselves at risk - both physically and spiritually (from aziraphale's unique perspective) - to do so? that's wrong! ...but dalrymple also has a point; wouldnt it distract him, a surgeon, from the greater good? bodysnatching is at best quasi-legal, and faces sentences up to and meeting execution; why would he risk getting himself so directly involved? and by-the-by; isn't this something that aziraphale, in his own situation with heaven, could empathise with?

aziraphale then learns why the bodies are the in-demand commodity that they are - he's confronted with the consequence of insufficient medical education, and that actually the work may be, whilst through immoral action, working towards a greater good. before, it was just simply for the purpose of better understanding the human anatomy, but the tumour puts in perspective the bigger picture; that a series of objectively immoral actions leads to arguably the greatest moral achievement possible: eradication of preventable and needless suffering. i think that this is where it starts to really resonate that morality is not absolute, and that right and wrong are intrinsically linked by nature of the context* and consequence upon which you judge them. (something something about stepping away from the deontological and instead towards the more consequentialist - perhaps even utilitarianism?*).

***

slight tangent but: if we look at this very thing*, for a moment, with two other scenarios in mind, we know that aziraphale still struggles with separating morality in terms of action and consequence... or is it just simply very intricate? he did struggle in job; he felt he was condemned to fall because he sinned in lying to the archangels - an immoral action - but ended up choosing to lie because it would mean preventing three needless murders, of children no less - ie. a moral consequence. at surface level, a very consequentialist decision.

then, in 2019 with the antichrist; crowley tries to persuade aziraphale into killing warlock in order to stop the apocalypse; in this instance, *the action poses a significantly more serious and graver moral dilemma, even if the end result would be to save the entirety of humanity - the context is very different. in this, aziraphale doesn't budge, and consistently rebuffs crowley's attempts to get him to do it, even when he acknowledges the greater good killing the child could bring. this is more deontological. now, it could be a question of whether aziraphale is reluctant because it would disobey heaven's orders, or because of his own personal moral code, or perhaps even both - but regardless, aziraphale strives instead to find a way around avoiding killing warlock/adam, and come up with a different solution that would bring about the same outcome.

***

but back to the resurrectionists; aziraphale then arrives at rather a misguided conclusion - when he returns to elspeth and morag to offer his assistance, he says:

suffice to say, that is absolutely not what elspeth's angle is here - so again, aziraphale seems to fumble the point entirely. i have toyed with the contrary idea that aziraphale in fact does now understand elspeth's motivation, and does now understand what crowley was saying to him earlier, but has to 'pretend' somewhat that the only reason he wants to help is because of the 'alleviating human suffering' thing (so that essentially if heaven asked why he was encouraging immorality, he could explain it away as being for the greater good), but idk how far i see that... it's possible, but when they move to the graveyard, and crowley points out the advantage that those with money and privilege have in preventing the interrment of their bodies (and the poor "just have to lump it"), he asks aziraphale pointedly if he's alright with this. aziraphale evidently isn't, his face says that enough, but he doesn't voice it.

but then morag gets blasted; she's not even meant to be there, but is just so they can get the job done easier and quicker, and out of love for elspeth - because elspeth asked her to. aziraphale's penultimate moral quandary lies in whether he saves her or not; by his own admission, it's against 'the rules', so to speak, but he can't stand to see something so preventable happen because he chose to follow those rules - not to act. harking back to immoral action leading to moral consequence, that dilemma is put in a very personal context to aziraphale; sure, disobeying the rules might be wrong, but if the consequence of the obedience is far worse? i won't confidently say that he fully learns from the experience, but i do think it sticks with him.

what i feel is worth noting about aziraphale, when they come back to the mausoleum, is that it seems that aziraphale is the first to spot the laudanum on the tomb. not only that, but he can't barely keep his eyes off of it. (*suicide tw*) the interaction that follows immediately feels that aziraphale enters the role of negotiator; his tone is level and calm, he positions himself very warmly and openly, but slowly edges closer to her, and keeps her talking. crowley similarly edges around the room, trusting aziraphale to keep her distracted, so he can swipe the laudanum for himself. obviously crowley then controls the rest of the scene, and used a more dramatic approach in deterring elspeth from taking her own life.

part of that however is by getting aziraphale to give elspeth the contents of his wallet, so she can immediately find herself in a better position in order to make better choices; had she been turned back out onto the streets, and without morag, it probably would result - as crowley said - in her continue to risk her life to earn money, or killing herself before she even gets that far. (*end suicide tw*) aziraphale looks suitably chastened at carrying a substantial amount of money all this time, i think in part recognising the privileged position that must place him in in elspeth's eyes, and shakily hesitates about giving it to her. i do think he knows that the argument he gave at the beginning of the minisode has crumbled somewhat (now that he has seen the full consequences of being in that position), and he looks to crowley in askance to reinstate the holes in that logic as crowley previously said them - and he doesn't argue any further.

elspeth promises to do good, and aziraphale hands it over. it harks back to one of my beginning points; having the free will to choose to do good is only really possible when there isn't an external factor that prevents you from doing so. alleviate, or remove, that hardship - as the 90 guineas did - and there's no reason to think that elspeth won't, in fact, choose to do the good and right thing. before, she was considerably compelled to do bad things - but now she truly is in a position where she can choose. ultimately, aziraphale and crowley have no guarantee on her promise, there's no threat of repercussions if she lied or ends up going back on her word, but ultimately that is free will; the best they can do is put her in a position where she is able to make a choice. that is the right thing to do.

1862:

and so we're back to another dilemma, this time of the more personal kind; crowley asks aziraphale for holy water. ive entertained multiple theories on whether crowley has been in hell since 1827, whether he's been pulled into hell on multiple occasions since 1827, or something entirely different has happened, but all have the same result - crowley is paranoid, he's standoffish, and he's asking for something that he says won't be used to destroy himself, but instead as 'insurance' (which tbh, despite what he said, reads very much like it could be used against other demons or himself). furthermore, aziraphale is cold and distant; marking that something potentially has happened between the two of them, or that aziraphale is aware that they are very much out in the open, and he has to watch how familiar he is with crowley.

the holy water seems to be very much a line that aziraphale is unwilling to cross; and his first reason to not do so is because of the risk it poses to crowley. i don't think it can be denied at this point that even if it's not romantic love - not completely, anyhow - they definitely care for each other. aziraphale is positively vehement that he won't be responsible for crowley's destruction, deliberate or otherwise, and i think a lot of his reaction comes from the fact that crowley would even ask this of him in the first place (and this is of course presuming that aziraphale knows nothing of what prompts crowley to ask for it in the first place).

when crowley retorts that that's not his plan for it, aziraphale is still resistant, and instead adds the further risk that it poses to him personally - that if heaven got wind of it, their arrangement and relationship (of whatever nature it is) would be discovered. it is, doubtless, a substantial risk to aziraphale, but given that he manages to get his hands on it in 1967 without much trouble (at least, that's the impression given), i think that the first reason he gives - that concerning crowley's safety - is probably the truest one.

regardless, it's definitely a line that aziraphale is unwilling to cross, so much so that it descends into them throwing words that evidently hurt the other, and seem to lead them to not even speaking to each other for nearly 80 years. and this time it's not even because the action itself is immoral - aziraphale doesn't indicate that gaining holy water itself is forbidden or difficult - after all, you can visit your local church and odds are that you can nab some pretty easily - but because the potential consequence would be losing crowley forever.

i don't know how far i take this particular interaction to be one deeply concerned with aziraphale's general ethics or sense of morality; more that he just simply cares for crowley a great deal. maybe that informs on his moral alignment more than im giving credit for, idk. we could look at it that aziraphale should absolutely trust crowley - trust his word that he isn't intending to use it on himself - and that perhaps is true, but the sheer fact that aziraphale would be giving crowley something so inherently dangerous to his own person is a very valid reason not to do it, morally or sentimentally - especially as it appears to be a very sudden request without much explanation behind it, to make aziraphale understand why it would be necessary.

1941:

starting with the s1 snippet of 1941, we learn that aziraphale is double-crossing the nazi operatives. to give a rundown of the events that i think likely led to the church scene, aziraphale would have initially denied (or stalled) the nazis' request to find and deliver the books, despite the offer of quite a lot of money (which, let's face it, we know is frankly inconsequential to aziraphale; even without the element of being a celestial being that can miracle up money, we know he's a landlord of some tasty real estate in soho - he's hardly strapped for cash); aziraphale is not stupid, nazis are the bad guys. but because he denied/stalled them, they send in greta posing as a british MI agent to encourage aziraphale to do as the nazis asked - as she likely put it to aziraphale - so that 'british authorities' could take it as an opportunity to apprehend them.

i don't think the above is a stretch - why else would greta have been involved, posing as a home agent, if aziraphale wasn't initially reluctant? - and gives a clear situation in which aziraphale would simply not do something that could help the axis effort. he's not avaricious, and certainly doesn't need wealth, so money holds no sway for him in this; but regardless, he likely stands personally, morally, opposed to the nazis entirely, without hesitation. furthermore, to aziraphale's mind, they are the antithesis of everything that heaven also stands for; he lives in the heart of london, and (as s2 shows quite literally) is surrounded by the destruction caused by the blitz campaign.

moving on to when crowley arrives in the church, i know it's a point of contention that aziraphale assumes that crowley must be involved with the nazis' set up, and that's a fair point. i too find it hard to reconcile, especially given the parallel assumption during 1793 was shot down immediately. however, if we presume that aziraphale and crowley haven't seen each other since 1862, it could be aziraphale still reacting very personally as a result of their argument (i daresay that, for these two, 80 years isn't really that long a time to hold a petty grudge)... but to be honest? crowley still takes assignments from hell, and if there is anything - to aziraphale - that seems like a hellish creation, it's the nazis. as hell's earthly representative, it's not an illogical conclusion to arrive at. but, of course, as crowley rightly says - some of the worst things are purely humanity; free will is a double-edged sword, and humanity has capacity for great evil as well as great good. and aziraphale does know crowley; if crowley had confirmed that he was involved, i think aziraphale's reaction would have been that much more visceral.

then we get the Epiphany that is aziraphale realising he's in love with crowley, and - i'll say it repeatedly - i think he possibly realises that crowley feels something for him too... which sets the whole tone for the continuation of 1941 in s2. i don't think (my brain is like soup at this point, so im sure anyone reading will correct me here) we get much more in 1941 that speaks to aziraphale's moral code until we get to the end, when they're back in the bookshop:

because it's a culmination of everything that they've been through so far, right? that doing the right thing and doing the wrong thing, that good and bad, are interwoven with each other, that one can sometimes define, necessitate, and validate the other, and that everyone - including them - are capable of doing both good and bad things. looking back over their history to date, it's one of their main commonalities - their respective non-conformity to the assumed attributes of their respective sides - and one that binds them together. obviously the irony lies with heaven itself hardly being 'the good place', even if it's meant to be, in the first place - but these are two beings that are unique in their experiences on earth, among humanity, which have led them to developing very complex moral codes that recognises (to varying degrees) that good and bad are not absolutes.

which ultimately leaves us a little confused when we get to 2008, right? as you said, anon - how do we reconcile this aziraphale with the one that is hesitant to stop the apocalypse? well, i think it's almost certain that we've got a missing scene here, one that will be answered in s3; but even looking at s2 - aziraphale's assessment of hell being the bad guys has been cemented in 1941. not only are they in cahoots with the nazis (as far as aziraphale sees it), but they have posed a danger to crowley personally. aziraphale saves the day, but all his concerns about the arrangement have been supported by this one event in the dressing room.

so whilst the black-and-white conversation seems to leave 1941 off on a happy note, take into account any possible imaginings of what happened afterwards, and we'll probably end up with not only the reason why aziraphale chooses to acquiesce to crowley's request for holy water... but also why it appears that they have somewhat cooled off in their association with each other right up until 2008. the risk - originally completely hypothetical - of being caught out in the arrangement has now been made manifest by hell, and there is likely a remaining associated risk with heaven also catching wind. as such, it's not inconceivable that aziraphale retreats back to being incredibly hesitant to cross the company line, hesitant to once again get caught up in this little bliss that has started to emerge (ahhh, love), and instead puts his stock back in at least acting like he is a scrupulous angel of heaven.

1967:

tbh, ive kind of covered that above; there has to be something that develops out of s2-1941 that would cause the tonal shift from the candlelit bookshop, to the alienation in 1967. aziraphale is curt, and short, with crowley - after hearing that crowley has chosen to source holy water by some other means - but is convinced enough to get it for him, and prevent any accidents in crowley acquiring it himself. personal theories aside, i think something must happen that hammers home to aziraphale that having a weapon with which to defend himself, even if there's the further risk to crowley by possessing it, is more important than allowing the risk of crowley being dragged to hell by demons to await whatever Bad Thing/s happened whilst he was there (either in 1827, or at some other point between then and 1967).

so against his clearly-set boundary, aziraphale gives it to crowley. he has to trust that crowley isn't going to use it on himself, or be reckless with it - even going so far as to hand him a flask in his own goddamn tartan pattern* - and still firmly draws the line that whilst maybe one day in the future they'll be able to interact with each other, be together (however romantically-intended or not you want to read that), they can't right now. at the moment, the main reasons that im reading into 'you go too fast for me' is a combination of aziraphale being concerned for crowley's wellbeing (and the risk their association places on that, if we consider 1941), but also because aziraphale himself isn't ready to fully step away from heaven. bear in mind that a lot aziraphale's identity is wrapped around being an angel, and being good - if he were to shirk all of that off, stick it to heaven... where does that leave him? what does that make him? what consequences would that have? in this respect, amongst others, aziraphale is still very much trapped in that same fear as he had in job - but now there's the added context that he's actually in love with crowley, only serving to raise the stakes of all that he has to lose.

*i cannot for the life of me remember where i saw the meta; but someone made the connection that giving someone your tartan, or dressing them in it, is essentially to say that they are your family/clan - uniting in a side - and that they are important to you. it's particularly eye-opening when you take into consideration that aziraphale starts wearing the tartan - as far as we see - after 1827, and when you look at instances of when aziraphale further bestows the tartan on crowley (the bike rack, the jacket collar). perhaps it wasn't ever intended to have that connotation, and it's purely hc, but as a way of aziraphale, potentially, wordlessly telling crowley that he recognises that they are on their side, that devotion and care is still there, even if they now can't risk being seen together? magnificent

modern day (2008-2023):

i promise im getting near the end of this

so the end of 1967 brings us up to present-ish day, and whilst im sure crowley and aziraphale have met up since 1967, i honestly don't think it's been incredibly often, not judging by their first interactions with each other in 2008 as we're introduced to them. but the first major issue - as you pointed out, anon - is that aziraphale is reluctant to stop the apocalypse happening. he hangs on to it being god's plan, and that he can't interfere with it. it does seem, on the surface, to be a regression of his character development, but tbh i don't see it that way at all.

aziraphale is still dancing a very thin line where he has to not only go along with heaven as far as he can, but also has cling to the idea that heaven represents good and light. he hasn't broken away from this yet, and honestly - how could he? what would it mean for him, what could he stand to lose, if he accepted that god and heaven may not be wholly good? what does that make him? it's a safety blanket that, sure, we can observe is one he should have abandoned long ago, so what is stopping him? imo, it's a combination of his self-identity being wrapped up in his being an angel, but also i think a good helping of fear of what could happen if he walked away (nod to omelas); the fear of the unknown is often more frightening than the known.

aziraphale might suspect that the archangels are the corrosive influence in heaven, but he still clings to belief that heaven in the first place was always intended to be good and right. but was it? heaven was once just... heaven. it wasn't good, it wasn't bad, it wasn't really anything - the creation of the fallen, and their descent into their domain (conjecture here; we still don't know what actually happened in the fall), was the element that defines that divide... the fallen challenged/abandoned god, and continue to corrupt her creation, and so they must be the Bad Guys. doesn't that therefore make... heaven the good? it's easy to see where aziraphale arrives at this conclusion - how all of the host arrives at this conclusion, frankly - but angels, i don't think, were ever good in the first place, nor was/is god. they just... are. but produce the concept of an opposite, in every way conceivable, and naturally it becomes a split between good and evil, too. aziraphale is an angel; he is good. crowley is a demon; he is bad. aziraphale is an angel who is just enough of a bastard to be worth knowing. crowley is a demon who is, at heart - just a little bit - a good person. to aziraphale, they may subvert the expectations that their kind would indicate, but it is still who they are at their core.

but back to 2008; aziraphale starts off asserting that heaven - "we" - will win, and it'll all be "rather lovely". i don't think aziraphale has any choice but to believe this, even if he knows what he stands to lose if it happens; crowley waxes on about everything that aziraphale enjoys and will disappear with the apocalypse, but it doesn't convince him. (there's a split second where he seems to have a Moment at the mention of the bookshop, which - yeah, he loves the bookshop and his books, but also everything that the bookshop has represented? hm.) crowley continues on as they approach the bentley, and aziraphale is clearly dithering, almost like it's wearing him down (bc, of course, crowley is right) and making him considerably uncomfortable (and fearful?), to the point that he snaps at crowley to stop.

once they're in the bookshop, aziraphale's guard comes down, and you can tell that he's lamentable about losing aspects of earth/what he can expect from eternity in heaven as crowley points them out. aziraphale becomes a little more candid; "even if i wanted to help, i couldn't. i can't interfere with the 'divine plan'." now look, read into the first bit that aziraphale doesn't actually want to stop armageddon, but... on a personal level, he absolutely does? he doesn't want to lose everything that crowley is pointing out to him, and certainly doesn't want to be subjected to the sound of music on repeat for all eternity - aziraphale absolutely does want armageddon to not-happen, but equally wants to keep his nose clean where heaven and god are concerned. and frankly, when crowley gives him a plausible excuse of chalking aziraphale's efforts to prevent the apocalypse up to it being a ruse to thwart The Demon Crowley... aziraphale practically crumbles like a wet paper bag.

im going to stop at 2008 because honestly this response is obscenely long as it is, and i think how his character develops through s1 and s2 is a lot more apparent (i also think ive talked about it in other asks somewhere, too). but ultimately my personal assessment of aziraphale through the flashbacks/minisodes is that whilst he hasn't had a huge overhaul of his character, his ethical and moral identity has developed and deepened, and remains very complex. there are also, imo, a lot of extenuating factors that influence what he considers to be right and wrong: the threat of heaven, and of hell, the fear of falling and/or losing the identity that he has (and fearing what would happen if he adios'd that entirely), his faith in god, his evolving sentiment and love for crowley, and his fondness of humanity. he may not have made great leaps and strides, resulting in becoming a completely different person, but i don't think that the moral dilemmas posed in the flashbacks wee necessarily meant to do that? more that they are an exploration of the intricate moral code that aziraphale possesses, and how each of these experiences inform on how he chooses to act - or not act - in others as time goes on.

#i hate this response sm it was so unnecessary (again really sorry for the length anon) but i got halfway through and had to Carry On #so yeah enjoy the essay that you didnt ask for and has so many holes in it - unpicking aziraphale would take a dissertation #and a more herculean effort than i have the strength for #good omens #ask #aziraphale meta #flashback meta #1941 spec #sorry forgot the tw!!!!#tw: suicide

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thgfanfictionlibrary · 5 months

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Active Authors Masterlist

***Active (on this blog) is defined as a blog/writer who has updated within the past year. Inactive (on this blog) is defined as a blog/writer that has not been updated at all in the past year+. On THG Writing Hiatus (on this blog) is a blog/writer who has updated within the past year but has not posted a fanfic in the fandom in the past year BUT they may return to writing in the future. Lists will be updated as needed based on activity. ***

Created: November 13th, 2023

Last Checked:----

Abagail_Snow :: ao3, ffnet, tumblr

Popular Fic: All The World's a Stage: They'll never live down the stunt with the berries. They should probably just accept that. Peeta is rescued from the arena along with Katniss (post-Catching Fire/Mockingjay divergence) (@absnow)

aimmyarrowshigh :: ao3, ff.net, tumblr

Popular Fic: How Rue Became the Mockingjay: Katniss Everdeen and the girl from Eleven are ruining their best-laid plans – the Capitol’s and the Rebels’. So Caesar, they say. Announce the change. --- An alternate chronology for The Hunger Games (@aimmyarrowshigh)

AlwaysMyPearl :: tumblr

Popular Fic: Come get your man, nothing’s wrong, he just misses you.: Post-mockingjay, canon compliant. Katniss POV. A phone call that occurs with Johanna, Annie, Peeta, and Katniss when Peeta goes to visit Annie, Finn, and Jo with Katniss staying behind in Twelve. Fluff. (@alwaysmypearl)

amelia_day :: ao3, tumblr

Popular Fic: The Bet: When a sorority bet gets out of hand and becomes a campus wide sensation, Katniss and Peeta are both forced to deal with the aftermath. (@awhiskeyriver)

Autumnanox :: ao3

Popular Fic: Time Running Out for the Truth: What if Katniss had realized before their second time in the Arena the depth of her feelings for Peeta? And what if she had found the words to express them? How would they have spent what they believed to be their last nights alone together? This story takes place on the day they make their private presentations to the Gamemakers, after they've returned to the district 12 suite and they are each awarded a score of 12 for their rebellious antics. This story, unlike the books, is told from Peeta's perspective.

Broken_everlark :: ao3

Popular Fic: Capative to the Darkness: Peeta tries to keep his dark passenger a secret but how long can it stay hidden when he works as a detective for the police department and he's head over heels in love with his partner Katniss Everdeen.

Brown_Eyed_Devil :: ao3

Popular Fic: Stop the Clocks: A Modern AU with heaps of jealousy and angst, hints of fluff and good stuff in between, and a potential dash of smut for later on. (Rating and tags will evolve as the story progresses, so keep an eye out for that). Katniss Everdeen sees her ex-boyfriend on the arm of another woman a year after their breakup. She shouldn’t care, because she broke up with him, even so... she still finds herself drawn to him in that impossible way. She knows she's not allowed to think of him as hers anymore, she really thought she should be over this by now (over him really), and yet against her better judgement, she allows him to take her number... Shenanigans ensue...

bellablue27 :: ao3

Popular Fic: Tomorrow Will Be Kinder: A canon-compliant, post-Mockingjay growing together fic from Peeta's POV

bbyannabeth :: tumblr

Popular Fic: Oh, I Love You: The moment when Peeta realizes, clear-headed and all, maybe as Katniss sleeps beside him or traipses in from the woods …“oh. I love you.” (@bbyannabeth)

CassandraO :: ao3

Popular Fic: Arranged: Facing the death of her mother, 14-year old Katniss Everdeen and her 10-year old sister Prim move in with their widowed maternal grandmother, the apothecary's wife. In a world in which unmarried women cannot own property, Katniss' grandmother arranges with the town baker to marry off her eldest granddaughter at sixteen to protect her in case she dies before the girl is ready to marry. Luckily for all, Katniss gets to marry the youngest son, her close friend Peeta. Now, married young, the summer is coming, and with it, the 74th Annual Hunger Games.

#authors #active authors masterlist #active authors #everlark fanfiction #thg fanfiction #everlark #masterlist #thg

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yukipri · 10 months

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I joined Threads! Unfortunately my reach on Insta is still the most limited of all of my socials, and that’s the account Threads is directly attached to.

If you’re on either Insta or Threads, would love if you could stop by🙏

Direct linking to Threads doesn't seem to work...so here's

my Instagram

through which you can find my Threads account!

Edit: You actually can link to Threads, ironically through the icon at the top of individual Instagram account pages on desktop. Though Desktop viewing is currently limited to individual pages, and you can't necessarily scroll the feed. So here's my Threads page!

Next, some initial thoughts on the platform for those who are kinda curious what this new thing is. Not at all an expert, just some info I've gathered myself, that I'd personally have liked to know before joining:

On Threads

・It launched July 5~6, 2023. Rollout varies by country.

・Twitter's already upset about it, apparently there's a lawsuit. So I guess it considers Threads a possible threat.

・It's run by Meta, same folks as Insta and Fb.

・The accounts are directly linked to Instagram, which has its pros and cons. You need an Insta account to make a Threads account, but if you already have an Insta account, it's very easy to make a connected Threads account. However, once linked, they're linked; you can't disable your Threads account without also disabling your Insta account. You can also automatically follow all the accounts you're already following on Insta, to be activated as they make Threads accounts. You can also share Threads posts to your Insta stories.

・Currently only on mobile app, hoping the'll make it desktop accessible soon

・The current audience mostly seems to be folks who have come direct from Instagram. This means yes, a lot of official/influencer accounts, but also a lot of artists/small creators too.

Functionality

・Right now, the "feed/dashboard" is a hot mess. It's just one massive algorithmic spew, no way to curate it, no way to see just the posts by the folks you're following, not even chronological. These are things that i personally require in a social media, so yeah it sucks rn. HOWEVER, they did state that they're working on a "followers only" feed, much like the one on Instagram. If they implement a Followers Only feed like Insta, it'll at least be much better than Twitter's current "Following" feed. There has been no timeline provided on when this may launch.

・It functions much the same as Twitter, with options to create new posts, and like, retweet, quote retweet, and reply to posts made by others. (There's still a lot of floundering about the exact terminology to use, since it's not twitter so you can't "retweet" etc)

・500 Character word limit per post, which is much more than Twitter, ey!

・Up to 10 images per post, doesn't seem to cause image quality reduction either. Rather than being able to arrange the images like on Tumblr though, they're all automatically in a carousel that you can see by swiping.

・Your bio can be the exact same as what's on your insta, but currently only shows followers. In order to see who you follow, you tap "followers" and then when the menu opens, swipe to "following." Then, you can tap on the individual accounts to view their pages. This is currently the only way to ensure you see the posts from certain accounts, because there's no guarantee they'll show up on your feed, and it's a huge pain. But again, they're hopefully working on a fix for this.

My understanding is that the app rushed to launch now, since Twitter is a dumpster fire and people are fleeing. (why is it a dumpster fire? Well, Musk implemented a randomly fluctuating tweet view limitation, which is dumb af, but means it's essentially become unusable to folks who use the platform a lot)

I'm hoping that there'll be improvements to Threads and it'll become a viable Twitter alternative, but until then...yeah we'll keep an eye on it.

Now that I've probably completely turned you off from downloading the app, if you do, a nudge that again I'd appreciate if you stopped by my account, YukiPri_Art on Instagram, and/or YukiPri_Art on Threads!

#YukiPri rambles #Threads #social media #longpost #long post #Sigh yes another Twitter alternative #but unlike Bluesky I was actually able to make an account so that's one mark in its favor #plus Twitter is literally a hot mess rn I am getting like zero views on anything but RTs of popular accounts sigh #To be clear I'm not leaving Tumblr bc it's my home and i've always been here #but Tumblr and Twitter serve very different functions for me

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doodle-pops · 1 year

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Sunshine In The Rain

Erestor x human!reader

Request: Hey my favourite tumblr writer! If it’s not too much trouble, may I please request either a fic or headcanons with Erestor x human reader who is a scholar who Elrond envites to study in Imladris and they have a bit of a grump/sunshine troupe were reader is all sunshine while Erestor is... Erestor. Perhaps just life between the two of them in the libraries, also can be completely platonic! Like begrudgingly best friends but denies it even though everyone knows they’d die for each other. Thanks! - Anon

A/N: I decided to take a platonic approach for this fic 😊.

Warning: fluff, humour, annoying Erestor

Word: 1.6k

Synopsis: A day unlike any other never went without annoying your favourite grumpy librarian and telling him how much he meant to you.

“Do you deny it?”

“Would be so kind as to pass me those manuscripts to your right, the ones on Quenya linguistics, please.”

“Erestor, do you deny it?”

Exhaling, he kept his head afront, focused on arranging the manuscripts in chronological order and not messing up. He had heard your question loud and clear, but choosing to focus on his work before him, he continued adjusting the old scrolls and books to make room for the ancient artifacts. They were brought from Lindon and arrived two days ago, since then, Erestor had spent day and night with his nose buried deep within the pages, marvelling at the hidden beauty of the language of the great Eldar of the West. The complexity of such simple words was as beautiful as the dawn to him— the thoughts of a true admirer of the ancient languages.

Your stance beside him fell into a silent stare the longer Arien moved across the sky. Arms folded behind your back, sleeves overlapped due to the elves' fascination with appearing as though they floated on air, hair neatly swept into a single braid, back straight, eyes shining with mirth and lip eagerly being chewed on, you stood on your toes and leaned in closer. Craning your neck, your robes hung off your figure and left you with a drowning appearance in greys, blues and browns. The colours wonderfully complimented your eyes and skin tone which were enhanced the moment a gust of wind ripped the curtains apart and Arien’s rays fell on you. Breaking into a smile, from your point of view, Lord Erestor seemed to be engrossed in sorting the manuscripts to notice your approach.

You had the most interesting habit of engaging in any activity the elven Lord was set on accomplishing. Even if it meant standing on the side and conversing for the area was out of your expertise— being a scholar who specialised in medicine. Your time spent with Lord Erestor over the year and a half you were welcomed into Imladris were the greatest moments experienced. There was never a dull moment with him no matter how grumpy he appeared. His grumpiness was a beacon to you.

“My Lord, are you ignoring me? Lord Elrond requested you to assist me with gathering information from manuscripts in the archives on mugwort and eucalyptus...” you sang as you inched yourself closer to the ladder and looked up at him. His face was set, and his eyes fixated on the shelves before him, not once did they dip in your direction.

A slight frown marred your face.

“Are you still planning on writing your book?” his voice piqued up from the empty silence the library had fallen into it.

You jolted at the shock of his deepened voice. It was rare he used that tone when communicating with you. “So he listens and speaks? I thought for a moment you were deaf?” you chortled.

Shaking his head slightly and closing his eyes, Erestor sighed at your so-called humorous antics. To think that within the year and a half flew by, he would have been accustomed to all of them by now, it appeared as though you had a few stashed up your sleeves. Reopening his eyes, his hand reached for another script and placed it beside the others. Though his eyes were stern, his lips were loose and friendly. The corners were lifted. “I’ve told you time and time again, when working, speak work matters,” he reminded you with a lack of seriousness in his voice.

“But wouldn’t that make your work boring… Ah, right, right, Of course. How could I forget?” you snickered. Your head nods at the recollection of why he was boring as the others claimed him to be. Not receiving any feedback, you turned away from him, and cast your attention on other objects scattered across the room; the single table that held a vase with a single flower, the empty bookshelves, the stacks of hardcover books and the rolled-up rug in the eastern wing. The twins had spilt wine on the rug one evening when they came to annoy you and Erestor. You remembered watching the poor librarian catch a stroke as he scolded them. Breaking into a smile and then a small chuckle at the memory, it caught his attention.

Caught between placing the last script on the shelf and observing your shaking figure, he fumbled around before inquiring. “Don’t tell me you’ve gone mad? Laughing at yourself now or perhaps you’ve seen a comical ghost as your human stories have it,” he probed. Brows arched and body half turned in your direction, awaiting your fascinating response. His eyes were no longer strict and were now relaxed, gazing with curiosity.

Whipping your head around to notice him patiently waiting for an answer, you squinted your eyes and pursed your lips. Running your eyes down his body, down the ladder and across the floor to meet your feet, you tilted your head deep in thought. “…I thought when we are at work, only work-related matters?” You threw his own words at him, a smirk growing at his baffled state once he realised he had gone back on his words. Sputtering a few noises as his frustration grew, not liking the idea of being caught, he gave an exasperated sigh and rolled his eyes.

“This is why I don’t like speaking with you! You make everything complicated,” he accused with annoyance laced in his voice. You on the other hand were rolling with laughter. It wasn’t often you managed to trick the Lord and force him into awkwardness.

“Oh, come on Erestor! It was just a joke! You know I’ll inform you anyway,” you consoled. At that moment, you walked over to the ladder and looked up to flash him a sympathetic look, hoping he bought what you conveyed. To your unamused self, he scoffed at your attempts and looked away with a light tint of red peaking at the tips of his ear. The sighting only prompted you to laugh with more gusto.

Hand on your stomach, you curled in to release peals of laughter throughout the library, disrupting the tranquil ambience. If Erestor was in his librarian mode, he would have scolded you for obstruction of peace by now, but he was far busy with covering his ears and adjusting his composure. Huffing and puffing as the sound of your voice diminished into squeaks and large intakes of air, he scowled, “Why must you always be like this? Is there ever a moment when you’re not making things awkward?”

Through your fit of laughter, your gaze turned to him and transformed into foreign shock. A hand over your chest and the other on your stomach while your lips parted to inhale and exhale exasperatedly, you gawked at him. “What do you mean ‘why am I always like this’? …Am I not supposed to be jovial around my friend? I mean, I apologise if I make things awkward, but it’s just how I am when I'm around people I’m fond of. You should know,” you proclaimed. A brilliant smile had made its way across your face and touched your eyes.

Erestor couldn’t help but remain still as he listened to your words. He had heard them from Lord Glorfindel before, but they sounded different when emitted from you— a little warmth and sunshine, glad tidings and mirth. With his stillness as he remained perched on the ladder, leaning against the shelf, he stared at you and wonder what he could possibly say to counteract your words. He always had some quirky remark, but instead, he remained voiceless. Tightening his grip as he motioned his body to move down the ladder, his thoughts raced with the ulterior motive behind your words. You considered him your friend, as if he didn't know, but refused to admit. What were you attempting to do?

“Are you alright Lord Erestor? I didn’t say something to offend you? I mean, I know you elves have a different concept of expressing emoti—”

“— No you did not.” He paused at the base of the ladder before shifting to stand before the desk filled with scrolls and parchments. His cheeks were hurting from the stress of resisting to form a smile— he was touched. Calling someone a friend was a high act of affection and it was odd for anyone to consider him given his cold exterior and persona— Glorfindel not included. “It’s just…you consider me a friend.”

Quizzically chuckling, you walked around to greet him at the front of the desk and corrected him. “Not ‘a friend’, ‘my friend’. And yes, I do! What, you think that after spending a year and a half around you I wouldn’t consider you my best buddy? Yeah, you’re grumpy, but I can live with it!” you assured with a brilliant smile and shrug.

Lifting his head to turn his smile into a frown at your choice of words, he grumbled, “I am not grumpy! I simply lack the will and strength to lift my facial muscles to produce a joyous appearance.”

“…Hm, that sounds right. You are complicated, but at least you’re my complicated friend.” You shook your head and frowned at his complexity. You could feel the headache coming on.

“This is exactly why I’m not friends with you in the first place. You bully me,” he announced casually with a disappointed shake of his head as he strutted towards the exit. From your angle, you couldn’t see the smirk on his face at his joy at teasing you.

Gasping at the absurdity, you did not hesitate to trail after him, robes flowing behind you dramatically while you bored a look of disbelief. “How dare you accuse me of bullying you! Especially after all that we’ve been through! Get back here!” you exclaimed as you waved your fist in the air.

All Erestor did was roll his eye and shook his head tediously while he stood at the door holding it open with an unamused look. “You're the reason I question my sanity.”

Masterlist

Taglist: @eunoiaastralwings @noldorinpainter @ranhanabi777 @spidergirla5 @lilmelily @someoneinthestars @mysticmoomin @aconstructofamind @floraroselaughter @singleteapot @the-phantom-of-arda @rain-on-my-umbrella @asianbutnotjapanese @ilu-stripes @justellie17 @justjane @silverose365

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rolorules · 9 months

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Random Rolo Ramblings 6: Kururugi and Canon

My intention was to write a few lines about the relationship between Rolo and Suzaku and post them around Suzaku's birthday. Well, it did not happen quite like that, but here they are. Admittedly, there is not really much to write about as far as the series canon goes, and here I would already like to digress a little: By '(series) canon' I mean everything that is officially part of the Code Geass story (people, places, events) as it unfolds in the TV series, not the recap films, which divert from the series canon and partly tell a different story. You can consider them a form of Code Geass elseworld or parallel universe/alternate timeline (apparently Genesic Re;CODE did that) or just see them as a separate movie canon which includes Lelouch of the Resurrection. (Correct, 'canon' is the second main topic of this article.)

As far as the Geass series canon goes, it certainly includes R1, R2 and also Akito the Exiled. I would also add the picture dramas, but that is a matter of debate and one could argue that their canonicity is not on the same level as that of the series' episodes. There are also the drama CDs, but, like I wrote before, these are just too far out there to be part of the official story. There may be official books that Sunrise considers canon, but my personal philosophy is that when we talk about films or TV shows, only what's on the screen is canon.

So what about Suzaku and Rolo? If we follow the show's internal chronology, they first meet in the final scene of Akito the Exiled. We get two reaction shots of Suzaku's face, first when Rolo enters the room, accompanied by the two Geass Order guards, then after he tells him that Charles has 'granted' 'Julius Kingsley' another audience. (By the way, look how tall he is in comparison to Suzaku. Must be the boots.) In both cases, Suzaku looks both quite angry and extremely wary. In the first case, Suzaku even makes a hard-to-define moaning sound that sounds both apprehensive and annoyed. In other words, he does not seem happy to see Rolo at all. He might be uncertain at first whether the rescue party are friend or foe, but even after Rolo has made it clear that they are on his side, he looks as happy as an employee who hates his boss and is told that he can go back to work now. This may have nothing to do with Rolo as a person, but with the unpleasantries that await Suzaku and Lelouch, but to me this look also says "Who's that creep they've sent to pick us up?"

Luckily, there are no hard feelings between Suzaku and Rolo in R2 despite this encounter, and this is obviously because R2 was produced before Akito. There is only one conversation between Suzaku and Rolo (and Villetta) in the OSI's secret control room, (which I have covered before, more than once, actually). While Rolo and Villetta have more or less always treated each other as equals, Suzaku clearly acts as the one in charge. Everyone is very polite, but Suzaku seems to be doubtful about the effectiveness of their surveillance, which triggers a response from Roll that makes him appear a little offendes, but secretly he is certainly worried that Suzaku might find out that Lelouch has regained his memories (and that he has changed sides). In a different world, to Star Trek, they may be friends, at least they don't hate each other, but in this situation, Rolo mostly regards Suzaku as a threat, which is why he even offers Lelouch to kill him. When Suzaku arranges a phone call with Nunnally to figure out whether Lelouch has regained his memory, Rolo thwarts his plans with his time-stopping powers. Apart from that, we see him giving Suzaku wary sideways glances, and that, to my knowledge, is about it. Not much, given the fact that older official artwork often shows Lelouch, Suzaku and Rolo as a kind of love-hate-whatever triangle.

What I would really like to know is what happened between the trio's journey home from Euro Britannia and Rolo's/Suzaku's arrival at Ashford. Didn't they have any conversation about 'Julius' resp. Lelouch? It would have made sense for Suzaku to brief Rolo about Lelouch's character traits so that he knows how to handle him and how to play the role of the little brother convincingly. Moreover, the Vincent's design is based on the Lancelot's, would Suzaku not be the perfect tutor for Rolo as a Knightmare Frame pilot? That would also explain Rolo's piloting skills. (Wouldn't it be fun if Lloyd was also involved? Maybe Rolo had a reason to call him "pervy four-eyes" in that infamous sound episode.)

Of couse there is that slightly weird scene in the second recap movie where Bismarck introduces Suzaku to Rolo (who is dressed like an accountant and looks as if he hadn't had any sleep for a week and not seen any daylight for a month, quite the contrast to his Akito outfit and posture) and Villetta. Here it is made more obvious than in R2 that Suzaku is in charge of the operation. In this scene it is also acknowledged that Suzaku and Rolo have met before, and maybe Suzaku's bad memories are the in-story explanation for Suzaku's so bluntly (and rudely) addressing Rolo's faulty Geass, which is one of the things I hated about this scene, the other one being Rolo's new alias ('Nebiros'/'Neblos'). Rolo's resentful look is more than understandable. I know why the writers made Suzaku say that: they needed a quick way to establish Rolo's weakness, but it still seems so out of character for someone like Suzaku. (I like Suzaku thanking Rolo for rescuing them better, even though he did not look particularly grateful when Rolo freed him and Lelouch from prison.) Villetta's defending Rolo and praising his skillfulness, on the other hand, is perfectly in character for her. Anyway, this scene does not contradict series canon, so I can potentially accept it as "this is what happened" to fill a gap in the story, I'm just not sure if I want to.

Which is why I am now turning to the readers. How do you personally deal with the canon problem, in Code Geass and otherwise? After all, reboots, recaps, remakes etc. are a pretty common phenomenon in the world of anime and elsewhere. Do you want to have a rigid canon or do you like to see alternate/new/fresh versions of the same story? What is your personal Code Geass canon, the two seasons of the TV show, Akito, the recap films, Lelouch of the Resurrection, the mobile games? Please let me know and thank you for reading all this, these articles are called "ramblings" for a reason.

P.S. Sorry for mostly using screencaps that I have used before.

#rolo lamperouge #suzaku kururugi #villetta nu #code geass #Random Rolo Ramblings

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vickyvicarious · 1 year

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Count Dracula and Jonathan Harker — Dark Mirrors

As Dracula Daily goes along, there has been an increasing reversal/exchange of traits between Jonathan and Dracula. There's a lot of parallels or contrasts to be found with most of the cast and the Count, to be fair, but I think Jonathan goes a step further. In some ways it's as if Dracula's early identity theft came true, and they really are beginning to exchange places, or at least meet in the middle.

As I started noticing more and more, I became curious about how often they are directly mirrored, using the same language to describe both Jonathan and Dracula. So... that's what I'm doing here! Below the cut I have collected quotes as much as possible for all the traits I can think of being shared/stolen/exchanged between these two. There's a lot to work with, so it's all divided into three subsections: physical appearance, abilities, personality/role/relationships. (Plus a bonus section for things I want to mention that don't have good quotes to pull or don't fit anywhere else for some reason.) Nothing is in any particular order within each section, but I have arranged any quotes I use for a single trait chronologically.

Enjoy - and feel free to let me know if you find one I've missed! I already plan to update as we go for things that would be spoilers at the moment, so I'm happy to add in anything else relevant too. I can also make a cheat-sheet of all the similarities listed off in bullet-points without all the lengthy quotes, if you want something shorter to reference (because, I will warn you now - this is long). Just let me know. EDIT: cheat-sheet available here.

Physical Appearance

These are some of the most obvious/dramatic changes. I wasn't expecting as much language matching exactly here, since the changes themselves are of such a visible sort. However, it does match surprisingly often.

HAIR COLOR - Dracula gradually goes from white to dark, while Jonathan more abruptly goes from dark to white. Dracula's color change is associated with the youth he regains while feeding, and may thus revert if he doesn't feed. Jonathan's trauma-induced change appears permanent so far.

[Dracula, May 5 - note, the names in brackets are just referring to who the quote is about, not who it's said by] Within, stood a tall old man, clean shaven save for a long white moustache, and clad in black from head to foot, without a single speck of colour about him anywhere.

[Dracula, June 30] There lay the Count, but looking as if his youth had been half renewed, for the white hair and moustache were changed to dark iron-grey; the cheeks were fuller, and the white skin seemed ruby-red underneath; the mouth was redder than ever, for on the lips were gouts of fresh blood, which trickled from the corners of the mouth and ran over the chin and neck.

[Dracula, September 18] There wasn't much people about that day, and close at hand was only one man, a tall, thin chap, with a 'ook nose and a pointed beard, with a few white hairs runnin' through it.

[Dracula, September 22] He was very pale, and his eyes seemed bulging out as, half in terror and half in amazement, he gazed at a tall, thin man, with a beaky nose and black moustache and pointed beard, who was also observing the pretty girl.

-vs-

[Jonathan, October 3] Harker was still and quiet; but over his face, as the awful narrative went on, came a grey look which deepened and deepened in the morning light, till when the first red streak of the coming dawn shot up, the flesh stood darkly out against the whitening hair. [...] Last night he was a frank, happy-looking man, with strong, youthful face, full of energy, and with dark brown hair. To-day he is a drawn, haggard old man, whose white hair matches well with the hollow burning eyes and grief-written lines of his face.

[Jonathan, October 11] Then her husband turned to her wan-eyed and with a greenish pallor which subdued the snowy whiteness of his hair, and asked:

AGE - Dracula begins the novel with the appearance of an old man, and regains youth and vigor to a degree. Conversely, when his hair changes color Jonathan begins to look very aged as well. While it's true there's only one mention of this, and it may thus be more hyperbole or descriptive language to describe his state in the moment, it still feels worth including.

[Dracula, May 5] Within, stood a tall old man, clean shaven save for a long white moustache, and clad in black from head to foot, without a single speck of colour about him anywhere. He held in his hand an antique silver lamp, in which the flame burned without chimney or globe of any kind, throwing long quivering shadows as it flickered in the draught of the open door. The old man motioned me in with his right hand with a courtly gesture, saying in excellent English, but with a strange intonation:

[Dracula, September 22 - his noticeable features no longer include age when Mina describes him. Jonathan remarks upon the contrast.] He was very pale, and his eyes seemed bulging out as, half in terror and half in amazement, he gazed at a tall, thin man, with a beaky nose and black moustache and pointed beard, who was also observing the pretty girl. [...] "I believe it is the Count, but he has grown young. My God, if this be so! Oh, my God! my God! If I only knew! if I only knew!"

-vs-

[Jonathan, October 3] Last night he was a frank, happy-looking man, with strong, youthful face, full of energy, and with dark brown hair. To-day he is a drawn, haggard old man, whose white hair matches well with the hollow burning eyes and grief-written lines of his face.

CLOTHES - Dracula directly wears Jonathan's clothes specifically to impersonate him on two separate occasions. There is a possible element of mirroring on Jonathan's end as well, but it is largely speculative and you can feel free to consider it a stretch on my part: when Dracula isn't dressed up as Jonathan, he consistently wears all black. Later on in the story, Jonathan is the chief mourner at Mr. Hawkins' funeral. I think it may be reasonable to imagine him wearing mourning clothes as long as a child would for a parent, thus reflecting their relationship to one another. This appears to have been around 6-12 months, though men often only wore a hatband, armband, or ribbon. That may have been based on them going back to work however, which Jonathan didn't really do. Basically... it's possible that Jonathan has also started dressing in large amounts of black (and a change I have seen people make in fanart, etc.), but there doesn't seem to be anything confirming it in the text.

[Dracula, May 5] Within, stood a tall old man, clean shaven save for a long white moustache, and clad in black from head to foot, without a single speck of colour about him anywhere.

[Dracula, June 24] It was a new shock to me to find that he had on the suit of clothes which I had worn whilst travelling here, and slung over his shoulder the terrible bag which I had seen the women take away. There could be no doubt as to his quest, and in my garb, too! This, then, is his new scheme of evil: that he will allow others to see me, as they think, so that he may both leave evidence that I have been seen in the towns or villages posting my own letters, and that any wickedness which he may do shall by the local people be attributed to me.

[Dracula, June 29] To-day is the date of my last letter, and the Count has taken steps to prove that it was genuine, for again I saw him leave the castle by the same window, and in my clothes.

[Dracula, October 3 - first Seward's, then Mina's description] By her side stood a tall, thin man, clad in black. His face was turned from us, but the instant we saw we all recognised the Count—in every way, even to the scar on his forehead. [...] Then indeed, my heart sank within me: beside the bed, as if he had stepped out of the mist—or rather as if the mist had turned into his figure, for it had entirely disappeared—stood a tall, thin man, all in black.

[Dracula, October 5] A tall man, thin and pale, with high nose and teeth so white, and eyes that seem to be burning. That he be all in black, except that he have a hat of straw which suit not him or the time.

-vs-

[Jonathan, September 19 - referencing Jonathan's role, and the first day Jonathan may have started to dress in mourning. The funeral itself was September 22] I dread coming up to London, as we must do the day after to-morrow; for poor Mr. Hawkins left in his will that he was to be buried in the grave with his father. As there are no relations at all, Jonathan will have to be chief mourner.

[Suitor Squad, September 29 - Jonathan is not present in this quote. However, it references 'being in mourning' affecting clothes, and even those not officially doing so also wore black at least that particular day] A little before twelve o'clock we three—Arthur, Quincey Morris, and myself—called for the Professor. It was odd to notice that by common consent we had all put on black clothes. Of course, Arthur wore black, for he was in deep mourning, but the rest of us wore it by instinct.

ACCENT - Dracula speaks perfect English at the start of the novel, but he has a noticeable accent. He specifically asks Jonathan to help him practice his English accent and manners. Then, once he arrives in London, no one ever comments on his accent. Even the zookeeper and dockworkers, who otherwise describe his appearance and tone freely and rudely, make no note of his accent. It seems like Dracula has learned from copying Jonathan how to affect an at least somewhat passable British accent (contrary to common portrayal in film).

[Dracula, May 5] The old man motioned me in with his right hand with a courtly gesture, saying in excellent English, but with a strange intonation:—

[Dracula, May 7] "I am content if I am like the rest, so that no man stops if he see me, or pause in his speaking if he hear my words, 'Ha, ha! a stranger!' [...] You shall, I trust, rest here with me awhile, so that by our talking I may learn the English intonation; and I would that you tell me when I make error, even of the smallest, in my speaking."

COLD HANDS - A single mention in both cases, but notable for using the exact same phrasing. (The phrase 'cold as ice' is used only one other time, to describe how Seward's heart feels as vampire!Lucy approaches.)

[Dracula, May 5] The instant, however, that I had stepped over the threshold, he moved impulsively forward, and holding out his hand grasped mine with a strength which made me wince, an effect which was not lessened by the fact that it seemed as cold as ice—more like the hand of a dead than a living man.

-vs-

[Jonathan, October 25] We men are all in a fever of excitement, except Harker, who is calm; his hands are cold as ice, and an hour ago I found him whetting the edge of the great Ghoorka knife which he now always carries with him. It will be a bad lookout for the Count if the edge of that "Kukri" ever touches his throat, driven by that stern, ice-cold hand!

BLAZING/BURNING EYES - The Count's eyes are described as red multiple times, but Jonathan's never are. However, when they are angry or full of bloodlust, the same language is used to describe the look in their eyes - specifically 'blazing', and more generally fire/hellfire imagery. This only happens once for Jonathan, but it's still significant for mirroring the exact wording, and because as far as I could find, this wording/imagery is never used for anyone else who isn't actively being influenced/corrupted by Dracula (and it is overwhelmingly associated with him the most). The closest we come is one mention of "fire in his eyes" when Arthur is asking how to help on September 7th, but that has a different tone in my opinion, and in any case doesn't match the exact wording used for Dracula and Jonathan both.

[Dracula, May 8] When the Count saw my face, his eyes blazed with a sort of demoniac fury, and he suddenly made a grab at my throat.

[Dracula, May 16] But the Count! Never did I imagine such wrath and fury, even to the demons of the pit. His eyes were positively blazing. The red light in them was lurid, as if the flames of hell-fire blazed behind them.

[Dracula, May 28] "See!"—he must have looked at it—"one is from you, and to my friend Peter Hawkins; the other"—here he caught sight of the strange symbols as he opened the envelope, and the dark look came into his face, and his eyes blazed wickedly—"the other is a vile thing, an outrage upon friendship and hospitality!"

[Dracula, June 30] Even the deep, burning eyes seemed set amongst swollen flesh, for the lids and pouches underneath were bloated. [...] There was no lethal weapon at hand, but I seized a shovel which the workmen had been using to fill the cases, and lifting it high, struck, with the edge downward, at the hateful face. But as I did so the head turned, and the eyes fell full upon me, with all their blaze of basilisk horror.

[Lucy, September 29 - a bonus other vampire!] Lucy's eyes in form and colour; but Lucy's eyes unclean and full of hell-fire, instead of the pure, gentle orbs we knew. At that moment the remnant of my love passed into hate and loathing; had she then to be killed, I could have done it with savage delight. As she looked, her eyes blazed with unholy light, and the face became wreathed with a voluptuous smile. [...] The beautiful colour became livid, the eyes seemed to throw out sparks of hell-fire, the brows were wrinkled as though the folds of the flesh were the coils of Medusa's snakes, and the lovely, blood-stained mouth grew to an open square, as in the passion masks of the Greeks and Japanese.

[Dracula, October 3] A dark mass spread over the grass, coming on like the shape of a flame of fire; and then He moved the mist to the right and left, and I could see that there were thousands of rats with their eyes blazing red—like His, only smaller. [...] His eyes flamed red with devilish passion; the great nostrils of the white aquiline nose opened wide and quivered at the edge; and the white sharp teeth, behind the full lips of the blood-dripping mouth, champed together like those of a wild beast. [...] It would be impossible to describe the expression of hate and baffled malignity—of anger and hellish rage—which came over the Count's face. His waxen hue became greenish-yellow by the contrast of his burning eyes, and the red scar on the forehead showed on the pallid skin like a palpitating wound.

[Dracula, October 5] A tall man, thin and pale, with high nose and teeth so white, and eyes that seem to be burning.

-vs-

[Renfield, October 1 - a notable exception to the vampires being the only other ones with this phrasing. The timing of this description being given after he has aided Dracula to access Mina and is regretting what he's done, seems significant as well.] Suddenly he jumped to his feet, with his eyes blazing and all the signs of intense cerebral excitement. "To hell with you and your souls!" he shouted. "Why do you plague me about souls? Haven't I got enough to worry, and pain, and distract me already, without thinking of souls!"

[Jonathan, October 3] I told him exactly what had happened, and he listened with seeming impassiveness; but his nostrils twitched and his eyes blazed as I told how the ruthless hands of the Count had held his wife in that terrible and horrid position, with her mouth to the open wound in his breast. [...] To-day he is a drawn, haggard old man, whose white hair matches well with the hollow burning eyes and grief-written lines of his face. His energy is still intact; in fact, he is like a living flame.

Abilities

These are all pretty much only in one direction - namely, Jonathan acquiring these abilities. They vary on how much you can say "that's not normal" versus Jonathan performing a human version of a vampire activity, but either way they still tend to come from Dracula first.

WALL CLIMBING - One of the first and most noticeable changes in Jonathan stealing traits right back from Dracula. While the Count's version of climbing is definitely supernatural (lizard fashion), Jonathan's freeclimbing is at least upright and subject to gravity, as well as initially shorter and limited to moving sideways rather than down. However, it could be argued that the circumstances under which he does so/speed he uses may be a little inhuman. The language used to describe their climbing on the castle does sometimes echo, though not usually exactly. That said, Jonathan is directly imitating Dracula's technique and mention is made of that (fingers and toes grasping mortar). They also are described climbing Castle Dracula the same number of times, though Dracula only gets described going down and Jonathan's descriptions cover both directions so the actual number of trips is different. Also notable: when Jonathan is attacking him/the group has crucifixes aimed at him on October 3, Dracula's flight out the window involves neither lizard climbing nor turning into mist/a bat. He has transitioned to a more normal/undignified manner of exiting, while Jonathan's climb after him seems much smoother/has greater ease based on the description. It's as though in London, or at least in that moment, they've swapped.

[Dracula, May 12] But my very feelings changed to repulsion and terror when I saw the whole man slowly emerge from the window and begin to crawl down the castle wall over that dreadful abyss, face down with his cloak spreading out around him like great wings. At first I could not believe my eyes. I thought it was some trick of the moonlight, some weird effect of shadow; but I kept looking, and it could be no delusion. I saw the fingers and toes grasp the corners of the stones, worn clear of the mortar by the stress of years, and by thus using every projection and inequality move downwards with considerable speed, just as a lizard moves along a wall.

[Dracula, May 15] Once more have I seen the Count go out in his lizard fashion. He moved downwards in a sidelong way, some hundred feet down, and a good deal to the left.

[Dracula, June 24] I had been at the window somewhat less than half an hour, when I saw something coming out of the Count's window. I drew back and watched carefully, and saw the whole man emerge.

[Dracula, June 29] As he went down the wall, lizard fashion, I wished I had a gun or some lethal weapon, that I might destroy him; but I fear that no weapon wrought alone by man's hand would have any effect on him.

[Dracula, October 3] The next instant, with a sinuous dive he swept under Harker's arm, ere his blow could fall, and, grasping a handful of the money from the floor, dashed across the room, threw himself at the window. Amid the crash and glitter of the falling glass, he tumbled into the flagged area below.

-vs-

[Jonathan, June 25] I have seen him myself crawl from his window. Why should not I imitate him, and go in by his window? The chances are desperate, but my need is more desperate still. I shall risk it. [...] The stones are big and roughly cut, and the mortar has by process of time been washed away between them. I took off my boots, and ventured out on the desperate way. [...] I thought he might have the keys on him, but when I went to search I saw the dead eyes, and in them, dead though they were, such a look of hate, though unconscious of me or my presence, that I fled from the place, and leaving the Count's room by the window, crawled again up the castle wall.

[Jonathan, June 29 - an extra detail: Jonathan's final climb out of the castle was from the Count's window, not his own bedroom. So the way he left the castle mirrored the way Dracula had left while impersonating him. Also, if you subscribe to the belief (as I do) that Dracula drained Jonathan's blood the night before, then Jonathan is doing this extra-long climb with blood-loss which may be a point in the more supernatural tally.] Then a wild desire took me to obtain that key at any risk, and I determined then and there to scale the wall again and gain the Count's room. He might kill me, but death now seemed the happier choice of evils. Without a pause I rushed up to the east window, and scrambled down the wall, as before, into the Count's room. [...] With a last look around and at the box which contained the vile body, I ran from the place and gained the Count's room, determined to rush out at the moment the door should be opened. [...] I shall not remain alone with them; I shall try to scale the castle wall farther than I have yet attempted. I shall take some of the gold with me, lest I want it later. I may find a way from this dreadful place.

[Jonathan, October 3] Godalming and Morris had rushed out into the yard, and Harker had lowered himself from the window to follow the Count.

KUKRI KNIFE - This is rather speculative. I feel like there is some kind of parallel to be built with how often Jonathan is mentioned carrying his knife, mirroring how often Dracula's teeth are mentioned (their respective weapons). The language isn't quite the same though it would have been relatively easy to do (sharp, white teeth = sharp, silver knife) which is why I hesitate to say it is a definite mirroring. I also didn't quote all those moments because they don't fully match and there's so many of them. Aside from that though, Dracula's reaction to the knife was slightly unusual. He was unbothered by the mate's knife on the Demeter, but actively dodged Jonathan twice, once before the others even had their crucifixes lifted. Given the myth about this type of knife being made to draw blood (per @thegoatsongsngs excellent meta), perhaps there is some level of symbolism with it matching Dracula's teeth and being dangerous to the other. Of course, you could just say Dracula was being wary because of the situation/timing of the attack/the money in his pocket, more than actually fearing the knife.

[Mate of the Demeter, August 3 - Dracula is unbothered by the knife] "It was in the bows, and looking out. I crept behind It, and gave It my knife; but the knife went through It, empty as the air." And as he spoke he took his knife and drove it savagely into space.

[Jonathan, October 1 - the knife is intended only for mundane threats; Van Helsing doesn't expect it to harm Dracula] "Keep this near your heart"—as he spoke he lifted a little silver crucifix and held it out to me, I being nearest to him—"put these flowers round your neck"—here he handed to me a wreath of withered garlic blossoms—"for other enemies more mundane, this revolver and this knife; and for aid in all, these so small electric lamps, which you can fasten to your breast; and for all, and above all at the last, this, which we must not desecrate needless."

[Jonathan, October 3 - another option for why the Count avoids Jonathan's knife may be due to him aiming directly for his heart. We don't know exactly where the mate's knife would have stabbed. That said, the Kukri is more for slashing while the usual danger to a vampire comes from being impaled in the heart (the mate seemed to make more of a stabbing motion), so it's still unclear.] I did not myself know whether our lethal weapons would avail us anything. Harker evidently meant to try the matter, for he had ready his great Kukri knife and made a fierce and sudden cut at him. The blow was a powerful one; only the diabolical quickness of the Count's leap back saved him. A second less and the trenchant blade had shorne through his heart. As it was, the point just cut the cloth of his coat, making a wide gap whence a bundle of bank-notes and a stream of gold fell out. The expression of the Count's face was so hellish, that for a moment I feared for Harker, though I saw him throw the terrible knife aloft again for another stroke. [...] The next instant, with a sinuous dive he swept under Harker's arm, ere his blow could fall, and, grasping a handful of the money from the floor, dashed across the room, threw himself at the window.

[Jonathan, October 4 - Van Helsing now describes the Kukri as dangerous to Dracula after seeing his reaction to it] "We can know now what was in the Count's mind, when he seize that money, though Jonathan's so fierce knife put him in the danger that even he dread. He meant escape."

SUPERSPEED - While superspeed is never specifically noted as a vampiric ability, Dracula is known to move quickly. Jonathan's flight to Budapest from Castle Dracula happens at an alarmingly speedy pace which strains the limits of credulity. I know that there has been a more intensive meta/breakdown of the timing, but I can't find it at the moment so I will link this post instead, which shows the distance he was able to travel on a map. He leaves Castle Dracula on June 30th, and on August 12th Sister Agatha says that he has been with them nearly six weeks. A full six weeks would mean he arrived July 1, the very next day after he left, and anything close to six weeks means he only took at most a couple of days to travel to Klausenberg (where he caught the train to Budapest). While this is doable (Google maps tells me it's a 31-hour hike from the Borgo Pass, which is in the rough area of Castle Dracula), that would have been on foot through the mountains with no warm clothes, after climbing out of a castle window, possibly with heavy blood loss. Your mileage may vary on whether this was just Stoker not paying close attention to the timeline (something he has certainly been guilty of at other moments) or whether Jonathan moved with supernatural speed/endurance. Similarly, Jonathan's attack with the Kukri on October 3 is described as something Dracula only avoids via his superspeed - but that may simply be down to a human-speed blow that Dracula needed superhuman reflexes to escape since it was an unexpected/sudden attack.

[Dracula, September 30 - speed is not specifically listed as one of the vampire abilities, but it may be included under the umbrella of superstrength] "This vampire which is amongst us is of himself so strong in person as twenty men; he is of cunning more than mortal, for his cunning be the growth of ages; he have still the aids of necromancy, which is, as his etymology imply, the divination by the dead, and all the dead that he can come nigh to are for him at command; he is brute, and more than brute; he is devil in callous, and the heart of him is not; he can, within limitations, appear at will when, and where, and in any of the forms that are to him; he can, within his range, direct the elements; the storm, the fog, the thunder; he can command all the meaner things: the rat, and the owl, and the bat—the moth, and the fox, and the wolf; he can grow and become small; and he can at times vanish and come unknown."

[Dracula, October 3] Suddenly with a single bound he leaped into the room, winning a way past us before any of us could raise a hand to stay him. There was something so panther-like in the movement—something so unhuman, that it seemed to sober us all from the shock of his coming. [...] The blow was a powerful one; only the diabolical quickness of the Count's leap back saved him. [...] The next instant, with a sinuous dive he swept under Harker's arm, ere his blow could fall, and, grasping a handful of the money from the floor, dashed across the room, threw himself at the window.

-vs-

[Jonathan, August 12] He has been under our care for nearly six weeks, suffering from a violent brain fever. [...] He came in the train from Klausenburg, and the guard was told by the station-master there that he rushed into the station shouting for a ticket for home. Seeing from his violent demeanour that he was English, they gave him a ticket for the furthest station on the way thither that the train reached.

[Jonathan, October 3] The first to act was Harker, who, with a quick movement, threw himself before the door leading into the room in the front of the house. [...] Harker evidently meant to try the matter, for he had ready his great Kukri knife and made a fierce and sudden cut at him. The blow was a powerful one; only the diabolical quickness of the Count's leap back saved him. A second less and the trenchant blade had shorne through his heart.

PSYCHIC CONNECTION - You can interpret Jonathan as possibly reading Dracula's mind right before attacking him with a shovel. If so, there's a parallel there to Mina first gaining access to his mind via hypnotism the morning after she had begun turning into a vampire. Of course, that parallel only exists if you believe that Dracula drank Jonathan's blood the night of the 29th (which I do, and gave evidence for below). There is little other evidence for Jonathan knowing Dracula would spread vampirism across London, but he does express a fear of being locked out of Heaven if he dies via supernatural means, and he's aware of the existence of multiple vampires/could know they may have once been human, so he could also have been extrapolating from what he has seen. I've included both the possible mind-reading passage, as well as other relevant quotes below.

[Jonathan, May 16 - Dracula references possibly being the one to turn the vampire ladies into vampires in front of Jonathan] Then the Count turned, after looking at my face attentively, and said in a soft whisper:— "Yes, I too can love; you yourselves can tell it from the past. Is it not so? Well, now I promise you that when I am done with him you shall kiss him at your will."

[Jonathan, June 25 - Jonathan seems certain that a natural death will allow him into Heaven, implying he fears that won't be possible otherwise.] The chances are desperate, but my need is more desperate still. I shall risk it. At the worst it can only be death; and a man's death is not a calf's, and the dreaded Hereafter may still be open to me.

[Jonathan, June 29] Unless my ears deceived me, I heard the voice of the Count:— "Back, back, to your own place! Your time is not yet come. Wait! Have patience! To-night is mine. To-morrow night is yours!"

[Jonathan, June 30 - either he is reading Dracula's mind here, or he's had a theory building up over time since May and this is just the first he speaks of it. I also quoted Dracula's bloated appearance to support the previous quote/theory that he drank from Jonathan very recently] There lay the Count, but looking as if his youth had been half renewed, for the white hair and moustache were changed to dark iron-grey; the cheeks were fuller, and the white skin seemed ruby-red underneath; the mouth was redder than ever, for on the lips were gouts of fresh blood, which trickled from the corners of the mouth and ran over the chin and neck. Even the deep, burning eyes seemed set amongst swollen flesh, for the lids and pouches underneath were bloated. It seemed as if the whole awful creature were simply gorged with blood. [...] Then I stopped and looked at the Count. There was a mocking smile on the bloated face which seemed to drive me mad. This was the being I was helping to transfer to London, where, perhaps, for centuries to come he might, amongst its teeming millions, satiate his lust for blood, and create a new and ever-widening circle of semi-demons to batten on the helpless. The very thought drove me mad.

[Mina, October 4 - the day after becoming linked to Dracula, she is able to read his mind while hypnotized] "I have an idea. I suppose it must have come in the night, and matured without my knowing it. He must hypnotise me before the dawn, and then I shall be able to speak."

SUPERSTRENGTH - Incredible strength is listed as a specific vampiric power, and is referenced multiple times throughout the book. In the final battle, Jonathan displays an incredible strength by lifting and moving Dracula's box of dirt, with him still in it. While normal humans have been known to exceed their usual limits of strength in extreme situations (hysterical strength) and thus it's possible this wasn't supernatural, it sure seems like it.

[Dracula, May 5 - the first two references are to the driver, the second two to the Count himself. Of course, we know and Jonathan later confirms they are one and the same] Then I descended from the side of the coach, as the calèche was close alongside, the driver helping me with a hand which caught my arm in a grip of steel; his strength must have been prodigious. [...] When the calèche stopped, the driver jumped down and held out his hand to assist me to alight. Again I could not but notice his prodigious strength. His hand actually seemed like a steel vice that could have crushed mine if he had chosen. [...] The instant, however, that I had stepped over the threshold, he moved impulsively forward, and holding out his hand grasped mine with a strength which made me wince, an effect which was not lessened by the fact that it seemed as cold as ice—more like the hand of a dead than a living man. [...] The strength of the handshake was so much akin to that which I had noticed in the driver, whose face I had not seen, that for a moment I doubted if it were not the same person to whom I was speaking; so to make sure, I said interrogatively:—

[Dracula, September 30] "This vampire which is amongst us is of himself so strong in person as twenty men; he is of cunning more than mortal, for his cunning be the growth of ages; he have still the aids of necromancy, which is, as his etymology imply, the divination by the dead, and all the dead that he can come nigh to are for him at command; he is brute, and more than brute; he is devil in callous, and the heart of him is not; he can, within limitations, appear at will when, and where, and in any of the forms that are to him; he can, within his range, direct the elements; the storm, the fog, the thunder; he can command all the meaner things: the rat, and the owl, and the bat—the moth, and the fox, and the wolf; he can grow and become small; and he can at times vanish and come unknown."

[Dracula, October 2] When I had promised to pay for his information and given him an earnest, he told me that he had made two journeys between Carfax and a house in Piccadilly, and had taken from this house to the latter nine great boxes—"main heavy ones"—with a horse and cart hired by him for this purpose. [...] "There was the old party what engaged me a-waitin' in the 'ouse at Purfleet. He 'elped me to lift the boxes and put them in the dray. Curse me, but he was the strongest chap I ever struck, an' him a old feller, with a white moustache, one that thin you would think he couldn't throw a shadder." [...] "Why, 'e took up 'is end o' the boxes like they was pounds of tea, and me a-puffin' an' a-blowin' afore I could up-end mine anyhow—an' I'm no chicken, neither." [...] I had gained a new painful experience; the Count could, it was evident, handle the earth-boxes himself.

-vs-

[Jonathan, September 29 - just one more note on the weight of these boxes. Though the workers were emphasizing the weight as a clue to buy them a drink here, the boxes are mentioned being heavy several other times as well] Their tally was exact with the list, and they had nothing to add except that the boxes were "main and mortal heavy," and that shifting them was dry work.

[Jonathan, November 6 - remember, this box is the same as the ones the workers struggled with above, and likely heavier given that it has the Count's body inside it] In an instant he had jumped upon the cart, and, with a strength which seemed incredible, raised the great box, and flung it over the wheel to the ground.

PARALYZING GAZE - Both times when someone actual seems about to physically harm him, Dracula is able to stare at them with a gaze that seems to sap their strength and force them to fall back. In the final battle, Jonathan seems to drive away the men Dracula has hired through the force of his gaze alone. You might say he just seems very ferocious and they don't want to mess with him; however, Quincey dies because they do not fall back for him in the same way and he gets stabbed while forcing his way past them, so there is at least some support for Jonathan's gaze being supernatural here.

[Dracula, June 30] There was no lethal weapon at hand, but I seized a shovel which the workmen had been using to fill the cases, and lifting it high, struck, with the edge downward, at the hateful face. But as I did so the head turned, and the eyes fell full upon me, with all their blaze of basilisk horror. The sight seemed to paralyse me, and the shovel turned in my hand and glanced from the face, merely making a deep gash above the forehead. The shovel fell from my hand across the box, and as I pulled it away the flange of the blade caught the edge of the lid which fell over again, and hid the horrid thing from my sight.

[Dracula, October 3] "So when He came to-night I was ready for Him. I saw the mist stealing in, and I grabbed it tight. I had heard that madmen have unnatural strength; and as I knew I was a madman—at times anyhow—I resolved to use my power. Ay, and He felt it too, for He had to come out of the mist to struggle with me. I held tight; and I thought I was going to win, for I didn't mean Him to take any more of her life, till I saw His eyes. They burned into me, and my strength became like water."

-vs-

[Jonathan, November 6 - his gaze isn't specifically described; however, Mina is too far away to see his eyes clearly, and the contrast to Quincey is notable] In the midst of this I could see that Jonathan on one side of the ring of men, and Quincey on the other, were forcing a way to the cart; it was evident that they were bent on finishing their task before the sun should set. Nothing seemed to stop or even to hinder them. Neither the levelled weapons nor the flashing knives of the gypsies in front, nor the howling of the wolves behind, appeared to even attract their attention. Jonathan's impetuosity, and the manifest singleness of his purpose, seemed to overawe those in front of him; instinctively they cowered, aside and let him pass. In an instant he had jumped upon the cart, and, with a strength which seemed incredible, raised the great box, and flung it over the wheel to the ground. In the meantime, Mr. Morris had had to use force to pass through his side of the ring of Szgany.

Personality/Role/Relationships

The title of this section is pretty loose, and encompasses attitudes and outside perspectives of them as well. Basically a catch-all for anything to do with ideals, personality, narrative role, their relationship to one another or others, etc. Several of these, especially further down the list, also start pulling away from direct quotes mirroring the same language, to being more about contrasting narrative arcs and the like.

LIVING FLAME - This was partially covered in the entry on 'blazing eyes', but I feel like it warrants special mention of its own. When Jonathan is hunting Dracula after Mina's attack, he is described with a turn of phrase otherwise only ever applied to the Count's warrior ancestors (in a very proud, bragging-about-why-they-are-conquerors context). Dracula is also described as looking/moving like a flame several times (usually from a distance or when he can't be seen clearly), which goes along with the hellfire imagery.

[Dracula, May 8] "We Szekelys have a right to be proud, for in our veins flows the blood of many brave races who fought as the lion fights, for lordship. Here, in the whirlpool of European races, the Ugric tribe bore down from Iceland the fighting spirit which Thor and Wodin gave them, which their Berserkers displayed to such fell intent on the seaboards of Europe, ay, and of Asia and Africa too, till the peoples thought that the were-wolves themselves had come. Here, too, when they came, they found the Huns, whose warlike fury had swept the earth like a living flame, till the dying peoples held that in their veins ran the blood of those old witches, who, expelled from Scythia had mated with the devils in the desert. Fools, fools! What devil or what witch was ever so great as Attila, whose blood is in these veins?"

-vs-

[Jonathan, October 3] To-day he is a drawn, haggard old man, whose white hair matches well with the hollow burning eyes and grief-written lines of his face. His energy is still intact; in fact, he is like a living flame.

HUNTER/HUNTED - Initially, Dracula is described as a hunter. Later on, this language reverses and he becomes the hunted. While Jonathan is by no means alone in hunting him, he started off the book in the role of prey and so in his case it becomes a reversal/exchange (unlike the other men who weren't directly hunted by Dracula/Mina who was attacked only after they were working against him first). Despite Dracula's taunt at one point about the group being 'jackals', they are clearly the hunters now, not scavengers. (There is also a lot of animal imagery used for Dracula in general, but I didn't get into that here.)

[Dracula, May 5] The Count's eyes gleamed, and he said:—"Listen to them—the children of the night. What music they make!" Seeing, I suppose, some expression in my face strange to him, he added:—"Ah, sir, you dwellers in the city cannot enter into the feelings of the hunter."

[Dracula, September 27] But it may be that he will not attempt the place. There is no reason why he should; his hunting ground is more full of game than the churchyard where the Un-Dead woman sleep, and the one old man watch.

[Dracula, October 3] "Then he spoke to me mockingly, 'And so you, like the others, would play your brains against mine. You would help these men to hunt me and frustrate me in my designs!'"

-vs-

[Jonathan, May 12 - I just picked a couple quotes to illustrate his initial role as prey. If I had tried to gather up every mention of Jonathan feeling trapped/trying to flee the length would be insane.] I feel the dread of this horrible place overpowering me; I am in fear—in awful fear—and there is no escape for me; I am encompassed about with terrors that I dare not think of...

[Jonathan, June 25] I thought he might have the keys on him, but when I went to search I saw the dead eyes, and in them, dead though they were, such a look of hate, though unconscious of me or my presence, that I fled from the place, and leaving the Count's room by the window, crawled again up the castle wall.

[Van Helsing, October 3 - these quotes about hunting are Van Helsing talking, to the whole group but (at least in the first two instances) especially Jonathan. Notably, by October 3rd Jonathan now 'understands' what it means to be a hunter... the feeling Dracula accused him of lacking in the beginning of the book.] "And so we have this day to hunt out all his lairs and sterilise them. So we shall, if we have not yet catch him and destroy him, drive him to bay in some place where the catching and the destroying shall be, in time, sure." [...] "We shall go there and search that house; and when we learn what it holds, then we do what our friend Arthur call, in his phrases of hunt 'stop the earths' and so we run down our old fox—so? is it not?"" [...] "Why take that money? You follow quick. You are hunters of wild beast, and understand it so."

RUNNING HOME - A subset of the previous one in a way, but something I wanted to quote specifically as well. The novel begins with Jonathan trying to escape Dracula and flee home to safety, only to meet his enemy there once more. Then, they reverse: Dracula flees home and Jonathan (together with the others) chase him towards home. If you want to take it a step further, you can note Dracula leaving vampire!Lucy behind alone to face her fate (unaware she already was killed) and prioritizing saving his own skin - and parallel that to Jonathan initially wanting to move on with his life and not confront whether or not Dracula was truly a monster (despite knowing if he is, he might be preying upon other people). I feel that is less distinct of a parallel but it can still be made so I included it here as well.

[Dracula, October 28] "So he came to London to invade a new land. He was beaten, and when all hope of success was lost, and his existence in danger, he fled back over the sea to his home; just as formerly he had fled back over the Danube from Turkey Land." [...] "As he fled back over the Danube, leaving his forces to be cut to pieces, so now he is intent on being safe, careless of all."

-vs-

[Jonathan, June 30] And then away for home! away to the quickest and nearest train! away from this cursed spot, from this cursed land, where the devil and his children still walk with earthly feet!

[Jonathan, August 24] 'I have had a great shock, and when I try to think of what it is I feel my head spin round, and I do not know if it was all real or the dreaming of a madman. You know I have had brain fever, and that is to be mad. The secret is here, and I do not want to know it. I want to take up my life here, with our marriage.'

TAUNTING - Noted more because it seems a little unusual for Jonathan than for it being a recurring thing or using the exact same wording. Dracula is absolutely sadistic and takes great joy in mocking/tormenting Jonathan repeatedly throughout his imprisonment. While he doesn't waste time doing so in any open confrontation, saving it for his journal, when Jonathan is in what he perceives to be a position of power he gets in on the mockery of politeness as well. His words somewhat reference one of Dracula's taunts.

[Dracula, May 29 - only quoting one instance, as it is the most relevant one] "But I am in hopes that I shall see more of you at Castle Dracula."

-vs-

[Jonathan, October 17] Everything is pretty well fixed now, I think, to welcome the Count on his return from his tour.

BLOODLUST/BLASPHEMY - Not a direct mirror, but Jonathan's dedication to Mina has him willing to damn his own soul, even outright saying he would sell his soul to destroy Dracula. There are also several later moments that imply he would fight his own companions if they ever tried to kill her, despite that being what she requested. While hellish/demonic imagery isn't unusual for vampires in general, Dracula is directly compared to Judas and implied to have potentially made a deal with the Devil while still alive (hence his weather magic not being a normal vampire power). This in addition to Dracula's whole thing being going around damning others' souls to hell (via corrupting them into vampires), which is exactly what Jonathan wants to do to him.

[Dracula, May 29] The last I saw of Count Dracula was his kissing his hand to me; with a red light of triumph in his eyes, and with a smile that Judas in hell might be proud of.

[Dracula, September 30] "The Draculas were, says Arminius, a great and noble race, though now and again were scions who were held by their coevals to have had dealings with the Evil One. They learned his secrets in the Scholomance, amongst the mountains over Lake Hermanstadt, where the devil claims the tenth scholar as his due."

-vs-

[Jonathan, October 3] To one thing I have made up my mind: if we find out that Mina must be a vampire in the end, then she shall not go into that unknown and terrible land alone. [...] "I care for nothing now," he answered hotly, "except to wipe out this brute from the face of creation. I would sell my soul to do it!" [...] "May God give him into my hand just for long enough to destroy that earthly life of him which we are aiming at. If beyond it I could send his soul for ever and ever to burning hell I would do it!"

MINA - Everything about Dracula's relationship to Mina is trying to be a mirror to Jonathan, just in a darker way. The most notable direct contrast is during/after the attack of October 3rd. I've already directly compared the quotes for that day, so I won't repeat it here... but there's a lot of direct contrast. After that day, I think the relationship continues to be the same... while Jonathan and Mina chose one another and are bound by love, Dracula's connection to her is an assault and they both hate one another. An anon wrote me a note on the nature of their relationships while traveling, which I'm just going to quote here: "while Dracula is escaping London for Galatz, he's in inactivity and silence, all while occupying Mina's mind. Jonathan has been made to build "a door" between himself and Mina, who told him to never tell her anything about their actions or else the Count will hear. Jonathan is barred from Mina's mind, all the while the Count is claiming it. He's also silent and increasingly inactive and silent, cold and distant to his peers while this is happening." Generally speaking, Mina and Jonathan seek comfort together; Mina and Dracula use their connection to try and oppose one another. Dracula is (temporarily) tied to her soul just as Jonathan is, but the nature of that connection is vastly different.

[Dracula, October 3] "And you, their best beloved one, are now to me, flesh of my flesh; blood of my blood; kin of my kin; my bountiful wine-press for a while; and shall be later on my companion and my helper."

[Dracula, October 11] "But you must remember that I am not as you are. There is a poison in my blood, in my soul, which may destroy me; which must destroy me, unless some relief comes to us."

-vs-

[Jonathan, August 24] I could only tell him that I was the happiest woman in all the wide world, and that I had nothing to give him except myself, my life, and my trust, and that with these went my love and duty for all the days of my life.

[Jonathan, October 11] "You are nearest and dearest and all the world to me; our souls are knit into one, for all life and all time."

RESEARCH/PREPARATION - Not unique to Jonathan alone by any means, the research of our heroes is a large part of the reason Dracula is driven back/able to be defeated (Van Helsing and Mina being especially big stars). However, this is in fact a trait that the Count himself shares as well. This is not anything they learn from the other; both Jonathan and Dracula start out the novel as the type of person who tries to do research and prepare for the future when possible. The difference may be that Dracula is too convinced of his own superiority to admit when he makes a mistake (ex: feeding on the wrong person with Lucy), while Jonathan is generally perfectly willing to listen to most others (colonialist racism aside) and adjust his planning to accommodate new information or events. The many boxes are also an excellent example of this, as Dracula's plan to bring/scatter them about the country was very clever, but he didn't alter his plan to hide them swiftly enough or in new places even when he knew the group had investigated Carfax. Meanwhile, Jonathan dove headfirst into researching/tracking them before even knowing how they were relevant, and then took direction on how to deal with them. I'm only quoting from the beginning of the book, as both their research on the new region they were traveling to was what initially struck me here. *Edit: I'm adding a third quote, when Jonathan remarks to himself that Dracula would make a good lawyer. I don't think it quite needs its own section, but does show how their minds can work in similar ways.

[Dracula, May 7] In the library I found, to my great delight, a vast number of English books, whole shelves full of them, and bound volumes of magazines and newspapers. A table in the centre was littered with English magazines and newspapers, though none of them were of very recent date. The books were of the most varied kind—history, geography, politics, political economy, botany, geology, law—all relating to England and English life and customs and manners. There were even such books of reference as the London Directory, the "Red" and "Blue" books, Whitaker's Almanac, the Army and Navy Lists, and—it somehow gladdened my heart to see it—the Law List. [...] "But, Count," I said, "you know and speak English thoroughly!" [...] He was interested in everything, and asked me a myriad questions about the place and its surroundings. He clearly had studied beforehand all he could get on the subject of the neighbourhood, for he evidently at the end knew very much more than I did.

[Dracula, May 12] I explained all these things to him to the best of my ability, and he certainly left me under the impression that he would have made a wonderful solicitor, for there was nothing that he did not think of or foresee. For a man who was never in the country, and who did not evidently do much in the way of business, his knowledge and acumen were wonderful.

-vs-

[Jonathan, May 3 - Jonathan's account goes on into various things that he has learned about the region but I'm only quoting the first part that describes him researching.] Having had some time at my disposal when in London, I had visited the British Museum, and made search among the books and maps in the library regarding Transylvania; it had struck me that some foreknowledge of the country could hardly fail to have some importance in dealing with a nobleman of that country.

NO SAFE SPACE - I actually wrote a meta quite a while ago all about Jonathan's privacy being increasingly invaded during his time at the castle, which I'm linking for you. But there are ways that Jonathan actually begins to mirror Dracula's invasion/destruction of his safe space. Dracula gives Jonathan specific paper to write on that will be easily read through a thin envelope; Jonathan retaliates by trying to read his letters as soon as Dracula leaves the room. Dracula later intercepts Jonathan's shorthand letter and burns it while pretending to be Jonathan's friend; in London, Jonathan pretends to still be employed by Dracula in order to gain access to Dracula's documents and read his finished correspondence. Similarly, while staying in Dracula's castle, Jonathan knew that he had no safe space remaining when Dracula had carried him to bed, changed his clothes, could climb in through the window, and had stolen his belongings (more detail in the post linked above). Later on in the book, Jonathan leads the heroes through Carfax, which is meant to be Dracula's safe abode in London. He is almost singlehandedly responsible for tracking down all of Dracula's boxes of earth and thus his other properties, which are what allow him a place of refuge in a foreign land (like Jonathan's private room should have been). Finally, he knows roughly where Castle Dracula is and is the reason the rest of the heroes are able to work out where Dracula is ultimately headed once he's on the run (though Mina is the one who figures out the specific routes to get there). I'm only quoting the letters aspect below, but I think the parallel of the bedroom/home being entered and Jonathan's belongings being stolen/Dracula's boxes being purified is a valid one too. Just very long to quote and doesn't have as distinct line by line parallels to point towards.

[Dracula, May 12] "I pray you, my good young friend, that you will not discourse of things other than business in your letters. It will doubtless please your friends to know that you are well, and that you look forward to getting home to them. Is it not so?" As he spoke he handed me three sheets of note-paper and three envelopes. They were all of the thinnest foreign post, and looking at them, then at him, and noticing his quiet smile, with the sharp, canine teeth lying over the red underlip, I understood as well as if he had spoken that I should be careful what I wrote, for he would be able to read it.

[Dracula, May 28] The Count has come. He sat down beside me, and said in his smoothest voice as he opened two letters:— "The Szgany has given me these, of which, though I know not whence they come, I shall, of course, take care. See!"—he must have looked at it—"one is from you, and to my friend Peter Hawkins; the other"—here he caught sight of the strange symbols as he opened the envelope, and the dark look came into his face, and his eyes blazed wickedly—"the other is a vile thing, an outrage upon friendship and hospitality! It is not signed. Well! so it cannot matter to us." And he calmly held letter and envelope in the flame of the lamp till they were consumed.

-vs-

[Jonathan, May 12] Then he took up my two and placed them with his own, and put by his writing materials, after which, the instant the door had closed behind him, I leaned over and looked at the letters, which were face down on the table. I felt no compunction in doing so, for under the circumstances I felt that I should protect myself in every way I could. One of the letters was directed to Samuel F. Billington, No. 7, The Crescent, Whitby, another to Herr Leutner, Varna; the third was to Coutts & Co., London, and the fourth to Herren Klopstock & Billreuth, bankers, Buda-Pesth. The second and fourth were unsealed. I was just about to look at them when I saw the door-handle move.

[Jonathan, September 29] They all knew that I was busy, and that my stay was short, and Mr. Billington had ready in his office all the papers concerning the consignment of boxes. It gave me almost a turn to see again one of the letters which I had seen on the Count's table before I knew of his diabolical plans. Everything had been carefully thought out, and done systematically and with precision. [...] I saw the invoice, and took note of it: "Fifty cases of common earth, to be used for experimental purposes." Also the copy of letter to Carter Paterson, and their reply; of both of these I got copies.

[Jonathan, September 30] Harker has got the letters between the consignee of the boxes at Whitby and the carriers in London who took charge of them. He is now reading his wife's typescript of my diary. I wonder what they make out of it. Here it is.... [...] The bundle of letters relating to the purchase of the house were with the typescript.

RETURN TO HELL - Not a true exchange of traits so much as an interesting parallel/contrast. To quote an anon, in the later sections of the chase, "The Count is going back to 'Hell' on a dark river, Jonathan is on the same river, also returning to his 'Hell'". I found this particularly interesting. The context of course for Dracula's hell being that he is returning home (hell = home, thus Dracula = demonic) whereas Jonathan is willingly returning to his personal hell where he suffered. This goes along with the Castle being the seat of an old power the likes of which “mere "modernity” cannot kill", as Jonathan says on May 15th (and possibly magical in its own right, as a malevolent ‘genius loci’, per the awesome meta by @see-arcane). Another interesting detail about the river travel as well, is of course the link to the River Styx. Taking a river to hell - of course you’ll think of Styx (though Hades as a whole is not actually a direct parallel to a Christian Hell, it still encompasses the 'bad afterlife' so to speak). But Jonathan and Arthur’s boating accident forced them off the river early, which is actually a good thing in this metaphor, because the further down the river Styx you travel, the worse your punishment will be in the afterlife. So in that sense, them being forced to stop traveling down the river in a boat is akin to saying that though they follow Dracula back to (metaphorical) hell, they aren’t going as far in/won’t be permanently damned the same way.

[Dracula, September 30] Thus, whereas he can do as he will within his limit, when he have his earth-home, his coffin-home, his hell-home, the place unhallowed, as we saw when he went to the grave of the suicide at Whitby; still at other time he can only change when the time come.

[Dracula, October 4] “Because my dear, dear Madam Mina, now more than ever must we find him even if we have to follow him to the jaws of Hell!”

-vs-

[Jonathan, October 30] “Do you know what the place is? Have you seen that awful den of hellish infamy—with the very moonlight alive with grisly shapes, and every speck of dust that whirls in the wind a devouring monster in embryo? Have you felt the Vampire’s lips upon your throat?”

Miscellany

This is a few notes that I don't really have specific quotes for, and which may not be parallels in the same way as everything else, but which still seem fitting to go in here. Some of these might not be as unique to just these two (not that all the others have been anyway), but they still affect them, so I think are worth mentioning. Some are also just interesting to me but not fully thought out.

COMPANIONS = POWER - Jonathan and Dracula appear to be seesawing back and forth a little bit. In the beginning, Jonathan was isolated while Dracula had his vampiric companions and wolf minions. Then, as soon as Jonathan (together with Mina) enters the story again in London, the tide changes. Until this point, Dracula has been gradually winning and finally kills/turns Lucy. However, when the Harkers arrive, the Suitor Squad (plus Van Helsing) quickly defeat vampire!Lucy, and they all begin working together to hunt Dracula. He seizes back control and gains a new companion of his own (in a sense) once they start leaving Mina alone, though they still drive him away from the country. Then, as tension builds between Jonathan and Mina over her wish to be killed if she poses a danger and his decision to become a vampire with her if she turns, Jonathan starts pulling away from his other companions as well. Or rather, he seems willing to do so if he thinks they're going to harm his wife. At the same time, Jonathan and Mina don't get to talk anymore - and Dracula is able to seize back control briefly and escape their trap, hiring new people to work for him along the way. When Van Helsing slays the vampire ladies and our heroes rejoin one another the balance of strength tips back towards them. Basically there is a pattern of back and forth. When Jonathan is isolated either mentally or physically, Dracula is in power and begins acquiring more companions; when he unites with his companions and especially Mina, Dracula begins to lose.

CULTURAL SUPERIORITY - Jonathan begins the book as a representative of the British, in a way (certainly for Dracula). There is a fair amount of colonialist attitude in his journal entries, dismissing local "superstitions", using racist language/terms, and generally seeming to express a kind of paternalistic fondness for "exotic" ways of life, in a way that reduces them to being lesser than what he knows. This isn't necessarily intended to make him an awful person, or indeed even unusual for someone of that time/place. He may actually be meant as an example of being better/more open-minded than most of his peers, as he does seem to be willing to change his own beliefs and respects their kindness even when he thinks they're being superstitious. But his perspective as a citizen of a ruling empire clashes/mirrors with Dracula's view as a bygone conqueror in interesting ways. Dracula also has a sense of innate superiority that he links to his culture and more specifically his direct family line. Dracula believes that his inherent abilities, his past, and his power all guarantee his success in the future as well. He is looking to conquer a new people, in a way. This divide intersects in interesting ways with Jonathan's status as middle-class employee and Dracula's wealthy nobility as well.

GRAVITY OF CHARACTER - This is more of a meta note. But I've just found it really interesting to watch as many people reading Dracula Daily have reversed their view of Dracula and Jonathan. In the beginning, Jonathan was the subject of a lot of jokes. Dracula too, don't get me wrong - but those jokes still tended to make more fun of what Dracula was doing (cooking dinner, playing maid, etc.), versus mocking Jonathan's character (his awareness, his intelligence, etc.), at least in my opinion. Both of them have been subject to a lot of serious analysis as well as memes, but on the whole, the trajectory has been that people increasingly take Jonathan seriously. Dracula is still being called a dumbass and mocked far more in the late book. There's also a kind of reversal where people who only knew the movies or pop culture didn't care about Jonathan in the very beginning and only knew/cared about Dracula, but now most people seem in agreement that we all hate Dracula and love Jonathan. Just fun to notice the exchange into their reception as well a bit!

#dracula daily #dracula meta #count dracula #jonathan harker #my meta #this is a beast #let me know if there are things you want me to add #or if you want to discuss a different take on anything i mentioned here #this is not meant to be a comprehensive authority so much as just what i've noticed

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crohno · 2 years

Text

SPARK IN THE NIGHT. [ 001/Fem!Reader. ]

Summary: [Y/N]’s powers are evasive, but still a force to be reckoned with. 001 knows this better than anyone, but not even he understands their true extent. Warnings: N/A. Words: 1.8k A/N: if villain why sexy. On a more serious note, this character’s so well-written and I enjoy him so much despite his minimal screen time. Also, it shouldn’t need to be said, but I will just for clarity’s sake: reader is of age and is one of the eldest members of the program, and has not been there since its conception. Her abilities were found out later, and she was already on the cusp of adulthood when she was brought in to the lab. While this work isn’t smutty, I may use this dynamic in future 001 stories, so here’s the necessary disclaimer. There’s also some movement in the timeline/chronology to make room for an older reader, don’t mind it okthanks--

Requests for 001, both SFW and NSFW, are OPEN! Like my work? TIP ME!

“Focus.”

“I’m trying.”

That’s all you ever feel like you’re doing lately. The older you get, the more you feel Papa expects of you. It’s stressing you out big time, and said stress is making you feel disconnected from the power that you seldom have trouble utilising.

The blocks in front of you remain still, and you try one more time to force them over before grunting with frustration. “... I can’t do it.”

Peter smiles sweetly, head canting to one side. “Don’t be a defeatist now, [Y/N].”

You came into the program mature– an anomaly that had been located and stolen away at a later date, one that had what most of the others did not: a tangible childhood. Experiences outside of the confines of Hawkins Lab. Though you can’t remember a lot of your life before this dreary regiment ( you figure Dr. Brenner has something to do with that, like he so often does ), you recall the sun; thunderstorms and flora; ice cream on scalding days and hot cocoa on subzero nights; the feeling of an extra blanket at night, a complimentary pillow tucked between your knees; undisturbed sleep, waking up at noon on Saturdays.

Sometimes, these memories fuel you. They fill you with such resolute misery that you unleash something horrid, turbulent. It’s like wind, only silent and infinitely more deadly. It’s as if nothing has weight when you become clouded by rage.

But sometimes they disable you, too. That ache to be free sometimes culminates into a grief so thick that it’s hard to get yourself out of bed. When this occurs, Dr. Brenner’s tasks are just surefire ways to have children laugh at you —- and that sends you further into your downward spiral.

“Obviously you can do it,” the orderly continues, arms unfolding as he takes slow steps towards you. “You wouldn’t be here if you couldn’t, silly.”

“I can’t do it now,” you reiterate pointedly, trying not to lose your temper. Not only does Peter not deserve the brunt of your anger, but emotional responses get you punished. You remember the last time you dared raise your voice to a guard only in hot, vivid flashes of pain. Your skin prickles, as if you’ve been lightly grazed with the service end of a taser.

“Hm.” Peter plucks one of the blocks from the top of the pile, turning it over in his hands as he comes to stand next to you. Though you came into this place against your own volition and therefore trusted no one, it was hard not to like him. Unlike the other orderlies, Peter is so reserved and so polite. His voice is soft and musical, and he shows far more heart than any of the other doctors. He’s a rare ray of sunshine in the midst of a storm, and for that you appreciate him. In spite of your vicious temper, it hadn’t taken you that long to warm up to him and him alone. “Perhaps you aren’t feeling motivated enough.”

You scoff, sitting down on the floor like a petulant child. “Why should I feel motivated?”

He arranges himself in a neat squat before you, his back straight. It contrasts heavily with your slouched frame and your nasty scowl.

In a quiet, but moved hiss: “I’m tired of this.”

Though he isn’t outwardly vocal, his eyes speak loudly, and something in the air between you shifts. That usual disarming friendliness gives way to something darker– the sort of look that one might give a car wreck, wide and wondrous and full of fascination, glued to the carnage. When your eyes meet, it feels distinctly as if he’s struck you. Your spine feels like a block of ice, rigid and firm, and your own gaze reflects something monstrous as you hold his magnetic stare. This place, it sickens you. It fills you with such feral hate that sometimes you question whether you’re still human at all. The charts all say so, but surely there’s no room for such potent disdain in a person. You see it in him too, that quiet hatred, and it makes you feel vindicated.

“Tired of what?” His voice is low, all too aware of the cameras that coat this building’s walls like ornaments. There’re no rules against the subjects talking to those overseeing their tasks, but excessive discussion is heavily discouraged. An orderly’s job is to observe, perhaps offer a gentle word of encouragement if the patient is struggling particularly hard, not to dictate and guide.

“Of performing,” you retort, all but gnashing the words out as vitriol takes hold. Anybody else and you’d likely have been taken away to be disciplined already. Peter won’t do that to you, though. If there’s anybody that's safe to vent to, it’s him. “I’m not a dog. I’m performing tricks like I am one, though.”

That’s all they are. Tricks. Your disgust for your abilities comes and goes. Sometimes, you’re in love with these bizarre inclinations. On other days, you want to shove your fist through a self-made hole in your chest and pull.

“My life was stolen from me.”

“Lower your voice.”

“Stolen!”

“Lower. Your voice.”

There’s a tense silence, one where you both feel the burn of that camera lens despite the fact that it's facing away from you. Always listening, even if not always watching. You should know better than to run your mouth like that - especially after all of the shocks and solitary confinement you've endured for past misdemeanours. They're even less forgiving with you than they are the kids, for you're an adult and 'should know better'.

He’s trying to help you. That’s all he’s ever tried to do: steer you out of trouble.

However, your surroundings remain silent. Without a chorus of approaching footfalls to destroy your morale, you're able to reign in your anger. It feels as if you won't get another shot.

Peter shifts, holding the block in the palm of his hand. It's as if he's positioning it for you to knock it over from a closer distance.

"You're angry," he murmurs, his blue eyes soft again. For just a moment, they'd looked stormy and dark; now they're back to beautiful, like a sunlit ocean. "That's understandable. But you must use it."

"How?" You hate yourself for letting your voice tremble. You're not weak. In fact, you're the furthest thing from weak. Not only can you kill with your mind, you can withstand life in this lab. That's a true testament of strength.

"Stand up." There's a hint of mischief in his tone as he raises to his feet again. You follow suit, sucking in a deep breath when his hands rest on your shoulders and swivel you around gently. The pile of blocks enters your field of vision once more, and you feel provoked by that perfect crimson wall. Just knock it over. Stop being an idiot.

You watch as Peter arranges the structure. By the time it's done, the twenty blocks are arranged in a two-by-two column that spans upwards rather than outwards. They're roughly chest-height for you, and Peter adding the final block in its centre takes it to your collarbone instead.

It looks vaguely like a person. A very skinny, square person with no limbs, but a person nonetheless.

The orderly snakes his way around the structure until he's back by your side, then behind you. Anticipation floods your body as he hovers there, leaning close. His chin is all but hooked over your shoulder by the time he's finished moving– like the devil whispering in your ear.

"That, is Papa," he tells you in a low croon, and the feel of his voice so close sends electricity through you. He almost sounds angry - and you've never heard this man speak in any manner other than controlled. Pleasant. The sudden influx of emotion compels you; it makes you feel seen, filling your veins with liquid fire. It feels as if you're about to riot with this man. "Think about all he's taken from you. What he's extracted from you."

Oh, this is absolutely against the rules.

"Peter–"

"Concentrate," he interrupts, Luciferous whisper smothering your attempt at reasoning with him. His duality excites you. It may be your first glimpse behind the curtain, a tiny fraction of the truth, but it feels akin to riding fast on a motorcycle. Your heart is pounding. Your skin is tingling. You let out a short, sharp breath through your mouth as you do as he says, honing in on the structure before you.

You think of Fall. You think of the bounteous blackberries that litter the bushes and the hot spatters of colour above you as you walk the woodland trails. Then you think about these sterile walls and lifeless halls, and something inside of you twists unpleasantly.

Summer. The drip of ice cream. Long evenings on the windowsill spent reading by fading sunlight. This cold man-made floor beneath your feet. White, white, white. Something in your veins snaps like branches.

Spring. The bloom of new life. Flowers bursting through cracks in the pavement. The sun greeting you after a long hibernation. This dull, soulless rainbow spanning the length of this horrible room. Something in your mind crackles.

Winter.

Cold, cold, cold.

Empty.

This place is in a perpetual state of Winter, and it chills you to your core.

A strange sound, strangled and tight, leaves your throat as something in your head gives way, invisible force surging forwards with the speed of a train. Only the blocks don’t fall over - they’re set ablaze. Blinding fire stretches high towards the ceiling as the wood gradually flakes away, and there are a few moments of surreal silence before the fire alarm starts blaring. Oh, he’s going to be punished to high heaven for this. He can already feel the current coursing through him.

Peter falls into step beside you, staring at this tall flame with a look of abject shock. You’ve always been full of surprises, ever since you entered this hellscape on scraped heels and bleeding nails, but this is a new one for any of the subjects. Not even Papa’s prized 011 boasts elemental powers. Hell, even he had been restricted to telekinesis. He looks at you out of the corner of his eye, noting the dazed look on your face as a torrent of blood gushes from your nose and stains the pallid white of the ground below. It’s evident that you hadn’t been aiming to do this; hadn’t known you could. You’re as stunned as a deer that’s been struck by a car, paralysed by steady revelation.

This is what you are. A spark in the night. A blaze of glory on legs.

As commotion fills the Rainbow Room, orderlies and people armed with fire hydrants and buckets swarming the scene like flies, Peter watches as you’re whisked away by a myriad of different doctors. Just before you leave the room, he catches your legs faltering, exhaustion winning you over as you collapse into the nearest employee’s arms.

Her, he thinks as an iron-clad grip secures itself around his upper arm. She’s my ticket out of here.

#stranger things #stranger things x reader #001 x reader #peter ballard x reader #vecna x reader

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phoenix-is-the-hottest-thing · 2 years

Note

Hi i heard you are the resident ER lore expert?

I just finished ch3 of the story and i have absolutely not chronological concept of what happened, how everyone is connected, who died when n still confused abt sim!mobius and what she did with irl mobius 50k years ago from all the way in ch2. Also about Elysia becoming a herrscher. Vould u do like a quick timeline or smth to explain whats happening cos the data in the game isnt really arranged in chronological order?

That’s a pretty big undertaking but I can try to sum it up!

PE had 14 herrscher impacts over what seems to be a bit over a couple decades at most. Then they went into cryopods for 50k years. Then another 5000 or so years happened until the present.

and now, a readmore, because trust me, it's a LOT.

For a spreadsheet summary of who does what when, try @adorabledestruction's sheet.

Impact 1: Not much is known about it. It is defeated in secret. Many people try to study this Herrscher but go insane. May have happened during Mobius’s lifetime or earlier.

Mobius is born fully cognizant and able to speak. She receives her name and her earring from her dying mother. On her ninth birthday, growing cynical to the child abuse she is victim of, she swears that she won't let Humanity be humiliated.

An unknown amount of time later, Mobius and others found the Moth That Chases The Flames, AKA MOTH.

Impact 2: Huge mess, Humanity is losing. Mobius is locked up in her lab by MOTH for her safety. Elysia joins MOTH, seemingly by stealing Mobius’s badge to pretend she’s already a member. Elysia defeats this Herrscher. Mobius starts to investigate the Herrscher’s corpse, and Elysia reveals she can’t quite read what she’s thinking, prompting Mobius to admit she wants to surpass the gods.

Because the Honkai is not public, MOTH covers up the incident. Vill-V, a brilliant, bored student who just finished her homework, finds them suspicious and tries to find more about them, assuming MOTH caused the impact, and harasses them. One single day after revealing her identity in a declaration of war against MOTH, Elysia finds and captures her mid-spying on Mobius.

It’s noted that Vill escaped from MOTH’s prisons numerous times before being officially recruited. We do not know when her recruitment happens however, only when she was first captured.

Impact 3: Most of East Asia gets wrecked. Dr.MEI, Kevin and Hua get caught up and subsequently recruited by MOTH. Kevin quickly rises to being the top soldier of MOTH somehow. Hua is in HIMEKO’s squad, seemingly at the age of 15, but the timeline is whacky so don’t get too hung up on her age later.

Impact 4: Kosma meets Kevin for the first time while trying to do something about the disaster. He is recruited some time later into MOTH, seemingly having lied about his age. It’s not very clear. He admires Kevin a lot and joins the same squad as him and Ato, Griseo’s dad.

Impact 5: Kalpas’s “hometown” is destroyed. MOTH sends Ato and Kosma’s squad on a suicide mission to distract the Herrscher. Ato tells everyone to desert to stay alive, but Kosma argues with him that they’re more noble than that. He is initially triumphant when he sees soldiers (including Kevin) come back, but it turns out that it’s because the Herrscher is already dead.

Kalpas obliterated this Herrscher, sustaining grave frostbite. He recovers without external help and is found by Aponia near Sundown Alley, which is where Felis also comes from. He joins the Sanatorium she works in as a fellow employee, getting called “Mr.Mask” by the children. He like, carries boxes. Aponia teaches him more about how to human but he kind of hates her endlessly chill and forgiving attitude.

Kalpas may have fallen from the sky. Mobius also calls him an alien (but official said smth like “the one who’s out of place” instead, kudos on missing the point again)

Impact 6: The Herrscher of Death destroys a city. She had kept some human emotion, which made Kevin hesitate, and he blames himself for the Herrscher’s victims. Elysia tells him this guilt keeps him human, and asks whether he would kill the minority to save the majority.

Sometime before this point, Sakura tried to assassinate Dr.MEI. She fails but injures Kevin. MEI recruits Sakura, intending to form her own private force to consolidate and stabilize her position. Sakura joins Cocoon, whose job is to assassinate humans that interfere with MOTH’s mission.

Impact 7: HIMEKO becomes the Herrscher of Flame, murdering her entire squad except Hua. Eden’s concert is interrupted by a fire, but Hua saves her life. After they chat, Hua leaves to confront the Herrscher, but Kevin kills her before she can ask her why HIMEKO spared her. Broken up by grief, Eden joins MOTH, though her job is mainly to cheer people up at that point.

The MANTIS, Honkai augmented soldiers, are now a thing. It’s a surgery for now and has strong side effects. The first four are Kevin, Elysia(?), Mobius, and Sakura. The success/survival rate is extremely low, and only 13 soldiers will successfully be made before they develop the ICHOR method (injection) which will make Hua a MANTIS later.

The Sundown Alley incident happens— Aponia, who cannot yet see fate clearly but already has mild persuasion powers, has been hiding Honkai infected patients. Sakura, who was sent to the town to kill some traitors, finds out and starts an impromptu clean-up to stop the spread of the disease, murdering among others 73 children. She fails to kill Kalpas, who fights her on equal grounds. Kalpas and Aponia are captured. Aponia is blamed as a mastermind, but she doesn’t know anything. Aponia is forced to take the MANTIS surgery in hopes of being helpful to MOTH in the future, but she gains immense power and cannot be restrained anymore. Aponia can now use Discipline and see the future, and therefore that Humanity is doomed. She’s going to cause some problems on accident.

Kevin’s birthday party happens. Dystopia, Kosma’s friend and the only psychokinesis MANTIS, is present. Sorry I need to mention her before she dies. It’s cute.

Blanca, Griseo’s mother, quits the lab and recommends Klein to replace her. Mobius now has a new assistant.

Impact 8: The Herrscher of Sentience happens and people start falling into a dream and dying. Su, Kevin’s childhood bestie, became a doctor. He’s been trying to cure Honkai sickness but keeps failing (see Second Key manga for details). Kevin ghosted him for years but they meet again during a Honkai attack, and Su is recruited by MOTH. Su takes the MANTIS surgery from Mobius in a hurry, becoming a psychic. He, Dystopia, and Aponia try to team up against the Herrscher of Sentience, to pinpoint her location. Dystopia is killed. Su’s mentor in MOTH is killed by a traitor, his dying act to save Su from getting stuck in the psychic link pod thing. Aponia helps Su not succumb to revenge and he more or less becomes enlightened.

It seems Aponia has already settled in the Deep End around this time, but details are unclear.

Aponia gives Kevin a Discipline to resist the dreams, which renders him immune to Fenghuang Down later, but the counterattack against HoS happens before he can do much of anything.

Elysia comes to find Kalpas and makes a deal with him. She convinces MOTH to let him join as a soldier in exchange for giving him an endless war. She asks him to become a "KO Threat" someday, but she will die before cashing in. Aponia places a Discipline on him.

Gray Serpent is born some time after this, as Mobius's accidental first sapient creation. She tells him he is free. Once he leaves the lab, he starts experimenting with human behavior, creating numerous organisations in order to understand the "freedom" his creator spoke of. Sakura stops him eleven times over the years.

Impact 9: Ato is killed by Kevin’s inaction as the 9th Herrscher is neutralized. Kosma gets so angry he undergoes an Active Honkai Reaction and turns into a monster to eat Kevin. Kosma flees, sane but monstrous.

Mu is destroyed by the Herrscher, which is the final nail in the coffin of MOTH’s coverup. The Honkai is now a public matter and public unrest is at an all-time high. It won’t get better.

Exact details are unclear but it seems Eden undergoes her surgery around this time. Her conversation with Mobius about beauty happens shortly after.

Griseo, now orphaned, got caught up in an accident than mortally wounded her. In order to save her life, Mobius gives her the MANTIS surgery. Griseo lives, but her personality gets easily affected by others and her paintings are cognitohazards. Her Kalpas painting almost causes a civil war. An unknown amount of time later, Dr.MEI throws Griseo in the Deep End due to the danger she poses. (She’s not happy about it.) Aponia finds and adopts Griseo.

An unknown amount of time later, Mobius finds Kosma. She offers to turn him back into a human form. Kosma is either Disciplined to help this process, or he was way back during his surgery, it’s not completely clear. Kosma rejoins the MOTH as a footsoldier.

Impact 10: The 10th Herrscher keeps causing chaos by randomly turning people into Herrschers to mess with MOTH. Emile, Kalpas’s adjudant, is captured and eventually killed. Klein kills Mobius but is absorbed by her resurrection, which Su blames himself for. Dr.MEI uses the Key of Blankness, an armor that can interface humans and Herrscher cores, in order to destroy the Herrscher. She is severely weakened as a result.

Felis tries to rob MOTH by impersonating a volunteer and gets turned into a MANTIS instead. Since she was a rare success, they let her stay. Vill-V gets turned into a Mantis around the same time.

Roughly a thousand 10th keys are made. Hua is turned into a MANTIS during a suicide mission, the first successful ICHOR MANTIS (no surgery required).

After breaking numerous divine keys trying to make ICHOR work out for him, Kalpas makes a deal with Mobius. She takes something from him, which turns him into a MANTIS. As a side effect, he starts suffering from progressive cognitive disorientation.

MOTH experiments with 3 people teams. Kalpas Sakura Su is a disaster. They try to make Aponia fight alongside Eden and Su, hoping that they'd be stable enough to handle being near her at all. The only successful team is Hua, Kosma, and Felis. Yeah they really suck at working together.

Aponia awakens Fenghuang Down's first power for Hua, to give her a chance to survive. She uses this same memory as a demonstration and forgets she tried to help her.

Impact 11: A Herrscher that's essentially a MANTIS killer appears, as it snuffs out Honkai energy. Klein shuts down because of it and Mobius takes her chances against the Herrscher to rescue her. Vill-V is gravely wounded after trying to fight the Herrscher with technology, including a Key of Blankness replica. On her way home, Mobius rescues her as well, but Vill-V seems to have suffered some memory loss.

Kalpas, still angrily grieving Emile, tries to attack Hua but instantly gets taken down by the Herrscher's anti-Honkai field. Hua brings him to Mobius. Su controls his body with his consent in order to fight, but accidentally undoes Aponia's Discipline on him.

Thanks to Aponia's gift, Hua creates an opportunity for Kevin to kill the Herrscher. Elysia's crystal protects her from Kevin's attack last second. She loses almost all her memory as a result and sinks into a coma for several days.

Kevin digs out Kalpas from the debris with his sword.

The Tragedy of Binding has happened. All but thirteen MANTIS have died. Felis, who was sick in the hospital during the battle, wakes up to an empty building. She seeks out her companions and finds nobody. When she finally finds people, they are like soulless, having witnessed the horror of the Tragedy.

After that, Elysia tries to create the 13 Flame-Chasers.

Kevin drags Aponia out of the Deep End.

(ch29 detail: MOTH is opposed to it. The 13 are never an official thing, though they try to compromise with 5 people instead (Elysia, Kevin, Hua, Su, and Vill-V), which Elysia never acknowledges. It's her WHOLE ragtag band of disasters or nothing)

With Eden's financial help and against MOTH's wishes, the Elysian Realm is created. Can, Felis's sim cat, is born. Only three cities are left in the entire world.

Impact 12: RIN, Sakura's little sister, becomes a Herrscher. Elysia warns Sakura while asking her to become one of the Thirteen, implying that these events were extremely close together. RIN is captured by MOTH and held prisoner.

Sakura attempts to break RIN out, but finds her corpse instead.

Due to Aponia's Discipline of "never losing hope against the Honkai", a group of 54 MOTH soldiers arrange to kill RIN, traumatizing her and starting the eruption proper. RIN turns people into flesh-eating zombies and takes control of the base's computers. RIN launches the nukes created by Vill-V onto the last three cities. Sakura dies. Dr.MEI traps RIN into the black box, ending the incident.

The Flame-Chasers mourn Sakura, incredibly broken up by her death. Kevin swears upon her grave that they will defeat the Honkai. Felis leaves her Sakura Mochi, which nobody knows how to make anymore. Gray Serpent's fifty bodies simultaneously bow in her honor as he also mourns a lost friend.

After executing the 54 culprits, Kalpas threatens to kill Aponia for her role in Sakura's death. He at least lets her put her "do not kill innocents" Discipline back on him. He does not kill her.

While not, strictly speaking ,the final humans left on Earth, MOTHs are now acutely aware that humanity is doomed. Dr.MEI starts cooking up plans for the next era to survive. Under the cover of therapy, Vill-V beats up Su for the fifth divine key, to turn it from a deadly weapon to the cryopods.

Mobius experiments with the black box, using Hua as a test subject, as she plans to save the survivors by turning them all into sapient viruses. Hua goes into a coma. As they operate on her to save her, Fuxi fights with Mobius over this and leaves, taking Nuwa with her and joining Project EMBER instead.

An unknown amount of time later, Eden passes on EMBER to Hua despite the twins' doubts. Eden passes on the Elysian Realm to Mobius.

Vill-V acknowledges Griseo's request to take Kosma's place in the single seat ARK, and they start working on that together.

Su receives project VALUKA, while Kevin takes his place to handle project STIGMA. It is unknown why Mobius didn't receive a project, or if she got a different one. Most likely she wasn't trusted.

Vill-V is kept out of Jizo Mitama's development. She tries to stop Void Archives' development, for which her own body and mind was initially the vessel due to her fragmentation ability. Why try to stop it? She finds taming the Herrscher of Reason's core would only kill her and create a will with infinite knowledge and no interest for Humanity's survival, a description which sounds suspiciously similar to the Will of the Honkai present in CE. (And considering her visual motifs... well... think of that what you will...)

Considering current events, it seems that this was partially fixed by giving what we currently known as the Void Archives an AI ("a fragment of the AI Prometheus"?), but details are still unknown.

Tensions are extremely high.

Dr.MEI holds a meeting to investigate Elysia's sussy past, but nothing turns up. Elysia chats with Dr.MEI's AI, Prometheus, in the meantime, revealing that she plans to play the villain to give Humanity a chance to unite. After the meeting, Eden uses her Active Honkai Reaction for the first time and turns into a giant marine animal, flying a tipsy Elysia up into the sky to watch the moon together.

The next day, Elysia tells Aponia that she will die in ten days.

Impact 13: Exactly 10 days later. Not much is known. Elysia reveals herself as the 13th Herrscher, wearing makeup for the first and last time. Kevin kills her while at least Mobius and Eden are present. Mobius is forced to face her fear of death, and syncs up her sim for the last time. Sim!Mobius allegedly plants a seed in her mind so she may kill herself.

The day after Elysia dies, Aponia is shown contemplating the disappearance of the threads of Fate. Elysia rearranged the stars.

Final Impact: After Elysia's death, the surviving MANTIS decide to unite and fight the final herrscher together on the moon.

Felis, weak but crushed by survivor's guilt, decides to go. Aponia, seeking out a way to die well, asks Vill-V to fuse her with the Elysian Realm, which Vill considers suicide but seemingly agrees to. Kalpas fights a ravenous Kosma as a parting gift with an unknown outcome. Kosma refuses to leave on the ARK at the last minute. Eden leads seven Mantises beside herself to the Moon in her Honkai Beast form. Su fights the Herrscher from Earth thanks to his psychic powers. Aponia stays behind on Earth, to brainwash the weak humans who are doomed to die, so that they may die happy according to their own wishes.

Two MANTIS soldiers die within five minutes. Presumably they are Felis and either Kalpas or Kosma, most likely Kosma, but it's not yet possible to say for sure. Dr.MEI overloads the Selene and robs her of 30% of her Honkai energy, but it's not enough for them to win, so Kevin freezes hits the Herrscher REALLY HARD with Shamash. They have twelve hours to go home and hide in the Cryopods before all remaining life on earth is destroyed, ten of which are taken up by the trip.

Hua enters the cryopods. Su seals himself in the 2nd key to observe other universes. Mobius tries to talk Eden out of committing suicide, but fails as she had already taken her decision long ago. Kevin enters the cryopods. Mobius leaves her suicide note hologram message with Klein and waits out the cryopods' sinking, extremely weakened through an unknown method. Mobius greets Prometheus with an unknown purpose in mind.

AND IM DONE. That took. So long. I've skipped over some details but it should be a good summary.

#hi3 lore #elysian realm #honkai impact #hi3 #asks

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