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inevitably-johnlocked · 4 years

Note

STEPH I ACCIDENTLY REWATCHED TSOT AND NOW I'M FUCKING SOBBING. I JUST HAVEN'T WATCHED THE ACTUAL SHOW IN FOREVER AND FORGOT HOW SAD SHERLOCK LOOKS IN THIS EPISODE. GOD. so yeah i just wanted some fics where john & sherlock dance together, whether it be at a/their wedding, "for a case", some kind of ball, or my favorite- sherlock teaching john to dance. it's maybe one of my favorite situations/tropes in media. (also welcome back!! and i love you <3)

Hi Lovely!!!

AHHHH I’ve been putting a “dancing” list together before I even had a system in place to do my lists, so I’m going to use your ask as an excuse to finally post it because I can’t find the original ask, LOL LOL!!!

And to pad out the list, I’m adding any that I’ve tagged from my MFL List, so I hope you enjoy that, LOL.

As usual, add your own, friends!! Hope you enjoy!!!

DANCING

You Lead, I Lead, You Follow, I Follow by BrighteyedJill (M, 862 w., 1 Ch. || Fever, H/C, John Whump) – John wakes up after a chase gone wrong to find Sherlock watching over him, but he’s a little hazy on the details.

Velvet by headlessjess (G, 1,155 w., 1 Ch. || Pining, Angst, Jealous Sherlock, Loneliness, Sad Fic) – It's the day, the wedding day - John and Mary, getting married. And then there's Sherlock, in pain and in love, without knowing how to deal with it.

Your love it feels so good by Hotaru_Tomoe (E, 2,843 w., 1 Ch. || Gay Club / Gay Bar, Lingerie, Stripping, Anal) – Sherlock is last at a quiz night and is forced by Anderson to perform in a gay stripclub. John must be with him, because he will have to record the performance. Sherlock takes the task very seriously. Part 20 of The English job

Behind Closed Curtains by twisting_vine_x (G, 2,939 w., 1 Ch. || Dancing, Angst, Pre-Slash) – Set loosely during season two, when Sherlock and John are still, ahem, dancing around each other. Sherlock teaches John how to dance.

Unimpressed by 221b_hound (M, 3,106 w., 1 Ch. || New Year’s Eve, Dancing, Jealousy) – Sherlock has no intention of attending the Met's New Year's Eve party. The start of a new year is all but meaningless to him. But he ends up there anyway, having odd conversations, and John does not find Sherlock's jealousy the slightest bit cute. And then there is dancing. Part 10 of Unkissed

Every Step of the Way by Shi_Toyu (G, 3,795 w., 1 Ch. || Car Accident, John Whump, Hurt/Comfort, Caretaking, Pre-Slash) – When John is injured on a case, Sherlock can't forgive himself. Everyone expects him to give up on his flatmate and get bored, but he'll prove them all wrong by sticking with him...every step of the way.

No Good Without You by textsandscones (T, 4,021 w., 1 Ch. || Case Fic, Sherlock’s Violin, Dancing, Soppy Fluff) – A diverting new case surrounding musicians and stolen instruments captures Sherlock's attention, the consequences of which lead both detective and doctor to see one another in a different light. Part 1 of Prompt Fills

Living Musical by VeeTheRee (G, 4,149 w. 1 Ch. || Est. Rel., Tooth-Rotting Fluff, Domestic Fluff, Hobbies, Summer, Song Fic, POV Sherlock, Painting, Play Fighting, Soft Sherlock, Dancing, Love Declarations, Hair Petting, Promise of Forever) – A one-shot of John and Sherlock being domestic during summer. There is paint, fluff, and music from Imagine Dragons, namely from the album 'Speak To Me', specific song in this one-shot is 'Living Musical'. Part 1 of the Happy Fluffy Johnlock Time series

But Tonight You Belong to Me by esplanade (T, 4,296 w., 1 Ch. || Fluff & Angst, Pining, Stag Night, Sad Ending) – “You. It's always you. John Watson, you keep me right.”

The Dance Lesson by bittergreens (G, 4,596 w., 1 Ch. || TSo3 Missing Scene, Dancing, Pining Sherlock, URT/UST, Romance, Angst, POV John) – Sherlock teaches John to dip. Part 1 of Goodnight, Vienna

Sway by CrackedMetal (K+, 4,602 w., 1 Ch. || Romance, Drama, Dancing, Mary is Nice, Canon Divergence, Song Fic) – Sherlock doesn't leave the reception and Mary wants the best friends to have a moment to talk… So she suggests a dance. Johnlock with a side of John/Mary.

Sherlock and John Go Clubbing by wendymarlowe (E, 4,716 w., 3 Ch. || Clubbing, Dirty Talk, Dancing, Coming Untouched, Coming in Pants, Bi John, For a Case, Friends to Lovers, Flirting, Sherlock is Lost for Words, Sexy John, Mutual Pining, Possessive John, Floor Sex) – John pinched the bridge of his nose - even for Sherlock, this was a new level of no bloody boundaries. “You want me to go with you to a gay club, wait around twiddling my thumbs while I let you get pawed by a criminal, then out-flirt him and talk you into coming home with me instead?” Part 32 of John and Sherlock's Kinky First Times

a very soft epilogue (my love) by darcylindbergh (E, 5,395 w., 3 Ch. || Retirement, Domestic Fluff, Dancing, Dogs, Grumpy Old Men) – Across the pillows, Sherlock shifts and hums, the creases of his face deepening and then smoothing before settling. John watches him wake up, his chest swelling with affection and fondness, and thinks he’ll never get tired of Sherlock in the mornings, sleepy and soft. It’s been some forty-odd years, and John hasn’t gotten tired of it yet. Part 5 of things fairy tales are made of

Second Waltz by Atiki (T, 6,685 w., 1 Ch. || MCD, Angst, Fluff, Cancer) – "The night I died, you wished I could wait for you."

What I Hide By My Language, My Body Utters by PixChuu22 (M, 9,047 w., 1 Ch. || Fake Relationship, For a Case, Friends to Lovers) - Based on a prompt from Tumblr user thetwogaydetectives - “fake relationship that ends up being so real, they finally realize they are in love.”

Down with this Ship by FrostedFlame (PinkOrchid) (M, 10,862 w., 10 Ch. || For a Case, Gay Bar, Pining Sherlock, Coming Out, Slow Burn) – Sherlock drags John undercover to a gay bar - for a case, of course - looking forward to seeing John flustered by their surroundings (since you know, he's NOT GAY). John decides that he has hidden both his orientation and his feelings for his daft flatmate for far too long. He is done hiding, time to be honest with his bloody best friend in the world. He just hopes it won't change anything between them. And then it does.

the first day of forever by darcylindbergh (E, 11,850 w., 8 Ch. || Est. Relationship, Domestics, Light Angst, Insecurity, Emotional H/C) – “I’m going to marry you,” John murmurs with against Sherlock’s smile, and they both giggle in the joy of it. “We’re getting married.” “Yes,” Sherlock says, just to hear himself say it out loud. “We are.” A June wedding. Part 4 of things fairy tales are made of

All the Girls Love a Soldier by Book7BrokeMyBrain (E, 12,951 w., 1 Ch. || Military Kink, Frottage, Domesticity, Post S3, Pining Sherlock, Kilt John, Wedding, Dancing) – John is invited to a stag party and a wedding. The related accoutrement suit Sherlock to a T.

Twelfth Night by yourdykeinshiningarmor (E, 15,139 w., 5 Ch. || Fake Relationship, Christmas, Mutual Pining, Friends to Lovers, Angst & Fluff, BJ’s, Anal) – John is invited to his aunt's Twelfth Night ball. Sherlock offers to attend with him as a friendly face among strangers, but John's family force him to address his true feelings for Sherlock.

I Think I've Come A Long Long Way To Sit Before You Here Today by ArwenKenobi (T, 18,251 w., 3 Ch. || Grief/Mourning, Passage of Time, Major Character Death, Alternating POV, Sherlock Whump, Pining Sherlock, Hospitalization, Coma, Revenge Murders, Hallucinations, Love Confessions, Brutal Accident, Mystrade, Ghost John) – One year after John is killed Sherlock starts to wonder whether John has actually gone anywhere.

Out of the Woods by SilentAuror (E, 20,471 w., 1 Ch. || Post S4, Romance, Slow Burn, Flirting, Drunk Sex, Practical Jokes, POV Sherlock, Bottomlock, Possessive John, Pining Sherlock, Frustrated Wanking, Frottage, Hand Jobs, Blow Jobs, First Kiss/Time, Virgin Sherlock, Love Confessions, Soft Sherlock, Dancing, Bum Appreciation, Hanging out with the Yard) – Sherlock is fairly certain that John has taken to flirting with him of late, but can't be entirely certain of it. At least, not until a case takes them into a forest, along with Lestrade's team and something happens that will change everything about their lives...

Sonatina in G Minor by SilentAuror (E, 22,574 w., 1 Ch. || Case Fic, POV Sherlock, Angst, UST, Sherlock’s Violin, Post-S3, Romance) – John has come back to Baker Street, but Sherlock doesn't understand the strange tension between them, even after he begins teaching John to play the violin at John's request.

a good old-fashioned happy ending by darcylindbergh (E, 32,731 w., 26 Ch. || Christmas, Frottage, Comfort, Est. Rel., Fluff, Insecure Sherlock, Frottage, Nightmares, Sleepy Sherlock, Marriage Proposal, Humour, Fluff, Dancing, Cooking, Happy Ending) – For Christmas this year, Sherlock wants to get John something special: something every fairytale deserves. Part 2 of things fairy tales are made of

we have never seen a greater day than this by Lediona (T, 36,420 w., 7 Ch. || A Royal Night Out AU || WWII / VE Day, Prince Sherlock, Soldier John, Alternating POV, First Kiss, Bittersweet Ending, Homophobia, Dancing) – Peace. At long last. It’s VE Day and Prince William desires to join the celebrations. It is a night of excitement, danger and the first flutters of romance.

Guilty Secrets by Ellipsical (E, 55,086 w., 16 Ch. || Drumsticks, First Kiss/Time, Love Confession, Self-Sexual-Discovery, Anal, Rimming, Orgasim Denial, Butt Plugs, Cooking, Furniture Sex, Bath Sex, Rimming, Double Penetration, Anal Beads, Dancing, Romance, Tantric Edging) – John has a prostate exam and discovers something surprising about himself. Experimentation follows. Sherlock wants to help. They're in love. You know the drill.

The Bells of King's College by SilentAuror (E, 64,019 w., 5 Ch. || Post-S4, Missed Opportunities, Angst with Happy Ending, Fake Relationship, Case Fic, John POV, Jealous John, John in Denial, Travelling / Holidays, Virgin Sherlock, Wedding Proposals) – It's only been two weeks since Eurus Holmes disrupted their lives when Mycroft sends John and Sherlock to Cambridge to pose as an engaged couple at a wedding show in the hopes of solving six unsolved deaths...

Hell Sent, Heaven Bound by ConsultingHound (M, 64,381 w, 16 Ch. || Angels / Demons AU || Fallen Angel Sherlock / Angel Cop John, Alternate First Meeting, Slow Burn, Case Fic, John & Lestrade are Friends Before Sherlock, BAMF John, Mind Palace John, Friends to Lovers, John in Denial, Sherlock Picks Out John’s Clothing, Clubbing / Dancing, Mildly Jealous John, Awkwardness, Kidnapping, Sherlock’s Mind Palace, Sacrifice, Worried / Anxious Sherlock, Angst with Happy Ending, Immortal to Mortal) – Ex-War healer and current angelic guard John Watson is not having the best day. He overslept, he’s underpaid, and now there’s someone tagging the Council’s building walls. However things may be about to get interesting: there’s an unusual stranger hanging around (the definition of tall, dark, and handsome), a literal underground cult is brewing, and rumblings are coming from hell. Can he keep his neighbourhood safe, how and why is he being connected to all this, and who the hell is Sherlock Holmes?

White Knight by DiscordantWords (M, 69,840 w., 13 Ch. || S4 Compliant/Post S4, Marriage For a Case, Jealous John, Pining John, Janine / Sherlock Fake Relationship, Serial Killers, Case Fic, Undercover as a Couple, Weddings, John is a Mess, Misunderstandings, Wedding Planning, Jealousy, Drunkenness, Love Confessions, Angst with Happy Ending) – Green. The word green was used to convey a great many things. Illness. Envy. Inexperience. Standing there amidst Janine's chattering bridesmaids, watching Sherlock furrow his brow and study fabric swatches, watching him smile and simper and flirt, John thought it a remarkably apt colour choice. Because he felt quite sick to his stomach, he feared the source of said sickness might very well be jealousy, and he had absolutely no idea at all what to do about it. Or: Sherlock needs to fake a relationship for a case. He doesn't ask John.

Not Broken, Just Bent by Schmiezi (E, 87,585 w., 43 Ch. || Pining, Love Confessions, Torture, Hurt/Comfort, Heavy Angst, Villain!Mary, Suicidal Ideations, Main Character Death, Sherlock POV, Eventual Happy Ending) – "For a second, I allow myself to remember teaching John how to waltz. There is a special room in my mind palace for it. A big one, with a proper parquet dance floor. For a second, I go there. I remember holding him, closer than the World Dance Council asks for, excusing it with the fact that we are training for a wedding, not for a competition. For a second, I feel his hand on mine again, smell his sweat, hear the song we used. For a second, I allow myself to love him deeply. For a second, only a second, that love reflects on my face." Fix-it for S3, starting at the end of TSoT. Evil Mary.

Shatter the Darkness (Let the Light In) by MojoFlower (E, 109,683 w., 23 Ch. || PODFIC AVAILABLE || Genie/Djinn AU || Magical Realism, Kidnapping, Genie Sherlock, First Kiss / Time, Case Fic, H/C, Angst, Clubs, John Whump, Mild DubCon, Hand / Blow Jobs, Torture) – Fairy tales are for those who remember how to dream; not John Watson, broken and hiding from his bleak future in a beige bedsit. But then he discovers a lamp and finds himself in the dangerous riptide of an enigmatic man whose very existence is unbelievable, murder charges against his sister, and the growing pains of feeling alive once more.

Proving A Point by elldotsee & J_Baillier (E, 186,270 w., 28 Ch. || Me Before You Fusion || Medical Realism, Insecure John, Depression, Romance, Angst, POV John, Sherlock Whump, Serious Illness, Doctor John, Injury Recovery, Assisted Suicide, Sherlock’s Violin, Awkward Sexual Situations, Alcoholism, Drugs, Idiots in Love, Slow Burn, Body Image, Friends to Lovers, Hurt / Comfort, Pain, Big Brother Mycroft, Intimacy, Anxiety, PTSD, Family Issues, Psychological Trauma, John Whump, Case Fics, Loneliness, Pain) – Invalided home from Afghanistan, running out of funds and convinced that his surgical career is over, John Watson accepts a mysterious job offer to provide care and companionship for a disabled person. Little does he know how much hangs in the balance of his performance as he settles into his new life at Musgrave Court.

MARKED FOR LATER

He really can’t breathe. by Luna_sharp618 (NR, 696 w., 1 Ch. || Pining Sherlock, Dancing, Sherlock Teaching John to Dance, TSo3 Fic) – In which Sherlock teaches John how to dip his dance partner for the wedding and has some pining thoughts.

The Gay Bar Scene that never was by MadSophHatter (T, 1,372 w., 1 Ch. || TSo3, Gay Bar Scene, Confused Sherlock, Jealous John, Humour) – The gay bar scene from The Sign of Three as I envisioned it. Featuring a confused Sherlock, halfnaked men, sexy dancing and John who is absolutely not jealous.

Tango by standbygo (M, 1,424 w., 1 Ch. || Different First Meeting, Dancing) – “What the hell do you think you’re doing?” “Shut up and dance – a man’s alibi depends on it.”

Operation Synchronous by Daziechane (NR, 1,691 w., 1 Ch. || Dancer Sherlock, Lip Synch Battle, Abuse Of Umbrellas, Bets) – Sherlock never welches on a bet. That doesn't mean he'll give in easily, however.

on his mouth like liquor by chrysanthemumsies (T, 1,780 w., 1 Ch. || TSo3, Stag Night, Gay Bar, Romance, Dancing, First Kiss, Fluff) – The gay bar scene from Stag night that the creators didn't want to show! Pure crack with a bit of angst and a whole lotta fluff (if you squint). Sherlock and John on the dance floor - what's not to love?

Take me to Baker Street by MorganeUK (G, 2,087 w., 1 Ch. || Adult Ballet AU || Ballet Dancer Sherlock, Doctor John, Song Fic, Pre-Slash) – I always loved Sergei Polunin interpretation of Take me to the church so I decided to write a version where Sherlock is a ballet dancer in serious need of a doctor…

May I Have This Dance? by ScaryFairy13 (G, 2,297 w., 1 Ch. || Slow Dancing, Fluff, First Kiss, Wedding) – John drags Sherlock to Greg's and Molly's wedding. Dancing ensues as well as the discovery of certain sentimental feelings.

Under the Lights by CarmillaCarmine (E, 2,872 w., 1 Ch. || TSo3 Fix It, Stag Night, Gay Club, First Time, Dancing) – Following Sherlock’s map marked with all the streets where they had found a corpse, John and Sherlock stumbled into a gay club. Part 1 of TSoT Fix-It

Dirty by standbygo (E, 5,093 w., 1 Ch. || Established Relationship, PWP, Dirty Dancing, Romance, Smut and Fluff) – “Yeah, I actually learned how to dance like that, like in the film. I was quite the hit at parties while the craze lasted. Some of Harry’s friends called me Johnny Castle, after the character. Or Swayze.” “Swayze? What kind of word is that?” John did not reply, but gazed at Sherlock, his lips pressed together but still smiling. After a moment, he stood and held out his hand to Sherlock. “Dance with me,” John said.

The Posh Purple Pirate (Enter My Life and Make Me Drown) by Loveismyrevolution (E, 7,408 w., 1 Ch. || Exotic Dancer AU || Alternate First Meeting, Strangers to Lovers, For a Case, Lap Dancing, Hand Job, First Kiss, Pirate Sherlock, Drama Queen Sherlock, Dancer Sherlock) – When Mike Stamford invited him to a fun night out, John Watson never expected it would become such a wild ride - captivated by an enigmatic pirate his life suddenly gains speed in an unexpected direction. Part 1 of PirateDragQueenVerse

Life's Uneven Kilter by theslovenlyfool (T, 14,877 w., 4 Ch. || Canon Divergence S3, BAMF John, Secretly Married, Camp Gay Sherlock, Dancing, John is a Good Actor, Fake Relationship, Mycroft Plays a Role) – "According to Sherlock, the game began on September 21, 2005 at precisely 10:37:04 am. John complained that, with that logic, the game had actually begun on January 7, 2000, at around 1:30 am. But for Sherlock, games are only fun when others are willing to play. What is a game without an adversary, after all? And what is a proper dash across London without a partner? Now, Sherlock thought as he assessed the doctor with the unforgivable cane, the game is on."

Thirteen Dances (Or, The Doctor Dances) by Knackorcraft (E, 17,544 w., 13 Ch. || Dirty Dancing, Tango, Ballet, Frottage) – John is a great dancer: we're talking all types. Not only is he able to pop and lock it, he's got some great ballet technique. He was best at lifting / holding girls.

The One Where Sherlock Doesn’t Ruin John’s Holiday by nutmeag83 (T, 18,898 w., 11 Ch. || Pre-TRF / S2 Timeline, Friends to Lovers, Cruise Ships, Vacation / Holidays, Fake Relationship, For Science, Bed Sharing, Cuddling/Snuggling, Mutual Pining, John POV, Minor Case Fic, Cooking, Dancing, Drunk Shenanigans) – John wins a cruise vacation for two and brings Sherlock along. But when it turns out to be a couples cruise, they have to pretend to be a couple themselves (for science). How many pretend kisses will it take before they can’t deny their feelings any longer?

Lockdown by johnwatso and Salambo06 (E, 23,376 w., 20 Ch. || Quarantine, COVID-19, Lockdown, Fluff, Parentlock, Reunion, Dancing, Soft Idiots, Sex Toys) – The world is in lockdown due to Covid-19. This is how Sherlock and John spend their time.

Dance With Me by Silvergirl (E, 24,813 w., 12 Ch. || Post TEH, Dancing, Met Charity Gala, Sally/Sherlock Friendship, No Mary, Fluff) – Sherlock rescues Sally Donovan, and in turn she tries to help him get John to stop faffing about and get on with Johnlock.

Mountebank by Odamaki (M, 26,514 w., 2 Ch. || Fake Relationship/Dating/Marriage, For A Case, Jealous John, Suits, House Party, Crack, Trapped, UST, Dancing, Idiots in Love, Confessions, Friends to Lovers) – “I am calm,” John snaps, leaning on the door to glare out at the dark streets around them. Sherlock’s not said where they’re going; all he knows is they came off the ring road to the west of London and have vanished somewhere into the depths of Berkshire. All he knows is that he’s been trussed up in a suit that wasn’t hired from anywhere and if brought new would edge up into the triple figure margins. “Be calmer,” Sherlock advises, with a trace of irony. “We’re going to a party.” Part 29 of the The Sherlexicon

Time Of My Life by fiveainley_ohmy (E, 29,719 w., 8 Ch. || Dirty Dancing Fusion || Bisexual John, Dancing, Gay/Demi Sherlock) – John Watson takes his alcoholic sister to a summer camp in attempt to rehabilitate her. He didn't expect to fall in love with the dance instructor.

Brooklyn Heat, Summer Jazz by Zigster (E, 41,820 w., 10 Ch. || New York Ballet AU || Jazz Pianist John, Ballet Dancer Sherlock, Modern Setting, Brooding Sherlock , Confused John, Non-Linear Storytelling, Sexual Tension, Angst, Alcohol / Pot / Club Drug Use, First Time, Not-Good Mycroft, Happy Ending) – "There was, however, one thing that made it easier to stay on his piano bench every day. One thing that kept John Watson showing up to class on time, every morning at ten with a large thermos of honeyed tea and a conviction to see a job well done. His name was Sherlock Holmes and he was the most confounding and extraordinary thing John had ever come across - the most exotic of birds and the most unattainable of men."

Blond Barista Seeks Dashing Ballet Dancer: Inquire Within by prettysailorsoldier (E, 43,847 w., 1 Ch. || Unilock Coffee Shop AU || Rugby/Barista John, Ballet Dancer Sherlock, Fluff) – Between classes, his job at a local cafe, and being captain of the rugby team, John Watson's life is plenty stressful enough without the addition of a mysterious ballet dancer he can see through the windows of the dance studio across the street, but, somehow, he can't bring himself to mind.

My Pictures of You by 72reasons (E, 50,527 w., 19 Ch. || Fashion AU || Model Sherlock / Photographer John, Bisexual John, Gay Sherlock, Past Viclock, Past Warstan, Cocaine / Drug Use, Mary is Not Nice, Angst, Pining, Case Fic, Kidnapping, Human Trafficking, Past Jolto, Blow Jobs, Hand Jobs, Frottage, Oral / Anal, Fingering, Dancing, Non-Con Drug Use, Rimming) – John Watson, a photographer, gets an assignment to shoot gorgeous, young fashion model, Sherlock Holmes. He feels an instant connection, but Sherlock uses drugs and has an old friend who's just landed himself in a lot of trouble. When Sherlock comes to John for help, he reluctantly agrees. Angst, past loves, and insecurities threaten to end their budding romance, but ultimately love and trust wins out.

Focal Point by PuffleLock (E, 60,913 w., 13 Ch. || Post-TRF Divergence / Different Reunion, POV John, Slow Burn, For a Case, Friends to Lovers, Suicidal Thoughts, Sad Wank, Sherlock in Makeup, Dancing, Mentions of Torture / Depression / PTSD, Love Confessions, Idiots in Love, Frottage, Blow Jobs, Scars, Rimming, Anal, Toplock, First Kiss / Time, Gay Sherlock / Bi John) – John comes home early from a medical conference to find that every once in awhile, Sherlock can surprise the hell out of him. Can John surprise him back?

A Moment's Surrender by anchors (M, 64,272 w., 10 Ch. || Dancer AU || Ballet Sherlock, Swing Dancer John, Angsty Fluff, Romance, Swing Dancing) – Sherlock tours worldwide with the English National Ballet. John dances the Lindy Hop competitively all across the globe. That they would meet, then, by the slimmest of chances in one lonely city, is pure coincidence. The whole 'dancing together' bit is a little more planned.

This Is Your Song by agirlsname (E, 79,990 w., 19 Ch. || Moulin Rouge Fusion || Prostitute Sherlock, Poet John, Acting, Singing, Dancing, Writing, Poetry, Musical, Song Fic, Heavy Angst, Unreliable Narrator, Sherlock is French, Love at First Sight, UST, First Kiss/Time, Frottage, Coming in Pants, Anal Sex, Switchlock, Clothed Sex, Crossdressing, Secret Relationship, Forbidden Love, Jealousy, Terminal Illnesses, Grief/Mourning, Breakup/Makeup Sex, Past Drug Use, Attempted Rape, Canon-Typical Violence)– When John Watson is invalided home from the army in 1895, he moves to Paris to rediscover his writing and find a new meaning in life. His old friend Stamford invites him into a group of artist friends, and suddenly John finds himself auditioning to write a show for the famous brothel across the street. There, he meets the most beautiful man he’s ever seen - Sherlock, the star of the Moulin Rouge. But Sherlock is already promised to the investor of the show, the rich Duke Moriarty.

A Case of Identity – The Musical by shamelessmash (E, 83,147 w., 15 Ch. || 1950′s Hollywood AU || Musical, Case Fic, Undercover as an Actor, Dancing, Happy Ending, Kidnapping, Drugs, Fluff and Angst, Humour, Writer/Director John, Slow Burn / Romance) – A mysterious death on set causes chaos in Stamford productions latest movie. With the premiere date left unchanged, they must find a new lead actor and reshoot an entire movie in two months. Sherlock Holmes goes undercover as a lead actor in a Musical: a juggling act to solve a murder while singing, dancing and charming his way through 1950s Hollywood. The last thing he expected was to fall in love with the screenwriter along the way. Or as I like to call it: the case where Sherlock finally gets to dance. Based off this prompt.

Rewind by All_I_need (E, 87,593 w. || Fake/Pretend Relationship, Pining, Angst, Sharing a Bed, Dancing Lessons, Oblivious John) – About a month before John's wedding, he and Sherlock embark on one last case together: a murder at a remote hotel in the middle of nowhere. A lot can happen in a week. And a lot doesn't. But what if ...?

Rosethorne by suitesamba (M, 98,888 w., 28 Ch. || Secret Garden AU || Injured Sherlock / John, Recovery, First Times, Minor Character Death, Disability, Past Domestic Abuse [Mary/OMC]) – John Watson, WWII army doctor, is injured in the line of duty and can no longer wield a scalpel. Sherlock Holmes, Britain’s best code-breaker, is side-lined by his own devastating injury. In a work inspired by Frances Hodgson Burnett’s “The Secret Garden,” the two men must find meaning and purpose in a world which seems to have taken away all they hold most dear. But of course, it really hasn’t.

October to Hogmanay by snorklepie (E, 127,318 w., 25 Ch. || Post HLV Fix-It, Awkward First Times, Hurt/Comfort, Sherlock is a Mess, Shameless Smut, Sherlock’s Past, Scotland, Poison, Holmes Family, Kilts, Dancing, Angst) – John stared at Sherlock’s profile against the cab window and exhaled slowly. After a long moment, he reached out and touched Sherlock’s long fingers where they were fiddling with the button on his coat. The tall man didn’t look around again, but his fingers slowly unfurled before curling deliberately around John’s hand. Part 2 of Scotland

Shatter Me by Loveismyrevolution (E, 162,856+ w., 20/24 Ch. || WiP || Sherlock Dances, Friends to Lovers, Slow Burn, Angst with Happy Ending, Misunderstandings, Introspection, Mutual Pining, UST, Idiots in Love, Big Brother Mycroft, Implied Drug Use, Suicidal Thoughts, Hurt/Comfort, Love Confessions) – This is a story about two men trying to find their way back into the comfort of their companionship. No easy task in the aftermath of the events of Reichenbach, a wedding and a shot through the heart. They are facing a very rocky road ahead with a lot of introspection, misunderstandings, angst and pining. They each try to cope in their own particular way. Eventually, they'll find a way to communicate and learn about the true nature of their feelings.

#steph replies #johnlock fic recs #my fic recs #dancing fics #themiddlenameslove #long post

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illyaana · 3 years

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Credits to @breakingpengui1 to the Tendou fanart! Do check them out, I stalked them for almost two hours- ( •̀ ω •́ )✧

Fantasy Collab by @bluebellhairpin

God I'm sorry it took so long TwT I wanted to make this really good so TwT (don't think I did it) Do check out the other works involved!! I am also thinking of making this a three-part series 'cause I have some ideas on this and I took way to long on this, so let me know if you want me to do it!!

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Tags: Fantasy AU, Soulmate AU, Fluff, Angst, Royal! Y/N x Werewolf! Tendou

Word Count: 2611

There was a time when the world of the supernatural was one of peace and harmony.

Magia, the realm of magic and the supernatural being, was one filled with mysteries and beauty.

Plants would dance to the rhythm made by the woodland creatures. Fairies and elves would sing songs in praise of the wondrous views and people who nurtured the lands and made it the beauty it was today.

Mermaids and the life under the wide oceans and seas shared the riches of the water with those on land to make both worlds something to gaze upon.

Yet, it all changed when humans found something within them.

Greed and Pride - the recipe to the fall of Magia.

Now, the land of the supernatural isn’t like the ones stated in fairy tales and stories by the Grimm Brothers of Hans Christen Andersen.

It is one where sins are not shunned but encouraged.

Kings and queens interfere with the peace once built by the people to become one of villainy and devilish intentions - pillaging and conquering lands to become stronger and “better”.

The ones labelled “magical” or “not human” were either killed or hidden far away, never to be seen once again.

You were born into this - this world filled with anguish and pain.

You were born to be on the top of the food chain - to rule a twisted and dark country: Thelphs.

“Y/N, don’t writhe in pain. You are next-in-line for the throne - a simple wound like this should not make you fall.”

“Y/N, a leader never hides away from death - they face it and make it their weapon.”

“Hold your sword higher! You need the correct angle to slice through someone cleanly!”

“Do not taint the name of Thelphs, young one - death is not the thing you should be worried of but me.”

“If you don’t win, you are no longer my kin.”

Your father’s words rang in your head as you reached the land of Aldis - the land that never fell to the wants of humanity and shunned it.

Aldis protected the supernatural world. They were the ones who held onto the desire to make Magia what it was many, many years ago.

It was known for the beauty it held - the flowers were said to sing songs every day and every night and the mountains shook the ground once a month to say thank you to their valiant effort in protecting what the world of Magia should be.

And yet here you are; leading a line of men wielding swords and cannons aplenty to kill the very thing the world should be.

“Onward,” you shouted as you and your man marched down the stone roads of Aldis, “Fight, my people - fight for Thelphs, fight for your King!”

You pulled the sword sheathed in your belt and pointed towards the land before you. Soon, an uproar formed from the men behind you as you all marched towards the lines of houses.

You begged your humanity to hide as you wielded the weapon in your hand and slashed through hundreds of innocent people.

You begged your ears to close just for a few hours so that the screams of children could not enter as you pillaged their homes, reaping all their goods.

You felt the ground shake below you, trying its best to stop you from killing any more living things, yet you couldn’t.

A haze formed in front of your eyes, hiding all of your caring sides. You could only feel bloodlust - the need to slaughter and to feel the blood of others on you.

It was no use. Your feet, despite being on a moving floor, were still holding on to the ground, The grip you hand on your sword didn’t loosen and tightened.

If you were meant to be a machine designed to kill, you needed to carry out your job properly to ensure you aren’t thrown away.

The fairies soon came to attack you and your men, but you couldn’t kill it.

It was the first time you saw one that had magical abilities. The beauty it held entranced you.

Their wings were translucent. The light that hit it would change colour thanks to the dust that left its wings, forming somewhat of a halo around them. Their hair reached the very bottom of their legs. It swished back and forth as they flew towards you.

A pang was felt in your heart when you remembered your father’s words.

He said the fairies were ones who never cared about humans and instead mooch humans to live.

They were pests that needed to be killed, according to him.

But they are fighting alongside humans right now to protect their homes.

It was clear your father’s words were far from the truth, yet you needed to follow his wants, his needs.

You begged your limbs to move on their own so that you didn’t feel the piles of flesh go through your blade.

But you couldn’t.

You had to stay conscious through all the pain and misery you were giving to those who didn’t even deserve it.

The mixture of both human and fairy blood soaked your inner shirt, forever staining it.

The once grey tiles that covered the floor of Aldis now are forever painted red, and it was thanks to your orders.

You walked through the mountains of bodies, the blood streaming from them staining your shoes.

This was your fault.

This was all your fault.

You looked up to the sky, praying for the rain to fall and wash away your sins, but you could only see the clear, blue sky staring back at you. The clouds moved slowly through the pale blue background midst hiding the Sun’s blinding light away from you.

Semi, your commander soon stood beside you.

“My liege-”

“I killed them - I killed angel-like fairies. I killed humans, I made the ground shake - literally - and I killed the first-ever fairy I have seen. How did my father do this and still walk around Thelphs with no regrets?”

“Y/N...” Semi said, trying to console you.

But you could only laugh.

This.

This is what it means to be human- to kill those who don’t deserve to be killed.

“I can’t handle this anymore, Semi. I want to end this - all of this - so badly, yet I can’t even fight my own father.”

You turned your face to look at your childhood friend.

He too felt the same way you did - his eyes said everything.

Behind the coffee-coloured eyes hid guilt, sorrow and pain.

His face filled with the dust and smoke from the bombs that your men slung to this land. Yet, some streaks were starting from his eyes to the ends of his chin that were clean. Blood dripped from the top of his forehead down to his lips, leaving half of his face coloured in crimson.

Your thoughts rang clearly after looking at the man before you.

It was no longer about wanting to end it, you had to.

You placed your hand on his shoulder, “I will end this, Semi - this unneeded suffering and killings - I’ll end it all.”

He gave a teary smile to you. “Please, Y/N. I don’t think I can do this until I die.”

You pulled a handkerchief you kept in your pocket and proceeded to wipe the blood off his face.

“I can’t, too. This guilt,” you shook slightly, tears threatening to fall, “This guilt is too much to bear.”

He raised his hand and wiped off the tears.

“My liege, you need to be strong. We’re going to face the people we’ve committed countless sins against. Impersonate the devil - be the evil person you aren’t to protect the name of Thelphs.”

He took the blood-soaked handkerchief from your hand and threw it to the floor, “After all, what but devils would do what we did?”

Your heart broke at the words muttered by the man before you.

He was the furthest thing from a devil.

He was the man who comforted you when you were crying.

He was the man who took your pain and gave you nothing but light and joy.

Yet he stood in front of you - covered in blood both his and others with a strong resolve.

You stared at him, anger flaring in your orbs.

“You are the furthest thing from a devil, Semi Eita. But, we are controlled by one. Innocent ones like you should have never fallen into his tricks.”

He was taken aback by what you said. Tears soon fell from his eyes, sobs that he hid from you all these years came flowing like an endless howl.

He placed his head against the corner of your neck. Your shirt slowly began taking in his tears as they trickled down your neck.

You wrapped your arms around his figure. It was your time to comfort him.

Once he stopped crying, he wiped his tears and gripped your shoulders. “We need to go to the riverbank now.”

You nodded and let Semi lead you to the body of water.

You saw how the people tried to protect themselves from your men. They formed a circle with the younger ones in the middle. The ones on the circumference of the circle gripped on their small blades as they threatened your armoured soldiers.

They cared for each other.

The strong wanted to protect the weak; they were willing to sacrifice their lives so that the legacy of Aldis lived on through the young.

“Bring out the carriages,” you told your men. They immediately nodded and proceeded to follow the orders issued.

You turned to the people you’ve captured. A smile managed to reach your lips as they looked at your figure with fear.

“I do not wish any harm on you. We’re just going to make all of you line up and bring you to Thelphs - that is it,” you finished.

Most of them nodded in fear, yet there was one who refused to listen.

His hands had burned aplenty, instantly telling you that he was an ironsmith. He wasn’t rich - the clothes he wore were tattered, many of the holes were formed through his hours in iron crafting, presumably. Yet, you didn’t doubt his skill in fighting. The way he held the sword spoke more than words. The way his fingers comfortably wrapped around the leather handle made you feel some sort of pride within.

He was a person of valour and determination.

In almost seconds, he lunged in your direction.

You didn’t want to take out your sword. It felt like the man needed to hurt you in some way to make himself feel relaxed.

You gripped on the handle of your sword but didn’t have the heart to pull it out of your sheath.

You closed your eyes, waiting for the small tip of the blade to pierce through your skin. You wanted to feel your skin tear from the man’s undying resolve.

But it never came.

Instead, you heard the clashing of metal against metal.

Semi had rushed to protect you using his shield.

He stared at you, anger visible in his eyes.

“You made me a promise, Y/N. Don’t you dare take the easy way out.”

You could only smile and nod at the ash grey-haired male in front of you.

You teared your gaze from Semi to the man before you.

The disappointment and vengeance in him began to grow. The flame he once held within grew into a blazing fire.

“Why? Why attack us?” he began.

“We did nothing to you. We protected ourselves and helped others who needed us. We never bothered Thelphs - not even once, so why?”

You couldn’t reply - your morals would’ve gotten the best of you.

“Chain them all to each other - take all their weapons or anything sharp. We’re going back to Thelphs as winners, we don’t need the scars to prove it.”

You heard the roars of the men who stood before you. In their eyes, they believed all they’ve done is for the betterment of the world you all lived in.

But you knew what hid behind the tapestry that was woven by your father - destruction.

You bit your lip, not wanting to ruin the cheerful moment your men were having - all you could do was stare at Semi and let your eyes speak of all the pain you were feeling.

From afar, you heard a howl that woke up your numb senses.

Werewolves.

Joy graced the victims of your purge.

Their saviours came, ready to vanquish you and your men.

“They said the future leader of Thelphs was one ruthless and evil miscreant, yet they seem awfully sad for someone who led their troops to glory,” a werewolf said as he emerged from the bush beside you, “They do have a heart, after all.”

You stopped the minute you saw the male that now stood before you.

His red hair framed his sharp-jawed face. His obsidian eyes stared you down, a passion forming within the two of you. His olive skin gleamed under the soft light of the Sun. As he moved, you saw the scars painted on his skin - slashes made by swords and vicious beasts shifted in variations of his peach skin.

The ends of his lips raised as his eyes raised up and down, taking you in slowly.

“Mine.”

He rushed to you, his hand finding its place around your throat. He gripped softly, but strong enough to keep your soldiers on alert.

“Stand back!” you said, urging them to move back.

“Oh? - So my mate actually does care for me, don’t they?” He said, his mouth reaching the base of your neck, “How sweet of you, my love.”

Mate?

“State your business here, werewolf.”

“Well, in the beginning, it was to help the people you’ve captured,” his hand travelled to your waist, pulling you in, “But I think my prey has changed.”

You tried to pry yourself off of him, but you knew, deep inside, you wanted to pull him closer. You wanted to throw the troubles you had, all the roles you were born to play, to cast away the men who viciously fought under your order - all of that, just for a male you have just gazed upon.

The pull, the connection - it was instant. It was present, unrivalled.

Its wants and needs rang so clearly in your head.

But you had a promise to Semi - to the country you loved.

“Let go of me, wolf.”

“You don’t mean that love,” he said as he placed his head in the crook of your neck, “You want me just as much as I want you.”

He placed his hand on your cheek and you instinctively melted into the soft touch of his.

“Look at that,” he whispered, “You have already felt it, too - you know you can’t look back.”

“I can’t just give it up,” you tear.

“Then change it. I’ll stand behind you - change your homeland to what it was; a beacon of hope and freedom,” he smiled as your eyes softened, “This connection has to be proof that you were meant to be the change Thelphs needs, Y/N.”

You stare at his black eyes - more specifically the brown flecks that danced within them. They sang of nothing but determination and want - he wanted you, but he knew you had a want to change your homeland. He knew it all - just by a few minutes of just glancing at you.

He kissed your cheek, warmth spreading by that small action.

Your thoughts ran clear, the blinds holding back your judgement drawn.

“No.”

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kakiwrites · 4 years

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taking refuge with the pirates

Genre: fluff

A Hanta Sero x reader

Synopsis: A time where elves, fairies, dragons, and other wonderful creatures live in harmony, how would you choose to live? On a pirate ship? Making potions? Who do you stumble upon along the journey? A soldier, a poet, a king? Well, that’s for you to decide.

(masterlist is under navigation!)

a/n: writing this out of pure procrastination because our teacher gives us group works every single week to perform with no breaks. Thanks anon for the request! I really enjoyed all the sero requests because I didn't do him often. So finally, I can experiment and actually try to see if I could do his character or not! Hope you guys enjoy it! Requests are open so please don't be shy to leave anything in my inbox! Let's get started!

Finally, someone found you.

Well, you found them.

You were one of the maids sailing with the princesses and princes for a party when a hot-headed prince pushed you overboard because you didn't get your dish was. Ridiculous and cruel as It seemed, it still happened. You were luckily close to an old deserted island where you stayed for the next couple of days surviving off of rainwater and fruits bare from the trees.

You were trying to spot small ships that might find your way when you hear yelling from the eastern side of the island. What was that? You went all around already to find no one inhabiting it. So why are there voices now? Were you just hallucinating?

You hid behind the bushes as you saw a man with jet-black hair, tied behind in a messy ponytail and a girl with pink skin. Their outfits yelled out 'pirate' with bandanas and ruffed up tunics, pants and skirts, swords sheathed to their side.

They seemed to be collecting some fruit from the trees and placing them in empty barrels to take back to their main ship which was rocking back and forth steadily.

These weren't the kind of people that would take you in.

You were about to turn away and look for another way out when you accidentally trip and made yourself known to the two pirates.

They immediately paraded towards you, swords in hand. "state your name, spy." the raven-haired boy said with a scowl. Even though he seemed angry, he was feeling happy. Happy because he finally captured one of the coast guard spies and can finally repay his captain, Bakugo, with a little bit of fun, getting information out of the poor little girl.

Poor… little… girl. He felt a void in his stomach. he couldn't decipher what it meant, But even then, he didn't waver, pointing his sharpened sword to your neck. You can feel the sharpness and you knew that if you say the wrong thing or try to make a run for it, you'll get slashed down without much of a fight.

"I'm not a spy." you tried to convince them desperately, making the boy raised his eyebrow in question. The pink-skinned girl spoke up next, a smirk filled with anger and smugness on her face.

"then what are you? Who are you?" she said, pressing her sword on your collarbone. You gulped and raised your hands.

"I'm (y/n). I've been stuck on this island for a while." you laughed nervously. The boy, still skeptical, pulls his sword away and sheaths it back up. The pink girl doing the same.

"come on mina, we don't have time for this. Captain Bakubro's gonna kill us," he said with a dark chuckle before walking back to the boat to load the barrels into them. Mina giggled, she was about to leave when she looked back at you pitifully. She lends her hand out to help you stand. You take it gratefully.

"mina, what are you doing?" he asked, looking over the bush to see the girl chatting away with you and making you laugh.

"sero, can we take her with us?" she pleaded, pushing you forward, well, too forward as you stumbled and fell, just in time for the boy to catch you in his arms. You felt your cheeks burn hot as you looked away. Sero cleared his throat before standing you upright then looking back at mina who was giggling to herself. He didn't even realize until he gazed down that he was still holding you by the shoulders.

"y-you okay?" he asked you, trying to keep his voice from cracking and embarrassing himself. You smiled at him, your smile was really infectious, making sero smile at you too.

"perfectly okay," you said. Just then, mina rushed over and immediately helped you into the boat without any further questions. Sero tried to regain his composure before hopping in and rowing the boat away from the shore and next to the bowl of the ship.

The other crewmates lower the rope and start helping their two members by carrying the barrels onto the poop deck. "denki, Eiji! A little help here!" mina yelled out as she ushered you up the ladder right after sero. The boys, denki, and eijiro, stared at you as you stepped onto the deck. Everyone stopped and stared. Your gaze fell to the ground. They were gonna kick you out just as you thought you were finally going to get out of that place.

Sero stood in front of you, obscuring their view of you. He stuck out his pinky from behind his back for you to take for comfort and you do so. Sero was as pink as mina as everyone started laughing to themselves.

The laughing garnered the attention of someone in the captain's quarters. The man burst open the door, the murmurs and laughs fell silent as the blonde swept over the room only to spot you sandwiched between sero and mina, who just got on board.

"sero. Who is that?" the man, who you assumed was the captain, said. Sero gulped before looking at the blonde eye to eye.

"We found her stranded on the island, captain Bakugo. I wouldn't just leave a fair lady all alone." he said in the best confident tone he could muster.

the captain, bakugo as sero called him, rubbed the bridge of his nose. "and who is going to take care of her? Teach her the basics and pick up her slack huh?" he said. Mina was about to speak up when sero looked back at her and shook his head, clearing his throat to get the captain's attention once more.

"I'll take full responsibility for her captain." he simply said. Luckily, captain bakugo didn't seem to be a stubborn person when It came to new people. He just grumbled before looking back at all three of you.

"Okay then, you better not be bullshitting me hanta. You're going to watch her every move got it?" the captain said. All eyes were on sero once more. He adjusted pulls his pinky away which made you sad but not before his hand finds yours and he squeezes to keep your spirits up. He looked back at you. He had a smile that could make anyone swoon over. His eyes glistened and shone with some kind of passion you can't put your finger on. He was looking at you with so much… trust and hope. Even though you couldn't tell what he was thinking, mina could read him like a book.

Sero felt love at first sight.

"I would gladly take care of her sir."

ITS SO SHORT schoolwork popped up and I was suddenly brought out of the mood. Sorry if it looks rushed or bad because I think it is. I kinda also changed it up a little, so hopefully that's okay with you guys 😊Requests are open by the way so please don't be shy to leave anything In my inbox! Love you guys ♥️💖💕

General taglist (don’t be shy to comment your tumblr @ below): @tokyoghoose @macaronnv @kuro0luvr @reogou @lnarizakis @himichii @midnightangelfox

series taglist (don’t be shy to comment your tumblr @ below!): @astrxrism @kurookinnie @isentsworld

#bnha x reader #mha x reader #sero x reader #sero hanta x reader #soldier poet king

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rallamajoop · 4 years

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The Witcher: The Games vs The Books

Coming to the fandom this late, I can only assume the relationship between the Witcher games and the original novels has been long since talked to death by others. But I'm far too fascinated by the whole glorious mess that is this canon not to want to get down some of my own thoughts about how it all fits together.

See, on the one hand, the games (Witcher 3 especially) are arguably only too dependent on the novels to stand alone. They do a wonderful job of picking up a number of unresolved plot points the books left hanging, and a woeful job of explaining so much a player coming in cold would really like to know – Ciri's history with Geralt, Yennefer, her powers and the Wild Hunt itself just to begin with. This is an issue that only increases as the games go along: cliche as Geralt's amnesia may be, it's used to good effect to introduce the world to the player in the first game. By the third, Geralt has all his old memories back and two extra games worth of new experience, and good lord is it all alienating to the newcomer.

On the other hand, so much about the games (again, the third especially) contradicts the novels in painfully irreconcilable ways. That wouldn't necessarily bother me – adaptations are allowed to rework and reinvent, stories can and should evolve in the retelling – except, well, see point one above. So you're bound to come out of the games with a lot of unanswered questions if you haven't read the books, and just as many if you have.

Spoilers to follow, of course, for both the books and the games.

Here's one of the big ones: just how did the world – Ciri included – discover that one of her long-presumed-dead parents was actually alive and well and now ruling the entire empire of Nilfgaard? Fucked if I know. Neither the games or the novels have any explanation. In the novels, in fact, the world at large believes Ciri is married to the emperor of Nilfgaard. Naturally, this 'Cirilla' is a fake, but the scandal were the full truth ever revealed would redefine Emhyr's reign. Yet somehow, in the games, everyone seems to know he's Ciri's father, and that whole awkward incest angle is never mentioned. Continuity has been tweaked pretty significantly, and it's left to the player to guess how. If that wasn’t bad enough, the games apparently still included a Gwent card of the fake!Cirilla (artwork above) just to ensure maximum confusion.

Before I get too sidetracked with all that stuff that doesn’t add up though, there really is a lot to be said for what does work about how the games expand on the plot of the novels. The Wild Hunt itself is the big one. The spectral cavalcade appears several times through the novels and hunts Ciri across multiple worlds in the final book before apparently losing her trail and vanishing to make way for the 'real' big bad, never to be mentioned again. While TW3 left me pretty underwhelmed by the revelation that the spectral Wild Hunt were just a bunch of dark elves in skull armor, the books had introduced the Hunt and let us spend some time on the dark elves' world before we get the reveal that the two may be one and the same. So for all the ranting I could do about missed opportunities regarding the Wild Hunt, they're the natural candidate for the games to pick up on as their new big-bads.

To my surprise, Geralt and Yennefer's "deaths" and subsequent recovery in pseudo-Avalon also comes straight from the novels. That everyone thinks Geralt dead at the start of the first game isn't, as I'd first assumed, a convenient excuse to have him reappear with amnesia, but simply how the novels end. Why Ciri leaves them and goes world-hopping isn't clear, but "because the Wild Hunt was after her again" is as good a theory as any. So, another point to the games there.

And there's so much more. The Catriona plague has only just appeared at the end of the novels, but we know it's posed for a major outbreak – one that’s in progress by the time of the games. The second game in particular does a terrific job of taking the ambitions of the expansionist Nilfgaardian Empire and the still-relatively-new Lodge of Sorceresses and building an entirely new conflict around them – even taking two of the least developed members of the Lodge (Sabrina Glevissig and Síle de Tansarville) and expanding them into major players. Dijkstra similarly ends the novels on the run from those in power, and having already taken the same assumed name 'Sigi Reuven' he's using in the games – while the books assure us that prince Radovid will grow up to pay back his father's assassins (ie. Phillipa) and become Radovid the Stern.

The twisted fairy tale origins of the novels are something the games actually seem to have gotten better at as they went on: the 'trail of treats' to the Crones is the great example, the monster-frog-prince and the land-of-a-thousand-fables of the expansions are two more, and many more are hidden in sidequests. And I'd be remiss not to mention that in again asking Geralt to pick a side in the conflict with the Scoia'tael, the first two games not only recreate a scenario Geralt repeatedly deals with in the books, but a major theme. It's interesting too how much the broad structure of the third game feels like an homage to the books, with Geralt searching for Ciri, interspersed with sections from her POV. You can nitpick the detail of any of these examples, but the intent is unmistakable, and a lot of credit is due for it in the execution too.

Some of the detail that's gone into translating the world of the Witcher books into the games is just insane – not just in the geography and history of the place, but right down to the names of the wine you can pick up. There's the fact the Cat potion makes Geralt see in black-and-white, or the fact the basilisk and cockatrice monsters are clearly based on the same model, but the basilisk is reptilian where as the cockatrice is more avian – which is exactly how Geralt describes the difference between them in The Lady of the Lake. There's a point where Book!Regis recounts a detailed list of all the lesser vampiric species, ending with the only two violent enough to tear apart their victims: almost all can be encountered in the games, and the last two (Fleders and Ekimma) are indeed the most animalistic. This kind of thing is everywhere.

My favourite examples tend to be those that blend into the background if you haven't read the books, but will get a grin from those who have, such as a peasant in Velen who will call out to Geralt (paraphrased from memory, alas) "Sir, sir! We be up to our ears in mamunes, imps, kobolds, hags, flying drakes... oh, and bats!" – which is a lovely little reference to a couple of conversations from Edge of the World wherein Geralt explains that most of the monsters the locals want him to take care of don't actually exist. Or all those soldiers chanting "Long live King Radovid!" – natural enough, but it takes on a whole new life if you've read the passage in Lady of the Lake where the young prince Radovid grumbles internally about having to sit and listen to the city chanting 'long live...' to every other notable figure present except him.

Really, it would be faster to list the things the games introduced that don't come from the original source material in any obvious form, because it's a struggle to come up with very many. The villainous Crones of Crookback Bog and Master Mirror of the Hearts of Stone expansion are the biggest ones that come to mind, along with a great deal of the vampire mythology from Blood and Wine. To the witchers themselves, they’ve added mostly game mechanics: the use of bombs and blade oils, the names of most of the potions, and three new witcher schools (all with their own specialised gear). There are a number of new creatures and monsters – Godlings, noon-and-night-wraiths, botchlings, shaelmaars and so on – and though trolls are mentioned in the books, the games take credit for giving them so much character. Obviously, there are new characters, like Thaller and Roche – but not technically Iorveth, because a Scoia'tael commander of that name is mentioned in the books, if only in passing. And already, short of just listing off every new character the games introduced, I’m running out of ideas. Credit where credit’s due on that front: most of the new characters and locations they’ve created feel authentic enough that Kalkstein or Thaller would be right at home in the novels’ world.

But for all their dedication to the detail, it's hard to feel like the games have really managed to capture the spirit of the books in their storytelling: the mundanely corrupt bureaucracy that does so much to bring the world to life, or their cheerfully cynical sense of humour, or the flamboyant wonder that is book!Dandelion, or their enthusiasm for putting women in positions of power, or the bigger themes about the differences between the story that gets sung by the bards and what really happened – or so much else from the novels that came as such a surprise to me when I started getting really sucked in.

And if we’re going to talk about all the little things they got right, it’s only fair to point out there are just as many little things they got wrong, and sometimes pretty glaringly at that. "I thought you bowed to no-one" says Emhyr to Geralt – almost as if book!Geralt doesn’t happily bow in most every situation where it would be polite or diplomatic to do so. "This would never have happened if the council was still around!" says Geralt upon finding a sorcerer's lab full of human experiments – as if none of his experiences with Vilgefortz or the wizards of Rissberg ever happened, back when the council was very much still around. In TW2, he mocks the idea of a woman like Saskia leading a rebellion – almost as if women like Falka and Aelirenn haven't led some of the most storied rebellions in history (and we can't even blame the amnesia, because Geralt himself mentions Aelirenn later – oh yeah, this one annoyed me particularly).

Book!verse 'Lady of the Lake' is basically just Ciri being surprised while bathing

Yennefer's studious aethiesm and willingness to desecrate Freya's temple is entirely in character – but only if we forget that she had her own personal religious experience with the goddess Freya herself in Tower of the Swallow. And then there’s the fact the Lady of the Lake is now a literal lake nymph who distributes swords to the worthy, as if no-one writing for the games ever got past the title of that particular Witcher novel (let alone got the joke). And the list goes on. It's easy to get overly caught up in contradictions like this – it's hardly as if Sapkowski's novels don't contradict themselves in places, as almost any long-running series eventually will – but it's going to stick out to those who’ve read the novels nonetheless.

While we're talking about how the games pick up where the books left off though, the big contradiction that has to be touched on comes in bringing Geralt back at all, at least in any public capacity. There's plenty to suggest that Geralt survives the novels' end and even goes on to have further adventures, but it's also pretty explicit that the history books record his death in the Pogrom of Rivia as final. The last two novels by order of publication (Season of Storms and Lady of the Lake) go so far as to feature characters far in the future with an interest in Geralt's legacy, and they discuss the matter in some depth. As far as the world knows, Geralt is dead.

Book!Geralt fanart by Diana Novich

But it's hard to blame the games for ignoring this – true, thanks to Geralt's longevity, they could have set their conflict many more years after those future scenes – maybe even used Ciri's established time-travel powers to let you pop quietly in and out of the past (and, okay, now I've thought through all that, I'm kind of sad they didn't). But there comes a point where that kind of slavish devotion to preserving the source material really doesn't do a story any favours, and I'm not sure I could name any other successful adaptation that's bothered.

Besides bringing Geralt back at all, most of the bigger changes pertain to Ciri. In fact, as much as I'm about to get deep into the nitpicks below, you can make a surprisingly good case that the games have made only one really big change, and that's in simplifying the prophesies surrounding her. See, in the novels, all those world-saving prophesies aren't technically about Ciri, they're about her as-yet-unborn child. Who gets to impregnate her is the big driving force behind most of the villains of the books – one that all the main contenders seem to see as more of an awkward necessity rather than the inspiration for violent lust, but even so. To Emhyr, having to marry his own daughter is a bug, not a feature – but he's willing to do it to become the father of the savior of the world. But if Ciri is capable of fulfilling those prophesies herself, then Emhyr is already the father of the savoir of the world, and the revisions to his relationship with Ciri start to make a lot more sense.

Ciri's history with the Aen Elle elves seems to have been similarly revised – if not quite so cleanly. Avallac’h and Eredin are, naturally, both book characters – in fact, a lot of personality has been left behind in the books, since Avallac’h originally had a rather camp flair, and Eredin is less the power-hungry kingslayer you might imagine. When Geralt meets Avallac’h in the books – which happens briefly in Toussaint, for one of those "everything you're doing is going to make everything worse because prophesy" conversations – he's busy decorating a cave with fake prehistoric paintings in the hope of confusing future explorers. (Surprisingly, there does seem to be official art of this moment on one of the gwent cards – see above – though the Avallac’h who jokes about adding erect phalluses to the picture and admits his vanity won’t allow him to resist signing it hasn’t entirely survived the transition to the new medium).

We also meet the former Alder King, Auberon, whose death we see in flashback in the game. (Fun fact: Auberon is actually blowing bubbles through a straw in a bowl of soapy water when we first meet him in the books, hence the straw in the illustration below. The books just have more whimsy than any of the games would know what to do with.)

Ciri spends some time in the final book as a prisoner on the world of the elves, who are as keen as everyone else for their king to father her unborn child. Avallac’h eventually convinces her that this is all for the greater good: her child will be able to open gates to allow the people of her world to escape when the apocalyptic White Frost arrives. But their king, like most older elves, is impotent, leading to multiple nights where Ciri allows him to take her to bed (in some of the frankly more disturbing scenes of the series) to no result. Eredin, moreover, doesn't appear to have intended to poison the king: the vial that kills him was supposed to contain some sort of fantasy viagra, and even Eredin seems genuinely shocked to learn its actual effects.

Regardless, Ciri eventually discovers that Avallac’h and the Aen Elle have deceived her, and intend to user her child's powers to invade her world, not save it. Neither world is threatened by the White Frost for at least several millennia, it's just a pretext to make her cooperate. And so she flees, and Eredin (already leading his Red Riders aka The Wild Hunt long before he was crowned king) pursues her.

With the books as context, why Ciri would ever trust Avallac’h is very hard to understand. It's a little easier if that whole awful episode with her and the former king is subtracted out – Ciri's child is no longer necessary for Eredin's goals. So it's odd that the game still references the deadly vial Eredin gave to the king. Are we to suppose the vial genuinely contained poison in this version of continuity? I'd rather it didn't – Avallach's ruse is far more interesting if he underwhelms Eredin's support by revealing a half-truth – but the games aren't telling us.

And then we have to factor in that one last detail I'd forgotten when I originally started playing with this theory: TW3 does contain one last, dangling reference to the time the old king spent trying to impregnate Ciri, when Ge'els very reasonably asks why on earth Ciri would ever trust Avallac’h now. It's a damn good question, and the game offers no real answers. So in Avallac’h, we're left with a character who is vital to the final chapters of the games, who comes out of nowhere without the books as context, but whose role makes no sense with that backstory in mind. Frankly, the writers would have been much better off avoiding the whole mess altogether and inventing some new character to take Avallac’h's place.

The treatment of the White Frost is even more confusing. The books are ultimately fairly explicit about just what the White Frost is: a ice age, most likely caused by the same mundane climactic factors that produced the real ice ages of our history. The only escape is intergalactic emigration, as Ciri (or her children) might some day enable.

In the games, the White Frost has instead become some sort of nebulous, free-floating apocalypse which will eventually reach all worlds, which is basically fine – up to a point. We briefly visit a dead world that the Frost has decimated, and even the Aen Elle are now supposedly planning to invade Ciri's world because it threatens theirs as well (I mean, apparently – their motivations are so underdeveloped you could miss them by accidently skipping just one or two lines of dialogue). When the Wild Hunt appears, it's always in a haze of cold. Their mages can invoke its power still more dramatically through portals which can freeze you in your tracks. So obviously, the Frost has already reached their world, and time is running out, right?

Well, no – you visit their world too (again, briefly – to meet a character who has never been mentioned before and won't be again, for reasons which have also never been mentioned before if you haven't read the books) – and there's no Frost in sight, apocalyptic or otherwise.

So why does the White Frost follow the Hunt around? No idea. It's never explained.

At the very end of the game, a second "Conjunction of the Spheres" occurs (possibly because of the Wild Hunt's appearance?), and the Frost begins to invade (or possibly Avallac’h summons it, so Ciri can go into it and destroy it?) It's all painfully unclear. The game is too busy pulling a bait-and-switch over whether Avallac’h's betrayed you to tell you what's actually going on instead.

But if Ciri could destroy the Frost completely (at great personal risk, but still) why is this not more clearly set up? Why did the Aen Elle think that escaping to another world (which will ALSO eventually be destroyed by the Frost) was a better solution than sending Ciri to face the Frost directly? For which matter, why do the Aen Elle need Ciri at all if sending enough ships to carry an army is no problem? Why does Ciri spend so much of the game questioning Avallac’h's true intentions, if they were ultimately so noble? When did he tell her the truth? If Avallac’h did summon the Frost, why did he pick that particular moment? And if he didn't, and it all just happened spontaneously, we're back to questioning why invading that world ever seemed like a good solution to Eredin – it all collapses in on itself.

None of these questions couldn't have been answered with a little creativity, but then the game would've had to dedicate some real time to explaining its backstory and developing its core conflict – something it's bizarrely reluctant to do. And if you think I may be drifting from the point a bit in the name of getting all my gripes about the ending down in one place, you're not wrong, but I feel Avallac’h and everything surrounding him is pretty much the ur-example of what doesn't work about the way The Witcher 3 depends on the novels: the backstory the writers are building on doesn't actually exist in any format available to the rest of us.

There are plenty of ways TW3 could have incorporated its backstory into its own narrative (yes, even excluding the method "by expecting people to read many many more pages of text from in-game documents", because that's bullshit and always will be). There are times it does this brilliantly, such as in the quest ‘The Last Wish’: everything you really need to know is covered in Yennefer and Geralt's conversation in the boat, and without ever making the dialogue sound unnatural. In fact, TW3 has even more options here than many works with the same problem, because Geralt is famous and people already think they know his story. You could have bards singing Dandelion's ballads, you could have characters confronting him with misunderstandings about his past to force him to correct them. You could also have Geralt visiting people and places he knows Ciri remembers fondly because of the time they spent there together, or include playable flashbacks similar to the time you spend playing as Ciri. You could stick chunks of backstory in optional sidequests or scenes old-school fans can skip through quickly. So many of my questions (how did Ciri get so close to Yennefer if they were never at Kaer Morhen together? Why has no-one tried training Ciri in her powers before? What does the Wild Hunt even do while it's not hunting Ciri? Why is Ciri princess of Cintra if her father is Emperor of another country altogether?) could have been answered so easily.

Seriously, summarising the Witcher books is not that hard. Lots of things happen, but only a fraction of it is really relevant in retrospect, and you could hit all the major plot beats in a handful of paragraphs. (Heck, I’d do it here if this post wasn’t already ridiculously over long.)

But then, TW3 has a bizarre problem with leaving so much of its best material off screen, even from its own story. It's criminal that we never get to see any of Geralt's time (or Yennefer's) with the Wild Hunt, even in flashback or dream sequence. This is material that directly sets up the relationship between the main hero and the main villain, and the most we ever hear about it is a few vague allusions to it being like a strange nightmare. Really? That's it? What was it like? Was Geralt in a trance, unable to control his own actions – was he brainwashed into believing he belonged there, or was he merely unable to escape? What atrocities might Eredin have forced him to commit? Did he visit other worlds? Was he paraded among the Aen Elle as a captive? There is no way this isn’t a part of the story worth talking about!

We never see the moment Ciri rescues Geralt from the Wild Hunt. We never see how Avallac’h convinces her to trust him, we never see the moment he was cursed, or any of her efforts to save him – all these big, story-defining moments are left off-screen, to be vaguely recounted to you later in dialogue. Then there's the entire political situation in Nilfgaard – you hear about it second-hand, and it's all resolved off screen. And the list goes on. Yet you and Ciri still have time to run around Novigrad so she can thank a bunch of throwaway characters you've never even heard of before, nor will again. The priorities on display here are baffling.

The Witcher 3 was such a wildly successful game that it’s obvious these sorts of issues didn’t seriously hold it back, and it’s such a big game that I could have sat down and written just as many words focusing only on the parts that do work without much difficulty. It boasts stunning visuals, addictive gameplay and some truly wonderful characters, and so many parts of the story work brilliantly in isolation that it’s strange to come out of it feeling that it ultimately adds up to so much less than the sum of its parts.

I’m glad TW3 exists – if it hadn’t been such a runaway success I doubt I’d ever have discovered Sapkowski’s universe at all, but for myself, TW3 will probably always be remembered as a somewhat-overlong introduction to the really good stuff, in the expansions and the original novels it came from. I looked up the novels after finishing TW3 in large part because I’d been left with so many unanswered questions – and I’m glad I did, but I’m honestly surprised more people weren’t turned off by TW3′s scattershot approach to its own narrative. You’re allowed to change and rework in moving to a new medium, but I can’t imagine it would’ve hurt games’ success to tell a complete story in the process.

#The Witcher #Witcher Novels #The Wild Hunt #Geralt #Ciri #Emyhr #Avallac'h #Eredin #meta #long post is long

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partywithponies · 4 years

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hi! i've only ever seen the bbc version of father brown and i've never read the books (i know, i'm so sorry), but i'm super curious about the different versions of father brown and you seem like an expert on each adaptation, so i was wondering if you'd be willing to give me a rundown of sorts on each version/series? i know it's a lot to ask and i may be opening the floodgates here, but there's not a ton of info online elsewhere and i'd love to learn more! thanks either way. ciao!

OH BOY YOU’VE COME TO THE RIGHT PLACE ANON

OKAY SO

As briefly as possible:

The books:

Proof people who complain about the BBC show being “too political” don’t actually know the books at all

Father Brown straight up calls capitalism “evil” and “heresy”

Chesterton says that millionaires dying isn’t a tragedy

Inspector Valentin betrayed us and broke my heart, ACAB I guess

Since every police officer he befriends lets him down in some way, Father Brown’s only real friend is Flambeau, who he goes absolutely everywhere with. They only go on holiday with each other. They’ve been all over the world with each other. I love they

Book Father Brown pretty much never does his goddamn job. We literally never in all the books see him giving mass or taking confession. The closest we get is when he gives an impromptu sermon after seemingly coming back from the dead, where he literally only says "You silly, silly people. God bless you all and give you more sense." then runs away to send a telegram. Useless priest. I love him.

Book Flambeau is. Incredible. Amazing. Iconic. None of the adaptations have been able to fully capture book Flambeau’s true energy, for he is a walking contradiction who contains multitudes. If all the onscreen Flambeaus fused into one being, THEN you’d have something vaguely resembling book Flambeau.

Book Flambeau is MASSIVE. He’s at least 6′4, he’s broad shouldered, has huge hands, and his super buff. He can just. Pick people up and throw them. He can knock people unconscious with one punch. He fills doorways when he stands in them. He terrifies most people just by drawing himself up to his full height. He also has a very short temper and a very short patience.

He’s very agile and athletic and can move silently, despite his size. He’s also a master of disguise, somehow. (Explain, Chesterton. Explain. Is everyone in this universe apart from Father Brown, Flambeau, and arguably Valentin massively stupid? Actually don’t answer that I’ve read these books)

Book Flambeau has a habit of flinging people full-bodily down flights of stairs when they anger him or threaten him or Father Brown. Book Flambeau also carries a walking cane with him literally everywhere that has a sword concealed in the handle, plus book Flambeau insists on taking pistols on holiday with him, even when he was just going for a peaceful fishing holiday in the Norfolk Broads. King.

(Which all makes it so iconic that Father Brown, described as tiny and meek and sensitive, saw this man when he was still a hardened criminal on top of all this and said “THIS ONE I LIKE THIS ONE. I JUST THINK HE’S NEAT” and went off on a jolly through London with him.)

Flambeau’s past is extremely mysterious. We no nothing about his family or his childhood or where he’s from or why he turned to crime. We know he used to be a soldier, and a part of him misses it. We know he used to fight duels semi-regularly, and liked them to be fought the very next morning after they were organised. We know he always used to make sure to visit the dentist on time, even when he was a hardened criminal. (King of good teeth.) We know he was in a gang at some point. We know he was a student at some point. We don’t know what he studied, but we know he knew Leonard Quinton in “wild student days in Paris” ( ͡° ͜ʖ ͡°). This is literally all we know about his past before he met Father Brown. The man is a riddle wrapped in an enigma. (That’s why Flambeau is so big. He’s full of secrets)

(Fun fact: in the book universe Flambeau is famous and popular in America, so you could say that in universe Flambeau is America’s Favourite Fighting Frenchman.)

Flambeau also loves cats and children, believes in fairies, likes pointing out rocks that look like dragons, and likes giggling and mucking about on the beach with Father Brown. A baby.

One time Father Brown called Flambeau “full of good and pure thoughts”, but I don’t think that’s quite true, Father. I think Father Brown just has endless faith in Flambeau.

Another thing I think is really neat is that it would’ve been so easy to have Father Brown be the genius and Flambeau his dumb muscle sidekick but that’s not the case at all! They’re both geniuses and they’re both each other’s sidekick, and in fact it’s Flambeau who’s the famous professional private detective, Father Brown is just an amateur. Father Brown is often defined by his connection to Flambeau rather than vice versa, both in the text (the text will frequently refer to them as something along the lines of “Flambeau and his friend the priest”, and on two separate occasions a long list of Flambeau’s possessions is ended with “and a priest”), and in universe (Father Brown himself is massively famous in America in universe largely because of “his long connection to Flambeau). I don’t know I just think it’s neat.

One time a man threatened Father Brown with a gun and Flambeau just beat him unconscious and then Father Brown and Flambeau just drove away and left him unconscious on the path. It was awesome.

(I’m sorry I rambled about Flambeau for so many words I just. Really really like Flambeau you guys. Father Brown and Flambeau are like two separate crime drama character tropes, the hard boiled cynical P.I. and the cosy eccentric amateur detective, but together as a double act, and I just think that’s really cool.)

Father Brown himself is if anything even more mysterious. He’s just “Father J. Brown, formerly of Cobhole in Essex, currently London”, and he’s “Flambeau’s friend”, and that’s all. That’s all he needs to be.

I also really really love Father Brown himself. I love that he’s allowed to be cheerful and optimistic and childish without any of this making him less clever, and in fact he’s shown time and time again to be cleverer than grumpy cynics who are scornful of childish things. Like, the whole giggling childlike thing isn’t even some kind of act, he’s a genius who understands true human nature, and he also really really likes puppet shows and building sandcastles who telling fairy stories, he really does get a “childish pleasure” from seeing Flambeau swing his sword-stick, and he really does have “strong personal interest in tomfoolery”. I love him.

I must share my favourite book quote about Father Brown himself: “But neither of them is very like the real Father Brown, who is not broken at all; but goes stumping with his stout umbrella through life, liking most of the people in it; accepting the world as his companion, but never as his judge.” uwu uwu uwu I’m cry.

Chesterton just subverts all the expectations character wise, the cheerful bumbling priest is a genius, the violent criminal is a true hero, the noble police officer is a corrupt self-serving murderer. It’s great. We stan. 10000000/10

(I’m not very good at being brief, am I?)

Father Brown, Detective (1934):

The first movie! It’s completely ridiculous. I love it a lot.

It was released just at the start of Hays Code, which, among other things, stated that crime and immorality should not be glorified or glamourised, and all crime and immorality must be seen to be punished by the end of the film. In practice in the case of this film, this means two things:

Paul Lukas!Flambeau is the only Flambeau to actually go to prison (and stay there).

He’s by far the Flambeau who deserves it the least. Lukas!Flambeau never hurt a soul. He just wanted to be loved. #FreeMyBoyHercule

Okay but in all seriousness. There’s a reason I call Paul Lukas!Flambeau “Himbo Flambeau”. Where other Flambeaus are violent or dangerous or geniuses, Lukas!Flambeau is just a big dumb idiot who respects women and has a great sense of humour and writes all his letters in the third person like Elmo for some reason. I would die for him.

At one point Flambeau in disguise is talking to the police, and when the police criticise Flambeau, disguised Flambeau says “Oh but I assure! I have read many things about this Flambeau! He is a fearless, handsome fellow!” The absolute idiot. I adore him with my whole heart.

The film is set in London, like the books, but an idealised Hollywood version of London, i.e., almost entirely unlike London.

Walter Connolly!Father Brown is also entirely lacking in braincells. Look at these two idiot men:

I love them.

Oh oh! And the most important thing, the thing that carries over into most other adaptations? NEW ORIGINAL CHARACTERS!!

This movie invents a few characters that weren’t in the books, but the most important ones are Mrs Boggs:

She doesn’t really add much to the plot but she’s funny and I love her so I’ll forgive it.

She’s Father Brown’s housekeeper, she’s basically just the fussing maternal female character archetype who fusses around in the background, but she does it well and plays it with charm so I’ll allow it.

(Honestly this whole film is just. Not *technically* good or original, but just so charming and with so much heart that I unironically adore it.)

She tries to make Father Brown drink his milk because it’s good for him even though he doesn’t like it, and keeps checking back in on him to make sure he’s drunk it, it’s literally like a mother and her small child.

She objects to policemen in the presbytery because of their “big muddy boots on the carpet” but is fine with just letting Flambeau in whenever despite the prevailing rumour in London being that Flambeau killed a man. We stan a queen of having priorities.

When Inspector Valentine summons Father Brown to the station, Mrs Boggs pops up in the background, assumes Father Brown’s being arrested, and says “Oh dear, I knew it!” and it makes me giggle like an idiot every time.

The other, more important original character invented for this movie is my girl Evelyn Fischer:

I love her, I would die for her, she’s flawless.

She’s basically your typical bored and rebellious young aristocrat, but she has a chaotic streak that I adore.

She sneaks out of her family’s mansion to go to a seedy underground club/illegal gambling ring in Soho (I mean I assume it’s Soho, a seedy part of London in that general vicinity, at least. I’m not about to get bogged down trying to understand the geography of London according to Hollywood), flirts with a bunch of strangers for fun, then when the police raid the place and everyone else is panicking she stands stock still, cheerfully says “Oh goody, I shall probably get my name in the papers!” and has to be physically dragged out of the building by Flambeau.

Later on Flambeau breaks into her bedroom in the middle of the night and she’s just very calmly like “What are you doing?”, and even when she finds out it’s Flambeau, a man widely believed to be dangerous and violent, instead of being scared, she calls him an idiot right to his face.

She forms the third part of the main trio of the movie with Father Brown and Flambeau (RIP to Valentine, demoted to tertiary character in a loose adaptation of the one (1) story where he was the main character lol) and together the three of them share a single braincell and have to take turns with it, while Mrs Boggs fusses in the background at the trio’s increasingly bonkers decisions.

The movie ends with Father Brown and Evelyn sharing an emotional farewell with Flambeau through the window of a police car and promising to look after each other until Flambeau’s released, wow poly rights.

The Adventures of Father Brown (1945):

The adaptation there’s the least amount of information about, but I’ve done my best to find everything I can find on it.

An American radio show made towards the end of wartime, it’s a bit of an odd one, and believe me Father Brown adaptations have gone some odd places.

Only two episodes survive, or at least if more do survive then whoever has them is being very selfish and hoarding them to themselves because only two episodes are publicly available anywhere, and the audio quality of those is a bit dodge. (Though that is to be expected, they do appear to be home recordings, from 1945. Honestly we should be grateful to even have two full episodes.)

If the actors I’ve found are the right people, this show featured by far the youngest Father Brown and Flambeau, at the start of the show the actor playing Father Brown was only 36 and the actor playing Flambeau was only 27. They’re BABIES. (Honestly I’d like to see more age variation in Father Brown adaptations, as I have extensively rambled about before, the characters have literally no canon ages in the books, I think people ought to be a little more imaginative instead of always building on the adaptations that came before, even if it is really cool to see traces of all the previous adaptations in each new one that comes along. It’s something I haven’t noticed as much in adaptations of other golden age detective novels, but the Father Brown adaptations do seem to be stuck in some kind of game of “yes, AND” with each other. I would REALLY like to see an adaptation where Flambeau is older than Father Brown though, it's just something we've never had before despite there being literally nothing in the books to suggest this can't be the case, and I just think it'd be neat.)

This show is really really painfully American, in a real old fashioned "golly gee whizz mister" kind of way, to the point it almost feels like a parody, and I honestly find it kind of endearing.

Even Flambeau frequently slips into a very American accent to the point that my affectionate nickname for him is "The All-American Flambeau", and it's great. He's great.

Honestly I could accept the accents and the slang, for some reason the only thing that really threw me was Father Brown referring to money in cents and nickels.

Needless to say, this adaptation is not set in London. It is instead set in Generic Unspecified Smalltown USA. It's fine. This is fine. I already have so many films and shows set in London, I can swallow my London pride and let America have this.

It's hard to get a real grasp on characters from just two episodes, but I like this Father Brown and Flambeau, even if they are a little overly serious, and even if Flambeau doesn't really do much. He may be a bit serious and a bit useless but All-American Flambeau stays up late anxiously waiting for Father Brown to get home safely and it's very sweet. What a good boy.

All-American Flambeau also carries handcuffs around with him for some reason? But no weapons? Why is All-American Flambeau one of the few Flambeaus not to have a gun? Oh well, he's still sweet.

The 1945 radio show also gives us some original characters, but they're very much side characters and not part of the main plot and it's very hard to get a good grasp on a character from just a few minutes of audio from just two episodes but here's what I could gather:

Nora is another fussing housekeeper! She seems younger and less maternal than Mrs Boggs, but I don't know if that's just because the whole cast was on the younger side. (Could the radio station not find anyone over the age of 40? Were they in short supply in 1945 or something? Ah well.) She seems dedicated to helping Father Brown get some peace and quiet that he never goddamn gets because someone always goes and gets themselves murdered. In both surviving episodes a knock at the door disturbs Father Brown’s rest, Nora opens it professionally, sees it's Flambeau, and immediately drops the professionalism and is immediately like "oh it's only you", so I can only assume every episode started this way. I do hope so.

Father Peter is a junior priest who answers to Father Brown and takes over his duties on his days off. He's implied by the dialogue to be considerably younger than Father Brown, Nora, and Flambeau, but if their actors are anything to go by then they're not that old themselves, and though Father Brown seems to talk to Father Peter like he's a literal child, he is still a priest so I very much doubt that's the case. He seems sweet and harmless, but he's only in one of the surviving episodes and only in that towards the end and mentioned briefly at the start, so it's hard to judge completely. It's highly unlikely that the reason he's not even mentioned in the later surviving episode is because he turned out to secretly be an evil murderer, but, this being a Father Brown adaptation, not entirely unfounded. (But no, he's probably just a sweet boy who exists to have exposition delivered to him.)

Father Brown/The Detective (1954):

The Alec Guinness movie! The one haters of any of the other adaptations complain that adaptation isn't more like, but in my humble opinion, actually the worst adaptation.

Like, I don't hate it! The cast is mostly stellar actors and if I just saw it as a movie on its own, it'd probably be fine. But as a Father Brown adaptation watched in context of the books and the other adaptations, it has a few issues imo.

Most glaringly it has Tone Issues. This film cannot decide if it's a comedy or not. The original posters certainly marketed it as one (see above) and half the cast are noted comic actors who were famous at the time for comedy, goddamn SID JAMES is in it, but the entire third act is played painfully straight, half the cast is mugging for the camera and trying way too hard to be funny while the other cast is giving extremely serious and subtle performances, like. I have no problem with a Father Brown adaptation being played for laughs, and I have no problem with a Father Brown adaptation being played for drama, both can work beautifully, but just PICK ONE, PLEASE

All of my other gripes with the film are very petty and nitpicky, this film calls Father Brown and Flambeau "Ignatius Brown" and "Gustav Flambeau" even though Father Brown has the canon first initial "J" and Flambeau has the canon first name "Hercule", and I hate it a lot. "Ignatius and Gustav" is the second worst thing any Father Brown adaptation has ever done to me.

My other petty nitpick with the movie is that it makes Flambeau literal nobility. The man is a duke. In my opinion Flambeau should always either have a completely mysterious past or be a nobody who came from nothing, someone who grew up with land and title and many servants and a family coat of arms, living in a whole entire castle with his family name and coat of arms engraved into the side of it, growing up and stealing from people, is a whole lot less sympathetic in my opinion. Like to be fair his parents are dead which is sad I guess and his castle has seen better days, but dude. You still own a castle. People who live in castles do not get to lecture other people about materialism.

THAT SAID, Peter Finch is still the best thing about the movie. I love all Flambeaus dearly, even the ones that are little bitches. He’s a bit of an emo “oh woe is me” sadboy, but he’s very charming, and actually good at disguises and being undercover, get dunked on Lukas!Flambeau.

Guinness!Brown likes to feed ducks and Flambeau calls him “the angel with the flaming umbrella”, which makes my inner Good Omens fan who loves finding parallels between Aziraphale & Crowley and Father Brown & Flambeau go 👀

There is one really good scene, in the Paris Catacombs. And by “good” I mean “really really bafflingly gay”:

I truly, truly do not understand how this scene was written, directed, acted, filmed, and edited without ANYONE saying “hey lads does this seem a bit gay to you?”

Father Brown, literally lying on top of Flambeau and pinning him to the ground, whispering: “I would like to set you free.” Flambeau, softly, gently smiling while his face is literal inches away from Father Brown, who is still pinning him to the ground: “Ah, now I begin to understand what you are.”

What the fuck, you guys. What the entire fuck. This scene keeps me up at night.

ANYWAY

This film is also not set in London. It is instead mostly set in a rural English village, and partially in Paris and partially in rural France. Paris is fun but I miss London.

This film also has some original characters. I should probably talk about them.

This is Lady Warren:

She’s Father Brown’s friend, and she’s a Lady, and that’s all I can really tell you.

She’s very well-mannered and dignified and sophisticated.

She gives me the vibe that she exists solely because the writers decided they needed a female character but then remembered at the last minute they had no idea how to write women, so as a result she is almost entirely irrelevant to the plot. I don’t want to say I don’t like her, because she’s done nothing wrong and it’s not her fault, but like. Why is she here? Poor thing, she deserved to be plot-relevant, really.

She lives in a big mansion and owns some very nice things, and she gets annoyed when she invites Father Brown to lunch but he just stares blankly into space thinking about Flambeau the whole time. (Mood honestly FB. Me too.)

She flirts a bit with Flambeau in one very pointless scene that came the hell out of nowhere, went nowhere, and was never mentioned again. It was like the writers realised how gay the previous Flambeau scene was and suddenly tried to convince me this man is a hetero. Nice try, writers. You can’t fool me that easily.

The other main original character is Bert:

Alright, own up, whose bright idea was it to put Sid James in a Father Brown movie?

Bert is a smalltime criminal who’s a friend of Father Brown, who Father Brown protects from the police, but tries to convince to get on the straight and narrow by getting him as a job as Lady Warren’s chauffer.

This is would be fine, were it not for the fact he��s played by Sid James, who only knows how to play Sid James, and is just Sid Jamesing it up in every scene. I don’t have anything against Sid James. I like my fair share of Carry On films. But Sid James does not belong in Father Brown and I want to fight whoever decided he did.

Father Brown (1974):

LADS LADS LADS! It’s time for the first TV show, and it’s time for my favourite boys:

Oh! OH! How I love Kenneth More!Brown and Dennis Burgess!Flambeau. They’re just. So cute. My two special boys.

Not only that, but LADS! We’re finally back in London!

A gritty, dirty, London in the 1930s no less, with cool London buses and political unrest and grimy pubs and the constant threat of world war. Alexa this is so cool play London Calling.

In one episode Flambeau gets verbally abused by an anti-immigration right-wing zealot. :( My poor boy. :(

(But it’s okay, shortly after Father Brown witnesses this, the racist shows up dead in exactly the place Father Brown earlier said would be a good place to commit a murder. Now I’m not accusing Father Brown of murder, BUT)

This show made the bold but valid decision to skip Flambeau’s redemption arc and start the show when Flambeau is already a seasoned and respected private detective who’s lived in London and been Father Brown’s closest friend for many years. As a result this Father Brown and Flambeau are ridiculously domestic with each other. Look at this peak Old Married Couple energy:

Oh! I just love them.

I would love to know how Burgess!Flambeau’s redemption went down though, because Burgess!Flambeau is BY FAR the least repentant of all the reformed Flambeaus. He proudly boasts about his crimes, he still believes he “deserved to succeed”, he still proudly talks about how “daring and outrageous” he was, which begs the question of why did he stop at all? Literally the only explanation I can think of is that he’s literally only doing this for Father Brown’s sake, which. uwu

Oh GOD I love Burgess!Flambeau. Obviously I love all Flambeaus a lot, and choosing a favourite feels like choosing a favourite child, but let’s just say: if the Flambeaus WERE my children, Burgess!Flambeau would be quite spoilt. My ~ Daring And Outrageous ~ boy.

More!Brown and Burgess!Flambeau are both really really socially awkward, uncomfortable in crowds, and nervously say “oh dear” a lot. They really are ridiculously cute.

They also only giggle and joke and act silly when they’re together, when they’re apart they’re both sort of sad and quiet and withdrawn. (This makes episodes Flambeau isn’t in a bit harder to watch because Father Brown is just kind of lost and lonely without his emotional support Frenchman, with three notable exceptions: that time Father Brown infodumped about the mating habits of whales at the Father Superior for a solid minute, that time Father Brown met a dog and reacted with unrestrained delight, and that time someone mentioned former criminals in passing and Father Brown’s whole face lit up and he started gushing about how Flambeau was living in London now and doing very well as a private detective, completely unprompted.)

This show also brought back book!Brown and Flambeau’s habit of always going on holiday together! Wonderful! We love to see it!

This show is also the first time in the entire Father Brown franchise where gay people are overtly acknowledged to exist! And Father Brown is non-judgemental! A roman catholic priest written in the 1970s and living in the 1930s who canonically isn’t homophobic! I have no choice but to stan forever!

You remember what I said about liking to point out Good Omens parallels? WELL

Kenneth More!Father Brown and Dennis Burgess!Flambeau both live in London

Burgess!Flambeau lives in a brightly lit, pale walled, airy and spacious, modern (for the time) London apartment, while More!Brown prefers gothic architecture and lives in an old, grey, cramped, stone building absolutely full floor to ceiling with books

They go out for intimate candlelit dinners for two at very fancy London restaurants

Desperate people come to Flambeau because he “knows the game on both sides of the fence”

Father Brown responds with a quiet and miserable “oh dear” when asked to actually do his job instead of just watching plays and drinking wine

Father Brown calls Flambeau “my dear” at times and it personally kills me

I mean. I’m just saying. 👀

Now, isn’t there a third important character in the books?

Oh yes of course:

HIM! THE BASTARD MAN! INSPECTOR VALENTIN HIMSELF!

(Nobody understands him! IT’S NOT! EVIL!)

This show is the literally only adaptation to include the Valentin betrayal and I’m not gonna lie. It’s a very difficult episode to sit through, it’s far darker and grimmer and more depressing than you would ever expect from Father Brown, but my god it’s done so well. Especially considering the teeny tiny budget they clearly had, only four sets are used the entire episode and the whole thing takes place inside Valentin’s house, but even that adds a certain claustrophobic atmosphere and just. It’s done so well.

I think the entire budget went on gore effects because the decapitated heads in this episode are disturbingly realistic for the time the show was made and genuinely grim to look at. Not to mention the intense downer ending. Not to mention this was THE FINAL EPISODE OF THE SHOW

THE INTENSE DOWNER ENDING OF THIS EPISODE IS HOW THE WHOLE SHOW ENDED

God it hurts so much but I lowkey love it.

Father Brown Stories (1984):

The second radio series, and the first BBC adaptation!

Thrilling times for fans of actors being the right nationality for their characters, because after previously being played by a Hungarian, an American, an Englishman, and a Welshman, Flambeau is finally being played by a Frenchman, Olivier Pierre!

Father Brown himself is played by Andrew Sachs, Manuel himself.

Not gonna lie. It’s kind of hard to figure out how to explain the radio show.

We’re? Maybe back in London? Honestly it’s really unclear.

Pierre!Flambeau is kind of adorable. He’s described as looking like book!Flambeau physically, huge and buff and terrifying, but he has literally none of the temper or predisposition to violence.

Pierre!Flambeau doesn’t speak very good English at all, and oftentimes will react with “...What?” when he hears a strange English idiom or turn of phrase.

One time he says “Perhaps we should.. push on? SEE HOW I AM MASTERING YOUR ENGLISH IDIOMS” and it’s the cutest thing that’s ever happened.

To try and get better at understanding both the English language and the English people, Flambeau starts obsessively reading Alice in Wonderland and Through The Looking Glass, massive giant adorable boy.

One time Father Brown gets complimented of being academically minded and well read, and then asked if Flambeau is also a keen reader, and when Flambeau tries to say no, Father Brown interrupts and proudly and earnestly says “Oh yes! Monsieur Flambeau is one of our top Lewis Carroll scholars!”, it’s honestly adorable.

This adaptation finally uses “John” as Father Brown’s first name, as it should always have been! I love it!

This series said FUCK Father Brown having a mysterious past and no former friends or relatives! Now he has siblings, and friends who knew him before he was a priest who still call him “John”!

Father Brown himself speaks in a very sweet and soft and wavering way that makes my heart melt.

Sadly and unfortunately, I have to acknowledge the final episode of the show, which is the top worst thing any Father Brown adaptation has ever done to me.

It’s. It’s a crossover. With Sherlock Holmes. Actual goddamn Sherlock Holmes is in it. I hate it. I hate it so much. “Elementary, my dear Flambeau” shut the hell up, if this Flambeau won’t fling you down a flight of stairs then I will.

I deliberately avoided all Holmes-related media for THREE YEARS only for the awful man to spring up on me in Father Brown?? How could you do this to me???

I’m going to yeet myself into the sun, bye everyone.

(On the plus side, the Sherlock Holmes episode does have one of Father Brown’s parishioners recognise Flambeau as “a close friend of Father Brown and a frequent visitor to his room” ( ͡° ͜ʖ ͡°), so that’s nice I suppose. I’ll still never forgive the writers of this show for putting me through this.)

Father Brown (2013):

YOU ARE HERE.

I kind of see the current TV series as a culmination of all the adaptations that’ve come before? I can definitely see echoes of all of them in it.

And it’s great! I really really love it. I love it a lot.

I think about it daily.

My one and only complaint I would have is that Flambeau isn’t in it enough. Not just because he’s my favourite, though I’d obviously not be fooling anyone who’s read all this if I said he isn’t.

And it’s not that I don’t love the show as it is, and find the one Flambeau episode a series always something really special, so I don’t know what I’d have the writers do, exactly.

But it’s just. In literally every other version of Father Brown, Flambeau is the second most important character and the second main protagonist, and to have him in this show so little that some fans or reviewers call him a “minor character” and others call him a “recurring villain”, though I myself don’t see him either of those ways of course because he’s still Flambeau, it’s just kinda sad and painful, y’know?

I don’t know. Maybe I’m just being silly.

Hopefully he’s a regular in at least the final season of the show. If I don’t get my favourite partners in crime solving I’m rioting.

Anyway that’s my “””brief””” rundown on all the main versions of Father Brown!! I hope you liked it!!

#Anonymous #father brown #hercule flambeau #flambrown

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biglion2 · 4 years

Text

**SPOILERS FOR AGE OF CALAMITY**

I just had a thought

What if Age of Calamity had a DLC where we actually play in BotW's timeline, and not the aoc timeline. "Eggbert", and Astor are never involved.

It would function like a Master Mode save. It's separate from the main game (but not harder.) Everything goes the same as what happened in BoTW

Battle of Hyrule Field still happens, but Link never meets Zelda, since Terrako doesn't lead him and Impa to her.

Harbinger Ganon doesn't exist, so the only mission that happens is in the desert, versus the Yiga Clan. Link killed a moblin, which definitely put him on the good side of the king, maybe he was ordered to be in the army that was in that battle of the desert, and he kicked ass, showing his strength to the soldiers. The Yiga Clan attacks still happens, but Link plays a lesser role.

Harbinger Ganon doesn't exist, so there is no attack on Korok Forest. A bunch of soldiers went into Korok Forest, knowing that one of them was the knight who sealed the darkness. Link pulled on the sword and released it, showing the courage he needed to pull the sword.

The road home is left unsieged. Harbinger Ganon doesn't exist, although it could something specific for Link to become Zelda's guard.

The towers are never found so the mission of Akkala tower never exists. Destroy the Yiga clan could maybe be replaced with a mission fighting Yiga in the Bazaar while protecting a helpless Zelda, who dies very quickly, so you better protect her.

Harbinger Ganon doesn't exist, no monsters attack Zelda When Courage Failsm. Maybe it could be replaced with the memory of Link killing a bunch of bokoblins and 3 White-Maned Lynels

Calamity Strikes is literally the exact same as in Age of Calamity. Black and Silver enemies everywhere, guardians shooting everyone, and the trio running for the hills. King Rhoam dies this time around since that one thing didn't save him.

The champions are left unplayable until you rescue them. Water and Fire & Air and Lightning never happen or at least, they don't play out the same. The trio are obviously gonna go try to save the champions, but we're given an impossible mission to complete, enter the Divine Beasts. Terrako isn't here, so it's impossible, and the Trio run off.

We're then given control of Urbosa and Revali/Mipha and Daruk. We're fighting the blights, (Urbosa vs Thunderblight, Revali vs Windblight, etc) both, at the same time, with 2 different characters. The catch is they don't lose health, they deal way too much damage, and you don't have food. It's designed to be an unwinnable fight, where you fight as long as you can, or give up and let them kill you. Once one of the champions is dropped to 1/4th of a heart (which you will), a cutscene plays where it shows the champion losing, then cut to black. It leaves you off with the other champion you were playing with (Urbosa/Revali or Mipha/Daruk), and you repeat what just happened. The champions are unplayable until you're done.

Mipha is dead, so Vah Ruta won't do anything to help Akkala Citadel, which means Link and friends can't get into it, which means everyone there dies, and Robbie flees. Maybe we play in that one memory where Link and Zelda are running through a forest, and fight Guardians.

Each Step Like Thunder is endless mode. Impa is off somewhere else, Zelda is following you around the entire game, and Hestu, The Great Fairies, and Monk Maz Koshia aren't unlocked. You can only play as Link. Monsters and Guardians are endless since Vah Naboris didn't take out those enemies. When Outposts are captured by Link. They're immediately taken back. Fort Hateno is constantly under attack by guardians. There are no healing items. It's pure pain, where you either give up, or fight to the end.

Once Link reaches a 1/4th of a heart, a cutscene plays. We know what it is. Zelda activates her power, kills all the enemies in the entire area, and ends the mission. Link is unplayable until you're done.

The Great Plateau is a mission you can only play as Impa. The mission is to get Link into the Shrine of Ressurection. You have to defeat a horde of enemies without letting his body (more accurately, the sheikah carrying him) get majorly damaged

All Hyrule, United is called With Power Awakened. It starts with a cutscene in Korok Forest, then cuts to Hyrule Field. You can only play as Zelda. The mission is to kill all the malice enemies, so that the barrier around Hyrule is broken. Zelda continues onward.

The Future of Hyrule. Only Zelda is playable, Harbinger Ganon doesn't exist, so Astor doesn't have his power, which means no hollows, and the blights are still in the Divine Beasts, so no blight fights. The mission is to get to the Sanctum. Calamity Ganon doesn't have a physical form, so you're fighting his spectre. Once he's half health, a cutscene plays which shows Zelda locking Ganon and herself up.

*FIN*

Easy and Normal mode don't exist. The game is perpetually on Hard mode, with an option of Very Hard. Once you finish the DLC, Link and the champions are brought back to be playable.

Sidon, Yunobo, etc, aren't playable cause time travel isn't here.

Hestu isn't playable because the circumstances are way different.

The Great Fairies aren't playable because they've been left unpaid tributes for a while in botw, and that applies here.

Maz Koshia isn't playable because he's still in the Final Trial. Waiting.

Kohga isn't playable because Astor isn't here, so the Yiga Clan isn't betrayed.

King Rhoam isn't playable because he was playable after the Great Plateau, and he died before the Great Plateau missions, so.

Terrako and Ganon aren't playable for obvious reasons.

It's only Link, Impa, Zelda, and the 4 Champions who are playable (or should be)

Damn I really just wrote an essay. Shame I can't translate this into school.

#age of calamity #legend of zelda #breath of the wild #botw

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firexfate · 4 years

Note

You've been visited by the random OC question fairy! :D ~☆

Does your character ever get violent (with others, objects, themselves) when feeling any certain emotions? If so, have they ever regretted thus? If not, how else do they cope with these emotions?

OHOHOHOHO SPICE — The short answer is yes, yes for both of my original characters, but I think I will write about Felicity Hamilton this time because she is the one that is very passionate about something and can get angry. She is very easily triggered. As for Freya, I’ll have to slide with that one because she is not as complicated as Felicity is. I’ll try to explain Felicity as best as I can, though, and this will show her relationship with others.

Felicity Hamilton was born impoverished, and from a very young age, she had lost a huge chunk of her family members, and the only person that she had in her life was Alexander Hamilton, her elder brother by five years. And no offense, to Alex, he is not the BEST brother. Half of the time, it felt like Felicity was on her own because he just was too busy “rising” and all that stuff. She grew up very quickly, and her past, especially with the things that she experienced in the beginning stages in the Revolution hardened her (i.e, she watched a boy getting beaten by one of the soldiers, she had a cousin committ suicide, etc.). So, really — she didn’t have anyone by her side. She just kind of relied on herself. Part of this is why she is as tough as any man, and why she joined the Revolution, following her brother to camp. Because of her nature, this caused her emotions to become slightly extremist, and her mentality to be *ahem* unstable. Felicity conceals her feelings mostly and keeps a more neutral countenance, but it’s hard. Feelings of rage and sadness push her over the edge sometimes, and she could be triggered by either minor or things in the grand scheme of the word.

That being said, Felicity can get riled up when she is passionate, like her country for example. Girl really went to France and demanded the king for aid, as part of a mission from Washington, carrying a vital piece of document. When she wants something, she doesn’t stop at nothing to get it. Freedom and liberty are important to her, they have a personal place in her heart, just because she had experienced so much pain in the Revolution. She has a personal hatred, a vendetta against the British — it’s a little worse than some of the members of the Culper Spy Ring, so you could say that she is there for some sweet vengeance. Then again, she is very intelligent and cunning in schemes like these and can keep her tongue. The only problem is that she sometimes can’t. One example would be Benedict Arnold — oh, she loathed the man! And she made it very clear to even George Washington, her loathe for him goes with her mistrust. Granted, Felicity trusts no one really, but something about Arnold ticks her off. She isn’t afraid to shame men, even him, in public and takes some joy and pride in it. Felicity can be polite, and she has perfect mannerisms and etiquette, don’t be fooled — but the thing is, she doesn’t like to show it to people that don’t deserve it. The bluntness, she can’t help with, she was raised in a lower class society and some of the things that she can say can come off odd. Both Alexander and her are like that, in a way.

Felicity can get very riled up and passionate about her past, any kind of misogynistic or rude comments, or anything gone wrong involving the Culper Ring. When that happens, she can get violent — Felicity slapped a soldier once for disrespect. She can and will do that, and she wouldn’t be stopped by anyone. Now, Felicity would stay this way, as she had been dealing with her rage and sadness her whole life, but that doesn’t last thanks to Gilbert du Motier, Le Marquis de Lafayette. They have a very interesting story, meeting in Versailles, where Lafayette stepped in as Felicity pled for her country’s behalf and he supported her. Part of the reason was that he believed in the same ideologies as her and the American Cause. The other part constituted him being completely stunned, admiring the bluntness and ways of the young woman. He fallen for her at first sight, when for Felicity, it took her weeks until she was able to reciprocate and trust him. Lafayette had enthusiasm and passion, but he was also an anchor for her and her emotions. Part of that meant that, Felicity learned to keep a level head and not be so impulsive. It was through Lafayette’s gentle heart, she had learned to become more soft-spoken and understanding. One example would be was when she learned about the capture and hanging of John Andre. She felt immense pain and guilt, expressing her sadness at him hanging, acknowledging that he was a good man, fighting for his own ideals. It was a complete change with what her character was before, and it was this understanding that caused Felicity to become wiser in the end of it all. It helped her become more ladylike, which was necessary, as she became Lafayette’s wife after the war. That wasn’t to say that Felicity’s fierce and passionate nature dissipated, it’s just it provided growth to her character.

I hope this was enjoyable for all of you to read, as it was for me to write. Below, here are the face claims of all of my characters that I just spoke about, so you would have a better picture. ❤️

— Felicity Hamilton

— Gilbert du Motier, Le Marquis de Lafayette

— Alexander Hamilton

#turn amc #turn: washington's spies #turn #marquis de lafayette #gilbert du motier #hamilton #alexander hamilton #muse: felicity hamilton #felicity hamilton #here is a rant of my disaster baby #i hope you enjoyed!#ask #ask answered #thanks for the ask!#random oc questions fairy

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strangeandforlornbooks · 4 years

Text

best books with morally ambiguous narrators!

all y’all’s problematic faves and villains! :) also included are third person narrators but in books with morally ambiguous leads/themes

Sci-fi

Scythe by Neal Shusterman: in a future free from pain, disease, and war, people can live forever. ‘scythes’ are given the power to decide who lives and who dies to preserve the balance. sad and kinda gives of hunger games vibes, if you like that.

Neuromancer by William Gibson: basically invented the cyberpunk genre. strange and removed protagonists. (a team of computer hackers have to face off against an evil AI). you kind of dislike everyone and suddenly you’re crying over them. one of those trippy sci-fi classics.

The Sirens of Titan by Kurt Vonnegut: very beautiful and very very sad (same author as slaughterhouse five). the richest man in america has to face a martian invasion. more about free will and bad people doing good things than a plot that makes any kind of sense.

The Man in the High Castle by Philip K Dick: set in an alternate universe where the germans and japanese won world war two. not really like the tv show at all- it’s not an action story, and there’s not really the hope to somehow fix the world that drives a lot of dystopia stories. instead its about how people survive and connect to one another in a hopeless society.

The Scorpion Rules by Erin Bow: a supercomputer convinces the leaders of the world to keep the peace for hundreds of years by taking their children hostage and obliterating any city that disobeys. what happens to the hostage protagonists when war seems inevitable? lots of morally fraught decisions and characters slowly losing their identity. (plus a fun lesbian romance)

Cryptonomicon by Neal Stephenson: a brilliant mathematician and a dedicated marine fight to keep the ultra secret in world war two. fifty years later, a tech company discovers what remains of their story. one of the most memorable sequences in the book is a japanese soldier slowly becoming disillusioned with his nation and horrified by the war even as he continues to fight.

Blade Runner by Philip K. Dick: another one of those sci-fi classics that’s not at all like the movie. there is a bounty hunter for robots, though, as well as a weird religion that probably is referencing catholicism and a decaying society with a shortage of pets. kind of a trip.

Wilder Girls by Rory Power: girls trapped in a boarding school on an isolated island must face a creeping rot that affects the animals and plants on the island as well as their own bodies. the protagonists will do anything to survive and keep each other safe. very tense (and bonus lesbian romance whoo)

The Fifth Season by N K Jemisin: three women are gifted with the ability to control the earth’s energy in a world where those who can do so are forced into hiding or slavery. some veryyyy dark choices here but lots of strong female characters.

Historical Fiction

Fingersmith by Sarah Waters: two victorian lesbians fall in love as they plot to betray each other in horrific ways. lots of plot twists, plucky thieves, gothic settings, and a great romance.

Quo Vadis by Henryk Sienkiwicz: a powerful roman soldier in the time of Nero plots to kidnap a young woman after he falls in love with her, only to learn more about the mysterious christian religion she follows. very melodramatic but some terrific prose.

All the Light We Cannot See by Anthony Doerr: a blind girl in France and a brilliant German boy recruited by the military struggle through the chaos of the second world war. ends with a bang (iykyk.) very sad, reads like poetry.

Boxers by Gene Luen Yang: graphic novel reveals the story of a young boy fighting in the boxer rebellion in early twentieth century china. the sequel, saints, is also excellent. beautifully and sympathetically shows the protagonist’s descent into evil- the reader really understands each step along the way.

Fantasy

Three Dark Crowns by Kendare Blake: three triplets separated at birth, each with their own magical powers, have to fight to the death to gain the throne. lots of fun honestly

Six of Crows and Crooked Kingdom by Leigh Bardugo: everyone in these books is highly problematic but you love them all anyway. a ragtag game of criminals plan a heist on a magical fortress. some terrific tragic back stories, repressed feelings, and revenge schemes.

The Dark Tower series by Stephen King: idk how to describe these frankly but if you can put up with King’s appalling writing of female characters they’re pretty interesting. fantasy epic about saving the world/universe, sort of. cowboys and prophecies and overlapping dimensions and drug addicts galore.

The Amulet of Samarkand by Jonathan Stroud: lots of fun! a twelve year old decides to summon a demon for his cute lil revenge scheme. sarcastic demon narrator. lighthearted until s*** gets real suddenly.

Elegy and Swansong by Vale Aida: fantasy epic with machiavellian lesbians and enemies to lovers to enemies to ??? to lovers. charming and exciting and lovely characters.

The False Prince by Jennifer Nielsen: an orphan boy must compete with a few others for the chance to impersonate a dead prince. really dark but very tense and exciting and good twists.

The Grace of Kings by Ken Liu: fantasy epic. heroes overthrow an evil empire and then struggle as the revolution dissolves into warring factions. interesting world building and three dimensional characters, even if they only have a small part.

Circe by Madeline Miller: the story behind the witch who turns men into pigs in the odyssey. madeline miller really said, i just used my classics degree to write a beautiful gay love story and now im going to write a powerful feminist retelling because i can. queen. an amazing and satisfying book that kills me a lil bit because of the two lines referencing the song of achilles.

Heartless by Marissa Meyer: the tragic backstory for the queen of hearts in alice in wonderland. a little predictable but very fun with a compelling protagonist

A Song of Ice and Fire (Game of Thrones) by George RR Martin: ok I know we all hate GRRM and rightfully so but admittedly these books do have some great characters and great scenes. they deserve better than GRRM though. also he will probably never finish the books anyway....

A Series of Unfortunate Events by Lemony Snicket: not really fantasy but not really anything else either. plucky, intelligent, and kind children fight off evil plots for thirteen books until suddenly you realize the world is not nearly as black and white as you thought.

Classics

Rebecca by Daphne du Maurier: gothic romance!! a new wife is curious about the mysterious death of her predecessor in a creepy old house in the British countryside...good twists and lovely prose.

A Separate Peace by John Knowles: not really morally ambiguous but one awful decision suddenly has awful consequences and certain people are haunted by guilt forever.... really really really beautiful and really really really sad. boys in a boarding school grow up together under the shadow of world war two.

Anna Karenina by Leo Tolstoy: while imperial russia slowly decays a beautiful young woman begins a destructive affair. a long book. very russian. the ending is incredibly tense and well written.

Lord of the Flies by William Golding: I think you know the plot to this one. the prose is better than you remember and the last scene is always exciting.

And Then There Were None by Agatha Christie: one by one, the guests on an island are slowly picked off. one of Christie’s darkest mysteries- no happy ending here! very tense and great twists.

Contemporary

The Secret History by Donna Tartt: inspired the whole dark academia aesthetic. college students get a little too into ancient greece and it does not end very well. lovely prose but I found the characters unlikable.

Honorable Mentions

The Dublin Saga by Edward Rutherford: has literally a billion protagonists, but some of them are morally ambiguous ig? follows a few families stories’ from the 400s ad to irish independence in the 20s. beautifully captures the weight and movement of irish history.

Artemis Fowl by Eoin Colfer: how morally ambiguous can you be if you’re, like, eleven? a lot if you’re a criminal genius who wants to kidnap a fairy for your evil-ish plan apparently!

Redemption by Leon Uris: literally my favorite novel ever. the sequel to Trinity but can stand alone. various irish families struggle through the horrors of world war one. the hero isn’t really morally ambiguous, but the main theme of the novel is extremely bad people suddenly questioning their choices and eventually redeeming themselves. sweeping themes of love, screwed up families, redemption, and patriotism.

The Lymond Chronicles and House of Niccolo by Dorothy Dunnett: heroes redeem themselves/try to get rich/try to save their country in early renaissance Europe. if I actually knew what happened in these books I'm sure it would be morally ambiguous but its too confusing for me. in each book you spend at least a third convinced the protagonist is evil, though. lots of exciting sword fights, tragic romances, plot twists, and kicking english butt.

Bonus: Protagonist is less morally ambiguous and more very screwed up and sad all the time

The Goldfinch by Donna Tartt: you know this one bc its quoted in all those quote compilations. basically the story of how one horrible event traumatizes a young man and how he develops a connection to a painting. really really really good.

Never Let Me Go by Kazuo Ishiguro: hard to describe but strange... not an action novel or a dystopia really but sort of along those lines. very hopeless.

#book recs #morally ambiguous protagonists #dark academia #book recommendations #mine

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a-sleepy-reader · 3 years

Text

The Alchemist by Paulo Coehlo: an Analysis and Review

Foreword

If you want a review free of spoilers, please scroll to the section labelled ‘Conclusion/Review without spoilers.’

Introduction

Few modern novels have been as celebrated in the mainstream media as Paulo Coehlo’s The Alchemist. It has been praised by Publisher’s Weekly, Booklist, and Kenzaburo Oe, winner of the Nobel Prize in Literature.

“The story has the comic charm, dramatic tension, and psychological intensity of a fairy tale, but it’s full of specific wisdom as well… a sweetly exotic tale for young and old alike.”

-Publisher’s Weekly

The Alchemist has the tone of a children’s book and the genre of a fable taking place centuries ago, with wisdoms claimed to be as old as its setting. So, does The Alchemist deliver on these high hopes?

Plot synopsis

Santiago seems disheartened by his life as a Shepherd boy in Spain before he meets a wise and likely supernatural king. The king tells Santiago that he must follow his personal legend(life purpose), which is to travel to the Egyptian pyramids in search of treasure. Santiago has dreamt of the pyramids and treasure before and takes this as affirmation that traveling to such a place is his life purpose. The shepherd boy sells his sheep and takes to selling crystals for money before he sets out on his journey and encounters The Englishman. He is an alchemist looking for the wisest practicer in his field, promptly titled ‘The Alchemist.’ The two set out on camels and stop at an oasis, where Santiago instantly falls in love with a woman named Fatima. The Englishman also manages to find his coveted alchemist, who shares many wisdoms with the two, for example, that, in this world, the language of the world is the spiritual communication of all beings, such as omens and body language. The Alchemist urges Santiago to follow his personal legend despite his bond to Fatima and, by proxy, the oasis. Though torn between staying with his love and realizing his personal legend, he sets out to the pyramids with The Alchemist. In the midst of their journey, however, Arabian soldiers capture them; Santiago is only spared his life by The Alchemist convincing the soldiers that Santiago will turn into wind. Santiago is able to communicate with the desert and summons a sandstorm that makes the soldiers let him go. At the pyramids, he is informed of a stranger's dream and personal legend, one of treasure waiting in Spain where Santiago began his journey. Realizing his treasure really required an appreciation not of a place but of given circumstances, Santiago plans to obtain his treasure and return to Fatima.

Analysis

Coehlo says he is a catholic despite the fact that some of his beliefs do not align with traditional Catholicism. Many of his stances resemble that of spiritualism, such as a belief in omens, existentialism, and prophetic dreams. This explains many of The Alchemist’s themes, being as focused on personal legends and omens as it is. The Alchemist has many morals beyond very individualistic beliefs, however, such as faith in true love and soulmates, of a God, the purpose of life laying not in physical progress but in spiritual acceptance, and a disapproval of those too scared to pursue what they want, amongst others. Overall, however, I believe the book’s message can be boiled-down to ‘learn the language of the universe,’ that is, learn to interact with the spiritual world Coehlo believes in through means of personal legends and communicating with the world through omens.

Review

At first glance, The Alchemist looks like a simply-written yet sophisticated book; it has an understandable plot and writing style yet many morals, so who’s to say that it’s incomparable to works like The Little Prince by Antoine De Saint Exupery(I will be using that comparison often in this review)? Well, I think The Alchemist has the bones of an extraordinary fable like Exupery’s, but its meat is lacking. That is, I believe The Alchemist is a chaotic and underdeveloped mess of a book, The Little Prince but if it were written in a day or two. It had potential that was squandered by the lack of thought put into essential parts of storytelling, from its morals to its writing to its characters and tension. Let’s begin respectively.

The Alchemist has few qualms with throwing an idea at the reader and presenting it as a conclusion rather than a speculation or the beginning of a well-developed theory for the reader to elaborate on themselves. For example, omens are integral to The Alchemist, and since the novel is advertised as a sort of self-help book with a plot, one would expect Coehlo to try and tie this idea in to the real world somehow or at least provide some reasoning for why he believes this aside from omens only obvious in The Alchemist. No such evidence or support is provided; omens are obviously present in The Alchemist but their validity relies on the nature of their being in the book unfounded or more difficult to find in the real world, and Coehlo never even explains why he believes in omens, so it’s a setup for nothing. This is a common theme throughout The Alchemist, from its support of personal legends to prophetic dreams to love at first sight to the language of the universe, Coehlo relies on the sheer obviousness of the world he made to get his points across and loses their potential support in the process. This harm’s the book’s philosophies regardless of whether they are accurate or not.

Adding to the novel’s problems, the writing itself(that is, the English translation) is not very good. Now, I want to make something clear: a book doesn’t need to be Nabokovian to have good writing. One can use very common words and simple sentence structures and be better writers than the greats if they write wisely and make the most of its simplicity. The Little Prince has a simple writing style, but it flows with believable dialogue, clever metaphors, and good pacing. Compare those qualities to this excerpt from The Alchemist:

“The first day passed. There was a major battle nearby, and a number of wounded were brought back to the camp. The dead soldiers were replaced by others, and life went on. Death doesn’t change anything, the boy thought.”

This paragraph is clunky. Sentences that could have led from one to the next in a steady, effortless rhythm instead clash and seem to be thrown together to form a mix of disconnected and boring facts. This could have been written so much more interestingly; does Santiago feel bad for the soldiers? Does he feel guilty for not helping with the battle? What did the wounded look like? How does he feel? A running problem in The Alchemist is how emotionally barren it is. True, I still would have grilled Coehlo if he wrote ‘Santiago is sad,’ but that is because the point could have been gotten across more subtly and believably: ‘The metallic stench of blood weighed on Santiago,’ for example. Expanding on this, let’s see what happens when I add my personal interpretation of how this paragraph could have been more fluent and emotionally powerful;

“The soldiers fought through the day and through the night, only that and the growing stench marking the time. A time-marker of blood, of hope, of death, of the many qualities of the people in the oasis, shattered to sand. Once those grains were gone, more rushed to the battlefield, sandstorm after sandstorm, life after life, gone. In the end, though, it changed nothing. Blood, hope, and death never really do.”

By no means do I think this is perfect, but I think it goes to show a sliver of how much can be accomplished with relatively simple writing styles; they do not have to be clunky, they do not have to be bland, and they can get a point across and convey emotion at the same time.

Then again, even if Coehlo’s prose was Nabokovian, this would not erase the blandness, homogeneity and monotony of his characters. Now, I found Santiago’s personality to be enjoyable enough; Coehlo represented his longing for something beyond the fields of Andalusia, his metaphorical mind as well as his determination yet uncertainty in life well enough. I have no problem with Santiago, but it would be very nice if every character in the book weren’t Santiago. What character doesn’t believe in the universal language? Who ever challenges Santiago’s certainties? When is Santiago not only mistaken in the way he goes about pursuing his personal legend but in an integral part of his worldview? I will summarize all three with these words; ‘noone,’ ‘never,’ and, ‘never - again!’ Everyone in this book nods along to Santiago’s beliefs; if the universal language is so rare, why does everyone agree on it? The characters feel less like individuals and more like fourth-wall breaks for Coehlo to dump yet another underdeveloped idea on the reader or pat himself on the back about how everyone in a fictional world he made agrees with him. Maybe if one or two characters opposed Santiago’s beliefs, made him question, realign or maybe even change his worldview, The Alchemist would feel more like the philosophical contemplation it was marketed as and less like a spiritualist self-help book with a plot. Instead, however, Santiago accomplishes his personal legend and has each of his beliefs solidified by every single character in the book. Where’s the internal struggle? Where’s the idea that things may not always be as they seem, that humans make mistakes? Such themes are forgotten in the world of The Alchemist.

I give The Alchemist by Paulo Coehlo a 30%.

Conclusion/Review without spoilers

I had a rough time with this book. The wise, helpful, and insightful self-help it was sold as did not deliver on any of those qualities for me due to its portrayal of very subjective values as universal truths without any evidence or reasoning provided for them outside the universe of the book and poor writing. Despite all this, I understand how this book has helped many, especially those who already had beliefs similar to Coehlo’s. Beyond my relentless criticisms, The Alchemist is a hopeful fable of finding your purpose in the world. It may not have connected to me, but it is no coincidence that celebrities call it a favorite, that it’s a bestseller, and is beloved amongst many. This review evaluated The Alchemist’s objective value, to which I say that it is bad literature. Subjectively, though, it impacted so many people, it motivated, it inspired, and no matter how many bland characters, lazy writings and oversimplified answers it may have, I will forever admire The Alchemist for touching so many people. After all, what is literature but a communication of one’s self, of sharing that self with others for them to internalise and keep a personalised fragment of this person within them?

I recommend The Alchemist to those in need of a meaning in life, who don’t want to wade through dense prose and complex stories or characters. Sometimes, all we really need, all we really should have, is something that keeps us going in life. I’m sure The Alchemist will fulfil that for many, and for that, I am forever grateful.

#books #the alchemist #book review #paulo coelho

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talesofealdancynedom · 4 years

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Edmond Monabellan, in fairy robes. For that moment you want to research a character, for proper representation, but the information isn’t there because white washing of history!

Tale 19: Meriam Craweleoth: Mage Queen of The Grand West (chapter 4.2 - Time Stands Still: Edmond 4/10) part 4. Stories of Old

Maps

violence, murder, war

On the first day of Autumn, Meriam gave her kingdom a princess: Odette Craweleoth. In four week’s time, an army of Anglia needed to march north to aid Isfisceard, against Mage Prince Edmond of The Far North. Meriam knew he would win if she was not them. She had given her word on behalf of Anglia, in promise of peace with the two north kingdoms, to deal with the prince personally; as a stronger magic user. Meriam was being pulled into war. Furthermore, to arrive on time, the Anglian cavalry, and Meriam, would need to leave promptly. But she was still in recovery with her brand-new daughter, and was far to weak to use magic or ride long-distance and into war. Each week that passed, she made the army wait, in hopes she would recover just enough to join them. She wanted to hate Odette for holding her back, but couldn’t, because after almost a month of constant contact, Meriam had become attached to her only child. She was scared what would happen to her baby if she left for even a day. It was Meriam’s nightmare; ill from child bearing, homebound because of child she didn’t want, had the lives of hundreds of men in her hands, and being forced to use magic in battle. Meriam lay next to her husband, feeding her daughter, and humming her nephew to sleep, thinking; there had to be something she could do that would result in everyone, includer herself, winning.

Time is not to fooled with, but in Ealden Cynedom, it has a way of healing from tampering. As if everything is meant to be, and destiny is unchangeable. Meriam didn’t like using her powers to affect the minds and experiences of time on people, but she needed time. Unlike common folk, Meriam could afford to wait till the last possible minute. If she needed time, she could always make more, by stopping, reversing, or forwarding the clock. With little but a small hourglass, in a marble upon a chain, she was able to move the world around her, backwards. Two weeks after the battle she was supposed to attend, of which was likely won by Prince Edmond at the cost of many lives, Meriam made the world reverse to one week before the battle. She reversed the event she had failed to attend, resurrecting all who had fallen, and erasing the memory of it ever taking place. It is one thing to use time on a person, a group, or a city; but Meriam was too great a mage to think so small. The whole world was within her control with enough concentration. Still weak, but able enough to use magic to compensate, she marched with the royal guard, who was unaware the Grand West was three weeks in the future compared to other lands. May her fairy robes protect her, for Meriam intended to come home and hold her daughter and husband again. She had a promise to keep, and intended only to return after Edmond Monabellan groveled for an alliance at her feet.

At dawn, Feon woke like any other day. She put on the water to make the porridge, and her family ate breakfast while making their plans for the day. Feon was going to comb the town for daughters of the sea, her husband was going to get wood and sharpen their knives. Their daughters were doing laundry, and Lyra was sent to gather herbs and berries in the glens outside the village. By mid mourning, everyone was off to their tasks. while Feon kissed her husband at the door, the town guard came, and ripped her from his arms. Feon was dragged through the town, as she began to hear panicked yelling and horns. She struggled to get free. The men overpowered her, and dragged her to the edge of the short stone wall of the village. The lord was there, organizing soldiers into formation, and Feon’s captors pulled her head back by her hair, and yelled at her to sing. They pulled at her while the screams started, and a rally speech was given. And all Feon could think about, was where is Lyra? Feon looked around frantically as she was being yelled at to sing a protection enchantment over the town; but that would require feeling love and desire to protect, and Feon only felt fear. Then, lit arrows came, and landed in the nearby the roofs, causing a fire. There was more screaming and panic as the villagers attempted to put out the fire. The two men continued to pull Feon’s hair, and yell for her magical aid in battle. They needed to hold on until Anglia came. Then Feon looked across the field and hills. The world went silent, as directly across the field, her eyes met the yellow eyes of a black haired rough young man, in violet and gold wolf armored robes. He rode a bear, and was exuding a glow like a black hole. She could feel her heart pound against her chest, as a second wave of arrows fell, and the battalion charged to meet their enemy. The promised army of Anglia failed to arrive in time. Feon could not afford to wait for her son Lyra to return; So, she began to sing.

Not a moment earlier, in a tent in the Algonquian camp, Edmond sat with his sister, Luthid. His painted hide tent, was lavished in furs, silver and fine fabrics. His general, who was promised lordship if he conquered the Northlands of Celticia, reminded Edmond of his uncles wishes. Algonquia did not want to kill the people of the Northlands, they just wanted access to its mild weather and greenery. The King of Algonquia did not wish to send his nephew to the imperialistic frontier; It was Edmond’s choice, as a paladin, to help his families kingdom. Even his own men feared him, after he cleared battle after battle to reach the island of Isfisceard. But after using magic for murder, and missing his home, and fearing for his sister, Edmond began to doubt his mission. The radiant green bogs, glens, hills, and song of the sea, were beautiful enough to make him cry; As he murdered its innocent people for someone else. He loved fey, and learned to use weapons as a boy groomed as an heir. The only male heir left. If his sister Luthid died as well, Algonquia would be kingless. And there would be no way for Edmond to give power to the people if the Far North was in untrustworthy hands. He wanted to go home. He wished he had suggested diplomacy sooner. But the soldiers of Algonquia crossed an entire nation, and tasted its blood and riches along the way. Edmond was too far to go back.

Edmond ordered his general out of his tent, and asked for his sister. The general denied his request; Luthid agreed to summon fey for battle in the camp, and was in a small tent preparing. The amount of magic required to control fey, needs a mage to have magic move through them constantly, destroying their bodies. If the battle went on too long, and Edmond did not aid her in controlling their collection of wolf fey, she may die. Edmond felt terror, but did not show it. He went upon the back of his familiar, and lead the lines forward in the crisp ocean air of morning, according to battle plans. They were silent as cats, and swift as foxes.

Edmond was to slowly advance with his foot soldiers, after the arrows of stone and fire had been shot. The yells, and miscellaneous weapons of Celtician men no longer scared them. They had tasted too much victory. After the arrows, behind Edmond, would be the wolf children controlled by Luthid in the camp. Including three Aliki wolf princes they had captured. The carnivoran fey and skilled warriors, tore threw the small army of Isfisceard; and Edmond was untouched as he drew a sword of darkness, while seated high upon his powerful mount. His fairy robes made him impenetrable. And then he heard the sweet song of a woman, and a veil of gold move over the burning town; his eyes met Feon’s, as she cried in fear, attempting to put a charm on the village. It reminded him of how he wanted to cry. For his brethren, for his actions, for his sister, and from the immense pain he felt as a black arrow pierced his familiar from the sky. He became disoriented and no longer absorbing sound for his spells; for a moment, he was weak. Just as quickly as sound had resumed, it dissipated. The battle field began to slow to a stillness, and the sound of hooves approached from the south.

Meriam swooped down upon Nihten, landing in front of Edmond who was gasping his chest on his knees. She looked like Raven, clad in black raven kingdom robes, and black makeup against her pale colours. She was unflinching, like a disappointed mother that saw through their child’s lies. She lifted a silver sword, the gift from Helrem that could cut anything, and pointed the blade at his neck.

“You bitch!” Edomnd yelled, lashing forward with his sword. His intent was to knock away Meriam’s blade. But Meriam held firm; and Edmond’s shadow sword met her own sword, it was cut in half. As time resumed, and her men swept the battle field, They started devastating his troops with their horses. Edmond was shocked, and then Meriam kneed him in the face.

“You disgust me. Those wolf children, and their princes, would have trusted you once. And you make them taste the foul blood of men. You are no mage.” Meriam scolded. Nihten began to peck and pull at his cape, as Meriam tore off his tunic and gloves. Without his robes he could be killed easily. Then he noticed the fey flee form the field, and the two dead Aliki wolves, and their third brother gagging on the blood in his mouth. The fey were free, thus Luthid, his sister, was dead. Edmond dropped his head. He would not come home, and he did not want too. The yelling, and clashing began to sting like his aching heart. The year of sieges resurfacing in his mind. Meriam held her blade high to kill him, and then noticed he was crying.

“Let me at least see my sister, even if she is dead, one last time.” He cried. Then Edmond lifted his head, and yelled for his troops to retreat. Meriam lowered her sword. “I don’t want death anymore. I want my palace bed, and to drink with my uncle, and see my sister wed. I want to howl charms of good dreams into the night, and be the last king Algonquia will ever need. I will leave this land and yours alone. I do not want it anymore. These warm green fjords, come at far to high a cost.” He cried. Meriam lowered her sword. That was exactly what she wanted to hear, and it made her sad. Meriam grabbed Edmond’s collar, and dragged him to his camp. All the soldiers parting ways she walked. As if her presence demanded the men of all three armies to show respect. She gave off an aura of darkness and regality. Meriam walked through the Algonquia camp, and turned their tents to water with only a whisper; and delivered the incapacitated prince to his dead sister’s side. Then she left the way she came, moving calmly across the battle field, and through the burning village. She walked through their house fires, saving their children, and alchemized water to put out the flames. Meriam seemed so steady, its scared people that they could not read her reaction to the battle. Neither joy nor woe. Inside, she was too sad to feel.

On the beach, that was now silent and raging, Meriam found Feon crying and dishevelled upon the pale quartz stone. Feon then ran to the Lighthouse, and up the cliffs. Meriam walked slowly after her. Her stern demeanor softening to one of sorrow, as she followed her friend up the stairs to the peak of the sea wall. Feon wailed into the stormy void, and Meriam walked up, and held her.

“My children and husband died putting out the fire. And Lyra never came back from the woods by the battle field. Down there, by the rocks, an evacuation ship has fallen to a kraken, who was summoned by their song. She must have really liked it. Then the stirring waves approach, and I believe Lyra has been claimed by the sea. Why am I alive Merry? Out of everyone, why me? Why not my children?”

“You protected your village from further danger. That is why you are alive like many of them. I must admit I am so sorry; I wish I could have come sooner. But you did not tell me how long it would take for me to gather strength for this mission, after bearing a child. I also didn’t expect I would love her so much.” Meriam whispered. “I understand, why you do not want to leave them behind. I can’t imagine your loss, Feon.”

“I am happy your family is safe. I am happy the Far North retreats and bargains for forgiveness and friendship. I am happy-” Feon sniffed.

“Do not lie. Even if this battle is over, you have lost so much this day. You may cry, I will be here next to you.” Meriam sniffed. “I will cry with you.”

After a few days of restoring the village and resting, Meriam and her men prepared to leave. The people of Isfisceard and Celticia thanked them, for not only winning a battle, but ending a war. They were willing to leave the past behind them, for the chance at another dawn. Before Her troops left, Meriam walked to the beach. There was white fog that did not block the sun, upon the pristine beach. Laughter of selkies collecting shells echoed across the empty sand. Feon stood by her rock, looking into the perfectly flat sea.

“I came to say good bye; but now I am disturbed by the silence of the sea.” Meriam said.

“Oh, goodbye my friend.” Feon said starring into the fog. “Well wishes to your family; I trust helping with the village’s babes means your daughter won’t starve when you return. Though I know a woman of your noble standing shouldn’t need to worry about such thing. Sorry; I just miss my own babies so much. You know, you were right; I think I want to stop journaling magic texts, and instead write poetry for charms.” Feon said. She was still gazing into the horizonless distance.

“No worries. But, why do you observe nothing so closely?”

“This morning I saw a man on the beach; wearing white and gold fish robes, and with ginger hair twisted into strands that are tied in an elaborate knot. And I hear the fey of the sea thank their Queen father for a song of calmness and mist. I am happy; Lyra will live on, safely around magic.” Feon smiled.

NEXT--->

<---PREVIOUS

#art #tales of ealdan cynedom #story 19 #short stories #fantasy #feon #lyra #meriam #nihten #luthid #edmond #eatheltwein #odette #eobreth

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aromantic-eight · 5 years

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The Mechanisms Starter Guide And Rec List

In light of my recent binge of All of the Mechanisms’ songs and albums and also a lot of their short stories, I thought I would compile my thoughts and recommendations into one post for when I inevitably yell about them to the friends I have willing to listen. I have somehow accumulated a handful of Magnus Archives followers in the last couple weeks, as well, so this may be a good starting place for those interested in checking out That Band Everyone Keeps Saying Jonny (and Basira and Nikola’s VAs) Are In.

What they are: The Mechanisms albums are basically musical stories. Some albums are an entire story in themselves, with alternating narration tracks with tracks that are characters in the story singing. Other albums are anthologies, where each track tells a different, self contained story or snapshot of a story. Almost all of these stories feature queer characters, often revolving around them. Every single story ends somewhere between bittersweet to tragically, and body count is high all around, so content warnings for violence and a lot of death for all of these. All opinions are my own and extremely biased. First, the Mechanisms’ four full story albums in order of which ones I like more. Then, comments on the anthology albums.

1) The Bifrost Incident (link)

Genre: Sci Fi Lovecraftian Horror. Summary: Set in a universe wherein Asgard is a conquering empire and Midgard (Earth) is an occupied planet. We follow a beleaguered transport official as he sifts through the surveillance footage found in the ruins of a crashed train. Odin’s train, which was to revolutionize space travel before it vanished on its maiden voyage decades ago. We’re introduced to four familiar figures from Norse mythology as the narrator tries to figure out which one of them crashed the train....

The genre gives you a clue as to how that ends.

Comments: I’d heard this album a couple years before I got into the Magnus Archives, and it still holds up as my favorite even after hearing the rest. The story and framing is, imo, the most solidly done out of all four albums, and the ending is poignant and emotionally satisfying even thought it is not, strictly speaking, happy. Which makes sense, given it’s their latest one and comes with the most experience. Absolutely fantastic depictions of Loki and Sigyn in this- this is also one of the very few Norse adaptations that seems to depict Loki as trans which is a major plus.

Once Upon A Time (In Space) (link) Genre: Sci-Fi Fairy Tale Mashup Summary: This album takes place in the middle of a long and bloody war between the evil King Cole and the rebellion fighting against his attempted conquest of the known universe. We’re introduced to numerous characters taking part, from foot soldiers to the rebel leader (Snow White) to the general (Rose Red) the king has captured and cloned to make an army of super soldiers, to the general’s fiancée (Cinderella), desperately searching for her lost love.

Comment: The story on this is pretty fun, and this album has my favorite collection of songs out of all of these. I’m still relistening to them all on repeat currently. It’s just a collection of remixes of old, familiar tunes from Good King Cole to the Tetris theme song. It’s also got my favorite of the band cameos, if you follow those. Also, you know that thing Magnus Archives did where it gave us touching hopeful moments before pulling the rug out from under them? Yeah that’s a Theme of Jonny’s, it seems.

Also very important is a prose epilogue called Ever After (link) that immediately follows up on the ending of the album proper and also answers what happened to Briar Rose. There are a bunch more codas to Once Upon A Time on their site as well (link), as well, detailing backstories of various characters.

And Alice (link) is a song set 60 years later and is very, very fun.

High Noon Over Camelot (link)

Genre: Sci Fi Western Summary: Gweneviere, Lancelot, and Arthur are three badass gunslingers in an old, rusted, very hot spaceship where a bunch of people are eking out an existence in harsh conditions. They're also all canonically dating each other. We follow The Trio as they take over a city (Camelot), Arthur loses his whole tribe to the Roving Saxon Bandits (except he doesn’t know they spared his kid and raised him as their own). A zealous preacher shows up and starts a quest for the grail, which is the only thing that can save the station.

Comments: Third on here because, while I may have spent a day and a half listening to the preacher's song on repeat, most of the other songs didn’t jump out at me quite the same way as songs on the previous two albums did. All the same, it’s a very neat concept with interesting characters, and other people will have different music taste than me! Bonus points for canon poly romance and canon trans Mordred.

Ulysses Dies At Dawn (link)

Genre: Dark Sci Fi Summary: In a dystopian city ruled over by the wealthy (Olympians) who have made themselves all immortal at the direct expense of the poor, we follow one war-hero-turned-drunk as a band of Four Misfit Ruffians beat him up for his Secret Vault With An Ultimate Weapon In it. Each of our five characters give their backstories, weaving a picture of the state of the city as they do, as they progress through several trials needed to open the vault.

Comments: There’s some nice worldbuilding happening here, but as you might guess by its place on this list this album drew me in the least of the four. I do wanna give a shoutout to it, though, for ending on the happiest note of all four albums. Like. Everyone still dies, but there’s a deep, peaceful note to the last song that makes it so you can’t feel too bad about that.

There are two anthology albums (Tales to be Told, link, and Tales to be Told II, link) and a single in addition to the previously mentioned ones. These are a bit of a hodge podge of songs from stand alones, to songs relating to the Mechanism band members’ personas, to songs attached to one of the story albums.

Firstly, the Mechanisms songs. Every story album features some sort of cameo from the band itself, and the band is what ties everything together into the same universe. Every band member in the Mechanisms has their own character, as the concept behind the Mechanisms is that they are a ship full of immortal serial killers who fly around and sing in between wiping out planets for fun. All of their shows are done in-character. There are four origin songs scattered through both anthology albums, and there is no way to tell which ones they are aside from looking through their website and putting them together. All four of these songs, however, can also be found in a liveshow Revenge of Spaceport Mahon (link), with additional context and commentary. If you’re interested in learning more about the strange people who keep making cameos in all of the story albums, it’s a very good place to start.

Studio versions of the songs featured in Revenge of Spaceport Mahon, in order, because the audio isn’t always great: - One Eyed Jacks (link) - Jonny D’Ville (Jonny’s character) - Gunpowder Tim vs The Moon Kaiser (link) - Gunpowder Tim, & also a solo by the Toy Soldier, aka Jessica Law, Nikola’s VA - Lucky Sevens (link) - Ashes O’Reilly (Frank Voss, Basira’s VA) - Lost in The Cosmos (link) - DrumBot Brian

Additionally: The Ignominious Demise of Dr. Pilchar (link), and several short stories on their website (link).

Other Notable Recs

A single, Frankenstein (link) Summary: Frankenstein is a programmer who made a sentient AI who rebelled when humanity tried to shut it down after it tried to self-replicate. It’s a gorgeous song all through and I love it a lot.

Notable stand-alones from the anthologies Stranger (link) - Oh my love, what madness can this be? / In your place a monster I do see? Actaea and Lyssa (link) - Sister don't you know me sister don't you know me don't you know me … Twisted Threads (link) - We don't deceive / We just twist the way that they perceive

#am i putting this in a main tag?#nope #f: gotta say i'm in the mood for violence #Stranger is also 1000% an ozqrow au song #idk what au but I Love It #long post

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destieltropecollection · 5 years

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Destiel Trope Collection 2019 Day 10: Creature AU

Operation Little Red Riding Cas | @dean-cas-in-the-impala Rating: Explicit Word Count: 17434 Main Tags and Warnings: Criminal, Action, Drama, Humor, Creature fic Summary: Castiel Novak is a bothersome reporter from a local newspaper, who has compromising evidence against a mob boss named Crowley, known as The King of Hell. Dean Winchester, who works for Crowley is commanded to get rid of Novak. His plan to charm and lure the victim into a trap fails, when the sneaky reporter vanishes from the bar where they meet. But the thing Castiel does not know is that Dean is a werewolf and he remembers his scent, enabling him to find the gorgeous but impudent reporter, no matter where he goes.

Walpurgis Moon | @jemariel Rating: Mature Word Count: 5486 Main Tags and Warnings: Dean/Cas, Fae Castiel, Fae & Fairies, Case fic, fairy wings Summary: Written for the SPN Holiday Reverse Mini-Bang! Art by Pimentogirl. Dean bends low and plucks a sprig of tiny blue flowers. They’re pretty, he supposes. If you like that sort of thing. He plucks a few more stems until he has a small bundle. Behind him he hears a tinkle, like chimes in the wind. But when he turns - nothing. Only dark tree trunks. A brush of wind, like a feather or a leaf brushing his cheek, and he whips around, ready with a cold iron crowbar in his fist, but again, nothing. Except - is that movement? Between the trees? No. Just a trick of the moonlight. Probably. Dean meets a stranger. Be he friend or foe?

sunflares | @reallyelegantsharkfish Rating: Teen & Up Word Count: 2684 Main Tags and Warnings: Incubus Castiel, Demons Are Known, Human Dean Winchester, Demon Castiel, Asexual Castiel, Asexual Character, Wings, Horns, Cuddling & Snuggling, Naked Cuddling, Kissing, Alternate Universe - Modern with Magic Summary: Dean’s hand reaches to guide Cas’s chin into another kiss. This feels like the fore-warning to satiation, the promise of a rich meal to come, and Cas’s wings curve forward to hold Dean closer to him.

Interspecies | @destielshipper2017 + @callmemisshorizon Rating: Mature Word Count: 60551 Main Tags and Warnings: Creature Dean, Creature Sam, Shifters, Monsters, hurt Sam, Protective Sam, Protective Dean, Kaiju, Transgenics, Dead Dove: Do Not Eat, antagonistic Ketch Summary: After being free for over 2 years, Sam and Dean were recaptured again by a secret government society that has been testing transgenic species for many years, in attempt to control them and use them for war purposes.

An Accidental Incubus | @jupiterjames Rating: Explicit Word Count: 40380 Main Tags and Warnings: incubus Dean, Angel Castiel, creature Dean, soul bonds, FOD Summary: On a hunt gone wrong, Dean finds himself cursed to be an incubus. While Sam and Charlie rush to find a cure before the change is permanent, Castiel decides to become Dean's "offering" when the hunter begins to deteriorate under the effects of the change.

The Quest for the Demon King's Heart | @cr-noble-writes Rating: Explicit Word Count: 12500 Main Tags and Warnings: Angst with a Happy Ending, Major Injury, Angry Sex, Rough Sex, Fantasy AU, Major Character Injury, Demon King!Dean, Wood Elf!Castiel Summary: In a fantasy land, Dean, the Demon King, goes to a distant guild to take a break from evil, where he meets a young adventurer, Castiel, on a quest to slay the Demon King. For fun, Dean helps and protects the adventurer, and affection grows between them. Then, they arrive at the gates of his castle.

Rescue Mission for Two | @pherryt Rating: Mature Word Count: 48478 Main Tags and Warnings: Fantasy AU, Soulmates, Creature Fic, First Kiss, Dragon!Cas, stubborn!Cas, border skirmishes, Captured, brief non graphic torture scenes, Magic, self sacrificing characters, Secrets, bed sharing, Telepathy, nakedness (but no smut), Dragons, Fairies, sick!Cas, Comfort/Angst, Angst, hurt!Dean, drugged!cas, brief section of Cas being drugged against his will Summary: Castiel thinks he's the last of his kind and doomed to live a life alone. He's hiding in plain sight, as a human soldier in Angels Outfit, fighting alongside other companies - including Lord Winchesters renowned cavalry, the Silver Hooves - when his soul mark unbelievably flares to life. Either he's not the only Dragon to survive the war, or he's bonded with a human. Before he can figure out which of his fellow soldiers it could be, he's sent across into enemy territory on a rescue mission. Lord Winchester's eldest has been captured and last rumored to be in Alastair's hands. Castiel can't say no, but the clock is ticking and if he doesn't find his soul mate, he will die.

Little Blue Dragon | @saltnhalo Rating: Explicit Word Count: 23820 Main Tags and Warnings: Dragon Castiel, blacksmith Dean, magic, soulmates, pining Summary: Dean Winchester may have a reputation for being a skilled craftsman and blacksmith, but his life is just like anyone else’s. He’s over-worked and under-slept, and it’s all because of the niggling feeling in the back of his mind that tells him he’s… forgetting something. Still, he can’t let his weird dreams or errant thoughts get in the way of his work and his love for his craft. The strange feeling goes ignored. That is, until he meets a man with jewel-blue eyes and an aura of intrigue. Castiel slots into his life in a way that Dean had never thought possible, and Dean grows accustomed to the mysterious man’s visits and brilliant smiles and tales of far-away places. He’d never known he was missing a piece of himself until he met Castiel, and he thinks that Cas might feel the same way. Until Castiel disappears from Dean’s life completely.

Ensnared | @saltnhalo

Rating: Mature Word Count: 10359 Main Tags and Warnings: Siren Cas, sailor Dean, shipwrecked, desert island Summary: As the current pulls him a little closer to the island, the singing grows stronger. It’s deep and lyrical and the most beautiful thing he’s ever heard and he’s suddenly overcome by the desperate, searing need to be closer, to hear it in all its intended glory. And as he passes a single spur of rock that juts out a little further into the ocean than the others, Dean sees him.

The Captain's Fishy Admirer | @sheinthatfandom Rating: General Word Count: 1958 Main Tags and Warnings: alternative universe-pirate, pirate dean, merman castiel, pirate ship impala, based on fan art, Summary: Dean Winchester is the Captain of the Pirate ship Impala, feared on the seas and is a wanted criminal. He's someone to be feared and respected, so why can't he get this cute merman to leave him alone?

The Crane In White | @drawlight Rating: Explicit Word Count: 9994 Main Tags and Warnings: Creature Castiel, Romance, Pining, Fairytale, AU - Modern Setting Summary: Once upon a time, there was a little crane who fell in love with a human. He prayed every night to be made human to be with his love. Once upon a time, Dean Winchester finds a white crane.

Forget Me Not | @thebloggerbloggerfun Rating: General Word Count: 3638 Main Tags and Warnings: Ghost!Castiel, MCD (because he's a ghost), flowershop owner!Dean Summary: Dean gets a little more than he bargains for when he accidentally buys a haunted flower shop.

In the company of greatness | @angelneedshunter Rating: General Word Count: 4815 Main Tags and Warnings: Alternate universe, Dragon!Cas, Knight!Dean, High Fantasy, Established Relationship, Praise kink, bonding, Summary: All Dean wants is to spend the holiday in peace with Cas. He spots trouble though as a girl approaches the mountain where he and the dragon Castiel resides in. That is the problem when you are dating a dragon. All the sacrifices interrupting your snuggle time.

secret of the sea | @saltnhalo Rating: Teen & Up Word Count: 2465 Main Tags and Warnings: Creature Castiel (Supernatural), Selkie Castiel (Supernatural), Kid Dean Winchester, Kid Castiel (Supernatural), First Meetings Summary: It feels like neither of them are breathing as Dean wades another half-step closer, the waves tugging at his waist now, his clothes soaked. How am I going to explain this? he thinks, this surreal moment that is happening even as he should be making his way back to the safety, the normalcy, of home. But instead he’s standing in the ocean as the sun disappears beneath the horizon and the stars begin to come out above, ignoring the bitter cold of the water to free a seal that watches him warily but almost seems to know that Dean is its only chance at survival right now.

As the World Falls Down (WIP) | @thursdays-fallen-angel Rating: Mature Word Count: 28251 Main Tags and Warnings: Fae!Cas, Half-Fae!Dean, King!Cas Summary: After his mom died, Dean swore off anything and everything relating to her heritage, going so far as to ignore the Fae blood in his own veins. The only magic he uses is to keep his inhuman qualities hidden, and as far as he’s concerned, that’s all he needs. However, when a Fae assassin suddenly appears and tries to kill Sam, everything is forced to change. With nowhere else to turn for help saving his brother’s life, Dean makes a desperate move and takes them both to the Fae Realm. Once they’re there, though, Dean quickly realizes that the Fae Realm isn’t nearly as idyllic as his mother wanted him to believe. Someone there wants Dean and Sam dead, everyone keeps secrets, and the king— The king may just be the most confusing part of it all.

The Offering | @deans-jiggly-pudding Rating: Explicit Word Count: 167703 Main Tags and Warnings: Graphic depictions of violence, rape/non-con, incubus Cas, high school AU, religious homophobia, John Winchester’s A+ parenting, trans female character, porn with plot, smut, comfortably bisexual Dean Winchester, minor character death, conversion therapy, angst with a happy ending Summary: As a pastor's son, Dean Winchester is expected to be all the things he's not: the church poster child, compliant with every plan his father has for him, and of course, straight. Fighting the confines of his father's faith and the control it has over his life, Dean is caught in the middle of a teen lock-in activity that will change his life. The boys accidentally summon an incubus named Cas, and his demands are clear. Dean discovers Cas to be everything he expected... Yet, even the darkest of creatures has secrets of his own. Can they be together, despite who they are, and despite everything designed to keep them apart?

No Man's Waters (WIP) | @envydean Rating: Teen & Up Word Count: 16326 Main Tags and Warnings: merman!cas, merman!Dean, merfolk, Angst, Fluff, Happy Ending, Minor Character Death, War, Treason, Touch-Starved!Cas Summary: When Castiel is cast out of his territory for disobeying orders for war, he’s left to perish in No Man’s Waters, the treacherous depth between the Garrison Territory and the Huntsman’s Territory. Nothing survives there, and Castiel is barely holding on to life when one of the Huntsmen Merfolk comes to his aid.

Never Give All the Heart | @castielrisingabove Rating: Teen & Up Word Count: 82096 Main Tags and Warnings: No Archive Warnings Apply, Fae Castiel, Hunter Dean, Slow Burn Summary: Dean knows that fae are dangerous, but he's never crossed paths with one until he stumbled into the realm of the mysterious Castiel. Meanwhile, Castiel has spent centuries having no interest in humans...until Dean appears in his life, strange and demanding and intriguing. They can't really be falling for each other, right?

Inked Feathers, Wounded Skin | @lunastories Rating: Teen & Up Word Count: 59237 Main Tags and Warnings: Fantasy Au, hurt/comfort, Harpy!Cas, Angst with a happy ending Summary: Retired hunters Dean and Sam live in a cabin in the woods, only occasionally taking cases from nearby villagers and those who need their help. Castiel is the very protective harpy that has been awkwardly following (stalking) Dean for years. After Castiel injures a wing, he is taken in by the Winchesters. As Dean tends to him, they form a relationship, and Dean slowly falls for the harpy. But the unique peach cream color of Castiel’s wings hides a secret; one he isn’t sure Dean could accept.

Dean and Castiel's Lagoon of Love | @almaasi Rating: Explicit Word Count: 12519 Main Tags and Warnings: Smut, Fluff, Romance, Porn With Plot, Porn with Feelings, Tentacle Porn, Explicit Consent, Dean's Tentacle Fetish, Sexual Roleplay, Octopus Castiel, Human Castiel, Cursed Castiel, Top Castiel, Bottom Dean, Witch Curses Summary: Castiel is presently an octopus from the waist down. But the curse is only going to last a few more hours, and there's only so long Dean can delay before asking Cas to act out the erotic anime closest to his heart: "Sweet Princess Asuka Meets the Tentacles of Pleasure". Cas is the tentacle monster. And Dean is the heartbroken princess, seeking renewal in the monster's lagoon of love. The storyline may not be complicated, but when their half-innocent roleplay becomes more sensual than they planned, their feelings grow complex. Dean can leave the paddling pool in the bunker garage behind, but once Cas has his legs back, he can follow. There are still feelings to resolve. Their story isn't over yet.

Lucid Nightmare | @almaasi Rating: Teen & Up Word Count: 10202 Main Tags and Warnings: Alternate Universe, Emotional Intimacy or Die, Spooky Fluff, Darkfic, Romance, Adventure, Siren Castiel, Winged Castiel, Prisoner Castiel, Supernatural Elements, Doubting Reality, Lucid Dreaming, Dreams and Nightmares, Running Away, Road Trips, Consent, Dreamwalking, Sharing a Bed, Unconventional Format, Rhyming, Poetry, Unsettling Summary: there's fire in this city // sirens, ghosts, and earthquakes // one night, you protect me // and we run until dawn breaks // Or: A spooky, fluffy, mind-warping existential-themed half-fic half-poem, in which Dean saves siren!Cas from a real-life waking nightmare and drives him to Bobby's house for safety. But as Cas reveals more about himself and his past, Dean comes to realise he has to let his new winged friend enter his mind and dreamwalk, or else Cas will die.

The Tailor of Fairy Ridge | @almaasi Rating: Teen & Up Word Count: 17957 Main Tags and Warnings: Alternate Universe - Fairy Tale, Historical, Fantasy, Friendship, Pre-Slash, Fluff, Adventure, Tailor Castiel, Fairy Dean, Mute Dean, Dean Loves Pie, Dean Loves Clothes, Fairy Sam, Fairy Mary, Witch Charlie, Magic, Spring, Festivals, Kidnapping, Mind Control, Profound Bond Summary: A lonely, struggling tailor named Castiel discovers he has a fairy living in his shop, supplying him with clever new ideas for clothes every night. Dean is a glutton for all things sugary, and he doesn't speak a word. Of course, Castiel can't help but adore his company.

A Severe Case Of Fairy | @sternchencas Rating: Explicit Word Count: 38464 Main Tags and Warnings: fairy tale AU, fairy!Cas, angst and fluff and smut Summary: When Dean gets thrown into another world during a hunt, it seems like a fever dream that he wishes to escape, but it could also become the best thing that has ever happened to him.

#destiel #writersofdestiel #destielfanfic #destiel fanfic #supernatural #deancasfanficnet #destielfanficnet #destiel trope collection #tropes #creature au #2019

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deathbenotproudads-blog · 4 years

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alydiarackham · 5 years

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(cover by me)

How to Be a Hero Like a Villain by Alydia Rackham

Introduction

I’m Basically a Geek

Hi. Yeah, so, it’s true. I’m a geek. Have been forever. I really had no shot at being otherwise. My mom raised my brother and I on musicals and Star Wars and Star Trek and Disney. Growing up, I read loads of YA sci-fi novels—again, lots of Star Wars—and then when Marvel started making movies, I got into X-Men and then Iron Man, Thor (my major crush on Loki still remains alive), Captain America, then Batman; all that jazz. I’m also a Disney fanatic and a theatre nerd.

I was an English major in college, am in love with Tolkien and Austen and Dickens and Doyle, and adore all things Victorian. My friend Jaicee introduced me to Vampire Diaries and Originals (which are both compelling studies in heroics and villainy, let me tell you). I’ve written tons of fanfiction, in addition to loads of original novels. I write in all genres, mostly because I get hooked on a good story, good characters, no matter the setting—though I do have a weakness for an epic story arc, flawed heroes and of course, powerful villains. Right now, I’m on the 5th book in my fairy tale retellings series. So far, I’ve retold “Beauty and the Beast,” “The Snow Queen,” “The Little Mermaid,”—and then I did a totally-original one about a Curse-Maker, from the POV of…yep, the villain! At the moment, I’m working on a retelling of the legend of King Arthur, called “Excalibor.” It’s a blast.

As you might imagine, I am intrigued most of all by character. I enjoy reading about the great ones, and inhabiting the interesting ones in my own writing. Flat romantic interests and motivation-less villains drive me nuts. I’m fascinated by a character’s inner workings, his history, his motivation, his mannerisms, his relationships, his skills, his style, the way he presents himself to the world. My brother and I love analyzing plot holes and devices and flaws and symbolism and insights. (Our after-movie discussions can get very animated, and last for hours.)

Often, we find ourselves yelling things at the Hero on the screen like “For crying out loud, don’t do that! Don’t go in there! Stop wasting your time! Watch out—don’t you know what’s in there?” We easily see the choices that the Hero makes that are flawed, impulsive, or just plain stupid.

But very rarely do we notice such things about the Villain. A good one, anyway.

The Villain takes us by surprise. He startles us. He’s two steps ahead. He already has the device, he’s laid the trap, he’s captured the girlfriend, he’s destroyed the evidence. (Cancer Man in X-Files makes me absolutely want to scream because of this stuff.)

Why is that? How did he know? How is he doing this?? It drives us crazy—and yet, we reluctantly have to admire the greats for being such awesome masterminds.

So…how are the Villains so successful? Sure, we could shrug it off and say, “Well, he’s a super-genius, what do you expect?” But that’s too easy, and frankly, it’s doing a great disservice to our Evil Neighborhood Menace. In fact, with everything we see, and with the Hero making such rash and stupid decisions, oftentimes it’s a wonder that the Hero even lives, let alone triumphs in the end.

And actually, in real life, that’s often true. The Hero does die or fail, and the Villain lives and prospers. Why?

What is it that the Villain is doing that the Hero is not doing, which makes him successful? Again, the easy and lazy answer is “He kills people to get what he wants, he lies, he steals.” Okay, sure. What you’re describing is a garden-variety thug. Somebody who gets caught in Spiderman’s webs every weekend.

You are not describing a Super-Villain.

There’s something about a Super-Villain—a really great one—that keeps him in the game, that makes him a serious threat to the Hero, even after being beaten over and over again. What is it about Lex Luthor—who has no powers—that keeps him alive, and makes him a continuous, serious threat against Superman, the most powerful being on the planet?

How is it that a Villain keeps coming back, when similar failures and losses would crush a Hero and send him home forever, never again to don the super suit?

Could it be that a Villain’s methods, his mindset, his approach, are vastly different from a Hero’s?

And, if a Hero could learn to take these qualities and mesh them with his own already-existing awesomeness, could he perhaps avoid a devastating loss, a crushing defeat?

Is that…in fact…what does make the Hero succeed in the end??

That’s what this book is about. Examining what truly is awesome about a great Villain, and showing YOU how you can put those qualities to use in your own life to do a great deal of good, instead of great evil.

Be a great Hero. Take a few tips from the Villains.

-Alydia Rackham

P.S. I’m going to refer to both the Hero and Villain in this book as “he.” I’m doing that because it’s waaay easier than saying “he or she” all the time. Not because I don’t believe that women can be awesome Heroes, or terribly wicked Villains.

Because I totally do.

Chapter One

What Makes A Hero or a Villain?

So, what is it that makes a person a Hero, instead of a Villain? We’re talking the foundation, here. What are the qualities he or she possesses deep down inside that distinguish, that draw the line, that clearly state to the world: “Nope, this is a good guy, this is a bad guy”? This can be confusing. Especially when we look at two characters, say Loki and Bucky Barnes. Both of them have been all over the map with both good and evil deeds. Both have been called Villains, and both could be Heroes.

What is it that makes us decide where someone stands?

I would say that it all comes down to one thing: CHOICES.

It can’t be anything else. You can’t say it’s kindness, or love, gentleness, trust, honesty, bravery, self-sacrifice, or self-respect. Many Heroes and Villains alike struggle with self-respect. Many Villains sacrifice themselves for a person, or a cause. Villains are almost always exceptionally brave. Villains probably are honest with at least one person, or have been in the past. They also have trusted someone, been gentle with someone or something. Most certainly, the best Villains have loved very, very deeply, and tried their best to be kind to that person or animal.

However, something went wrong. Very wrong. And with every Villain, it can be traced back to Choice.

Sometimes, it’s a single choice. Many times, it’s several choices in a row. And eventually, they all decide that “the ends justify the means.” They opt for self-preservation, for the removal of liberty for other people, for the arrogant assertion of their own will. Over and over again, until it poisons them.

A Hero is someone who does not do this. Who chooses, even if it is wrenchingly difficult, to stand by what is right, no matter the consequences. No matter if he loses everything. He will not betray his honor. Even if no one else would see or know—he would know. And he will not do it.

In the end, this is what makes the Hero stronger than a Villain. The climax, and the defeat of the Villain, comes when the Villain’s weaknesses are exposed, and the Hero takes all his own strengths, combines them with the strengths of the Villain, and declares victory.

A Hero guards his or her good conscience fiercely. It’s pretty well summed up in this quote from Captain America:

“Whatever happens tomorrow, you must promise me one thing. That you will stay who you are: not a perfect soldier, but a good man.”

Chapter Two

Good Guys Can Be Stupid

We all know it’s true. When we’re in the movie theatre, we mutter under our breath, shake our heads.

When we’re at home, we scream at the TV.

“Nooooo! What are you thinking? Don’t go that way, go the other way!”

“You moron, don’t go off by yourself! Never leave the group! Especially in the dark!”

“What, you jumped in there but you had no way of getting out?”

“Don’t ignore her calls, she’s trying to save your life!”

Yep, we’ve all been there. So what are some bad traits that Heroes tend to display that we ought to try to avoid ourselves?

Stupid Impulsiveness

Sure, impulsiveness can be good on a date, or at a restaurant trying some new dish.

It’s not good when you’re, I dunno, jumping off a ten story building. Following a noise into a dark forest. Or deciding to stop a bank robbery two days after you discovered your powers. Bad planning, or none at all. Not even thinking about what could happen in the next five minutes, let alone preparing for it.

For us regular folks, this can be translated into deciding to go for a drive in the snow with no 4-wheel drive, jumping off something that’s too high, going on a trip without enough money, walking down a dark alley in New York City…

Yeah, you get the idea.

Not Keeping Family and Friends in the Loop

We’ve seen it a lot: Heroes thinking they need to conquer alone—deal with all their problems, and protect their family members. However, all that ends up causing is major trouble. Sometimes life-threatening, sometimes not, but it’s never good. One that comes to mind is Elizabeth Bennet in Pride and Prejudice. If she had told her sisters about what was going on with Darcy, and especially the drama with Mr. Wickham, she might have saved her sister Lydia from being entrapped by the Villain. Pretty much every single story about a superhero contains this type of lament: “If I had only just told them the truth!”

Heroes fall into the trap of thinking that they’re protecting their loved ones by keeping secrets. By not trusting their friends or their family with what’s going on in their lives. When in fact, this only puts their loved ones in danger, and puts serious stress and pressure on the Hero, which can lead to exhaustion, panic, stretched resources, missed opportunities, and giving the loved ones the feeling that they’re being neglected and forgotten.

Discouragement

So many times, the Hero just doesn’t have the tools to do what he needs to do. He’s isolated himself, he’s gone without sleep, he’s fighting an uphill battle every day. And then, one major thing goes the wrong way, and he’s broken. He collapses, he throws things, he cries, he’s in despair. He thinks there’s no possible way for him to do this, to keep going.

He dwells on the failure. It almost swallows him. He loses all confidence, all belief in himself. He might even lose faith in the cause itself, in the people and things he’s been fighting so hard for. And if someone doesn’t come along and convince him otherwise, he’ll never put on that Hero cape again, or pick up that shield, or that sword.

Read this book: https://www.amazon.com/How-Hero-Like-Villain-Villainous-ebook/dp/B07NMVGCHP/ref=sr_1_1?keywords=how+to+be+a+hero+like+a+villain+alydia+rackham&qid=1572901986&s=digital-text&sr=1-1

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