#three houses critical

[sylvancastor]

Jaecaerys continues to be the only person with any sort of common sense. Obviously I'm not excusing what he says about people from the lower classes, but he makes a good point about his legitimacy being endangered by clear proof Targaryen bastards can claim dragons. Which is why the book makes SO much more sense bc the entire dragonseed idea is his idea, not Mysaria/Rhaenyra's. We can't know for sure bc of how F&B is written, but with it being Jace's idea it's implied at the very least that he's weighed the benefits versus the consequences to his own legitimacy and their dire need to win the war and decided in favor of having the dragonseeds claim dragons. Taking that idea from him though and having it basically be Mysaria's is a complete insult to him and a politically damaging decision he didn't agree to. And not only does he have to deal with that but also in this version he has to be the one consistently wrangling Rhaenyra's council because she's literally NEVER there. I sympathize more with Jacaerys every week bc I'm frustrated, so I can't imagine being him.

[rabbit-exe]

I do love when critical role et al decide to put travis willingham through The Horrors. they say "travis, it's been long enough. we have to scare you again." and he keeps agreeing to it

[lauraneedstochill]

Cry me a river

summary: Aemond finds her wounded and left to die in the middle of nowhere. her desire for vengeance helps her survive — and her unbreakable spirit inevitably draws the prince to her. author’s note: her betrothed does what Daemon did to Rhea... this time, the woman survives 🔪 also, couples who kill together, stay together, I don’t make the rules warnings: archery (described in unprofessional language), slow burn (... and then not so slow), mentions of blood and murder (duh), it gets a bit heated words: ~ 11K song inspo: Tommee Profitt ft. Nicole Serrano — Cry me a river (cinematic cover) 🔥

>>> Aemond is caught in heavy rain midair, in the depths of a starless night. The storm rips through the clouds, and the lightning flickers across the sky that’s bowed over the Vale. He tries to resist the voice of reason that urges him to land, he’s no little boy to be afraid of the whims of nature. But the downpour only grows more ferocious, and the rattling of thunder soon drowns out Vhagar’s displeased roars.

Begrudgingly, Aemond sets his pride aside and peers into the darkness that stretches as far as the eye can see. He can barely make out a vague outline of the mountains but the rocky terrain is a poor resting place, that much he knows. Exasperation slowly claws at him as the wind howls, his clothes drenched and heavy, and the ribbon of moonlight slips away into the gloom.

When his gaze suddenly catches a flicker of light, a faintly lit cave in the distance — Aemond thinks it’s the Gods' mercy as it is. He is yet to find out that the Gods are leading him that way for a reason.

>>> The landing is rough but Aemond holds back complains and runs for cover, breathing a sigh of relief once he gets to the cave. Vhagar curls up in a heap, and her enormous silhouette can easily pass for just another mountain in the valley.

The prince tiredly wipes the raindrops off his face — and only then notices a spot of crimson right under his feet. He recognizes the color of blood in an instant, and the realization fills him with dread. Slowly, he turns around, his eye following the gory trail, his hand reaching for the dagger. But the sight he’s met with leaves him frozen in place.

Aemond is sure he’s never been so stunned and horrified all at once.

At the far end of the cave, a woman is lying next to a waning fire, with her eyes closed and face drained of color. She is dressed in bright red, and the blood on her hands blends into the laced fabric of her long sleeves, and Aemond is struggling to locate the injury that left her unconscious. She looks so helpless, a breath away from irrecoverable, he throws caution to the wind and rushes to her side without much thought.

Aemond kneels, examining her bare and bloodied feet, the torn hem of her dress, the smudges of dirt on it. With timidly blossoming fascination, he takes in the softness of her features stained with tears, green leaves tangled in her hair. Aemond reaches his hand to smooth a strand of it when he sees a splash of red framing the side of her face. His fingers barely graze her temple — and once he sees them stained with red too, his breathing hitches.

He’s no stranger to cuts and bruises but he doesn’t know how to treat a head wound. And his fighting skills won’t be of use against the Stranger.

A feeble voice brings him back to reality:

“I am not dying.”

Startled, Aemond lets his gaze fall on her lips, parted and faintly tinted with pink. Her eyelids flutter before she opens her eyes — they meet his in an instant. The feeling he gets bears no explanation: it’s sudden and overwhelming, raging like a hurricane that hits right at his chest. She doesn’t look away while her hand finds his — his fingers are still in her hair, and he shudders at the touch; her skin is cold but the grip is surprisingly firm.

“I’m not dying tonight,” she repeats, her tone a bit steadier. “I will not give him the satisfaction.”

His brows furrow from the lack of understanding. His body tenses at the very clear hint that he gets.

“Who did this to you?” Aemond asks with concern.

But she already drifts out of consciousness, back to where she can’t hear him. The thunder rolls and the lightning tears the cover of darkness, illuminating uninhabited mountains and valleys. The terrible weather seems like the least of Aemond’s problems.

>>> It rains all night, and the dawn comes shrouded in white mist. He cannot sleep a wink. The woman tosses and mumbles incoherently as her mind lapses back into the grasp of the unknown suffering. Aemond finds the sight so unnerving, it’s almost painful to watch, but he doesn’t take his eye off her.

He keeps the fire burning to help warm her up, ignoring his own discomfort. Not his shivering but hers eventually compels him to peel off his wet outer garment to dry it off faster. He hastens to put the clothes back on but leaves out his coat to cover her with it, black material over red, a night draping over sunset. Hesitantly, he rubs her arms and back, his usually deft fingers now tentative, until he sees the life returning to her cheeks. It puts Aemond’s nerves at ease, and he belatedly realizes how stiff his body has become from hours of sitting in agonizing suspense. And yet, he never leaves her side.

The mountain tops stay hidden by the clouds, the sky coated in gloom the sun can’t peek through, but around midday, she wakes up again. Her eyes dart to Aemond who moved to feed the fire with branches. He doesn’t rush into conversation, giving her a chance to come to her senses. She is looking at him with distrust but without a hint of fear.

“You stayed,” she concludes in a hoarse voice, slightly shifting in place.

“Leaving you all alone didn’t seem fair,” Aemond responds, which only earns a huff from her.

“I am perfectly capable of managing on my own,” she rebuts, trying to prop herself up on elbows — and instantly groans at the ache in her temple.

Aemond comes closer in a blink of an eye, and it’s hard to miss the empathetic look he gives her. He politely stays at arm’s length which she is thankful for.

“Your bleeding stopped but such a serious wound must be examined by a maester,” Aemond tells her peacefully. “How far away is your home? I shall accompany you there once the weather calms down.”

He sees emotion flashing through her face, and for a moment it gets so quiet, he can only hear the rain still drizzling outside the cave.

“I do not have a home,” she forces out, and Aemond is surprised to notice that she doesn’t sound sad. If anything, there is ire in her words. “You shouldn’t bother.”

“I am sure your family is worried by your absence and —”

“My family valued me so little, they got rid of me at the very first chance,” she cuts him off, her voice stern. “So I am not going back to them, I’d rather you leave me here.”

He looks her over — her ruined dress and anguished face, dried-up blood in her disheveled hair. No doubt, she is hurting, and it would be unbecoming of a prince to leave a lady in such dire straits.

“I can do no such thing,” Aemond insists. “You survived a severe injury but whatever discomfort you are now feeling can be eased.”

“Complaining would only make me look pitiful. I need none of that,” she is sitting with her fingers pressed to the aching part of her skull, her brows knitted.

“Only seems reasonable to pity anyone with a ble—”

“Did anyone pity you?” she interjects, looking straight at his eyepatch.

The question is meant to cut him yet it doesn’t — too much time has passed, and his once painful memories are now dust-covered images at the back of his mind. But he finds her intent amusing. Wounded and weak, she is supposed to be at his mercy, but her spirit stays unbendable, and her gaze is so blazing, it’s nothing less of a fire. She keeps her eyes on him, waiting for his reply, confident that she will get it.

“Hardly anyone,” Aemond admits. “But I wasn’t left in a cave to die, so the comparison doesn’t work in your favor.”

He expects her to snap again, he almost wants to have another taste of her insolence — a trait so uncommon among any women he’s met, Aemond deems it not offensive but thrilling. She only hums in response, throwing him a glance, and he sees curiosity shining through her cold stare, like a ray of sun in the storm clouds. Their exchange of pleasantries is cut short by another one of her groans. He is usually patient but the sound of her suffering is a test that he fails.

“You will not get better on your own and you know it,” Aemond tries to reason. “I can take you to the greatest maester there is,” — and his persistence is akin to a plea. He anticipates her fears and allays them before she can utter a word: “You will be free to leave at any moment, you have my word.”

“What’s in it for you?” she narrows her eyes at him, her whole demeanor a clear evidence of her refusal to give in just yet.

Aemond thinks for a moment. The real answer to her question lies on the surface and is as vivid as her dress and as her blood: he knows nothing about her and he wants to know everything. He has trouble not only voicing but coming to terms with his desires.

“I am afraid that guilty conscience will disturb my sleep,” Aemond says, and it’s not entirely untrue. He can already tell he’ll think of her many nights to come.

She looks at him appreciatively, slowly, as if her gaze can cut through the cotton of his shirt, flesh, and bones his body is made of. Whatever is her verdict, he can’t tell because in the next moment, she is stricken with pain again, and talking isn’t of much help.

“We shall leave at dawn,” Aemond recapitulates, helping her lay down to have some rest while he can’t find any.

“Do you happen to have any water?” she mumbles more humbly. He senses that showing weakness doesn’t come easy for her; he’s not the one to gloat at something he can perfectly understand.

“I will fetch you some,” he reassures and pulls his coat over her again — and hurries outside.

The mountain valleys welcome him with stillness, and Vhagar’s eyes are two beacons in the mist. The dragon seems comforted by the rain and pays Aemond no mind as he climbs up to get a flask with water he luckily brought, and some lemon cakes Helaena insisted that he take (“should something happen on the road”, she said; he makes a mental note to thank her later).

They eat in silence — she has no appetite, and Aemond feels food stuck in his throat. She tells him nothing but her name; he savors the sound of it, a weave of letters he can now put to her face. Aemond studies her discreetly and although he can’t read her yet, he puts everything in memory, down to the smallest detail. The slight tilt of her head, the pensiveness of her gaze, a blizzard of feelings trapped in her irises, the stubbornness in her lineaments paired with beauty. The curve of her neck and a thin golden chain around it, her collarbones flowing down in that hollow spot his thumb would fit in... He stops himself from looking further down; his face flushes nonetheless, and something sparks inside him, dangerously unnamed.

The evening approaches stealthily but comes chilly and dank. They go to sleep early, both laid next to the fire, and Aemond courteously keeps his distance. She notices the goosebumps that snake under his shirt; her suspicions are soon confirmed when she catches the sound — and can’t tell if it’s the hammering of rain or his chattering teeth.

She considers him: his sharp profile, tense angles of his jaw, lines of his cheekbones seemingly chiseled by the Gods themselves. With his silver hair and eye the color of wisteria, she expected a different attitude; everyone knows the Targaryens to be self-righteous at best and prideful as a given. But the man next to her is instead stoically enduring the hardship he can easily avoid — if he only rolls closer and allows their bodies to trap the elusive heat; he doesn’t dare to. She realizes he could’ve taken advantage of her if he wanted, but it seems like the thought hasn’t even crossed his mind. She finds it way more endearing than her vigilance would usually let her — the pain must’ve dulled her sanity, she thinks, reminding herself that it’s the sole intent of surviving that should motivate her.

No words will work against his wit so she wastes no time snuggling up to him, with her forehead against his shoulder, her hand resting on his chest as she shares his own coat with him. A quiet gasp escapes Aemond’s mouth, but he stays still.

“I can hear you shivering,” she can feel it now too — his skin trembling under her fingers. “You are risking to catch a cold.”

Aemond is frozen for a minute, his heart thrumming at that unexpected boldness, at the feeling of her — malleable curves and no rigid edges, their ribcages in contact, their thighs brushing. Calming his breathing is an arduous task; he’s used to fighting off opponents but now he’s battling with himself, with the need that’s treacherously strong, almost primal. He barely quells it, and only by some miracle his inhales are soon steady again.

He moves his arm — the one she’s lying on — a little to the side, giving her more space to settle into, tips of his fingers stopping at her lower back. He does feel undoubtedly warmer. Aemond glances down at her, his voice a whisper tinted with mirth:

“Isn’t this called pity?”

He hears a faint cackle. “Call it rationality,” she refutes. “Since we are to leave soon, and only one of us can fly a dragon.”

The words roll off her tongue like it is the most mundane thing, not a century’s worth of power encased under the thick-scaled skin of a creature the size of a castle.

“You do not find the beast scary?” Aemond can’t stop himself from asking.

“Why would I? It is only a dragon,” her voice grows smaller, eyelids become heavier. “Unlike some men, the dragons are at least not known for their ill intentions.”

At that moment, a wish is abruptly made — to find out who harmed her, make sure it happens no more. The fury in Aemond is a mounting force meant to cause destruction, tamed yet never really dormant. But he listens to her breaths and pushes his anger aside, and the full moon is the only witness of his surrender. As he falls asleep, he tries not to think how nice it is to have her body pressed to his.

>>> What he should be thinking of is how to explain all this — him, unwed, bringing a woman to the castle; a scandal, no less. And yet, it is the last thing on his mind. It’s only occupied with this moment he wishes would never end — with gusts of wind tucked under the dragon’s belly, clouds spread out around; and, most importantly, his arms snaked around her waist, her back touching his chest.

It is bittersweet, truth be told because her pain isn’t gone overnight, and he can’t heal her with just his hands and his words. The splotches of dark maroon are even more visible in her hair in daylight, and she winces at loud sounds, at the harsh flow of air that bites her skin while Vhagar soars up, and she has to grab onto Aemond a little tighter.

But soon they reach the clear canvas of the sky, the serene emptiness, and she looks around, taking it all in — and then the corners of her mouth curl up. There are sparkles of delight in her eyes, and still no sign of fear. And he thinks that her smile is the closest thing to the sun.

They cover many miles, crossing the lands as Vhagar bursts through the clouds, and the time allotted to their inadvertent closeness runs out, mercilessly as ever. Once they land and he helps her climb down, his anxiety comes back, like a wave approaching shore. But then a sound of her whimper reaches him, almost inaudible; he only has time to turn around, to see her pained expression. She passes out — he catches her; it’s his heart that falls, and no other thoughts and explanations matter.

When Aemond is seen at the castle, he’s carrying her in his arms, his lips pressed into a thin line, and not a word slips out after he calls for the maester. The prince pays no attention to the guards and the maids exchanging glances, to his mother stopping dead in her tracks upon seeing him, her hand over her heart. There is a question hanging in the air, parting Alicent’s lips, but she doesn’t voice it and only watches her son walk away, hurried and fearful in a way she forgot he was capable of. She struggles to remember when was the last time she saw Aemond in the company of a lady. And if he ever looked at a woman the way he looks at this one.

>>> Aemond is pacing the corridor, his eye on the floor, on the pattern of the stone surface. His mind is treading at the doors that were closed in his face after she was carried into the room. She was breathing still, and that’s what helps him keep it together, his hands clasped so tightly his fingers go numb.

He wonders if maester Mellos has always been so annoyingly slow. That’s the only wondering he can allow — otherwise the noxious thoughts will flood his head: how much blood did she lose before he found her? What if he was the one being too slow? What if —

“Her life is not in danger as she regained her senses” the maester moves with the pace of a cat, his face wearing the same unbothered expression. “The long flight might’ve been tiring for her impressionable female nature.”

That assumption is disregardful and uncalled for — Aemond hates it; still, he’s glad to hear the rest. He lets out a breath that frees his chest from the chains of agitation.

“I will fetch her some herbal ointment to help the cuts and bruises heal faster,” the old man then adds.

Aemond’s expression hardens; clearly, he knows the meaning behind the words but he cannot fathom them. Violet marks of violence blooming on her skin, how could he miss it? How did she get them? He accidentally thinks of it out loud.

“It is a rare luck to get only bruises after taking a fall from a horse,” the maester looks at him askance. He gives his final verdict before leaving, followed by a sigh: “The young lady surely must rest.”

The displeasure is a tiny tongue of flame at Aemond’s ribs. He is vexed by not knowing (nothing new in that, not with his eagerness to learn all and everything ever since he was a kid). Unexpectedly, he is equally vexed by not seeing her — so much so, that he almost reaches for the handle of the door that separates them.

Aemond stops himself, his reticence a fetter but also a necessity: she needs her rest, and he shall leave her be. He will not go beyond the bounds of decency.

She can’t be niched into any bounds, he soon will learn.

>>> Aemond is good at many things but not at waiting, as it turns out. In the morning, after he wakes up, anticipation already laps up in him, his day a blur — breakfast, sword practice, the lines in a book he picks at the library all merge and bore him. He only glimpsed the maids leaving her chambers once; it took all of his willpower to go the other way.

In just three days, his impatience smolders — then flares up, then erupts into a wildfire, his head in a haze that makes him lose focus. The more Aemond tries not to think of her, the harder it gets.

He pushes yet another thought aside as he sees Ser Criston approaching, armed with a longsword and perseverance. Aemond’s training is never a dull routine — the knight makes sure of that and doesn’t make concessions. Their swords lock and clank, and time is a whirl; in the midst of it, Aemond finds himself reminiscing about her shining gaze. He almost misses the hit aimed at him and ducks at the very last second — spins, glares, strikes, his blade stopping an inch away from Criston’s face. 

The knight chuckles in good spirits, and the pride he feels is almost paternal. “Such a shame you aren’t the one for tourneys,” he pants, wiping the sweat from his brow.

Aemond rolls his eye, a brief respite not helping with his frustration. The subtleties of his emotions are unknown, unreadable like an ancient language: he’s daydreaming of her hands, her face, her —

“What a shame, indeed.”

Aemond turns to the sound of her voice. The whirl is silenced in an instant.

It’s different from his memories and his dreams — better than both: she is alive and well, she’s right next to him. She isn’t wearing a dress but a tunic and a pair of breeches, cool-toned material against her sun-kissed skin. Her wound is cleaned and healing, the mark left is a lightning peeking from her hair, the waves of it loosely braided. The simple attire doesn’t take away from her beauty (nothing can, he thinks), and it takes him a second to blink the enchantment away.

Aemond’s voice comes back, a tad low. “Aren’t you supposed to be resting?” He’s looking too joyful for it to sound like reproach.

There’s laughter in her eyes. “No one forbade me from stretching my legs. Am I interrupting?”

“Not at all,” Ser Criston chimes in, cautiously curious. “If only you don’t find the sight too unsettling,” he twirls his sword, the steel soundless in his hands.

“On the contrary, I find it entertaining. Although that wouldn’t be my weapon of choice,” her gaze follows the blade up.

Aemond throws her a surprised look but Ser Criston is the one to raise the question. “You have your preferences? Do tell,” he turns his head to the weaponry on a nearby table. “We’ve got shortswords, flails, axes...”

“All of which lack speed,” she remarks pertly, leaving the knight mystified.

Aemond sees no mystery; he knows that in the highlands catching prey is way trickier than killing. Knives, swords, blades of any kind won’t cover a long distance. Something else will.

“Archery, then?” the prince guesses.

“Doesn’t seem like the type of weapon you Targaryens prefer,” she shrugs but her disinterest is feigned.

Ser Criston catches onto that. “Can’t have preferences if there is nothing to choose from,” he grins, then calls for one of the guards, giving short instructions.

The man runs back in a minute, with a bow and arrows, and her eyes light up. They glide over the tight string, the polished wooden bend, concave at each end; it’s crafted beautifully.

“I must ask you to spare the guards,” Ser Criston jests while she takes the weapon, laying hold on its grip. “But do not be shy about taking your pick,” he points randomly at a stack of barrels, about thirty yards away. “These might be nice for a start.”

“That is too easy of a target,” she barely glances that way, then takes a good look around. “Do you truly think so little of me?”

The knight’s cheeks heat up. “My apologies, I didn’t mean to —”

“Oh, I do not find it offensive,” she grants him a meek smile without looking, already eyeing something much further away. “To tell you bluntly, it only spurs me on,” she mounts the feathered end of the arrow against the bowstring — and then pulls it.

Both men follow the direction the arrow is pointed at. Right outside the castle gates, there’s an apple tree, tall and branched, bent slightly over the stone wall. The fruits are bulked and ruddy, mouth-watering; but from where they are standing, the apples can barely be seen, obscured by foliage the wind breezes through.

Ser Criston raises an eyebrow, not incredulous but intrigued; Aemond only gets time to take a half-breath. The first arrow is fired with no warning — it cuts through the air, a flash of color above everyone’s heads, — and pierces an apple, pinning it to the trunk. A moment later she takes another shot; after the second one, Aemond isn’t looking at the apples, his eye instead drawn to her.

He suddenly can see nobody else.

Her every move is concise and simple, but her gaze is dead-set on the tree. She repeats each shot with a honed precision, controlled yet gracious; one of her arms set in a straight line, the other one follows a well-learned pattern — an arrow out, an apple down. That’s where, he thinks, her intrepidity comes from: the deadly weapon in her hands sings like a musical tool. The chance to watch her is bliss, and she’s a vision.

Only when she’s down to the last arrow, her hand unexpectedly flinches. She doesn’t miss, still, but the iron tip veers off and knocks the apple to the ground; a shadow of discontent glides across her face. Ser Criston is too impressed to notice yet Aemond knows that feeling all too well. He’s always strived to be the best too, and he knows how poisonous the pursuit of excellence can be.

“With that level of skill you might be unrivaled,” the knight praises, his words backed up by some of the guards and passersby clapping.

She seeks no praise, her quest is more troublesome. “I can do better,” she says, with her disappointment forced down. Her voice wanes a little when she adds: “I will do better by the next full moon,” and that hidden meaning holds unfathomable weight.

Aemond is too eager to bring her comfort to read between the lines. “The bow and arrows will be waiting for you, shall you decide to train more. But do have mercy on the tree,” a smile ripples her lips, a warmth ripples his heart. “I will ask for some target rings to be made.”

That gives her a dollop of contentment, and their fingers brush when he takes the weapon back. As Aemond gazes after her, he wonders if she feels it too — blood stirring, sweet dizziness, limbs lightweight.

Ser Criston watches the prince with a knowing look, a smirk tugging at the corners of his lips. “It is so rare to find a lady with such a competitive spirit and a talent to match,” the knight muses. “Her husband must be a lucky man.”

Aemond’s joy shrinks, that mere word disturbing. “She doesn’t have one,” he responds. The uncertainty of his answer leaves a sour taste in his mouth. Doesn’t she really?

“That might not be for long,” Ser Criston carelessly comments. The prince’s cold stare makes no impression on him. “Shall we resume our training?”

Aemond goes to pick a shorter sword, his blood now boiling for another reason. There’s a gaze that’s akin to a caress, to a gentle tap on Criston’s shoulder — he turns readily to meet it, dark brown eyes that are a mirror of his own. Alicent casts a glance at her son, questioning and worrying, then holds the knight’s gaze once more. The looks they share are hand-written letters — both of them write the same thing.

>>> Alicent goes looking for answers first — she walks into the woman’s chambers the very same day, with the elegance of a Queen, with the benevolence of a mother. She doesn’t push but guides the conversation; she faces no resistance from the woman she’s facing.

When they are both seated, she tells her a story as old as time, a tragedy lived out by many. Her mother died when the girl was ten years of age, too weak to carry on her blank existence, and her father couldn’t even bear to look at her, no matter how much she tried to please him. Growing up in the Vale felt freeing but lonely, so she preferred archery over embroidery to leap at every chance to get away from home, into the beauty of the wilderness she had no one to share with. But she held out to hope that her life would change. She couldn’t predict that said change would start as an accident — her horse slipping on wet grass.

Alicent can’t help but bring her into a compassionate embrace at the mention of it. Her embrace turns into an offer — of a place to stay, of a shelter, and a friendly ear (maybe those were all the things her younger version wished for but was robbed of). The lie Alicent heard was so skillfully woven into the truth, she didn’t get suspicious. 

Once Aemond learns the story from his mother, he discerns the misleading part in a second. All the other pieces fit together like a puzzle — her being self-reliant and guarded, her brazenness a shield, just like the one he’s grown accustomed to. But that last bit was made up, he can tell. And yet, he just doesn’t know how to approach the subject and not scare her off.

Aemond takes a task on earnestly.

>>> He looks for an opportunity to talk — he ends up tirelessly watching her, and he can’t say that there is no pleasure in it. She does resume her training, and every morning she’s the first one at the training yard when the sun is barely up, and no prying eyes can witness her dedication. Him having an eye on her doesn’t seem to be a problem.

His relentlessness has always been something Aemond prided himself on but it’s hers that he grows to enjoy. He carefully notes her refined movements, her sharp focus, her gaze cutting through any target before an arrow does. It’s easy to be fascinated by her; it takes him a couple of days to look past her outward calmness to catch a flicker of a feeling he can effortlessly recognize — an undercurrent of fury. And then he grasps that each time she aims at the wooden boards, she means to hurt someone. And maybe that is the exact reason she struggles with her every last shot, and her hand keeps flinching, unsure, or maybe too overwhelmed with certitude instead.

On one of those mornings, Aemond gets an idea, an outburst of bravery (or madness, but he’s too excited to care). She’s grimly collecting the arrows, inspecting them for damage when she sees him out of the corner of her eye.

“I couldn’t help but notice that something’s been troubling you,” Aemond comes closer, hands behind his back. She gives him a look that holds no denial but no explanations, either.

Aemond goes to the wooden boards, round and lined up on a hastily built frame, — and stands in the middle, right in front of them. He then puts out a hand with an apple in it, ripe and deliciously red. “Maybe I can help.”

Nothing short of shock flashes through her face, her eyes darting from him to the fruit and back. “What— ” her jaw drops as the words escape her; she strings them into a sentence. “What are you doing?”

“Helping you focus better,” Aemond offers in the calmest tone he can master.

It’s not uncertainty that leaves her speechless, her proficiency hard to deny. It’s the genuine, borderline naive trust that he shows her — with his open gaze on her, his body not moving from the spot, his faith in her as unwavering as his posture.

The moment is fleeting, soft like a morsel of a gossamer cloud, with so many words not shared; in another blink of his eye, it ends. The change in her isn’t drastic but chilling, like a touch of steel blade to the skin — her hand doesn’t waver when she reaches for the arrow, her gaze firmly locking on him.

As her last attempt at leniency, she notes: “There is no stopping an arrow once it’s shot.”

Aemond doesn’t think twice before replying: “You trusted me with your life once. I trust you not to kill me.”

She lifts the bow without hesitation, and he keeps eye contact with bated breath. The never-ending movement of life abates and the pale sunlight fades, and Aemond is deaf to everything but his booming heart. She drops the bow out of the way just a little and pulls the string up to the tip of her nose. She waits at full draw, the passing seconds endless and fulminant at once, before her hand flows back, her fingers relaxing — and the arrow slices through the air.

The first one hits somewhere above the apple; Aemond doesn’t dare to even take a glance, standing motionless, rooted to the ground. The second one follows soon. It’s a blood-curling contrast — how quiet is each shot until it reaches the target, and then the arrow rips right through the board, a deafening crash, a waft of death he’s spared from. Until she draws the bowstring again.

Aemond hears the third and the fourth hit, his hand unmoving, every muscle in his body tense. He is rarely scared, and it’s easy to mistake the fluttering of his heart for fear. But with how his eye is riveted on her, his gaze rapt and throat soar, — he thinks, it might be some other feeling. He gets no time to guess as the fifth arrow — finally — plunges into the apple and pins it to the board.

It’s a momentary reprieve, a quivering wave going through his body; and yet, she doesn’t lower the bow, eyes still fixed on him. Aemond can see her inhaling, the metal tip of the arrow pointing in his direction — and then released smoothly. In a split second, it lodges into the gap between his ribs and his arm, the feathery end stopping right next to his heart. When Aemond looks at her, he catches fiery glints of mischief in her gaze — and then something else, bright but short-lived like a glare on the water.

She puts the bow down, and they both know — her hand didn’t flinch once.

Only when Aemond steps away, he sees that the six arrows form the letter “A”, with the red apple right in the middle.

>>> He’s afraid the change is transient but it lasts — she is now watching him, too. Aemond finds it befuddling at first, not considering himself worth the attention, not used to being seen as something other than a wreckage of man, intimidating, and lonely, and harsh. She doesn’t look daunted. On the contrary, every time she sees him, the ice of her concentration thaws, and her gaze softens and lingers on him, mending every part of him that’s been broken by his insecurities.

She doesn’t recoil from the parts that are irreparable, either. She shows the same understanding when he can’t find the right words and shrinks into his shell — in the middle of conversations, in between rows of bookshelves, at bustling dinners; her company is a haven he can retreat to without a word. She welcomes his every impulse to talk and to share — thoughts, meals, books he thinks she will like (she bites down a smile thinking how much time he spent looking for any mention of archery).

She stays by his side when he doesn’t want to talk and when he overshares, when he’s bleakly taciturn, and when his temper gets as rigid as his sword; she’s enthralled by his anger, never burnt by it. One week turns into two, then into three. Day by day, Aemond wakes up earlier to watch her hit every target without fail, and she then watches him win one bout after another with evident amusement. They explore the castle, get lost in the library, take rides to the woods — she laughs as her horse breaks into a gallop, she basks in the sun, wind ruffling her hair, and his heartbeat raises to a clamor upon seeing her like that.

Her seat is next to his at the dining table, their chambers not too far away, and he persistently walks her to her doors, and every evening he dithers before saying goodnight and parting ways. Her presence soon becomes a warming light nurturing his days — and simultaneously the reason for him losing sleep. But as he lays at night, watching the moon wax, he thinks of another constant, bothering him like a page missing from a book, a closed door he’s got no key for — it’s her secret that he is yet to uncover.

He gets his chance when he least expects it.

>>> The month is nearing its end when Aemond is nearing the dining hall, brimming with emotion he cannot capture — excitement, unrest, sprinkling of anguish. He last saw her hours ago, when his mother came to her in the training yard, and the two of them hastened to leave, seemingly in some agreement he knew nothing about. He caught bits and pieces of words — mentions of fabrics and seamstresses, but it didn’t help with his confusion which soon turned into worry he had trouble coping with. And it wasn’t the worst part.

What’s worse is the comprehension, icy and unforeseeable like a blast of northern wind: it’s only been a few hours, and he’s already missing her. He looks back at the days she wasn’t with him, but they all seem too far away and forgotten, his life before her a blank canvas that she’s now painting with colors. He keeps thinking of her, getting more pensive with each step, until he reaches the doors, and walks in, and — 

the ground is cut from under his feet.

All is the same in the hall: long table in a cloud of mindless chatter, silverware clanking, a rich palette of scents. What stands out is the color, bright like rubies formed within the earth’s crust. It’s the red of her dress — the same old and brand new — and he can only catch a glimpse but it’s enough to leave him dazed. It lasts a second before she senses him, her conversation with Helaena interrupted; she springs to her feet, the dazzling hue stirs up his ardor — he’s almost blinded when he gets an eyeful.

He is staring at her, everyone’s staring at him.

Helaena stands up with a laugh in her attempt to smooth things over: “It isn’t very nice of you to keep a friend waiting,” they both sit down then.

Aemond goes to join them with cotton feet.

He must’ve been too busy last time, her injury too big of a disturbance, so he paid the dress no mind. But once he’s seated, he can’t help but notice: the layers of fabric, flowing lines of her body, the cut in the front, the golden chain now ten times brighter. She casts him a wondering glance, he drinks half the cup in one swallow. The minutes that follow are like a fog, and although the conversations carry on, Aemond can’t bring himself to take part in any.

That is until he hears vaguely his sister’s delighted voice. “The stitching is barely noticeable! What an excellent work,” she marvels at the red dress, then looks at him with the spontaneity of a child. “Wouldn’t you agree, dear brother?”

He’s certainly grateful he’s not drinking otherwise he’d choke. Aemond manages to cast one furtive glance. “A fine work indeed.”

His mother gently picks up the discussion. “It was only fair to help repair the thing your friend holds so dear,” Alicent’s gaze is directed at her. “You can now wear it on more than just one occasion.”

Why would she hold so dear the dress that only carries the memories of her pain, he wonders. The dress that was covered with blood, with fingerprints of someone who wanted her dead. He takes a peek at her, and her face expression gives away no answers but for a second too short to comprehend he sees the undercurrent again; only it never takes shape. She puts on a smile that doesn’t reach her eyes, and he’s the only one to notice.

“I greatly appreciate you taking your time to help me,” she says, and Alicent’s smile — a genuine one — only grows wider. Maybe even a bit too wide for it only to be about some stitching.

“I suspect we tired you out with all the measuring and dressing up,” his mother points at her plate. “You hardly ate, my dear.”

“It’s been a long day,” her fingers close around a cup but she doesn’t drink from it, “And the dress brought back some memories,” her grab tightens, the only sign of everything she’s keeping covered. “But I am glad to get a chance to wear it one more time.”

“And I am happy to help,” Alicent assures, “But please, go have some rest, you have seen enough of our boring dinners.”

“I was never bored,” there’s a glimmer of gratitude, a tone of sincerity as she gets up from the table and looks at the faces sitting at it. For a moment, it seems that she wants to say more — grand, meaningful, closer to the truth. And yet, she just opts for a short, “Thank you for having me.”

She barely has time to take a step before Aemond all but jumps to his feet. “I will walk with you,” the words leave his mouth as he stands up with unflinching determination. And it’s not that he wants to leave as much as he wants to follow her.

His eagerness doesn’t come off as a surprise. No one says it but it seems that everyone knows — Alicent and Criston sharing the same looks, Helaena beaming, Aegon smirking into his cup. Aemond only waits for her reaction, his eye focused on her face. She isn’t against it — just like she’s never been before, every time he found a reason to come to her and be with her, and even when there was no reason to do so. She gives him a nod, a tad guiltily but more so accepting (and maybe just as eager as he is).

While they are on their way out, Aegon turns on his chair to say something but Helaena covers his mouth with her hand.

>>> Aemond breathes a little deeper and walks a little slower, gathering his words, — and before he knows it, they are talking again, his infatuation receded, although never truly gone. He asks about her day, and in the corridors and hallways curtained with silence, her voice flows lightly. He can tell that she’s abashed by all the fussing over her.

“Our seamstresses are quite fierce,” he chuckles. “I fear no sword of mine will stand a chance against their needles.”

“They said this dress was made for feasts,” she quotes, fiddling with the material as if she can’t see what’s there to admire.

“Well, Aegon’s name day is approaching. That will surely be a feast we are all invited to endure,” Aemond jests.

“I don’t think that I will —” she doesn’t finish the sentence, biting down her lip. He’s too distracted by that movement to pay attention to what’s left unvoiced. “You do not find those celebrations to your liking?” she changes the topic swiftly.

“I find them boring,” Aemond huffs. “The same old lords boasting about their wealth, making up achievements that are each so hollow.”

“Sounds like ladies aren’t a part of those conversations?”

“Theirs are hardly better so you should keep your expectations low,” he ruefully remarks. “Сourt gossip is one thing you can’t avoid. And then they’ll either lament about their husbands or try to find one for you,” he doesn’t think much over his words until he sees her smile dropping. And then, before he can find a reason not to, he adds: “...Assuming you are not already married.”

As soon as she hears it, she stops — Aemond does too, and he can tell that she isn’t looking for lies and excuses. She only timidly looks around, as if she’s afraid the walls have ears, and the truth she’s about to tell him is only meant for his. They managed to reach his chambers first, so without a single word Aemond goes to open the doors, and she accepts the nonvocal invitation.

They walk in — both are hasty and agitated, but he gives her space and scarcely hides the trembling of his hands. She finds it hard to utter a particular word. “I was... betrothed but not anymore. The man in question now believes I am dead.”

Her face is turned away from him, her gaze gliding over every object in his room, searching for something to fall on. She hesitantly walks to his table, glancing over a stack of books on it.

Aemond gives her a minute, then inquires: “Was he the one to hurt you?”

Her pain is still fresh, her face briefly splashed with it but she pushes through. Her response is not affirmative and yet, it’s enough of a confirmation. “I should’ve known better than to trust him.”

His anger rears up its head, a beast on a chain readying to get loose. “There is no excuse for what he did,” Aemond punctuates. “There cannot be —”

“There isn’t,” she cuts him off, not harshly but with a weary acceptance, her finger grazing thick book covers. “And I’m the last person to ever make excuses for him. But I should’ve known.”

Aemond is hurt by the thought he gets, but her torment is even more hurtful so he says the words, each letter scorching his heart. “You can’t take the blame for having feelings. Love often makes people let their guard down.” (And for years, he never did. Not until her).

With how fast she retorts, his ache is cured: “It wasn’t love.” Whatever it was, she regrets it so deeply, it’s written all over her face. “Now that I think about it, it never was.”

Her fingers travel down to the table surface, her thoughts straying back to the time that’s too distant but too haunting to forget.

“Lord Dykk Hersy is a son of my father’s friend, we’ve known each other ever since we were kids. He was always too noisy, then turned too self-centered, not much to like about that. And I never thought he fancied me, either. But my father made a decision about us some years back, and he wouldn’t take no for an answer. So Dykk started coming more often, following me around, being very nice. And I wasn’t...,” she stops fumbling with strewn parchments and lets out a sigh. “Not a lot of people were nice to me back then. I was naive to mistake his kindness for something else, and he was smart enough to say all the right words to make me believe him.”

Her fingertips reach his dagger, unscabbarded and left in plain sight. His eye is drawn to her every movement.

“We were betrothed when I was ten-and-six. I grew to like his company, and I think he did try his best, at first. For a couple of years, he was courteous, generous enough to give in to my every whim. Not that I had too many,” she’s glassy-eyed, and Aemond’s glare would be enough to kill. “But the illusion didn’t last for long. I soon began to notice pitiful stares, taunting whispers behind my back, maids dropping their gazes in shame. Three years in, I found out one of them was carrying his child.”

“Am I right to assume he denied it?”

“He did,” she chuckles bitterly. “He seemed taken aback by my anger, tried to persuade me he was falsely accused. But I could never blame the girl, it’s not her fault he was so good with words... I fell for them too,” her sadness is washed off with virulence; her fury awakened again, flames of it rising from the bowels of her restraint.

Aemond finds himself only a few feet away from her, pulled in by empathy at first, enamored somewhere in between the first and second steps.

“From that day, the complaints began, the excuses — he was too busy to stay for long, then got too busy to visit.”

“Was it so hard to saddle a horse?” Aemond bristles.

She casts him a glance followed by a half smile. “He lives in The Reach.”

“So chivalry is dead,” he snorts, and her laughter gives him a spark of joy. “It isn’t far away from here,” Aemond notes.

“Takes way longer to reach the Vale,” she explains, then pauses. Her memories eat up the merest hint of cheer. “Only he wasn’t road weary. He was burdened by me.”

Aemond almost reaches out for her, but clasps his hands together, his knuckles whitening. Her finger traces the very edge of the blade.

“And then, on his latest name day, my father made a poor joke,” her smile is crooked, hating. “He said me and Dykk were meant to stay together unless death do us part. That’s when, I think, he got the idea.”

“It is unworthy of a man to ever nurture such a thought,” his voice is embittered, his chest ablaze with wrath.

“I should’ve known,” she sounds dull like an echo. “He’s always called himself a man of traditions — the start of the month was meant for hunting, and he preferred the grounds of Grassy Vale, the shore of the Blueburn river. But then, all of a sudden, he wanted to explore the mountains of the Vale,” she wraps her hand around the hilt. “Said he wished to reconcile, that the trip would bring us closer, made me wear a dress,” she stumbles over the words, “And I didn’t even want to come or to see him, and all the signs were there, but I put on the stupid dress, and I was the one being so unbelievably stupid and —”

His palm covers hers in a rush of tenderness, his gaze more telling than a poem, confessions embedded in it — so many of them, it would take all night to unravel. They stand still, their eyes locked, his affection sweeping in between his fingers and her skin.

“None of that was your fault,” Aemond asserts. “And no one is to blame but him. Your fortitude is only worthy of admiration.”

It’s alluring how unrelenting he is in his desire to please her; the shift of her body toward his is barely noticeable, and she looks a second away from giving in. Something stops her, a sign of regret on her face, her gaze averted.

“And yet, he continues with his life thinking he got the last laugh,” she bemoans. “And I fear I... will never forget the feeling of his stranglehold as long as we are both alive.”

“You survived the unthinkable,” he tugs at her hand, caring in a way no other man ever was with her. “Why can’t it be enough?”

She ponders, hesitates, her outrage tempered by his solicitude. “I guess some lessons can only be learned the hard way,” she draws conclusion.

There it is again — the puzzling implication, a mystery wrapped in an enigma; it leaves Aemond with a sense of unease. “You deem that lesson to be worth it?” he questions.

The truth slips away from his grasp, but her hand stays, and it is too disarming of a sensation for him to think clearly. “I am afraid it’s too soon to tell,” she deflects, her thumb pressed against the flat of the blade. She can’t resist glancing briefly at it.

“You seem to like this little thing,” Aemond observes. “If so, you can have it.”

Her face is so bright with glee again, all the light in his room grows dim in comparison. “I’ve never seen such an intricate pattern,” she clarifies shyly, then adds with appreciation: “It’s truly beautiful.”

“It is,” he’s only looking at her.

“Teach me how to use it,” she unexpectedly asks. She looks at him again, her gaze exulting, and his heart skips a bit. “Properly.”

“And why would I do that?” he asks, undeniably willing.

“Why wouldn’t you?” she teases, her hand moving from his, clamping the dagger tightly.

Aemond misses the feeling — her skin against his, tighling with warmth, — and he catches her fingers in the same second. The distance between them is shortened down to a few inches; they don’t seem to care.

His touches are light and feathery. “You need to make sure your grip is strong,” he gently presses his forearm to hers, her hand positioned in his palm. “Not too tight so there’s some room for maneuvering. But with all your fingers in place,” he gives instructions, and she eagerly follows.

The red of her dress is a striking distraction; as is the softness of its lace, of her touch, of her lips parted in wonder, her diligence bewitching. She waits, his blood rushes; Aemond gulps.

He continues. “It is a common mistake to take a swing with a pommel up,” two of his roughened fingers latch onto her palm. “But the backhand grip works better,” Aemond rotates her hand in the right position, a steady motion with unsteady breath; her shoulder comes in contact with his chest.

He halts all movement, she makes no attempt to step away. He wonders if she can feel... He lacks the words to describe it. But he can discern her bosom heaving with every breath, and his heartbeat is caught in his throat.

He keeps the dagger pointed down, then calmly guides it up and away, their fingers intertwined. “This way, the point of the blade always comes first,” her eyes are on the steel, on the veins scattered on the inside of his wrist. “Which means that the threat also comes faster,” his eye is on the curve of her neck, on the necklace gleaming, beckoning him to glance lower.

Both of them feel the pull, too spellbound to resist — she takes a half step back, he meets her halfway. Her back is now fully propped against him, every bit of his body overflushed with yearning. Their hands stay adjoined as his words vine through her hair: “You try it.”

And so she does. The first time she repeats the movement, it’s almost reluctant, and his long tenacious fingers lead the way. He inadvertently leans in, his forearm molding into hers, a touch that edges towards embrace; her bashfulness then disappears without a trace. The metal shines coolly as she dexterously twists the blade, and Aemond should be concerned with how easy it comes to her; he is instead utterly transfixed.

She looks at him over her shoulder, his breath fanning out over her cheek, the space between them almost nonexistent. She makes a turn, torturously slow, their hands an inseparable duet, bodies longing to share heat.

“Seems like you did have some practice beforehand,” Aemond notes, voice barely above a whisper.

“Or you are a good teacher,” her eyes slip over his lips.

“And you are a fast learner,” he says under his breath.

This once, his gaze wanders, like a wayward traveler in search of means to satisfy his hunger; she is the one he craves. His fingers are itching for every curve of her body — she’s burning in all the places she wishes he could touch her. The tension rises, floods their bloodstream like fever, and —

“Hardly fair to leave me deal with our grandsire on my own!” Aegon bursts through the doors without knocking, a cup in his hand. “Did I ask for a lecture on table manners? I did not!”

He then sees them, already a step away from each other, and there’s a hint of surprise in his eyes which quickly turns into suspicion. He’s about to voice it when she blurts out: “Aegon would make for a good target.”

The cup he’s holding doesn’t reach his mouth. “...I beg your pardon?”

“I talked your brother into teaching me how to throw a dagger,” she lies slyly. “Would you mind stepping back to the door?”

Aegon blinks, incomprehension evident on his face for a moment, until he frowns and does move back to the door — only to open it and rush out, grumbling: “Both of you are utterly insane.”

The second he leaves, she bursts into laughter, and the same sound, low and hearty, spills from Aemond’s lips. She glances at him — his face relaxed, cheeks adorned with dimples, and he catches her gaze. The moment is lost but their desire isn’t, still swelling in both, unabated fire under the navel.

But now she tarries, her delight eclipsed by a grim understanding she chooses not to put into words. She tries giving him the dagger but Aemond gently pushes it back: “I meant it, it’s yours.”

“Thank you,” she puts it into a scabbard he hands her, then murmurs, sincerely grateful: “For listening, too.”

“I am glad to be worthy of your trust,” he replies warmly.

There’s a ringing urge in the back of his head to come closer to her again. But she is unanticipatedly avoidant of any intimacy, mumbling something about the late hour, moving out of his reach — and then the urge turns into a need so desperate, he can’t keep it bottled up.

“I think he is the biggest fool in the Seven Kingdoms,” Aemond lets slip.

She turns to him when her hand is already on the door handle. “Because he couldn’t manage to kill a woman?” the smile she gives him is acerbic, but her gaze is sad.

“Because he didn’t love you the way you deserve,” he breathes out.

She looks astonished, her mouth falling open, and he wants nothing more than for her to say another word, just to give him a reason to spill his every feeling out. But she slumps her shoulders and purses her lips, and then pulls the handle and gets out so quickly, the door slams behind her, and the sound makes him wince.

He is left all alone, with an unsaid revelation at the base of his throat — the way I would’ve loved you, he wanted to say. And with another heartbeat, Aemond realizes: he already does. He is already hopelessly in love with her.

>>> That realization is a ball lightning that swirls in his chest, and he cannot close the eye all night. It’s liberating to say it to himself — love, the word that sounds and tastes so sweet; it’s also absolutely terrifying. Chaotic thoughts run through his mind, and he is racked with indecision that’s paved with his self-doubts and fears. Amidst the chaos, Aemond finds himself reminiscing of her shining gaze — and then of a touch of her hand, of her eyes on him, of her body leaning toward and her lips not shying away from his. He couldn’t have made all that up, he thinks. He also can’t let fear dictate his future.

Aemond leaves the room with the first rays of the sun, while its light only shyly skims the ground, but the prince’s never been more awake. His intent is a vital force, a fuel that makes him quicken his pace. He all but runs — down the stairs, through the doors, through the castle, and out of it; her name and his proclamation on the tip of his tongue 

— only she isn’t in the training yard.

And neither are her bow and arrows.

Anxiety scrapes his ribcage and spreads like ice, then creeps, sluggish and squeaking, into his subconscious. His gaze roves over every corner of the yard, but he can’t catch the slightest hint of where to look for her.

He does break into running on his way back; the corridors and walls all flash before his eye. Her chambers greet him with her absence, the maids all share his concern. Aemond tries to look for clues — a letter, a piece of anything that once belonged to her — but she had no belongings, he remembers then.

Despair crawls out, like a predator sensing blood; Aemond isn’t about to give up without a fight. He goes to question the guards — surely, she couldn’t just disappear into thin air, no matter what her talents are. The men in silver-plated armor are doubtless striving to help, but only one of them recalls her visiting the yard not long before the sun emerged. That knowledge is rather scant and hardly helpful, and Aemond’s determination traitorously falters.

Help comes in the form of a stable boy passing by who gleefully chirps:

“The lady must be a skilled hunter,” he says to no one in particular, dreamingly impressed. “Not many people stick to traditions these days.”

“...Come again?” Aemond throws him a glance so piercing, the boy stammers.

“I only m-meant that it’s a full moon,” he hurriedly explains. “They say, on that day deer move more at night hence why the hunters favor it so much.”

That’s when her words resurface in his mind —

“I will do better by the next full moon.”

“Lord Dykk Hersy always called himself a man of traditions.”

He thinks that for a man who’s only lost one eye, he surely couldn’t have been more blind. Because the clues he’s been so desperate to find were all before his eyes this entire time. He promptly knits together all the fragments — her tireless training, haunting memories, her asking to repair the dress. Only, the one occasion she wanted it for was not some silly dinner.

Disappointment clashes with worry in his chest as Aemond leaves the castle once more, this time with a destination in mind. He blames himself for not guessing sooner; he hopes and prays that it’s not too late.

>>> The grounds of Grassy Vale are robed in green, a canvas of valleys and flats with lone wooden shacks interspersing; Aemond reminds himself he didn’t come for sightseeing. He gazes into fields sprawled underneath, and Vhagar’s body casts a shadow that sweeps along the earth like a water stream. With how low they are flying, it won’t be hard for any of the smallfolk to spot the dragon but Aemond can’t find it in himself to care.

His gaze is searching for one person only, his longing for her immense against everything in his life that’s been measured. But soon he sees the river, and the valleys smoothly give way to forests; Aemond admits with increasing concern that he’ll have to continue on foot. Vhagar grudgingly plops into the high grass, burying her claws in the ground, the flap of her wings so strong, it brings down a couple of trees. Once their rustling is stilled, the sullen peace settles in the vale.

As if to add to his unrest, the sky gets blanketed with clouds, and he can hear the thunder humming in the distance, his heart already hammering in tact. The Gods, it seems, certainly have a penchant for drama.

The sound of the branches crackling is what catches his attention first, and he discerns heavy footsteps fast approaching. In just a second, Aemond sees a man running out of the forest, and there’s no need to take a guess — not only does the stranger look clearly aghast, he’s also got an arrow sticking out of his shoulder.

Aemond throws him a disdainful glance but Lord Hersy is too distraught to notice. “Please, help!” he begs and whines, “I am being chased by a mad woman!”

The prince holds back a snicker, trying not to wrinkle his nose at the sight. “Oh, how unfortunate,” he drawls, and every feature of the man looks hideous to him. “A woman instilling that big of a fear? It is the rarest of things.”

Lord Hersy can’t seem to share his amusement. “She’s truly evil!” he assures with wide eyes, his legs unsteady, hand pressed to the wound, red seeping through his fingers. “She led me into an insidious trap, and I am left completely disarmed!”

“It sounds like it required quite a lot of planning,” Aemond notes. “Might it be that she has a reason to be cross with you?”

“I am a righteous lord, I wouldn’t hurt a fly,” the man lies profusely, and a dark look crosses Aemond’s face. “My only fault was trusting her, that scheming wen—”

With one hand movement, Aemond grabs him, his fingers holding the man’s collar so tightly, Lord Hersy has trouble breathing. “But you are surely cross with her, it seems,” the prince remarks in a dry tone, his gaze blistering cold. Underneath the ice, there’s a flare, a spark; he is actually enjoying this. “Would you mind, my lord, telling me more about her?”

Lord Hersy seems taken aback by the request but obeys implicitly. “She’s n-not lacking beauty, that I will admit,” he weakly tries to free himself yet to no avail. “But ignorant of manners and so terribly short-tempered!”

“Is it her temper you are so afraid of?” Aemond doesn’t hide his mocking.

“She’s got a dagger!” the man complains in distress. “An angry woman armed poses a horrid threat! Gods know, I’ve done nothing to merit that mistreatment!”

He opens his mouth to accuse her some more — but then finally takes note of the frighteningly stiff look on Aemond’s face. The prince’s lips curl up into a wrathful and malignant smile, and the air gets heavy with silence.

His anger is a beast that breaks the chains with its teeth.

“Hm,” Aemond shakes his head with derision. “Worry not, ser, you are in good hands,” the prince lowers his face to his, his voice spewing poison when he hisses, “I was the one to give her the dagger.”

Lord Hersy does attempt to escape Aemond’s grip, he’ll give him that. Pathetically and weakly he twitches and wails, tries scratching his face, then reaches for the eyepatch, wobbly fingers tugging at the stripe of leather, gasping and swearing and —

all of his efforts fall short, and Aemond’s iron grip doesn’t loosen one bit.

And then, out of nowhere, another hand grabs a fistful of the lord’s hair, yanking his head back so harshly, that he gasps. They both were too distracted by the scuffle to notice her draw near, but once she reaches them — engulfed in red, her gaze equally flaming — she truly is force to reckon with. The fury looks so good on her, it makes Aemond hold his breath.

“I see your luck did finally run out,” she says to the man, words filled with resentment.

Lord Hersy grows unsure about his every accusation. “I think there’s been a grave misunderstanding,” he protests in a whiny tone. “I deeply regret causing you any offe —”

“I don’t remember you regretting dragging me down from a horse to try and crash my skull with a rock,” her voice is low, biting. The grin that follows makes her face look sinister. “I knew you couldn’t finish.”

His frown betrays his irritation — he puts it out the second he pulls out the dagger. “There are still ways for me to make amends,” Lord Hersy pleads so sickly sweet, Aemond lets out a growl. “I made a terrible mistake, I shall admit, but I did search for you! Day and night, I prayed to the Gods to find you, I cried my eyes out!”

Her face seems empty while she listens, and Lord Hersy is enough of a fool to mistake it for reluctance. But Aemond thinks she’s never looked more sure, and there’s no mercy she can grant the man whose fate has long been sealed.

She tilts her head, the corners of her mouth twitch, and the prince reads this expression with ease — she’s finally facing her most wanted target. He loosens the grip, and Lord Hersy falls to his knees, gulping air, the breath of death no longer tickling his neck; but his relief is premature.

The blade in her hand pale-glimmers in the vanishing rays of the sun — the man only catches a dreadful glint before he feels the metal pressed against his throat. Her gaze is just as sharp. “Go on then, dear lord,” she sneers without a sign of mirth, each word hastening his end, “Cry me a river.”

He barely gets a breath in when she swings — unmerciful and with the backhand grip; the dagger draws a scarlet cut across his throat. The wound is deep and fatal, and the blood runs fast and thick, cascading down his chest, his body going limp and falling lifeless to the ground. The red seeps out into the grass, splashed beads of it shining dully against all the green, and it’s almost alluring to look at.

Unceasingly and invariably Aemond only looks at her.

The trees sway in the wind, and the clouds race, the sky now veiled with the darkness of the unfolding storm. He’s never been the one to value landscapes, but it makes him think: the same lush wilderness surrounded her while she was growing up, a rose among the weeds, her thorns repellent to most but no obstacle for him. With bloodied hands, disheveled hair, dirtied clothes — she’s still the only one he wants, irresistible as life.

She stands in reverie, her gaze boring into the huddled body of the lord: “I must admit, this is poor planning on my part.”

As if on cue, Vhagar’s roar echoes in the distance, and Aemond smirks: “I know of a way to get rid of a body.”

She hums and slightly leans over the dead man, wiping the dagger off on his coat, and Aemond sees that she ripped the dress again; he finds it funny.

“Not the best choice of clothing, I might say,” the prince notes.

She follows his gaze and doesn’t even bother to adjust the damaged hem. “He thought I came back from the dead to hunt him,” she lets out a dry laugh, “I counted on that.”

“Wish I could see it,” Aemond says, a gentle admiration in his tone.

Her mask of concentration crumbles, replaced by the expression he remembers from the day before. The same astonishment mixed with timorous indecision, with a tint of shyness, washes over her face as their eyes meet.

“You came for me,” the words fall from her mouth as if she only now becomes aware.

“Why do you find it so surprising?” he wonders because leaving her was never an option for him.

“Unreasonable, mostly,” she bashfully remarks. “You’ve been so kind to me, and yet I left without saying goodbye.”

“You did,” he agrees, thinking that shyness only adds to her charm.

“And I never told you of my plans,” she admits, even more coyly, and he just nods.

Her gaze falls, mouth unsurely half-open, as if she’s trying to pluck the right words from the grass. He watches her, and there’s that pull again, the flowering desire in his chest.

“I think it’s time for us to go our separate ways,” she musters out, and it knocks the air out of his lungs. She’s curbing her own pain, deeming it to be a relief for his. “You’ve done more than enough for me... I think your conscience should be clear.”

The wind picks up, and so does his pulse. “And where will you go?” Aemond asks, his voice faltering.

“I am my father’s only heir” she shrugs, mostly burdened than pleased. “He will take me back and,” she works up the courage to find his gaze again, “I won’t be a problem of yours any longer.”

The thunder is approaching, a rushing sound disrupting the peace of nature. Aemond knows he will never find peace if he lets her leave.

“So you can go,” she offers but they both don’t want it, and he instead allows himself a step to her. “If this is what you want,” she blurts out in a shaky voice that gives away her struggle no matter how much she tries to put up a face. “If this is what your heart desires,” she adds so quietly, she isn’t sure he will hear her. But Aemond does.

Something snaps in him, and his body is an arrow shot out — he closes the distance in a heartbeat, and his lips all but crush into hers. She kisses him back with the same fervor, without a moment’s hesitation, and neither of them is timid or holding back. His hands find her waist, follow the gentle bend of it as she presses herself to him, as her mouth opens more, and his craving turns into hunger, his desire not hidden any longer, erupting right through.

Aemond grabs onto her hips, desperate to feel more, ravenous in his need, and each of his kisses is a plea for her to heed to; she does. Her fingers frantically travel up, then tangle in his hair, untieing knots of his restraint, his quivering sighs all disappearing into her mouth. There are no other sounds but their shuddering breath, their lewd touches, moans — hers or his, he can’t tell.

The massive storm is brewing when they part, both breathless, their lips still brushing.

“It’s you,” his confession is hot against her mouth, “You are the only thing I desire,” the syllables flow, pouncing like a waterfall, “He was undeserving of you, foolish, pathetic excuse of a man, and if only I—”

His words die down at the feeling — her fingers dancing right above his cheek. The one that’s scarred, unloved, detested by him; the gruesome sight that was supposed to be covered by the eyepatch. He must’ve missed the moment when he lost it, too wrapped up in his anger to notice the despicable lord succeed in his attempts. Aemond can’t find it in himself to ask for confirmation, to even move his hand to cover half his face.

She never looks away. And then, in the gloomy evening, she smiles — the sun rises again, a crack of dawn formed by every feature of her face. Her fingertips tenderly graze his scar.

“You asked me once if I thought it was worth it,” she recalls, her gaze affectionate, without a shadow of a doubt. “It was. Because I would do it all again if I knew the fate was leading me to you.”

The warmth of her touch heats him up, then ignites every part of him. She’s still caressing the side of his face when he reaches for her — his kiss so searing, her hand trembles, while his confidently moves to the hollow of her throat; this time, the sound of pleasure is undoubtedly hers. With his eye closed, his mouth on hers, Aemond sees the vision, bright as day: him going through the layers, lace and red, until she is all bare in his sheets, and he can put his lips to every inch of her skin. And feel her, drink her, worship her, their limbs intertwined, him drawing moans from her until the night sky lets in the first streaks of light.

He has to take a labored breath to blink the dream away, to hold his ardor back for just a little longer. By the look on her face, she’ll welcome his every offering.

“It seems that all those years I’ve been searching in all the wrong places for you,” Aemond whispers, holding her tight in his embrace.

“But you found me,” she follows the contour of his jaw with her finger, her smile never fading. “And you can have me,” she makes a vow, and her lips trail for his to seal the promise.

And no storm can compare to the love for her that rages deep in his heart.

✧ if you are into stories about revenge (enemies to lovers, with angst, fighting, and quite a bit of fire involved), I have a multi-chapter fic for you ✧ two more stories inspired by songs (modern!au): with Aemond & with Aegon ✧ my masterlist tagging @amiraisgoingthruit who was kind enough to ask (girlie, I’m sorry this one is so enormous…) also big thank you to arcielee for approving the gif it was driving me insane 💙

English is not my first language, so feel free to message me if you spot any major mistakes. reblogs and comments are very much appreciated!

[wild-moss-art]

This barbie is going to kill every last one of them!

[monstierider]

Please tell me I'm not the only one who feels like Crimson flower did a terrible job of making Edelgard....not a villain

Like, I feel like IS sort of couldn't find a good way to justify siding with Edelgard to the player beyond liking her as a character and the only way the could sort of doing it was by reducing Rhea to near Duma levels of insane, but even then while I won't condone her actions I can understand why she lost it, from her perspective she just saw someone she allowed into her home, break into the burial site of her dead siblings with the intention of desecrating them and robbing their graves and then watched what is, from her sad, broken perspective, her own mother choose to side with the person trying to take all she has left of her family away from her, I too would lose it under those circumstances. And then there's Edelgard not even being very smart, like, does she really believe her troops would hear "the church has nukes" and not either, question why they only dropped the one on the one location and why only now or just....lose all morale??? And then there's the battle at the Tailtean plains and the good old conversation between Dimitri and Edelgard, "must you continue to conquer?continue to kill?!" "Must you continue to re-conquer? Continue to kill in retaliation?" Like.....it's like even she realises she has no moral high ground over him and is just trying some desperate redirection to not be the villain she knows she is. And also the entire "king of delusion" scene where Dimitri, in his final moments, swears to avenge everyone who died for her, who she killed, to avenge all his fallen friends and family who died because of her and her ambitions and she basically just calls him a nut job.

Like??? Did IS just....give up on trying to make Edelgard look good and just hope that off her fucking rocker Rhea and Edelgards tragic backstory would cover that up???

[azural83]

Gus seeing belos' memories was just used for him to be a supportive friend towards hunter huh

[shorthaltsjester]

i do not want to dig a hole but i am too much of a laura bailey pc enjoyer to not make this post so:

selfishness ≠ a lack of kindness 

selfishness is a theme that has come up with all of laura's main campaign pcs. that doesn't mean that her characters are always making selfish choices or that they don't care about the rest of the people they're with or that they're not good. it's just that, for the most part, the first thing they're thinking of when they take action or make choices is themselves. 

in jester and vex both it is more typical and obvious selfishness. vex's developed because she needed it to keep herself and vax alive and as safe as possible and it grew into a behaviour that she had to actively work to avoid. it's evident in her greed, her theft of the broom, her reaction to her own death which relied heavily on i'm okay/i survived to which keyleth reminded her that she wasn't the only one who had to witness and reckon with her death. in jester's case, she grew up in an environment that literally trained her to make every decision based on two things - her mother's opinion and her own. so, when she's out in the world without marion for the first time, her choices are those that will benefit her and her actions are those that consider her own thoughts and not really many others' (aside from the traveler's). 

it isn't a criticism of either vex or jester to say that they are characters who act selfishly. in fact, i'd argue that to claim otherwise does a great disservice to exactly how immense both of their character arcs are. because the nuance of both jester and vex is that they are selfish, and they also hold extreme room for self-sacrifice and empathy. vex is much more brash than jester is, and jester is much more trusting than vex, but both of them are characters who begin with selfish impulses who grow with them. neither ever truly shed those impulses, but they use them in new ways, typically transforming them into impulses towards things that are in the best interest of the party. 

you may have noticed the lack of imogen in this post about laura bailey pcs and that's because of two reasons. one, we are an unknown amount of time into her story, i can't analyse her development the same way i can vex and jester's. two, imogen's selfishness isn't the blatant quasi-self-aware selfishness that we see in things like jester complaining about her lack of money to caleb or vex stealing a broom. instead, imogen's is very internal, like a lot of laura's character work with imogen. it is a bit similar to jester’s in the sense that it comes from a lack of awareness moreso than vex’s practiced behaviour, but imogen’s is a lot more tied to inherent beliefs she has about the world and the people in it.

as a consequence of her powers, imogen sees people's thoughts as their entirety, she holds it above their actions to be the truth of who they are - to act against what they think or to say something that doesn’t cohere with what they’ve thought is akin to lying, so for her to act empathetically is to act in tandem with what someone else’s thoughts are, not how they act, which is typically not all that wanted. the same as vex’s greed and jester’s naivety, this is a trait that makes narrative sense and it’s one i find quite compelling, especially when read in the vein of someone struggling through trauma that has made them assume that the world is against them. imogen’s cynicism is coherent cynicism, i can’t say that in a similar situation i wouldn’t have the same predisposition towards the world.

the part that is particularly self-interested comes in if you look at how imogen has actually been treated in the campaign (quite well) in comparison to the cynicism that she’s developed from her past (something that speaks to a world out to get her). certainly, a bunch of shitty things have happened to imogen in the time we’ve known her, but the same can be said for everyone in bell’s hells and pretty much everyone in exandria at this point in time. but, in a fight to save the aforementioned world, imogen’s focus was getting her mother back on her side. which, while very consistent with her character and a choice that i enjoy, is a very selfish one. the fun thing (to me, obviously) about imogen is that she has, more than most, an insight into the opinions of others and she also tends to seek others’ opinions out and genuinely engages with them and supports their choices. but she still very much acts towards what she thinks is best. it’s one reason i enjoy looking at the dynamic between her and orym as one between foils, as orym tends to be stalwart in his beliefs and doesn’t care too much for other’s opinions if he’s already sure of his own, but his actions tend to favour collaboration and protecting others.

as i mentioned earlier, imogen is a harder case to look at because she is still in the process of her story. however, the circlet is clearly influencing how she interacts with the world and in the wake of the solstice, the hostile reaction towards ruidusborn people has started to become more and more apparent and i’m interested to see what route that ends up leading imogen down and how it will influence her relationship with the rest of bell’s hells. (for better, i think, based on recent conversations, but if it's for worse i will be just as seated and excited).

all of this is just to say, please stop assuming that claiming a character has a trait you think is a bad one is criticism or a hate post. in light of the fact that i know that people who don’t believe this will continue to not believe this, i’ll encourage anyone confused about the ability of a character to be good and kind and selfish all at once to look to what the text itself says, specifically scanlan’s words to pelor when asked what vex means to him:

“Her name is Vex, and she is greedy and mean sometimes, and she can steal a lot. She’s a little bit not the greatest person, but her flaws highlight everything that is right about her, which is she does all these things to protect her friends and her family. She would give her life for any of us and for anyone who was truly in need. And she’s not perfect but she’s the most perfect of all of us.”

would you look at that... an ability to be a multitude of things, some in conflict with one another. i know that's hard for fandoms to believe, especially about female characters with agency, but i promise its true!

[stormsbourne]

The most baffling thing about the Kotaku article, besides spewing out typical Edelstan talking points, is how it thinks Claude wants the "status quo" and has an "us vs them" mindset. I'm sorry, but what?! Have they actually played the game?

it doesn't make any sense for dimitri either, who says time and again that he finds the current system abhorrent and wants to cultivate an era where the strong aren't able to easily prey on the weak who can't defend themselves. the entire point of fe3h is that it's four different takes on what needs fixing in a fucked up world. some of the takes are wrong and some are ill-informed, but every "lead character" of each route (edelgard, claude, dimitri, and rhea) have a different view on what fodlan really needs to become a better place.

and in regards to saying edelgard is the only right one, or even the most right one, I think it's just a western thing to view conquest as inherently productive and I think it's an instinct we should interrogate! not to mention that fire emblem is traditionally about either recovering conquered land or defending your home, eventually taking the fight to the invaders but only because you got invaded first. so crimson flower is trying to tell us something by nature of it being a route where you are doing conquest. you are on the side of the initiator. all of the lords in 3h pull from very distinct archetypes (dimitri is a combination of a classic lord and the swordsman/nobleman with a dark past, your ravens and such; claude is a combination of the wyvern riding noble/prince -- often villainous -- and the wandering/itinerant prince like lewyn or joshua). edelgard pulls from the red emperor, an exclusively villainous archetype very, very strongly and has little else to her.

all of this is also without getting into that japanese game writers are just going to have a very different outlook on this shit than online western leftists in their 20s. I find it happens with a lot of non-american media specifically, where people have a hard time understanding, say, japan's relationship with the aesthetics of christianity or catholicism, because they've got the american viewpoint on those religions and what they mean embedded so deeply that it doesn't occur to them.

anyway I don't know how anyone playing through cf watches dedue Do That on tailtean plains while a dour war march plays, and thinks to themselves, yeah, I'm the good guy here

[raxistaicho]

Analyzing Hubert and Byleth's A support

Hey all, been a while since I had the idea to do an analysis post, but I finally had a good idea!

So everyone's familiar with Byleth and Hubert's A support, right? That's the one where Byleth is just minding their own business when Hubert suddenly bursts onto the scene and tells them he'll kill them for being a Nabatean.

Wait, wait, that doesn't sound right, I think we should start over from the beginning.

Now, the way it actually begins is with Byleth standing in the ruined cathedral at Garreg Mach, when Hubert emerges and begins monologueing, as only he can.

Nice place, isn't it, Professor? Standing here, you can almost feel the goddess's absence. Discounting what dwells within you, of course.

I do want to draw attention to something here. The last line there calls back to a line from their B support:

I see something of Lord Arundel in you… When I look at you, I feel I can almost see a second self lurking beneath the surface. It is as if you are in constant dialogue with something inside your heart—something with desires very different from your own. Does that description feel familiar to you at all?

After everything that's happened to Byleth and all their choices, Hubert's made peace with the fact that Byleth is different in a way he can't fully understand, and in a manner that reminds him of the goddess. It's also an acknowledgement that Byleth is both similar and yet different to the children of the goddess and the deity they've foisted upon the people of Fodlan. Because, let's not forget, the goddess Sothis is quite different from Byleth's beloved head gremlin.

But I digress,

Do you think some punishment would rain down from the sky if this monastery were to be destroyed? Of course not. Even if the so-called Immaculate One came back here for revenge… That would only be a result of this war, not the work of a deity.

This is more of the same; the goddess has no agency. Any act, however apparently divine, is simply the actions of Rhea and her kin attempting to appear godly. Because that really is the true nature of the Church of Seiros: very powerful otherworldly beings using their innate gifts to mislead the people of Fodlan into believing an all-powerful goddess is watching over them.

Again, Sothis, the primordial god, is dead, and by now she's forfeited any chance to return to the land of the living. The goddess truly no longer exists in any way that matters.

Byleth then asks whether Hubert hates the goddess, to which he replies,

If it is between love and hate, then I would choose the latter. The goddess failed to properly govern this world. That is why it is necessary for Lady Edelgard to become the supreme leader of Fódlan.

Basically, he's saying that the gods have failed so spectacularly that the only way to fix Fodlan now is through an act of continental war. And really... Rhea has failed. Fodlan was so thoroughly broken that the events leading up to 1180 is a string of calamities even before you get to the Agarthans' direct conduct. Even her own church is falling apart at the seams, with the southern branch extinct after trying to influence Imperial politics, the central and western branches openly in conflict, and the central branch privately scorns the eastern branch for being too even-handed.

Hubert closes this thought with,

Those with power must use it wisely. Is that not a teaching of the Church of Seiros? It's absurd to preach to others what you cannot practice yourself.

This is why I get frustrated seeing people just cutting everything up until this point and focusing only on the soundbit parts of the supports; they're excising the crucial context, that Hubert despises the Fodlan divinity because it arrogantly claims and authority its proven itself unworthy of.

Anyways, Byleth then has two choices as to how to reply, with both reaching the same conclusion,

Hubert then goes on to say,

That is not the case for inhuman creatures with lifespans well beyond our own. We must fight to preserve what makes us human.

This is what lies at the heart of his disdain for the Church of Seiros, and the whole reason he and Edelgard are doing what they have to do: the gods have failed to be godly, so humanity has to rise and govern themselves instead.

Gods are supposed to be wise, perfect, and eternal, and yet Rhea and the Church of Seiros, the true avatars of the supposed goddess, are not; they must make the same flawed hypocrisies as the humans beneath them do, so what right have they to presume they know which path humanity should take?

Anyways, continuing on,

You are the one closest to the enemy. I wonder if you will be able to maintain your humanity to the end.

Now, to understand what he really means by "human", it needs to be contrasted against what he's previously been discussing: the failures of the gods. "Humanity" in most instances it's mentioned by Edelgard and Hubert is in contrast to Rhea and her kin as gods, not as a species.

Edelgard's conflict with the godess of Fodlan and her church is in the way she and they have failed to govern Fodlan, not her distaste for their green hair and pointy ears. She's always clear where she takes issue; their belief that they know what's best for mortals despite being no better than them.

And make no mistake, Rhea does think she knows what's best for Fodlan in Sothis's absence, despite all evidence showing she doesn't,

For another example of Fire Emblem using "human" in a way other than to speak of them as a race, look to Engage,

Celine obviously wouldn't saying that dragons are inhuman, unfriendly monsters. Describing Alear as "human" is a way of expressing that they're humble and personable, which Alear absolutely is, if nothing else.

"Human", in this instance, just as in 3H, is contrasted against the idea of gods as otherworldly, unknowable, and aloof. Naga would be a great example of the latter, while still being a fundamentally benevolent character.

When Hubert speaks of Byleth "losing their humanity", he means losing their connection to other people and becoming distant, the way Rhea did. Dorothea expresses similar fears in chapter 11,

This is directly after Byleth fused with Sothis.

Dorothea worrying now implies that Byleth's unusual behavior is different from their ordinary stoicism.

Edelgard also brings up something similar in her own A support with Byleth, expressing concern that she's grown detached from ordinary people, and while she thought of Byleth as a kindred spirit in that regard, she's also relieved that they can express feelings like jealousy.

Of course, most of the Nabateans aren't quite as detached as Hubert and Edelgard seem to expect; Flayn and Seteth certainly aren't, but their focus is almost exclusively upon Rhea, who certainly is rather detached from ordinary people. That said, we can't fault characters for not having access to every scrap of information that the reader is privileged to have.

Anyways, in response to Hubert's fear, Byleth can implicitly give him permission to kill them;

I wonder if you will be able to maintain your humanity to the end.

If I'm unable to…

Does that mean you know I will do what must be done? You must trust me a great deal.

While this might seem like an "that escalated real fast!" moment, it's in truth an evolution of their C support, in which Hubert threatens to kill Byleth if they appear to present a threat to Edelgard, and their B support, in which Hubert grows more certain Byleth will be a threat to her.

My family, House Vestra, has been sworn to House Hresvelg for generations. Since the dawn of the Empire, we have worked to protect the emperor by any means necessary— both in the open and in the shadows. If you incur our wrath, you will see just what I mean.

With this groundwork in mind, we're meant to read Byleth's vague line as giving Hubert permission to kill them. The game's backstory is steeped in examples of characters gaining and abusing their power, for intentions both good and bad, Nemesis, Rhea, the Fodlan nobility, and Byleth by now would be keenly aware of the corruptive influence power represents, and Byleth at this point is already one of the most powerful individuals in Fodlan.

In contrast, should Byleth express confidence that they won't fail the way Rhea did, he'll accept it almost in stride, a response unthinkable for the man he used to be,

I wonder if you will be able to maintain your humanity to the end.

Of course I will.

You make it sound easy. I find myself trusting you. Even with my life.

I've seen people analyze this support as a sign that Hubert still doesn't trust Byleth, but if anything it's the opposite: after the decisions Byleth has made, and after the way he's opened up more to them, Byleth and Hubert have come to trust each other a great deal. Byleth entrusts Hubert with their life, while Hubert entrusts Byleth with his secret plans for the future.

They've become conspirators in ensuring the success of Edelgard's plans, and it's why they their relationship is one of my favorites in all of Three Houses, if not Fire Emblem as a series.

It's incredible seeing where they begin and where they end. So yeah, I hope anyone who's made it this far found that to be an interesting read of an oft-misunderstood support :)

[omgkalyppso]

@tepkunset's poll made me want to make one. i went back and forth about who i wanted to include, but i think i'm satisfied with my final list.

Make a poll of your favourite female characters (no limits - as many or as little as you want) and see which your followers like the most!

if we're tagging people, i'll tag @recurringwriter, @bladesandstars, @jackalopedread, @void-singer, @ghostwise and YOU.

[sleepy-bear-tm]

Every time I think of Dimitri teaching Dedue the Fodlan language and Dedue teaching Dimitri the Duscur language I feel like sliding dramatically down a closed door

[awkward-teabag]

Love (cannot emphasis how much sarcasm there is in that word) that an official Canadian government response to high cellphone rates is to switch carriers.

Switch it to what? We basically have three companies since one was allowed to eat the forth (with the government saying it wasn't anti-competition and the company eating the other pinky promising they wouldn't jack rates up). Even the smaller companies have to rent infrastructure from the Big Three so there's only so much they can do if that rent costs an arm and a leg.

And that's not touching on how many "small companies" are actually just subsidiaries of the Big Three. You may save $5 but you're still with Telus/Rogers/Bell.

Or that the actual small companies tend to have shit coverage because they don't have the infrastructure available to them and are prevented from getting it. Or their traffic is throttled in favour of the Big Three's customers. Or both.

Or that they're extremely regional thus aren't an option for a huge chunk of Canada's population.

We have no true options and the government has shown time and again that they're fine with monopolies, in multiple industries, and don't care when said monopolies jack up prices to make shareholders and the c-suite more money at the expense of everyone else. At most there will be a verbal slap on the wrist and a giftcard for $25 that people have to register for, for a decade and a half of price gouging.

It's not talked a whole lot about outside the country from what I've seen and heard but Canada is a country of monopolies. A handful of companies own nearly everything, every province has a family or two that owns a hell of a lot (Nova Scotia is basically owned by one family at this point), and our government ignores it. Even the branch that is supposed to be against monopolies is fine with mergers and takeovers in most cases.

Because, you know, the company said it totally wouldn't use consumers' lack of options to increase prices.

[tire-d-falcon]

One thing that boggles my mind about Three Houses is the writers sell the idea that Rhea is an irrational villain that cant be reasoned with and can only be stopped through violence while simultaneously sell the idea that Edelgard deserves a chance at peaceful diplomacy despite the horrors she's inflicted.

Which is made even stranger considering if Byleth marries Rhea ( which is gross on so many levels ) she recovers her strength, assumes her position as archbishop again and implements all of the changes that every house leader wanted to make while Edelgard is hellbend on killing the opposing house leader and continuing a war that she already lost in 3 out of 4 routes. Fodlan changed for the better not thanks to Edelgard's war but despite her war.

It's made even worse in Three Hopes. She's demonized even more in that game while being at her best considering the fact that she now helps the people of Duscur ( which is too little to late after she did fuck all to help them after Faerghus's violent genocide. It would've benefited the story and the cast if the tragedy never happened in Duscur but that's a story for another time ) and offers no protest to them working together with Faerghus.

Meanwhile Edelgard is hellbend on conquering Fodlan even after getting rid of the Church of Seiros and the Agarthans. She even violently invaded Leicester, a nation that had nothing to do with Rhea, and has the audacity to lie to Claude she hasn't done anything of the sort and accuse him of refusing stability and peace. I wanted to yeet my switch out of the window after witnessing that garbage writing.

I've said it before and I'll say it again, Intelligent Systems is an ironically named company.

[nm-mattuz]

Edelgard is kinda like Zamasu...

I shall elaborate...

She is objectively in the wrong, we can all agree on that right? There is just so many better ways to go about it!

But still she believes she is doing the right thing, as does Zamasu with project zero mortals. It is heavily implied that Zamasu is pure of heart, even though it's not the one of the main timeline, we can assume that the whole thing with the tea happens in the other timelines.

A pure heart doesn't mean purely good intentions BTW (that's a whole other rant)...

With this logic I would also proclaim that Edelgard is also pure of heart, given her unwavering sense of justice (no matter how objectively wrong it really is).

[hemisphaericas]

Bringing back Sothis 🤝🏻 Bringing back Predathos

I couldn't stop thinking about THIS POST by @hello-eeveev comparing Rhea from Fire Emblem: Three Houses and Ludinus Da'leth from Critical Role as major antagonists and felt inspired to paint them.

[badass-queer-couples-battle]

Please keep in mind I don't know most of the ships/couples in the preliminary round. If you think something doesn't belong in this poll, vote that couple/ship out & please be civil!

For X and Zero:

For Catherine and Shamir:

For Alador and Darius: