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a-town-called-hometown · 1 month

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yippee! apologies if my takes are horrendously bad

my personal take on the matter is that i definitely think the dark worlds can work as a metaphor for escapism without undermining the darkners' personhood. it can be more than one thing, yknow? the darkners are important, their lives matter. and the lightners do go to the dark world as an escape from the problems they face in their own life. but that's not the darkners' whole PURPOSE, yknow? i mean. according to the laws of the universe of deltarune yes darkners' "purpose" is to serve the lightners but like it's not their whole purpose in the STORY.

it's sort of like how, in UNDERTALE, LOVE represents how distant you've become, how easy it is for you to hurt people. but it also literally gives you the power to destroy the world.

i think the biggest reason i believe escapism is at least a part of deltarune's narrative is queen.

queen's whole speech in both of her fights is about how she intends to provide escapism for the lightners (so that they will worship her but also so that they will he happy). she wants to turn the whole world into a dark world, so that everyone can live in bliss and not have to worry about the woes of the light world. she mentions "Staring, Tapping, To Receive Joy. Staring, Tapping, To Avoid Pain." which is like pretty much the definition of escapism

she wants to help Noelle with the problems she faces in the light world ("Noelle. Who Will Be There To Help Her? Her Strange And Sad Searches" and "My One Idea To Help Noelle, Failed") by just... shoving it away for a blissful fantasy world ("Wake? No, She Has Already Awakened Too Much. Let Her Close Her Eyes And Sleep Away, Into A Darker, Darker Dream.")

...i forgot the rest of what i wanted to say!

well first off, thank you for your ask! I'm going to get extremely in depth in my answer, so bear with me here. sorry it took several weeks to write this. the escapism reading of deltarune is pretty deeply entrenched in fandom, and to refute it, I felt it required a full-length essay to completely explain my viewpoint.

yes, "the lightners desire escapism" does not automatically translate to that being the darkners' actual narrative purpose. escapism can be a theme without dehumanizing those who are used in order to escape - in fact, I've read a number of stories that use someone's desire to escape to HIGHLIGHT how they're hurting others in pursuit of that. I believe that toby fox is definitely capable of telling a story about kids having a valid desire to escape, and about them grappling with having inadvertently created a world of real, living people as a result.

(I'll reiterate again that this is not the story arc that generally shows up in fanon. the common consensus is that the game will end in an omori-esque "growing out of" the dark worlds. it's why I have a huge dislike of the fanon escapism reading, given that the darkners are shown as people whose lack of agency parallels kris' own. it would feel cheap if the resolution to that plot was that the darkners were actually never meant to be agents in their own fates. but this is a digression.)

the reason why i DON'T believe that this is a story that toby fox is telling is because of the way the world, themes, and characters are written. put simply, it just doesn't come across as congruent with the story being told.

deltarune's main themes are agency, fate, identity, and control. this is a conflict that shows up in nearly every major character, is baked into the worldbuilding, and is the central struggle involving us, the player. the protagonist of deltarune is literally possessed by us against their will. the darkners are objects that have no choice but to serve and be discarded. over and over again, there is emphasis on roles that characters play - and crucially, roles that are imposed on them.

what would escapism mean, in this thematic context? in real life, escapism can represent any number of things, but in a story, a major narrative theme generally has to dovetail with other major narrative themes in the work. I would argue that escapism in deltarune would likely mean going to a place where characters are able to choose for themselves what roles they embody, or even to discard the notion of roles altogether. a fantasy of control is the only way to escape a reality where you have no agency. and honestly, it's hard to imagine that something could count as an escapist fantasy if you don't even get to choose whether or not you participate in it.

let's talk about kris.

I see a lot of discussions around kris that say that kris goes into the dark worlds to escape. the dark worlds are posited as kris' fantasy of heroism. it's a world where they can seem heroic and cool, a world where they can have friends. this theory makes a decent amount of sense on the surface level, but only until you consider that kris is being controlled in order to go into the dark worlds. and it is not a control that they appear to welcome.

if those worlds represent kris' fantasy, then why don't they get to choose what happens in those fantasies? why are they being controlled by an external force, one that they actively push back against? if it's really an escape, then why does everything about this world reflect their lack of agency? if they really think this world is just a pure fantasy, then why do they care if spamton falls when his strings are cut?

because they're being deliberately obscured to the player, it is hard to say how kris actually feels about many subjects... but I do seriously doubt that they view the dark worlds as an escape. they don't act in a way that is consistent with that. they resist their lack of agency, and what little we do see of their reactions to darkner characters doesn't suggest that they view those characters as part of a disposable fantasy, either. they seem to have complicated feelings on ralsei. and of course, one of their biggest emotional reactions in the game is to the spamton fight. I would argue that that suggests they have empathy for spamton, which is a hard emotional reaction to have if you believe he's just part of a fantasy. not impossible, mind you, but it seems unlikely that kris believes that all this is simply fantasy.

also, considering that snowgrave both actively discredits the idea that the dark worlds are mere fantasy and is actively traumatic for kris... I seriously doubt they'd open another dark world in chapter 3 on a snowgrave run if their motive was purely to escape. on that route, they've seen the damage we can cause in a dark world. they know that berdly has sustained lasting damage due to our actions, assuming he's not outright dead. why would they want to try and "escape" to a place like that again now that they know what can happen?

the only answer is that they have a motive that isn't escapist.

now, as for ralsei... what part does he have to play in all this?

ralsei does play a lot to the fun, fantastical elements of the dark worlds. he delivers the prophecy that kickstarts the adventure. he flatters both kris and susie endlessly when they act appropriately heroic. he welcomes them into the castle and even makes nice rooms for them. he initially seems tailor-made to enable a fantastical experience where no real issues can ever complicate anything, and where the pain of reality can successfully be hidden from. but there's a lot of complications to the idea that he might represent an escapist fantasy.

the first, and what honestly seems the most important to me, is that he doesn't encourage kris and susie to remain in the dark worlds. he is welcoming and kind, but once the adventure is over, he prompts them to return to the light world. he wants them to deal with their more "real" problems like homework. that doesn't feel like he is trying to facilitate escapism in them. a real fantasy would encourage you to stay in it, wouldn't it?

and while ralsei is definitely invested in making sure the lightners are happy, there are always cracks that show. he isn't able to make kris ignore what happened in the spamton fight. he isn't able to convince susie to be peaceful and kind. and in his very essence, he represents a number of uncomfortable ideas. very importantly, he represents a number of uncomfortable ideas to kris.

this probably ain't your first fandom rodeo, so I'm not going to explain all the different ways that ralsei interacts with kris' personal issues. there's plenty of posts on it out there. what i will point out is, once again, it feels odd that a character who seems tailor made to bring up kris' most uncomfortable associations with their lack of agency and their outsider status in their own family would be part of a fantasy of escapism to them. you'd think that they'd prefer something that didn't have an inbuilt hierarchy, a prophecy that denied them autonomy, or especially a person that reminded them how little they fit into hometown.

that doesn't mean kris doesn't care about him at all - it seems very likely that they do. what I mean to say here is that he just seems ill-suited to an escapism reading, both behaviorally and on a conceptual level. it doesn't seem like that's at all part of his servitude towards the lightners.

of course, there is another non-lightner entity that ralsei seems diegetically engineered to serve. but I'll discuss that later.

now as for susie...

yes, susie definitely views the dark worlds as more fun than the light world. and why wouldn't she? the light world sucks for her, and she doesn't seem very aware of the fact that the dark world can also suck. you could definitely make the argument that she views the dark worlds as a fantastical escape from reality... were it not for the fact that she treats her darkner friends with just as much importance as she does kris and noelle.

can someone treat components of an escapist fantasy as real and important? of course. but given deltarune's themes of agency and control, as well as the fact that darkners exist in servitude to the lightners, I feel like you'd have to make escapism tie into forcing others into a lack of agency if you wanted the theme to feel coherent with the rest of the work. this would require susie to be limiting the agency of the darkners around her. and obviously, she doesn't do that. her presence around them might be inherently limiting, just by simple virtue of being a lightner, but she isn't aware of it, and clearly is uncomfortable with the idea of limiting anyone's agency. she encourages ralsei to make choices. and she supports lancer in basically anything he wants to do. her treatment of lancer is integral to chapter 1's narrative, and it seems like that treatment of ralsei is integral to the ongoing narrative as well!

her preference for the dark world feels very rooted in her engagement with it as its own reality. rather than trying to avoid her real-life problems by engaging in a pretense, she seems to simply want to spend time with her friends in a place that isn't cruel to her. she isn't ignoring any of the dark world's problems in service of that, either. she notices when things don't line up. if she thought of it as a fantasy, wouldn't she be inclined to ignore issues that impede the fantasy?

and critically - like kris, she does not intentionally choose her imposed role in the prophecy at first. she steps into the role of bad guy to resist it, but that role is limiting too, and she eventually acquiesces to being a hero. it's never something she's completely on board with, though. she actively pushes back the limitations that the role places on her. I find this important to reiterate when we are discussing the notion of the characters viewing the dark worlds as fantasy.

noelle has a complicated relationship to the dark worlds. susie tells her that it's a dream to make her accept the strange reality she finds herself in, which works well on her. she continues to think of it as a strange dream throughout the chapter. (though, like the others, it is not a 'dream' she entered of her own volition!)

it is also a markedly unpleasant 'dream' at times. she has her agency restricted, is kidnapped, has to evade a controlling monarch, and is even tied up in a weird evangelion cross thing on the hand of a giant robot. it's not purely fun. noelle does like scary things, and while it might be healthy for her to have an experience where she stands up to a controlling adult figure... again, the circumstances make it difficult for me to assume that this is a fantasy she would choose for herself. not impossible, mind you, but it's not the first reading of the situation that comes to mind.

and while she does say she wishes she could dream like this every day in the normal route, that does happen specifically because she was talking to the girl she likes. it makes sense she'd find that pleasant. I don't think that necessarily equates to her finding the dark worlds escapist.

and importantly, this isn't the sentiment that she expresses in every route.

again, there's a lot of analysis on snowgrave, so I won't bother regurgitating it much here. but it's nightmarish for both kris and noelle, and very likely fatal for berdly. noelle needs to believe that the event is a dream, for her own psychological safety, but one of the most important parts of snowgrave...

...is that its events, and the world it took place in, are very, very real.

noelle wants to have the strength to face her problems, both in the regular route and in the snowgrave route. rather than escaping from them, she views the "dream" as a chance to practice dealing with her day-to-day issues. it's just that in the regular route she finds that strength authentically, and in the snowgrave route, that desire is manipulated and pushed until she is forced to kill berdly. she doesn't interpret snowgrave as an escape gone wrong. she views it as a dream that became a nightmare. and those are two extremely different things.

but i haven't even gotten to the biggest thing that undermines the concept that the dark worlds are a metaphor for escapism! which is: this fucking guy is dead wrong about everything.

so full disclaimer - I really love berdly. I think he's slept on a lot in the fandom because he's annoying and weird. which is fair, I suppose, but I think ignoring him hinders a lot of people's understanding of deltarune's overall narrative. because berdly often illustrates a lot of concepts in the game, but his narrative framing as a joke (usually...) prevents the player from taking it completely seriously. he has things to say and ideas to show off, it's just that he's often very loud and kind of dumb in his expression of them. which is kind of the point!

ralsei brings up the idea that the darkners are meant to serve the lightners very seriously in chapter one. by extension, and by way of the literal mechanics involved in a dark world's creation, we can infer that this logic is probably something that also applies to the dark worlds themselves. they are allegedly worlds and characters that only are supposed to fulfill a dream of the lightners. but due to narrative framing and deltarune's themes, we know that that's not the full truth. however dark worlds and darkners are created, they deserve to have their own agency. they can't just exist to fulfill a higher being's wishes.

you know who else undermines that view of the dark worlds? berdly! berdly does!!!!

because berdly is the only lightner in the game so far who does take the dark worlds to be an escapist adventure! he wants to turn cyber world into smartopia. he views this as a chance to be a cool hero. he believes he's going to get the girl, he's going to shape this world to his own liking, and maybe also he's going to get queen to acknowledge him or something so he stops being a forgettable little bluebird. and not only does none of this happen, his steadfast belief that it will happen is continually a joke within the narrative!!

berdly's wishes for uncomplicated escapist fantasy are flat-out denied by the dark worlds themselves. as a lightner, those worlds should be serving him. he should have the power to do whatever he wants within the bounds of an escapist fantasy. these npcs should be singing his praises!

but he doesn't have the power. and this world doesn't sing his praise. because it just isn't an escapist fantasy. he isn't right to view it that way. his wishes for heroism are always going to be thwarted.

so now that I've gotten all that out of the way, let's swing back over to the subject of your original ask. queen.

because, like berdly, queen's entire character arc is about how she's completely wrong about what the lightners actually want.

queen would in fact like nothing more to place the lightners into an escapist fantasy. she believes that that's the best way to serve them and make them happy forever. as a darkner, queen has very much internalized the idea that a lack of control is what actually makes people happy. since darkners have no choice in their destinies and are supposed to be happy in it, and since she personally finds her role as a darkner fulfilling, she believes that that's true of all people everywhere. if you want to make people happy, you just have to remove that pesky personal agency!

so she spends the story trying to force the lightners and particularly noelle into situations where she controls them in order to make them ostensibly happier. she does genuinely believe that this is the right thing to do, but as she finds out eventually, she's just wrong. noelle doesn't want that. queen believes that escapism is why the lightners use the internet... but that's totally wrong too.

while there are other searches mixed in, noelle is trying to use the internet to find her sister. instead of trying to hide from whatever happened, noelle wants to figure it out. queen's thesis about noelle and the lightners is proven wrong even before she personally encounters noelle in the dark world. it's just that queen doesn't realize it due to her limited perspective.

the concept of escapism being brought up with both queen and berdly is not there to say that the dark world is escapist. rather, it's there to say that it isn't. despite the dark worlds being a fantastical place, they are extremely real. to view them as a means of escape is foolhardy at best. you cannot act as though you are above consequences within them.

themes and ideas exist within the story for a sake of an audience. so let's get into the final character I need to discuss here. hopefully this will tie my thesis of deltarune together neatly.

that character is of course us. the player.

when creating a piece of fiction, an astute author will often identify and anticipate an audience's reactions to certain things in their work, and write things in such a way that they elicit the desired reactions. in essence, a writer is directing the "character" of the audience. how we feel and how we are anticipated to react to things is an integral part of nearly every fiction.

that effect is far more overt when dealing with metanarrative fiction that diegetically involves the audience. since the fiction is saying a lot of things about the general 'you,' the audience in aggregate, your reactions to certain things in the story have to be finely cued and anticipated by the author, so that the author can thus commentate on the reactions that you have to the story. the "character" you are assumed to inhabit is posited by the author to have certain traits.

to explain what I mean in plainer terms, I'll use the player of undertale's no mercy route as an example. because undertale is commenting on the way rpgs generally work. the player's behaviors in no mercy are attributed by characters in the story to be the result of us acting like a typical gamer. we kill the characters in the game because we want exp. and more than that, it's because we want to see everything the game has to offer. the role we inhabit in this role-playing game is that of a completionist. you could say that that's assumed to be our "character" in no mercy.

deltarune also posits that certain things are true of its audience. by being written to evoke certain cultural ideas, rpg tropes, and references to undertale, it guarantees that its audience will probably have certain traits, and spends a large amount of its conceptual focus commenting on those traits. one of those traits is nostalgia, which is probably an idea that I'll expound upon in a further essay because it's quite integral to my reading of deltarune. but the main one I mean to discuss here, and why I went off on this tangent about how audiences are dealt with in metafiction, is that we are posited as someone who believes in the logic of certain narratives.

deltarune's writing evokes a lot of portal fantasy narratives. alice in wonderland, narnia, pretty much every story where it's revealed at the end to be all a dream... the story of deltarune superficially resembles a lot of those. this, I think, is responsible for the popularity of the escapism theory. because those stories are often at their end about a child learning to put away fantasy and grow up, people tend to believe that deltarune must be about the same thing. but I truly don't think that deltarune is trying to do anything with that aspect of portal fantasy narratives, at least not directly. its main characters aren't involved in that exact type of coming-of-age arc.

instead, deltarune is very concerned with what happens to characters in fantasy, and specifically fantasy rpgs. if your world is deemed to not matter because it's a dream, what does that mean for you, who has no choice but to live in it? if you are an npc whose role has been predetermined for you via script, then can you ever decide for yourself what you want? what if you want to matter? what if you want to be your own person?

as the major controlling force of deltarune, we are initially cued to believe that deltarune is like a dream. it superficially fulfills so much of what we want from undertale fanon. hometown seems like it's a perfect idyllic town, at least until you start noticing the obvious cracks. and remember what I said about ralsei earlier? he is so reminiscent of asriel, and extremely eager to help us. it's not a stretch to say that making us specifically view deltarune as dreamlike and idyllic is probably part of his purpose in the game.

I would not say that we are posited as escapist. but the idea of escapism as brought up with queen and berdly is meant to strike at the heart of a much deeper idea that deltarune is trying to deconstruct. because if we view deltarune as a dream, escapist or otherwise, then we are inclined to write the internal realities of the characters inside off. the dark world can disappear without it mattering. we can control kris without it mattering. if it's all a dream, what does it matter? why should we care to let its characters go free? aren't we supposed to be in control?

if deltarune is an rpg... what is the significance of us interacting with it?

#deltarune #deltarune analysis #BIG big thanks to tvlandofficiall for being my sounding board and providing the flavor images for this essay #this one gets into some big overarching analysis of deltarunes construction and what it deconstructs. hope u enjoy

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cherryslyce · 1 year

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Second Son (Epilogue) | Regulus Black

Series Synopsis: Forbidden from contacting Harry over the summer, you opt to explore the eerie halls of Grimmauld Place where you stumble upon a lonely portrait of the House's second son.

— Chapter Synopsis: The new era. The end of one chapter, and the beginning of another.

Part XIX / Series Masterlist

Pairing: Regulus Black x GN!Reader

Notes: Thank you all so much.

You peer out of the fenestrated walls, eyes glazing over the faint swinging of wooden signs and veranda covers. The ambience around you swirls like a sheer veil as you lean back into your seat, sighing out blissfully as your cooling charm beats with fervor, shielding you from the blistering heat of the summer day.

Dragging your eyes away from the bright view, you run your finger along the thick cardstock in front of you. The blocky letters begin to fade into the background of snowy mountain caps and faded waterfalls as you continue to trace your eyes over it.

‘Greetings from OREGON’

You flip the postcard over and swipe a finger across the swirly letters.

‘Hope you’re well, kid. - A. Fiske’

A sudden thudding noise echoes across from you, and you slowly shift to sit straight as your eyes drag themselves away from the letters. You tilt your head with a coy smile as your companion leans back to get comfortable, evidently miffed by the unrelenting heat waves.

“Good to see you, B.” You smile saccharinely, fingers dancing along the chilled cup in front of you.

Blaise rolls his eyes and places his own drink down on the table—iced americano, simple, bitter, and everything that Blaise wasn’t. You would never understand his fascination with the drink. He huffs before smiling sarcastically at you, “Yes, how long has it been? Two days?”

“Don’t whine, it’s unbecoming.” You mutter playfully, twirling your straw around the rim of your cup.

“Merlin, you’re even starting to sound like her. Really, no wonder mother finds you so endearing.” He tuts as he throws his elbow back to rest on the back of his chair.

You chuckle and shake your head, “Okay, let’s digress then.” You lean forward and cross your legs, “How is Draco doing? Theo is irritatingly uninformed on the topic.”

“He’s alright, thanks to you and Potter anyway. His father might not be facing a long sentence, but many of the elected Wizengamot heads are shifty even with your statements. Lucius Malfoy has been a slippery eel for a few years too long.” He hums, face unflinching as he sips on his potent drink, “How the mighty have fallen so.”

Nodding, your voice drops lower as you survey the rest of the cafe, “Azkaban will still do a number on him even with a lighter sentence. Narcissa is worried.”

“As she should be,” he replies curtly, “and speaking of Azkaban, how is Lord Black nowadays? He’s become quite the hermit. Is he faring well?”

You sigh and rub your chin, “Yeah, he’s just been busy with remodeling. He’s still quite miffed that Reggie and I decided to move out.”

“At least he has Potter with him.” Blaise supplies, eyes darkening in rumination at the mention of Regulus. He levels you with inquisitive eyes, “Before I forget, what should I send over?”

Furrowing your eyebrows, you hum, “How do you mean?”

“Your house warming gift, daft one.” He rolls his eyes lightly.

“Just bring your lovely self.” You huff out.

Blaise crosses an ankle over his knee, “A vase then.”

“If it clashes with the aesthetic then I’m tossing it into the basement.” You warn jokingly, smiling widely at your friend.

He shakes his head with a muffled chuckle, “No worries. Anyways, you still need to unpack, right? Need any help?”

“Oh? Work not keeping you busy enough?” You rest back against your chair, head bleeding with thoughts about how taxing work has been in the past few months with the Ministry trying to dial the reconstruction process to an inconceivable pace.

Blaise groans at the reminder, taking a long sip of his drink, “Merlin, they should rename the whole Department! Department of International Magical Cooperation? What a joke, all they do is sit in an oval and squabble.”

You throw your head back to laugh, a feathery light bubble of relief expanding in your chest. It was mind-boggling to think that not even a year ago you were all fighting for your lives, and now the same backdrop of fear that followed everyone around for so many years had disintegrated. People strided through halls and streets with lifted shoulders and bright eyes, war-hardened, but jovial as their burdens gave way.

Blaise had worked his way up the Department of International Magical Cooperation, often leaving meetings with a sharp migraine and dwindling hope in the frequency of common sense. Theodore was faring well, now a highly revered Unspeakable for the Time Branch, all made possible with his swift denouncement of his father. Draco was the more withdrawn one out of the three, but you held out hope for him, having corresponded with him over his budding fascination for Alchemy.

You found that your new friends were on your mind often, and you were endlessly grateful to them as they took Regulus’ reintegration into society with stride, often giving you advice on how to politely tell inquisitive reporters to bugger off. Meetings with them were slowly becoming a rarity as all of you became engrossed in work, but your friendships remained resolute as you all quickly became each other’s closest confidants.

Luna wrote to you often, and you sent her trinkets and snacks by the dozen, finding yourself constantly worried that others would mistreat the girl with the absence of your friend group. Luckily, the girl found a friend in Ginny, and you were looking forward to reuniting with her during her Summer Break.

Harry and Ron were inducted into the Auror ranks by Shacklebolt only a few weeks after the war. You had your reservations about their decision to jump into such a high-risk job, the stench of carnage and battle throbbing like an open wound, but they insisted that they would never be able to focus enough to finish school.

On the opposite side of that sentiment, there was Hermione. She had quickly delved back into Hogwarts’ curriculum amidst its reconstruction, and was now looking to you with hopeful words about beginning her own sabbatical.

You had published your research under both yours and Regulus’ name, omitting information about Regulus’ discovery of sentient portraits as a precaution for the future.

You both respected Anders’ wish to leave his name off the cover and the research, but he failed to warn you against leaving his name anywhere else, so simply on the first page of your book, you dedicated the findings to him and Asger with a simple ‘For A. & A. Fiske.’

The research was groundbreaking, to say the least. You wouldn’t be able to forget the swaths of letters and documents from the Ministry, and one very heated missive to you from Blaise about how he was even more swamped with work, many foreign countries reaching out to inquire about the findings.

It all paid off though, the royalties you and Regulus got would sustain you both for the rest of your humble lives, and the boost on your portfolio made getting a job in the Department of Mysteries a cakewalk.

Once the sun rolled across the cloudless sky, the singing blues morphing to hues of pinks and purples, you bid your friend goodbye, wishing him luck with work and promising to gather with the rest of your friends the following week.

You were certain that apparition was the most useful skill you had in your toolbelt, and you couldn’t fathom how you managed to survive the majority of your life without such a feat. As your shoes pad against the pavement, the bristling of leaves skidding around you, you let out a content sigh as you approach your destination.

It was the closest thing you had to home for so long, and it still felt like safety and comfort despite the sudden heaviness of your own house keys in your pocket. As you pop the door open, head peeking around the heavy wood, your face lights up as a figure comes into view.

“You’re home!” You exclaim excitedly, stepping inside with a wide grin.

Harry approaches you and gives you a fleeting hug, hand raising to adjust his glasses as he pulls back, “Yeah, Tonks let me off early. How was your meeting with Blaise?”

“Good,” you draw out suspiciously, eyes narrowing as you both pace through the dim walkway, “how’d you know about that?”

“Regulus.” He answers simply, eyebrows raising in tease as you huff.

You both cross into the threshold of the kitchen, stopping in your tracks as you see countless manuals splayed across the wide berth of the table. Regulus and Sirius are both hunched over in their seats, flipping furiously through the catalogues.

“Some light reading, Sirius?” Your voice rings out playfully, body already moving towards your squinting boyfriend. Both men shoot up from their positions and blink owlishly at you and Harry, the sea of papers long forgotten.

“Furniture shopping, pup!” Sirius replies with a tired grin as he stretches his arms over his head.

Regulus rises from his chair and meets you halfway, arms wrapping securely around your body as he burrows his face into the crook of your neck. A few more moments pass by before he cranes back and blinks slowly at you, “Birdie.”

You run a hand through his curls and smile lightly, “Love.”

Regulus keeps you secure to him as he moves to drop back down into his seat, leaning his head against your stomach as you remain standing. Your eyes drop down to look at the varying bleak images on the shining white pages.

Raising your eyebrows, your eyes drift around an image of a steep bookshelf with two glass doors, “Is this for us or Sirius?”

Sirius leans back in his seat and rubs the bridge of his nose, “Your place. Reggie helped me pick out a few pieces earlier.”

Your eyes wander around the aged cabinets and drabby wallpaper, trying to envision the space in a remodeled visual, one that would be Sirius-esque rather than screaming of cobwebs and medieval torture. You smile minutely before reaching a hand out across the table, bringing your other hand to card through Regulus’ hair as you mutter quietly to the tired man across from you, “I’m happy for you, Sirius.”

The man reciprocates your smile and clasps his hand in yours, “Thank you, pup. I’m happy for you too,” he huffs and glances at Regulus, who remained immobile against your stomach, “the both of you.”

The tender moment continues for a few more beats before Harry slowly leans on the seat next to Sirius’, eyes scrutinizing a forgotten pile of booklets off to the older man’s left, “Sirius, where are we going to put a lion table?”

You snort out a muffled laugh as the man swivels over to his godson with beaming eyes, knowing that Harry would be whining to you later about Sirius’ ineptitude at interior decorating.

“You should start cleaning up, Remus will be here soon for dinner.” You murmur with a pointed look at the trio.

As the final outlines of the sun slinks away in the horizon, you and Regulus bid farewell to the occupants of Grimmauld Place, intent on spending the rest of the night in your home. It was fortunate that Regulus had managed to set up the floo network to your home only a matter of days before, and the journey back left little room for complaints as the green flames dragged away from your vision.

You step out into the darkness of your study room, ears perking imperceptibly when the network flares again as Regulus joins you. The twilight sky filters into your home, dimly illuminating the barren room.

“We’re home.” You mutter with a content smile.

Regulus slowly pads towards you, wrapping his arms around your waist as he sways you both. Your eyes are drawn to the French casement windows behind the desk, getting lost in the sight of the dancing flower field.

“Shall we head to the cliff, birdie?” Regulus muses, eyes following your gaze as he drifts into rumination.

You nod and reluctantly step forward, pivoting on your heel and dropping a hand onto Regulus’ arm, “I’ll meet you at the front? I need to drop off a few things in the bedroom.”

“Of course, baby.” He leans over to capture your lips in a soft kiss, hands dropping to your hips as he lightly grips onto you.

Humming against his lips, you slowly pull back and rub a thumb across his cheek, “I’ll be quick, promise.”

He pecks your lips again and gives you one last squeeze before he slowly backs away, shooting you a warm smile as he makes his way to the entryway. You retreat from the study room soon after, making a sharp right turn as you pace towards your shared bedroom.

Regulus had been the one to bring up the idea of getting a beach house, assuring you that he was unsettled by still water and not turbulent waves. It was a quaint building, one that sprouted into the center of a lustrous flower garden, and you both knew it was the one when you toured it. Just a short walk away from the blooming fields, a precipitous cliffside broke away and loomed over a thick landing of sand, giving a small brief from the swaying waves

As you enter the lusterless room, you shed away your bag and walk towards your bedside table, propping the Oregon postcard against your lamp. Atop the same white bedside table sat Regulus’ old golden frame, now whole and without trace of ever having been shattered. Under the frame, the folded piece of paper that Regulus had given you the night after you bought the property peeked out.

You grasp both items in your hands, and smile lightly as an idea formulates in your head.

“Kreacher!” You call lightly.

The house-elf pops into the bedroom with a curious frown, teetering towards you as you extend the items out. You fish out your wand as Kreacher grabs the frame, muttering a faint engorgio at the rectangular object. The frame wobbles in the elf’s grasp before slowly stretching to nearly thrice its original size.

“Could you possibly frame this note for me? Maybe above the headboard?” You request with a small smile.

“Kreacher will do that.” The house elf nods and begins to fiddle with the frame.

Your eyes run across the note one more time before you hand the slip to the elf, making your way out to Regulus with a fleeting farewell. The boy has a jacket slung over his arm as he waits for you by the door, carding his hair back as a flicker of joy flashes through his eyes when you appear in his line of sight.

“All ready?” He murmurs once you reach him.

“More than ready.” You reply with a hum, leaning to peck his cheek.

The trek towards the cliffside passes by in the blink of an eye, and you’re left with butterflies in your stomach as Regulus picks several tulips for you along the way. By the time you’re close enough to the ocean to hear the crashing of waves, you are left to huddle close to Regulus for warmth.

The sky begins to darken above you, but you give no protest when Regulus drags you to sit down on the ground. He peers up at the sky above him, eyes tracing across the faint twinkles of the approaching stars.

You bring a hand to trace his chest as you do the same, cradling the flowers to your side as you begin to sift through the reel of memories in your head.

“I love you, birdie.” Regulus whispers into the air, his arm moving to rest on your waist.

You smile widely and press your face into the crook of his neck, “I love you.”

And as you both laid under the stitches of glowing stars, sharing tiny whispers and shielding each other from the brutal winds, back in your home, Kreacher makes the last adjustments to the new wall decor.

Kreacher mutely assesses the space as he backs out, the elf’s head full of future possibilities.

It was peaceful. After so many years, he felt at peace.

The door closes with a faint click just as the stars peek through the bedroom window, reflecting off the glowing frame. The swirls of inks encapsulated in the shining beams dance amongst the canvas of the wall.

‘29 October, 1979

I wonder what being in love feels like.

26 April, 1999

Love is like flying freely from the inhibitions of your burdens, where your person is your wings, your eyes, and your heart; you soar freely with the knowledge that they will carry you above the storms of doubt. I no longer wonder because now I know.’

Fin.

tag list: @krazyk99 @venomsvl @valsarchives @bunny24sstuff @novella12nite @elia-the-bibliophile @txorua @xlifexdeathx @trikigirl271 @the-marauders-world @sleepydang @blueberry-thrawn @lestat-whore @chanaaaannel @clockworkherondale @peachyaeger @thegayhoenextdoor @l--absinthe @ok-boke @summer-noir @mikeikax @musically-ambiguous @dittos-blog-dylanobrien @friendly-neighborhood-boricua @randomfaeriechild @misacc08 @that-bitch-bri @littleshadow17 @chocochannie @bl4stonesc @shari-berri @mrs-billyrussooo @pandemicboredom @gojosbucket @brain-has-left @googie-jeon @lovely-maryj @lokifriggason1 @aloramalfoy @godmitski @justanotherkpopstanlol @hpboysslut2707 @coffeehurricanes

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thesunfyre4446 · 26 days

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the way that some people talk about helaena is just disgusting.

you have the people that straight up say that they're looking forward to b&c & don't care about her at all. which is fine i mean at least you're honest (though can't understand why anyone would be looking forward to seeing a 6yo kid get brutally murdered but ok)

then you have the people who try and "claim" helaena as TB. they say that helaena hates her family & her mom & her family is the reason that her life was ruined - and not b&c and maelor's death caused by rhaenyra and daemon. and it's so obvs they're just using that as an excuse to justify their favs horrible actions.

helaena's family did not ruin her life.

in the book it was viserys that arranged her marriage to aegon. so don't go crying in the comments about "the book", in the show the alternative is jace - and alicent was not about to let her daughter become rhaenyra's unofficial hostage. the twins are obvs not 6 and were aged down so show!helaena gave birth prob at 17. (these kids are not 6) by marrying aegon, helaena gets to stay at home with her family.

helaena is not suicidal. there is nothing in the show or the book to indicate that she is suicidal or depressed. she's described as a happy girl in the book and in the show we don't really get a lot of scenes with her but there's 0 indication to her being depressed. helaena committed suicide because of her children's death. the greens did not kill her children.

helaena does not hate her children. literally stfu. you can claim that because she's a teen mom (rhaenyra was also a teen mom but i digress) motherhood is prob not easy for her. but the fact that some people say that she hated her kids as a way to justify b&c is disgusting.

helaena being portrayed as neurodivergent & sensitive to touch does not mean that she can't or doesn't love her family. this take makes me want to scream. one of my best friends is also extremely sensitive to touch. she rarely lets her mom hug her and that's OK. everyone has different boundaries.

stop infantilizing helaena!!!!!!!!!!!!! she's an adult!!!!!!!!!!!!!!!!!!!!

and all of these excuses are somehow supposed to make b&c and maelor's death look less bad & daemyra less guilty. oh, daemon had her child brutally murdered before her eye? nah, she hated her children anyway lol rhaenyra drove her to suicide? well, she was always depressed and suicidal so it's not that big of a deal... (and don't even get me started on the "why didn't she just go to rhaenyra on dragonstone" as if she'd ever betray her family & like her own sons weren't also at risk if rhaenyra became queen)

i really can't. mind you, these are the people that scream and cry misogyny but are willing to use another female character in such a cynical and sinister way to justify their favs action. and yes, i'm calling it sinister because it feels VERY sinister. the discourse about helaena makes me so uncomfortable. (and the discourse around jaehaera is also disturbing af)

sorry about the rant.

#hotd #house of the dragon #team green #pro team green #heleana targaryen #my girl <3 #pro alicent hightower #anti team black #anti team black stans

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demigods-posts · 1 month

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Reasons why Bring on the Monsters from The Lightning Theif musical is an amazing song:

1.) "There's gonna be a fight. There still might be a war. For a moment, we've got danger on the run." Talk about setting the tone. We're in the clear as of today, but something is coming. Something bad.

2.) "Feeling ready🌊" "Feeling stoked🦉" "Feeling quesy🐐". Love how they gave Annabeth the 'feeling stoked' line. Because, of course, she's waiting in the wings, ready to kick ass when need. But it's also hilarious that the actress playing Annabeth is Kristen Stokes. So, I just imagine the writers gave her that line to mess with her.

3.) "Bring on the monsters. Bring on the real world." Like, yeah. They physically spent the majority of this musical in the real world, but they were disconnected from it. The three of them singing this line is a declaration of unity between their human and godly side. They are neither here nor there, not bound to one world, but exist in both.

4.) "They'll be times when your faith is shaken." Yes, your faith in the gods will be on the brink of breaking at any given moment. But so will the faith in yourself. But sometimes, being a demigod means doing it scared. But you won't go it alone.

5.) "Gotta know where the real fight lies when it's time to rise and stand your ground." Annabeth and Clarisse singing about knowing which battles are worth fighting and when is utterly amazing. Because not only are they both children of war gods, but they also canonically struggled with being strong-willed and prideful. It's like even though were at odds at the beginning of the musical, they aren't as different as they first appear.

6.) "No, I'm never gonna once have it easy. I'll make mistakes, but my own, and it frees me." In TLT, Book!Sally says something along the lines of: 'If my life is going to mean anything, I have to live it myself.' This is as applicable to a demigod as it is to a mortal. And it's bittersweet because not every demigod gets the chance to choose. Or rather, they don't choose wisely because they're so spiteful when it comes time. But sometimes, you gotta let the anger fade and move forward.

7.) "I'll be back next summer. You'll see me again. I'll be back next summer. I'll survive 'till then." There's something about this line that makes me want to cry. Percy started this musical saying he didn't want to be a half-blood, essentially rejecting the idea of a demigod, but ends the musical declaring his eventual return. He isn't saying goodbye, but a see you later. Which just tugs at my heart strings knowing we'll never get a second musical, but it's okay because Percy's essence extends beyond the Broadway medium. Whether it be a book, musical, movie, or graphic novel, Percy will always be back.

8.) Also, if you listen to the instrumental of this song, the guitar riff at the very end is playing the same melody of 'I didn't wanna to be a half-blood' underneath Percy's declaration of unwavering loyalty to demigods. And it broke me like a bone.

You guys remember these? That's great because I didn't. It just occurred to me that I never finished my analysis of the TLT musical, and I thought I'd get on that. Anyway, this song is fucking incredible, and I want a SOM musical. But I digress.

#if you're an og you'll remember this era of @demigods-posts #but yeah i still have a few songs to cover #simply for my own fulfillment #percy jackon and the olympians #pjo text post #pjo #the lightning theif #the lightning theif musical #tlt musical adaptation #tlt shitposting #tlt musical #tlt commentary #tlt musical commentary #percy jackson #annabeth chase #grover underwood #clarisse la rue #silena beauregard #chiron

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zenkindoflove · 2 months

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You know what.

Yes, Lucien DOES deserve Elain and he DOES deserve a mating bond.

And all this weird fake choice rhetoric and pseudofeminist takes are tired and some of the most superficial ways to interpret the text I've seen. "Elain deserves a choice" as if SJM hasn't written every single character with a mating bond having a choice and deliberately has set up a cultural system around bond acceptance where it's totally in the female's hands to accept or reject. As if she hasn't had Lucien being the LEAST entitled male with a bond in this series. He hasn't forced her into a bargain or locked her in a house with him.

But I digress. Lucien and Elain are characters in a fictional story. The narrative is what drives everything. Unlike in the real world, we can openly discuss who "deserves" certain storylines and wish happiness or misfortune to characters because they're not real people and fiction is all about the story that is being told. There is a sense of justice when it comes to love because we are reading romances. This isn't just about "omg one character likes another" Its about telling a bigger story of who is right for each other, even if they aren't ready to see it yet (like every single romance she writes about). SJM purposely gave Lucien a tragic romantic backstory that is absolutely devastating to think about. She made him think he lost his mate and turn his back on love only to find out his mate isn't who he thought it was and it's the only thing narratively that makes sense for his character to give him a chance at love again. She purposely made Elain experience a horrible rejection because of things done to her outside of her control by a man she thought could love her unconditionally. So it makes sense that the guy she will end up with will actually be the one who is actively showing he will love her without conditions - rather than the one who is not even willing to admit he's not over another female or that he has considered Elain beyond his sexual fantasies. And who of course tapped out the second he was met with any resistance.

So yeah, when I say Lucien and Elain deserve each other and to have a soulmate who loves and accepts them, I mean it with my whole chest because that is what would be satisfying to the narrative. Settling for mediocrity is boring in a world where you could have it all. And the whole point of even reading these books is to figure out how and when X character is finally going to realize they can indeed have it all.

Like honestly I don't think anyone should shy away from telling people straight to their face when they say "oh so you think Lucien deserves Elain???" That yeah. I absolutely do. What of it?

#elucien #lucien vanserra #elain archeron #pro elucien #anti e/riel

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aerequets · 1 year

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i very much appreciate how Yor, the strongest character, is so feminine

she’s obviously the physically strongest, and arguably the most mentally and/or emotionally strong. what i really appreciate is that this strength and her femininity are complements, instead of the two being treated as mutually exclusive like in many other media.

yor is soft spoken and gentle and kind to others. she feels emotions strongly and cries in front of others and shows her happiness. she has a natural inclination to take care of others. she is good with children, she is great at housekeeping. she may not be good at cooking but by gosh she tries; she wants to get better. she assumes the best in others and finds other women pretty and kind and admires them. she’s family oriented.

yor is also insanely strong. she’s gone through extensive physical training since childhood, has multiple scars, has dealt with all kinds of people. she can kick a moving car, incapacitate a whole cow, take down a whole fleet of assassins, etc, etc. the list goes on. but despite all this and all that she’s been through, she didn’t become a tough, sardonic, mean-lean-killing-machine kind of character.

what i’ve noticed in a lot of media is that there seems to be this kind of tradeoff that people think needs to happen in order for a female character to get “truly strong”. basically feminine = weak and masculine = strong. the character cries? not anymore she will never crack that poker face ever! the character cares for others? psh what no, care for yourself she’s not your maid. homemaking skills? useless, all she needs is the strength of her Fists and Harsh Words. she’s not like other vapid girls, she actually cares about the Real Important Fight which, undoubtedly, is also male-dominated.

of course, all of this is set up as an opportunity for the male love interest to come in and “break down her walls” because women are just waiting for the right man to change them, but i digress.

why? why are the things that are inherently feminine deemed as inferior?

a good example i can think of is cinderella, or to be more specific, an opinion about cinderella that was popular (and may still be, i dont know tbh): she is weak for needing a prince to save her.

lets break this down: this girl gets emotionally, phyiscally, and mentally abused from her childhood into young adulthood by the people who are supposed to care for her. despite all this, she remains kind towards others and attentive in what she does. she seizes what she believes could be her one and only chance at freedom, however fleeting, and ends up catching the attention of the person who is ultimately able to pull her out of her situation.

yes, she didn’t bust herself out of the house and shank the stepfam with her glass shoe. but does this mean she is weak? is that kind of emotional resilience within someone after years of abuse what can truly be categorized as weak?

anyways, all this is to say that yor is built up as the strong one in multiple ways, and the narrative doesn’t act like her nonmasculine qualities are somehow reductive or lesser, and i very much appreciate how rich her character is. i like so many things about this series man im just

#having post midnight thoughts #i started like. outlining something else that led me to think about this and then i just wrote this LMAO #yor is just so!!!!!#ALL OF THEM ARE SO!!!!#im not good at analyses or like in depth things like this but I JUST NEEDED TO GET THIS OFF MY CHEST #YOR IS SO GOOD OK #I WONT TAKE NO AS AN ANSWER #yor forger #spy x family #sxf #sxf yor #thorn princess #sxf thorn princess #my writing

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adobe-outdesign · 19 days

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Kung Fu Panda 4 Rewrite Thing

Been chewing on this movie for a while now and wanted to take a shot at improving it. Some parts are a bit rough but I think this gets the general idea across.

As a rule, I'm trying to keep most of the characters and elements/plot beats in place rather than spinning things off in a completely unrelated direction. I also am aware of the restrictions placed on this movie, such as an unwillingness to rehire high-profile VAs and runtime limitations. This is just meant to be a "what if" kind of thing. That said:

We open with a stylized sequence of Po telling the story of his and the Five's latest battle. As it ends it's revealed he's at the grand opening of Mr. Ping's brand new bigger, better noodle shop location, talking to the customers.

As one of them asks where the Five are now, Po explains that they got summoned to their own individual missions, but they'll be back soon.

(Yes I am still having them be MIA, as Po needs to be alone with Zhen for part of the movie. However, they'll only gone for the first part of this rewrite and for a very specific plot-related reason.)

(The thing with Po needing to give up his title of Dragon Warrior makes no sense for multiple reasons, so let's just drop that plot point entirely. I get that it's meant to tie into the "change" moral, but I'd rather have Po imparting this lesson onto Zhen instead of learning it himself, as otherwise it undermines the character growth he had in 3.

Also, Po isn't carrying the staff around with him constantly in this rewrite, as it looks a bit silly and isn't plot relevant here.)

A messenger shows up to report that the Jade Palace is under attack. Po decides to rush over just in case Shifu needs backup... which he does, because he's being kidnapped in a small one of those magic-proofed cages from the actual film.

(Shifu being kidnapped was tossed around in the writing room originally and I want to keep it in this rewrite because it A) gives Shifu something to do, and B) I want to allow Zhen to openly be working with the Chameleon in order to help flesh out her character and avoid the lackluster plot twist, meaning she'll need new leverage against Po later on.)

The figure behind the kidnapping appears to be Master Elephant, which confuses Po as he's been missing for several months. Right as he's about to land a finishing blow, the figure shape shifts into Master Chicken, throwing Po's attack and resulting in him getting a bad head injury. He does his best to pursue the attackers, but can't keep up. Dismayed, he returns to the Jade Palace...

...And finds Zhen trying to steal something, using the commotion outside as a distraction. Po fights, but he's still badly injured and can't give it his all, resulting in Zhen being able to slip away with her prize—a dust bunny from under the furniture. Po is baffled.

(Side note: I would probably redesign Zhen so she actually looks like she matches the other characters' style, but I digress.)

Feeling dismayed, he returns to the noodle shop, where both his dads work on treating his wounds and comforting him. As Po explains what happened, Mr. Ping mentions that customers have been circulating rumors about a shapeshifting sorceress in Juniper City. Po decides that that's where he needs to go, promises his dads he'll be safe, and leaves.

(I'm cutting Mr. Ping and Li's subplot, because as much as I love them they don't really add much to the plot. It also feels like it goes against Mr. Ping's characterization in KFP 1 and 2 in particular.)

This is where we can have the scene of the Chameleon vs. the crime bosses. This can mostly stay the same except one of the bosses attempts to attack her when she shape shifts, causing her to retaliate with a magic-based attack. She also needs to straight-up kill the guy to establish her and her sorcery as a legit threat.

Po arrives at the Happy Bunny tavern to look for a ride to Juniper City. As he talks to Fish and Chip, he notices Zhen nearby doing some black market trading with Granny Boar to obtain a white feather. Po confronts her and she tries to run out with the feather, causing the boar family to pursue in a big fight scene.

Po and Zhen manage to escape, Zhen stashing the feather. Po threatens to have her sent to jail, but Zhen confirms she's working for the Chameleon and can lead Po to her so he can rescue Shifu. Po dislikes this situation, but has no choice but to agree.

(Unlike in the actual film, I would make it so her lair is hidden in some fashion; magic that keeps it camouflaged would be appropriate for a chameleon, or it could be underground or hidden behind something. Regardless, it should be impossible to locate without Zhen's assistance.)

On the boat ride over to Juniper city, Zhen says that she has to "obtain" one more item from the local history museum or she'll be in big trouble with the Chameleon. Po doesn't like this detour, but once again has no choice in the matter.

Po asks why Zhen would want to work for someone so obviously evil, and this is the point where Zhen admits she was adopted by the Chameleon and we get her backstory.

(I would establish that the Chameleon has an actual name, but only Zhen uses it. It shows that Zhen is closer to her than most, not quite seeing her as a mother but not fearing her enough to use her preferred title. Also, the Chameleon's the only KFP villain without a proper name and that bothers me.)

The backstory can be the same, but the part about her living on the streets and meeting the Chameleon for the first time should be merged into a single flashback.

Zhen says that Po couldn't understand, but Po reveals that he's also adopted, and that he probably would commit some noodle-related crime if his dad asked him to. Still, Zhen insists that people don't change, and that includes her.

They arrive at Juniper city (Po is impressed at its size but he very much is not acting like he's never seen a city before). Zhen covers up her muzzle and tucks her tail under her clothes so she won't be recognized.

Zhen is ready to break into the museum, but Po says that he's got this and goes up to the guards to tell them that he has some official Dragon Warrior business to take care of and will need to borrow some ancient artifacts.

Unlike in the actual film, everyone ready acknowledges him as the Dragon Warrior. The guards are more than happy to loan him whatever he needs... until Zhen's tail pops out and the guards recognize her, prompting them to attack.

During the scuffle, Zhen uses a chi blast to knock back one of the guards, but almost gets taken out by the other guard coming up behind her. Po defends her but gets mildly injured as a result.

After the fight, Po asks about the chi move and Zhen states that the Chameleon taught her the basics.

Zhen confirms that the Chameleon is a master of chi, and that the sorcery she uses is a specific type of chi manipulation.

(The reason I'm connecting chi to her powers is that it makes them feel a bit less out of left field, and helps 4 feel like a logical progression from 3.)

Zhen admits that she's not very good at using chi, but Po points out that it took him years to use chi in battle. He also compliments her on her kung fu, and she confirms she's self-taught.

(In this rewrite, Zhen is good at fighting but not quite at the level she is in the actual movie. This is to address the issue of who taught her if the Chameleon doesn't know kung fu.)

He takes a moment to give her a few pointers, which causes her to ask why he took that blow for her earlier, figuring there's a catch. Po just says it's the right thing to do, but Zhen is skeptical, figuring he only did it because he still needs her to lead him to Shifu.

The reminder of Shifu prompts Po to move on, and they grab the item Zhen was after, a 500 year old set of blades, then run for it.

Po and Zhen arrive at the Chameleon's lair, and Zhen shows Po how to get inside and tells him where Shifu is being held. She says that she'll take the items to the Chameleon, which will distract her while Po breaks him out. Po thanks her, and the two separate. Zhen warns him of booby traps on the way out.

There are indeed booby traps, such as those saw contraptions from the actual movie and a bunch of guards. It takes Po a few minutes, but he eventually gets through them.

Po finds Shifu being held in a dark room. Shifu is glad to see him, but warns him to be careful as the Chameleon's likely not far away. Po explains Zhen's distraction and moves to free him... only for a cage to fall down and trap him as well.

"Shifu" is then revealed to be the Chameleon in disguise, who slips through the bars via shape shifting into a mantis and thanks Zhen for her help. Zhen apologizes to Po, who's naturally upset ("I mean, I know you were evil, but I didn't think you were THAT evil").

Zhen hands over the three items she collected, and it's confirmed what they are: a dust bunny that contains a clump of Tai Lung's fur, a feather from Lord Shen, and a pair of blades once wielded by Kai.

Po mistakenly interprets this as the Chameleon being a collector of kung fu memorabilia and tries to chat about the Jade Palace's collection, much to her bafflement.

The Chameleon explains that a trace of a person's chi remains long after their death, and demonstrates by doing The Tongue Thing on Kai's blade, stripping its chi, and immediately taking his form.

(As you may have picked up on, this rewrite removes the spirit world elements entirely. While they are really interesting, I think cutting them is the best option because:

1. There is so much plot involved with bringing Po's old enemies back that you could make that an entire movie in and of itself. It's hard to do it justice when you're cramming it in around the edges of this movie.

2. It makes the Chameleon too similar to Kai in terms of abilities.

3. Having her rely on stealing other's kung fu makes her come across as weak despite being a powerful sorceress.)

Po asks her if her goal is to take over China, but she says no; she just wants to end the practice of kung fu for good, and prove that sorcery is the superior option. To prove it, she has Shifu brought in.

While having your chi stripped does not remove one's kung fu abilities in this rewrite, it is still removing part of one's life energy and thus weakening them severely for a period of time—ergo, Shifu is still unable to fight at his best. Still, he manages to hold his own.

Instead of using kung fu, the Chameleon relies on the brute animalistic strength and inherent abilities of the forms she takes, switching whenever she's loosing to keep her opponents on her toes and even transforming into Shifu himself for a period. She also uses a few chi-based attacks.

Just when it looks like Shifu is about to win the fight, she uses her tongue to strip the chi from the fur clump, taking the form of Tai Lung. Shifu is so shocked and distraught that he fails to attack, allowing the Chameleon to land a serious blow.

She returns to her original form and states that when the blood moon has risen, she will battle and take down every master in the middle of Juniper city, where everyone can learn just how useless kung fu and the people who teach it are. She leaves Po in his cage panicking over Shifu, who's unresponsive.

Zhen follows the Chameleon outside, where we get the "does the blood moon always rise so slowly" gag. Noticing that Zhen looks troubled, she asks what's wrong, and Zhen talks about how Po encouraged her to do the right thing. Even though she's been told that kung fu masters are elitist, selfish people, she couldn't see any of that in Po.

(Side note: I want to establish in this rewrite that while the Chameleon will claim up and down that Zhen is only a pawn for her to use, she does care about her to some extent, even though probably loathes the fact she does. For example, when talking to Zhen here, she might pick some rubble out of her fur or something to show there's a teeny tiny bit of actual affection hidden there.

The reason for this is that all other KFP villains have had an emotional anchor—Shifu for Tai Lung, Shen's parents for Shen, and Oogway for Kai. The Chameleon being abusive but having some real love for Zhen and Zhen struggling with her gaslighting adds a lot more depth to both of them.)

The Chameleon finally reveals her backstory, which should be told in a hyper-stylized way à la the flashbacks in KFP 2 and 3. Just like Zhen, she grew up on the streets as an orphan, broke and starving. She admired kung fu greatly and wanted to learn it, but everyone turned her away for having no money to pay for lessons.

One day, she found a shiny jade amulet on the streets that someone lost, finally giving her a much-needed break. She is able to use that money to enroll in classes.

The problem was that while the money changed her financial status, it didn't change the way people saw her. Her master still considered her a lowly gutter rat and treated her as such, verbally insulting her and beating her down during training sessions. It's very much like how Shifu treated Po in KFP 1, except worse, especially because the Chameleon is a small and fragile animal.

Finally, during one training session she became too injured to move. Her master told her to quit and started to walk away, only for her to grab his leg with her tongue to trip him up. However, at the peak of her self-loathing, she instead discovered her chi stealing abilities and transformed into him. It's not shown, but it is implied she killed him.

As the flashback ends, the Chameleon shifts into Zhen and tells her that no matter how much you change, you can't change the way other people see you. Siding with Po, she says, will only get her hurt. Zhen nods and unexpectedly hugs the Chameleon, telling her she knows, and runs off.

Cutting back to Po, we see him frantically trying to break the bars of his cage. Zhen comes forward and drops down on her hands and knees, apologizing for everything. Po says that she came back, and that's what matters.

She reveals that the "hug" was actually just a way for her to get the key off of the Chameleon, and she uses it to unlock Po's cage. Po runs over to Shifu and he and Zhen heal him with chi, and we get a callback to the "I'M NOT DYING YOU IDIOT" scene from KFP 1.

However, while Shifu's not dying, he is very badly injured and can barely walk on his own. Po asks how they can take on the Chameleon and her army with just three of them, but Zhen holds up the key and suggests they get an army of their own.

Running downstairs, Zhen reveals where the other masters are being held. To Po's shock, the Furious Five are among those captured. Tigress confirms that the summons they received were traps laid by the Chameleon, and she already has their forms.

Also down there are the other crime bosses, as it feels like they just disappear in the actual film after their scenes.

Zhen only manages to unlock the Five's cages before before the Chameleon snatches the key back with her tongue, revealing that she knew Zhen was lying to her. Behind her, her army assembles.

Tigress confirms that that the Five will take on the army, and Po faces off with the Chameleon one-on-one. She strips the feather and uses Shen's form to fly up and take the upper ground, trying to kick a cage onto him. Zhen helps deflect it, and the Chameleon tells her to stay out of the way. Po and her continue to battle.

Despite Po's best attempts at blocking it, she does finally stick him with her tongue. He grabs it and throws her a distance in her fragile base form, injuring her but still giving her some of his chi in the process.

The Chameleon takes on Po's form next, and we get a fight similar to the one in the movie, though once again with her using less kung fu and more magic and physical attacks.

She mentions how she was rejected and tries to tell him that he should be on her side, because a bit fat panda like him must have been treated just as badly as she was. Po denies this, but Shifu admits it's pretty accurate. Po says he's not helping.

Po admits that she has a point, except she forgot one thing, and we get a callback to the "I'm THE big fat panda" moment from KFP 1.

The two attack at the same time. As the dust clears, it's revealed that neither are doing great—Po has gotten a lot of little injuries and the chi stealing has weakened him. The Chameleon is struggling to shapeshift at all, with the attempt causing her pain, and instead settles for trying to blast him. Zhen steps in and manages to redirect the attack back at her.

The Chameleon takes the blow and ends up back on the floor as a parallel to her flashback. Zhen reaffirms that she disagrees with her worldview—people can change, and she's going to prove it. If the Chameleon wants get to Po, she'll need to get through her first.

The Chameleon kind of laughs this off at first before realizing she's dead serious. She states that Zhen isn't even good at fighting, but Po disagrees, giving Zhen a confidence boost. The Chameleon struggles to her feet as if readying an attack, everyone braces themselves... and she surrenders, too injured to fight and unable to bring herself to hurt Zhen.

(There are a few reasons why I think her surrendering makes for an interesting defeat here:

1. There's no spirit realm portal to yeet her into in this version;

2. There's only so many times Po's enemies can be yeeted directly into the spirit realm before it gets old;

3. It adds character depth, and;

4. It ties back nicely in to the theme of change and that it's never too late to do the right thing.)

Zhen helps the Chameleon up, Tigress does the same for Po, and Monkey does the same for Shifu. The five reveal that despite being exhausted, they still managed to wipe the floor with the Chameleon's army, which Zhen thinks is incredible. Po introduces Zhen to them formally, and Shifu asks if they can save the introductions for after they get medical treatment.

Later on, Po (carrying the staff Oogway gave him) approaches Zhen, who's sitting under the peach tree by the Jade Palace. He asks her if she's doing okay after everything that's happened. She says she's alright, but is pretty scared of what's going to happen next, given that the Chameleon's in jail and she has nowhere to go.

Po reveals that him and Shifu have been talking, and he plans to open a new school as part of the Jade Palace that will offer free kung fu lessons to anyone who's interested in learning. Zhen asks if there are any spots open, and we end similar to the actual movie, with her training alongside the five.

the credits still end with the Jack Black cover of Baby One More Time because it slaps

#kung fu panda #kfp #kung fu panda 4 #kfp 4 #po #shifu #zhen #the chameleon #outdesign posts things #outdesign attempts to write #been chewing on zhen and the chameleon's characters like a dog with a new toy #apparently tumblr removed the ability to add sub bullets so sorry if this is a wall of text. hopefully the images help a bit

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aeithalian · 1 year

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Rick. Buddy. Amigo. Explain something to me. Real quick, I promise.

[The Trials of Apollo: The Tower of Nero, Chapter 4]

Good genetic package, Rick/Apollo? Are you sure about that?

Listen.

Estelle's physical description *clap* makes *clap* no *clap* sense. Why on earth does one of the only fully human characters in this series have to have unique and weird physical traits? Also, it makes no sense in the larger scope of Rick's writing style to have chosen this unless he had some sort of larger intention behind it. Not to mention the theories by fans haven't really done much to fully flesh out any perceivable reason as to why this might be:

Poseidon blessed Sally when she was pregnant - By far, this is the most believable to me, but it's still eh, because this feels very weird and I don't get the vibes from Poseidon that he would have done so to the extent that it shows up in Estelle's physical traits. Also if that were true, it doesn't make sense for Rick to just fully drop it in the story without the intention to flesh it out further, because to my knowledge he doesn't have plans for another novel that takes place after ToA.

Paul isn't Estelle's father - Firstly, this is out of character for Sally, and this doesn't fully justify why Estelle has Percy's eyes. PLUS, salt-and-pepper hair still wouldn't be natural for a newborn

Paul is Poseidon in disguise - This explains her traits the best, but Paul's character is so much more satisfying if this isn't true. It's also total bullshit.

Enter me. I have a theory. Yay. But first, we must discuss.

Firstly, I want to talk about her eyes. Going back to the theories, and based on my fair amount of knowledge of genetics (clarification: I write this as I procrastinate studying for my final genetics exam), the eyes are mostly interesting because Apollo specifies that they are immediately similar Percy's. The thing about eye genetics, though, is that they are what we consider to be 'complex traits', meaning that they are influenced by the interactions of multiple genes from both parents. What I mean to point out here is that Sally could definitely have the genes to produce two children with 'sea-green' eyes, considering her canonical eye color is blue. We don't know what Paul's eye color is, which makes my job a whole lot easier because I can assume that it doesn't directly contradict the possibility that Sally just has really strong eye genes (?). ALSO, who's to say that Poseidon didn't just change his eye color to match Percy's when he was born? Ah, yes, the perks of having a shapeshifting dad who seemingly loves you and your eye color a lot (but is still absentee, WHOOPS).

But what I actually found the most interesting about Estelle was her hair color. More specifically, the fact that Apollo says he's never seen an infant with that color hair. And we know Apollo is somewhat of an unreliable narrator (although this rarely affects his descriptions of people other than himself, and has also mostly evolved into a more honest narration since the end of book 3), but I believe we're supposed to trust this dude who just so happens to have been alive for over four millennia. Based on Apollo's previous descriptions of his own powers (see his conversations with Percy in TTC, when he pulls a Mufasa and basically admits to seeing everything the light touches), we know that Apollo knows and has seen a lot of stuff. So, how is this the first time he's seemingly witnessed this type of hair mutation?

I did some research, as one does. To me, it seems as if Estelle has what's called Griscelli syndrome, which is a type of rare autosomal genetic mutation that typically results in phenotypic hypopigmentation of the skin and hair. (It can also result in neurological disorders and immunodeficiency, based on the type, but I digress.) It's also pretty rare, considering both parents have to be carriers, and even then the child still has a one in four chance of being affected. Current statistics from the NIH say that Griscelli syndrome currently presents in less than 1000 Americans, and is rapidly fatal in 1-4 years without aggressive treatment.

That sad note aside, it's weird to me that the way Rick wrote Estelle's physical description makes it seem as if Apollo had never seen anything similar. I feel like a god of both medicine and knowledge would probably be a bit more up to speed with rare genetic disorders, especially because he's so old. The only explanations are that Apollo, in his mortal state, can't make a diagnosis, OR what he's seeing isn't actually something he can diagnose.

FURTHERMORE, from the same chapter, Apollo says something that muddies the waters even further:

It doesn't make sense that Apollo thinks that Zeus would take such an interest in Estelle. Her nature alone doesn't make me think that the king of the gods would take a sudden interest in a literal newborn, regardless of how much Apollo loves her (and honestly, I don't blame him).

What I think? Rick pulled the strings just tight enough that he has a very interesting plot point to go off of if he ever decides to pick up the pen again and write a new book.

What I think? Estelle doesn't have Griscelli syndrome, she is in much more danger than anyone realizes, and Apollo's subconscious put this together from the second he saw her.

Actually, let's rewind. I'm in the process of writing a fic (stay tuned!) and I had a random thought: do the Greeks have an apocalypse story? You know, like Ragnarök in the Norse mythos, and the Revelation stories in the Bible.

The answer? They don't. I guess that's what you get when the Greco-Roman gods are fully immortal and literally can't be killed.

That didn't stop the rabbit hole, though, and what I found was actually very interesting and I couldn't believe what I was reading.

I give you: Hesiod. More specifically, his poem Works and Days. More more specifically, his 'ages of man'. More more more specifically, the iron age.

For context, Hesiod was an ancient Greek poet who lived in the 8th century BC, and was walking right along with Homer in terms of fame at the time. The poem Works and Days is actually more of a really long Facebook post where he complains about anything and everything, especially in his section on the ages of man.

In summary, Hesiod wrote about what he perceived to be the five stages of human life since the creation of mankind by Zeus' hand:

gold: perfect in every way, pious, and blessed by the gods

silver: real bitches, the ugly middle child, so Zeus killed them

bronze: were so violent they wiped each other out

heroic: golden child, contained the heroes of the Greek mythos

iron: middle-aged men still living in their mom's basement

Hesiod wrote his poem during what he perceived to be the Iron age (it's really just him complaining about being born in the wrong generation), but he ends up listing a lot of qualities: 'everyone works too hard, the gods hate us, nobody respects family values anymore', blah blah blah.

I know what you're thinking: Tia, what does this have to do with an apocalypse?

Well, dear reader, bear with me. You see, every time Zeus didn't like an age of mankind, or it became too violent, or it generally wasn't pious enough, Zeus wouldn't hesitate to destroy that race and start over. Basically, an apocalypse.

So, you may ask a new question: what is the criteria for Zeus to destroy the Iron age? And, assuming that this is the age we're currently in, what would it take for Zeus to destroy everything our beloved Riordanverse characters know and love?

My friend, that is where Estelle comes in. Yes, a baby.

Take this excerpt regarding the Iron age:

"And Zeus will destroy this race of mortal men also when they come to have grey hair on the temples at their birth."

I think you see where I'm going with this.

My theory? Estelle, in her unique position as a bridge between not just the mortals and the demigods (eg. her relationship with Percy), but also the mortals and the gods (eg. her great impression on Apollo), is a living, breathing prophecy. A prophecy that the end is nigh for this current age of mankind.

Furthermore, I also think that Apollo made this connection, somewhere in the back of his mind, the very second he realized that her hair was entirely unique. According to Hesiod (who Apollo also mentions later in the book, so we know he knows who Hesiod is), the day that babies are born with gray hair (or, salt-and-pepper for the sake of the theory) is the second Zeus basically get the go-ahead to commit genocide.

This also brilliantly explains why Apollo suddenly, and seemingly without reason, makes to keep Estelle's existence a secret from Zeus, because he knows that it might be the easiest way to get everyone he knows and loves killed by his own father for "the greater good" as I'm sure Zeus will put it. Plus, in his mortal state, Rick didn't have to explain why Apollo did what he did, since Apollo's been having memory issues since the beginning of the series: why would he remember one line from a poem written almost three thousand years ago?

Frankly, Zeus doesn't care about mortals: the only reason he really cares about anyone is if they have enough power to threaten his own, or if they have some sort of power he can benefit from. This, certainly, falls under the category of the latter. Wouldn't you want a chance to remake humanity into the perfect image that it used to be? You would, if you hadn't gone through a five book long grow-a-conscience speedrun like our lovely Apollo over here.

Fortunately for Rick, this is such an outrageous theory that if it never comes to fruition, I won't be surprised. If he ever writes something similar, though, know I called it first.

EDIT: here's the fic i mentioned i was (am) writing

EDIT: a masterlist of my other metas

#riordanverse #trials of apollo #apollogists #also that fic i mentioned will definitely be including this #estelle blofis #theory #fan theory #also if you were wondering my genetics exam went well thanks for asking

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snowblossomreads · 5 months

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Day 4: Sharing

Pairing: Severus Snape x Fem!Reader

Summary: In where Severus is reminded that it's almost the first Christmas he and [Y/n] will be sharing and he goes to try and make it special

Tag(s)/Warning(s): fluff fluff and more fluff

Word Count: 1.3K

A/N: And in something totally different once again! Here is a short little fluffy fluff about Snape and his almost first Christmas with his beloved [Y/n]. (See @deepperplexity i do know how to use the prompts in non unhinged ways are u proud of me 🤣🤣?)

The streets of Hogsmeade was filled with the bustling crowds of witches and wizards doing their holiday shopping as Christmas rapidly approached meaning that people were in a tizzy trying to purchase gifts for their loved ones.

And of course a treat for themselves.

Cheer and glee were on the faces of almost all of those who were bustling about spreading warmth in the cold air with just their attitude. All except one person named Severus Snape, who seemed to have had enough of people bumping into him as he tried to maneuver his way as swiftly as possible away from the crowd.

He should have known when he went out looking for a present for [Y/n] that he would face the tiring challenge of people. Yet he had been so caught up with preparing for the coming semester and his own experimentations that he had lost tracked of time.

And when she had brightly told him that she was excited that they would be sharing their first Christmas together in only a few days he realized he had proverbially dropped the ball.

On the outside he was his calm and collected self, agreeing with her as he was truly looking forward to sharing the holiday with someone other than himself. There was a small part of him that hated to admit that it in the past it was a bit lonely seeing all the people merrily celebrating.

Even when the Hogwarts staff tried to romp him in to their holiday shenanigans he was quick to get away not at all wanting to be invested in whatever they were up to. It was a way of punishing himself, as someone like him didn't deserve to have fun. Didn't deserve to have happy things because of what he had done and what he had caused.

[Y/n] though was having none of it when she came into his life. And he was grateful for it.

But he digressed.

That was on the outside, calm and collected as he usually seemed now and days. On the inside though he was quickly listing the things that he knew she adored and began to make a plan.

Oh yes, he would do his best to make sure the first Christmas they spent together was as lovely as his [Y/n].

First was to her favorite bakery where he was unsurprisingly met with a large line of people queuing up and waiting for their turn as it seemed that everyone had the idea to come at the same time.

An annoyance absolutely, but at least no one dared to talk to him while they were in line as he glared at anyone who seemed to want to make conversation. 20 minutes had passed and he had secured her favourite treats which included some pumpkin pasties that had extra holiday flavour in them as he had been told.

He had no idea what that meant.

A few cinnamon rolls that were topped with an abundance of sweet cream and a few more savory mini pastries that he knew she fancied.

Next was a trinket store, that she always gazed at when they walked passed though she never went in, only saying she didn't need more knick nacks laying around.

Well it was Christmas and what was wrong with a few more especially if the were useful and brought her joy.

So he went in expecting to find nothing yet he ended up coming out with a set of colour changing ink and quill, a trinket box for her little collection of rings and earrings in that played music while opened and also could sort the items for her. That aspect he found interesting thinking about what charm was placed on it to get it to do so.

And also he may have bought some dusty looking spellbook that he had never seen before which intrigued him along with self labeling potion bottle that showed what ingredients were in it.

Huh who knew that shop had so many things.

Pleased with his purchases he barreled his way through the crowd ready to finally be at home exhausted from all the pushy witches and wizard. Walking quickly to an alley way off the beaten streets of the village he took inventory of what he had making sure nothing was crushed or missing. Once he made sure everything was where he wanted, he apparated silently back home where [Y/n] was sitting in his wingback chair reading.

Well, that was until he suddenly apparated into the middle of the sitting room.

"Severus Snape! Merlin's beard!" she shrieked almost tumbling out of the chair being startled half to death by him. "I thought you told me no one can apparate in and out of the house? You nearly gave me a heart attack!"

His lips turned upward in a smirk at her words as he watched her get up from her seat and stalk up to him with a small pout.

"Hm yes I do remember telling you that," he answered matter of factly, leaning down and brushing his lips against her forehead causing her to grumble, "though I may have left off that I'm the exception. I did live here for years after all."

Pressing his lips against her forehead in a chaste kiss, he moved down and kissed her nose, before hovering over her lips waiting for her to move.

"You're the worse you know that," she mumbled shaking her head before closing the distance and kissing him showing him that she wasn't angry just startled.

"Mhm."

He kissed her softly before moving to her cheek and kissing her there making her giggle as he pulled away.

"Your lips are so cold darling here go put all those bags away," she started pausing only when she saw the amount of bags and being yet again surprised. He said he was going out potion ingredient shopping and from the looks of it he had bought the whole stock of them. "And I'm sure it'll take you a while Severus did you go on a shopping spree without me?! Oh never mind I'll make us some tea it should be done by the time you've sorted it all out!"

Without another word she was off leaving Severus with a pile of bags not even suspecting that most of the things were for her.

When she had come back out of the kitchen tea floating behind her she was surprised once more when she found a plate full of her favorite snacks sitting on the little table in between her chair and Severus'.

He had paid her no mind when she had come back, acting as if he was reading the new book her had purchased yet he was keenly aware of her presences. It was only when she had sat the tea down did she take a look at all the snacks that were waiting for them.

"Severus?" His name came out shyly as she wandered to his side making him put his book down and turn to look at her.

"Did you buy all of those for me?"

Her eyes twinkled in the warmly lit room and he nodded.

"Mhm I passed by the bakery you always go to and decided to stop by," he answered coolly as if he hadn't been squished in the shop when he got in. "Hopefully this is a good festive start to our almost first Christmas together?"

Grinning at him, [Y/n] leaned over the arm of his chair to plant a kiss on his cheek overwhelmed with excitement as she skipped over to her own seat. Plopping down she poured them both some tea and happily partook in one of the pasties groaning happily at spiced pumpkin filling.

"It's an excellent start darling," she beamed. "Thank you!"

A rare smile, well not so rare for her, appeared on Severus' lips at how happy she looked as she bit into the treat and he felt as happy as she looked at the thought of the cheer to come. It was nice to share such a time with her thought before going back to his book and relaxing in the ambience of the warm room and his warm love.

A/N: see i am capable of using the prompts normally! see you guys on day 7 prompts! (she's taking a little break to avoid writing angst 😌)

#severus snape x reader #severus x reader #snape x reader #rickmas #rickmas2023 #blossom writes

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cranetreegang · 1 year

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Let Me Show You Something - Ominis x FemMC

Sooooo Hogwarts Legacy. I am obsessed. I completed the game, then made a evil Hufflepuff to do foul things and be a menace to the wizarding world. I fly around Hogwarts all the time. I'm currently living my best life.

And I love Ominis, Sebastian of course too, but Ominis just ahhhh he's so presh!! Like I just wanna protect my boi.

So here's a lil something for him. Nothing explicit and no spoilers. Just a fluffly fluff piece! I did my best to write using his view point, but I've never had a blind character before sooo sorry in advanced.

I like to imagine that when he has his wand he sees similarly to how 2003 Ben Affleck Daredevil sees. Like an echolocation type. Would actually love to do a cool rain scene like in the movie with Ominis, but I digress.

Summary: Ominis finds himself following the Fifth year due to his burning curiosity about her. He ends up finding more than he expected.

Word Count: ~ 1,780 words