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pessimisticpigeonsworld · 2 months

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Mad Queen Misogyny

All the mad queen Dany takes, from both D&D and the audience, are just plain misogyny. They are literally just repeats of common misogynistic ideas. D&D have given a few reasons for why they wrote the mad queen ending for Dany, and all of them are the same old misogynistic tropes of fantasy and mythology.

The Mad Queen:

I'm going to start this off by going into how the mad queen trope itself is rooted in misogyny. This is one of the oldest tropes in fantasy/fairytales. Whether it's Snow White's evil step mother or the Queen of Hearts, literature is riddled with mad queens.

The idea of the mad queen is informed by the desires of men to keep women out of power. Yes there are historical women who were horrible people and unstable when in power. However, those examples are not enough to justify the amount of times the trope occurs, especially since some of the examples occur after many stories have already been written (ie, Mary I and medieval fairytales). These fictional women were written as cautionary tales of what happens when a woman is placed in power.

By writing the mad queen Dany arc in GOT, D&D are perpetuating an old trope rather than "subverting" anything as they claim. The most powerful woman in the world turning out to be a war mongering and mass murdering tyrant isn't subversive in any way. The only reason it was surprising was because it came out of nowhere narratively.

ASOIAF fans who constantly try to justify this turn for Dany's book character are attempting to do the same thing D&D did. They want to employ an ancient trope to justify their dislike for her in name of being "subversive".

The Violent Woman:

A trope that stretches back all the way to the Ancient Greeks is that of the angry, homicidal woman in power. From Hera to Medea, the myths are full of women who commit atrocities simply because of anger. This trope isn't just about avenging a slight or retribution on the guilty; it's about a woman taking out her anger on innocent parties.

Daenerys has fallen into the role of the avenger many times throughout both the show and and book. She killed Mirri Maz Duur for the murder of her son and husband. She killed the Undying for attempting to trap/kill her. She kills Kraznys mo Nakloz and many other slavers for the atrocities they commit constantly on the people they enslaved.

In the show, she imprisoned Xaro Xhoan Daxos and Doreah in a vault for killing Irri and helping the warlocks steal her children. She killed the Khals who threatened to rape her. She kills the Tarleys for rebelling against the Tyrells, thus getting them killed, and refusing to bend the knee.

Every time Dany killed up until season eight, it was purely because those she killed harmed her or her allies/children. That is why none of her past kills justify her burning KL. The people of KL did nothing to her; it's not an established part of her character to harm innocents out of anger. She even outright condemns the killing of innocents in earlier seasons.

The inconsistencies show how D&D chose to blatantly ignore the complexities of Dany's character in favor of a sexist trope. They perpetuated the idea that a woman in power who is angered will ultimately commit injustice and atrocities.

Dany antis in the ASOIAF fandom are no different from D&D. A common argument used by Dany and Targaryen antis is that they are bound to be corrupt and tyrannical because they have dragons. Essentially saying that Dany was doomed to be the villain the moment she hatched her children.

They point to her dragons' existence and her conquest in Essos as reasons for her "villain arc", despite the fact that none of her actions reflect the things they claim. Dany is simply being condemned for being a woman with power; it's expected of her to be a tyrant for those reasons alone.

The Woman Scorned:

This reasoning given by D&D in a behind the episode interview is probably the excuse that I hate the most. They said that one of the reasons for Dany's descent into madness was because Jon Snow refused to kiss her back once he found out they were aunt and nephew. This is an insanely misogynistic trope.

Used time and again by writers (mostly male), this trope is about a woman who becomes an antagonist due to rejection, unrequited love, or betrayal from a lover. In the case of Dany and GOT, it's Jon refusing to continue their romantic relationship.

For some reason, this is seen as a breaking point for Dany. A woman who has endured poverty, homelessness, sexual slavery, a traumatic miscarriage and death of a spouse/protector, and the stresses of war was broken by a man refusing to kiss her. Doesn't that sound fucking stupid? Well that's because it is.

Dany has never felt entitled to people's love (with the exception of shitty writing from D&D) let alone someone's sexual/romantic reciprocation. It's out of character and flat out insulting to women to believe that is enough to make Dany into a mass murdering tyrant.

Once again, there are members of the fandom who espouse this reasoning into their own theories and metas. Jonsas especially are guilty of this; some claiming that Jon's rejection of Dany in favor of Sansa will be a catalyst for the "mad queen".

An offshoot of this thinking, is the idea that Dany went/will go mad because she was rejected by the realm.

In the show, the Northmen are dismissive or outright hostile to Dany when she arrives (even after she saves them). Due to this rejection by the Westerosi people, Dany decides "let it be fear" and chooses to burn KL to the ground.

Once again, this idea isn't grounded in her past actions at all. Dany has always known she needs to earn people's love and respect as a ruler, why should she change her mind the moment she steps onto Westerosi soil? The answer is simple: she's a woman, so she can't possibly be able to deal with rejection.

Fans theorize constantly that Dany is going to go mad and destroy KL and Westeros because the people will definitely reject her in favor of Young Griff/Jon Snow/any other king they can think of. This theory is simply clinging to misogynistic ideas about women and it's disgusting in every iteration (it also dismisses the fact that there are people in Westeros excited about the idea of Dany and her dragons in the books but that's a different post).

The Woman Bereft:

This argument is probably the least outright in its misogyny. The idea that a woman who has lost everything will lose her mind isn't a new one and it can be played in a non-sexist way. However, GOT played it completely in the sexist roots of the trope.

Throughout seasons seven and eight, Dany loses basically everything. All but one of her children, her closest advisor and best friend Missandei, Ser Jorah, a massive chunk of her army, her other advisors, most of her allies, and is rejected by Westeros and Jon. That's a lot of loss to endure.

However, Dany has endured severe loss before and never reacted by murdering a city full of innocents. Again, this decision and descent isn't backed up by anything else in her storyline.

The sexism of this idea, that loss produces mad women, is that it's rarely applied to men in the same situations. For example: Tyrion lost everything he cared about, yet he's never written by D&D to be in danger of becoming a mass murderer. He even outright says he wishes he'd poisoned the whole court, but is never portrayed as a mad man by D&D or fans.

Dany is expected to go insane after enduring loss because she's a woman. She's perceived as being fundamentally weaker, mentally as well as physically, so she must be more vulnerable to madness than the male characters.

The Foreign Seductress:

The idea of the foreign seductress is a xenophobic and racist stereotype. For Dany, her antis use the instances of her exercising sexual autonomy and her life in Essos as fodder for this disparaging trope.

In the books and the show, Dany pursues sexual and romantic relationships outside of marriage. This is something that doesn't fall in line with the medieval setting of the world. In Westeros and Essos, it's common for men to do that, but not women, due to systematic misogyny. Because of this, Dany's antis often feel free to argue that because she doesn't act "pure", she is wrong and evil. Dany's bound to become a villain because she isn't a chaste and "good" woman.

In the same way, Dany is painted as wrong for wanting to take her family's throne purely because she wasn't raised in Westeros. She's perceived as a foreign invader by both her antis and D&D.

D&D wrote many scenes of outright xenophobia from the Northmen, Sansa, and Arya towards Dany and her forces without ever condemning those ideas. In fact, they justify them by writing the mad queen ending. The fact that Dany isn't "one of them" is used as an excuse for her descent.

Dany antis also employ this rhetoric, especially when people compare Dany's conquest for the IT to the Starks' desire to retake Winterfell. It's good for the Starks to want to retake their throne because they were raised in Winterfell, but Dany has no right to her ancestral home because she wasn't raised in Westeros.

However, this idea is never applied to Young Griff, who was also not raised in Westeros. Despite this, people will talk about how excited they are for his story and how sad it is that he's totally going to be murdered by his evil aunt. Once again a double standard is applied to Dany.

All this is because Dany is a woman who refuses to conform to patriarchal standards and was raised in a foreign country.

Never Good Enough:

Dany antis and D&D thrive on applying a different set of standards to Dany than other characters. They do this an a way that's reminiscent of the double standards set for women even today.

No matter what Dany does, it's never good enough for them. She dealt with Viserys and his death in the wrong way. She didn't protect her people in the right way. She tried to abolish slavery in the wrong way. She saved the goddamn world wrong. Like nothing Dany does is right in their eyes.

In their minds, Dany should've died in AGOT being a perfectly passive woman. She refused to submit to those (men) around her, and for that they punish her.

She's wrong for fighting the slavers, she's wrong for trying to avenge murdered children, she's evil for killing to protect herself. D&D used each of her actions throughout the show that they seemed too aggressive as justification for what they wrote. Dany's antis do the exact same thing in their theories.

The mad queen Dany theory is rooted completely in misogyny. It has no true justification in the narrative and every argument conjured up is just as sexist as the trope they want to perpetuate.

#daenerys targaryen #asoiaf #anti got #anti jonsa #anti sansa stans #anti dany antis #anti targaryen antis #asoiaf fandom #fandom misogyny #fandom critical #anti d&d #asoiaf meta

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tozapeloda77 · 8 months

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Looking at the time frame of Lancer, it is unlikely that the people of Union speak living languages that look anything like our languages today. Take a look at the oldest writings we have of humanity on Earth, and it's probably closer to us than Union, even at its founding date, let alone five thousand years later. For playing the game, this is irrelevant, unless you want to conlang with your friends. It makes sense to import today's language, mapping today's slang on those people who would use slang in Union. However, place names, which are (mostly, nowadays) independent from languages itself (everyone calls New York some version of New York), are more difficult to justify for some people. To me, it would break my immersion of the names of locations in Union solely reflected contemporary inspirations. At the same time, coming up with nonsensical names is harder and also less inspiring. Therefore, it makes sense that the names of planets and cities on those planets are still informed by English meanings, or old Earth myths and inspirations.

With Cradle, the problem is a bit more difficult, because it is after all the old Earth. There are plenty of towns that have had the same name for thousands of years, but what if a climate apocalypse happens? Aren't most of our oldest cities located on coasts, vulnerable flood plains, or at least reliant on steady agriculture? This is what happens in the Lancer timeline. When Union finally picks up the pieces, they spend more than a thousand years on Earth before they take to the stars. What are they doing?

I like to imagine from the way that Cradle is described, that Union went for a fresh start. Cradle has 2 billion people, but most of the planet is left to nature (and presumably communities living in harmony with nature). 2 billion does not sound like a lot, coming from today's 8 billion, but that was the Earth's population around 1910. Nature had taken a pretty severe beating by then. To avoid a world like our 20th century, I imagine most Terrans live in big metropolises, densely-packed and well-connected. Efficient use of space for living allows for maximum space for both Earth's nature and long human history. Carefully planned cities follow, clustered around the equator where space ports are located, built on top of pre-existing population densities, or close to Massif Vaults, which have likely remained as centres of cultural significance if not population centres outright. Mentioned in the old Field Guide to Harrison Armory is Dharamsala, the cultural capital of Cradle - a city that mostly survived the fall. Struggling with the concept of names, I'll permit the authors at least one name that survived ten thousand years, but I'll leave the rest of the planet unnamed for now.

(original image credit CC BY-SA 4.0 Maulucioni)

#lancer rpg #lancer ttrpg #worldbuilding

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claymoresword · 7 months

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I Choose Her | Chapter 15

Hermione Granger x Slytherin Fem!Reader

Summary: You are the daughter of two known death eaters from one of the oldest and richest families in the wizarding world. Are you truly prepared to give up everything you know for Hermione Granger?

Pairing: Hermione x Reader

Wordcount: 4.3k

Warnings: character death, mentions of animal abuse, y/n and hermione are so protective of each other it's sick

Note: Hello! wow this one took forever, I feel bad that I'm always apologizing for delayed updates but oh well here we are :/ this one is more to move the plot forward and I wanted to follow canon in a way that would make sense for this story

anyway, as always thank you so much for the continued support and an even bigger thanks for your patience! crossing my fingers that updates will be more frequent from here on out. that's it, i hope you enjoy this one!

Taglist: @gvrsto @aweidlich @xxsekhmet @arielj @poppyflower-22 @scarleigh1989 @smut-religiously777 @cocoyeehaw @blackbirdv98 @arcturusseer @iamcapitalgbicorn8287 @lonewalker17 @karasonromanoff @httphayn @bigbadsofty07 @cherryflavoredcoke @dumpsapphic @idontwannabehereatm @js-a-writer @baylegend6 @puta1

Hermione stands over you as you hold out the thick strand of hair, pinched in between your fingers.

Harry and Ron stare at it with bated breaths, the air in between the four of you is still; anticipating.

You didn't have to consider for too long to know it belonged to your mother. You had nearly mistaken it for your own, if it weren't for the grayish undertones, only fully visible when illuminated.

It seems every time you saw your mother, her hair would be a shade lighter. As time did its duty, as the years passed, the older each of you got, the less you resembled the other.

You don't see your mother when you look in the mirror, not anymore.

"Are you sure that's hers?" Ron asks as you rise from your crouching position.

The painful lump in your throat prevents you from answering him.

You swallow thickly.

"I'm sure." You finally say.

Silence once again, as Ron reaches out to carefully pick out the strand, retrieving it from your grip, he drops it into the flask he held in his other hand with even more precision.

The only noise that fills the air is a faint sizzle, as the polyjuice potion consumes its final ingredient.

You feel Hermione move to your side, her fingers curl around your bicep, her other hand firmly intertwines with yours.

"Are you certain we'll be allowed into Bellatrix's vault?" Harry asks, he looks at you expectantly and you grace him with an assured nod.

"I've seen my mother retrieve things for her dozens of times, it'll work." You claim, but Harry's immediate skepticism doesn't evade you, and honestly, you can't hold it against him.

Your plan is far from foolproof. Like many times before the four of you are simply hoping to get by on pure chance and luck.

"How do we know what it is, when we get in her vault? I mean, a Horcrux could be anything." Ron asks, a question you were all wondering.

"I'll know." Harry quips plainly.

You glance at Hermione to shoot her a look before returning your attention back to Harry.

"It's hard to explain but– I'll just know." He adds, and none of you wish to push on the subject further.

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You watched as Hermione lifted the flask filled with polyjuice to her lips, but then she pauses. Her shoulders rise as she takes a deep breath, as if preparing herself.

"Wait–" You interject, rising from the bed, in three large strides you are standing before your girlfriend.

"Let me drink it." You then place a hand over Hermione's, but she pries it off lightly.

"No, I'll do it." She counters, and you don't attempt to mask your disapproval.

"You can't drink it." Hermione reiterates.

"When we get to Gringotts, it'll appear more believable with you by my side, you know it." She adds, and you hate that Hermione is right.

You sigh.

"Darling, it's too dangerous." You breath out, your hand travels up her forearm, eventually tenderly cupping her face.

Hermione instinctively shuts her eyes at the sensation, she leans into your touch, her muscles no longer tense, her body visibly reacts to your warmth.

"We're all in danger." She finally claims, once your eyes meet again.

"This is the only way. There's another Horcrux hidden in her vault, we just have to find it." Hermione states assuredly but it does nothing to convince you of the plan.

You remain staring at your girlfriend, Hermione always had a way of making your heart feel like it could just implode within your chest.

You are overcome with love, care, and longing, all of these feelings encapsulated in the sheer dread of what's to come, of what might happen.

Hermione finds no trouble in returning your gaze.

This wordless exchange lasts for several seconds until Hermione decides to take advantage of your unmoving state. She leans in, passionately capturing your lips with her own.

Your hands quickly shift to rest on her waist, you then feel Hermione's hand move to the back of your head, pulling you closer.

You are taken aback as she opens her mouth wider, deepening the kiss, soon enough her tongue makes contact with your own.

You have no air left in your lungs, but the last thing you wish to do is pull away.

Hermione lets out a light hum as she presses her body up against yours; her eagerness causes your entire body to tremble, you worry your legs might give out at any moment.

The kiss ends as abruptly as it began.

A sharp gasp leaves Hermione's lips as she takes a step back, as if it proved a real struggle for her to cease the kiss.

Soon a sense of euphoria overcomes your entire being, even if it is fleeting, you feel at peace and it translates into a boyish grin across your face.

Hermione notices, and she has to bite her bottom lip to hide a smile herself.

She places a lingering hand over your chest before shoving you away playfully.

"Go on, wait outside. I'll meet you there." Hermione orders, and you know better than to protest.

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You continued to pace back and forth, the usually maddening feeling of sand repeatedly filling your shoes does nothing to distract you.

Trepidation rapidly materializes within you the longer you waited for your girlfriend.

By taking the Polyjuice and assuming your mother's identity, Hermione is putting herself in immense danger, and you are expected to stand by and simply witness it, again.

"It'll be fine." You hear Harry's voice, but you don't acknowledge him.

You can't feel anything beyond the incessant pounding in your head; you possessed barely any strength at all, you mustered just enough to stomach this.

Soon enough, Hermione emerges from the hut and the sight you are met with is unsettling.

The woman standing before you appears to resemble your mother. Wearing the clothes your mother would wear, there was no trace of Hermione, beyond her voice.

Harry and Ron fail to speak alongside your silence. Hermione looks between the three of you impatiently.

"So, how do I look?" She asks, and you can't help but grimace.

"Disturbing." You quip.

Then you had no choice but to look away.

"Come on, let's just get this over with." You release an exasperated breath and Harry emerges next to you with Griphook.

"Griphook you give that to Hermione to hold onto, alright?" The man states, but it mainly sounded like a warning.

The Goblin lets out a subtle gripe as he hesitates, before eventually sheathing the steel into your girlfriend's bag.

"You get us into Bellatrix's vault, and the sword is yours." Harry reassures.

Ron finally takes out his wand so he may alter his own appearance, with a single wave, his hair is inches longer. The beard that appears on his face ages him, and makes him nearly unrecognizable.

"Now remember the plan, I'll be under the cloak with Griphook. Y/n and Hermione you'll try to convince the Goblin to let you through. Ron, you stand back in case anything happens." Harry runs through the plan once more and this time you don't suppress a scoff.

Hermione grabs your arm, wordlessly asking for you to stand down.

"This is a terrible plan." You say it anyway, and Harry doesn't retaliate, instead he nods in agreement.

"I know. But it's still the best one we've got."

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You had to remind yourself to breathe as you walked through the doors of Gringotts.

Although certain the anxiety you are feeling at this moment is incomparable to the terror Hermione must be experiencing.

You had to battle every instinct urging you to reach out and hold your girlfriend's hand.

Ron trails closely behind the two of you, Harry and Griphook somewhere close by, hidden by the cloak of invisibility.

You brace yourselves once you get to the podium, a moment passes, but the Goblin on duty fails to acknowledge your presence entirely.

Hermione takes it upon herself to clear her throat.

Still, nothing.

She glances at you for help, and you nod, urging her to speak.

"I wish to enter." Your girlfriend states curtly, her best attempt to appear menacing.

In any other instance you would find it a little humorous, but right now, Hermione's poor imitation only makes you wince.

The Goblin fails to acknowledge either of you still, your patience rapidly thinning out.

"My mother has been sent to clear out Madam Lestrange's vault. I am certain you understand why you mustn't delay us." You say and the creature finally looks up.

His entire demeanor shifts, but it only helped to annoy you further.

"Madam, forgive me I did not realize it was you." Bogrod says, feigned cordiality.

"Of course you may enter.. but first, do you mind presenting your wand?" He adds and there is a pause.

You can sense Hermione's panic, but she tries her best to maintain a composed front.

She folds her arms over her chest.

"I hardly think that's necessary." Hermione states.

"I'm afraid I must insist." The Goblin's grin falters, and you realized you had to quickly step in

"Why?" You say, instinctively stepping forward, partially shielding Hermione with your body.

"New policy, I'm afraid." Bogrod explains, but before you can argue your case, the creature's expression shifts.

Your eyes catch the waft of green smoke seeping into the Goblin's nostrils.

You manage a quick glimpse of what looked like the tip of a wand being retracted, it disappears seemingly into thin air.

Y/n quickly realizes that Harry has sensibly, stepped in before things got ugly.

In an instant, the Goblin changes his tune.

"Very well, Madam, if you will follow me." He says with a dopey smile.

You hear Hermione let out a sigh of relief, you can't help but do the same.

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The ride through the dungeons was nothing close to pleasant. The cart transporting you zoomed at an unfathomable speed, the abrupt turns and twists would have made you nauseous, if you weren't feeling sick already.

Hermione continues clutching your hand in hers, tighter than usual, your grip is similar in turn.

Finally, the cart halts, and before you know it, the six of you are free falling dozens of feet.

You reach for your wand in your pocket but Hermione beats you to it.

"Arresto Momentum!" She exclaims, and your bodies hang mid air, inches from the ground. Soon the spell wears off, the six of you fall onto the cold, wet, stone, front first.

"Thank you, Hermione." Harry says, as he helps himself off the ground.

You quickly do the same, rushing over to help your girlfriend up.

Hermione gladly takes your hand, when your eyes meet, you notice her appearance, she is back to her usual self.

The Polyjuice potion had entirely worn off but Bogrod, still under the Imperius curse, is unable to do anything about it.

"Come on, this way." Griphook shouts, he leads the four of you to the vaults.

He navigates the dark cavern with ease, as you try to get your eyes to adjust, a piercing screech fills the air, and it causes both you and Hermione to glance at each other.

You warily follow Griphooks lead, but the sight you're met with when the six of you turn the corner makes your breath catch in your throat.

"That's a Ukrainian Ironbelly–" Ron points out, awe and disbelief you shared.

Then Griphook picks up an object you quickly deduced to be a certain type of bell. As he shakes it, the dragon's screeching intensifies, it flails around as if trying to escape the noise.

It was only then you noticed the thick metal chains around its neck and legs.

"It's been trained to expect pain when it hears this sound." The creature claims and Hermione releases you so she may step forward, following his lead.

She speaks once she is in earshot of the Goblin.

"That's barbaric." Your girlfriend says, a certain tenor to her voice, you knew her well enough to recognize that she was truly indignant.

The dragon's screeching continues as the four of you slip past it.

It only retreats to cowers silently in the corner once the noises from the bell stops.

The vault is now in sight, as the group approaches you can't help but notice that Bogrod has disappeared.

You glance out at where you spotted the Goblin last and sure enough. He was standing in front of the dragon, simply staring at it; the curse has evidently impaired his judgment and all sense of danger.

"Wait– what do we do with him?" You gesture to Bogrod.

Although before anyone can respond, the Ukrainian Ironbelly takes a large step forward, then from its mouth, comes flames, big and blistering enough to turn the entire space scorching hot in an instant.

The once Goblin was now burnt to nothing but ash.

Hermione, Y/n and the boys only manage to stare in utter shock.

"That's unfortunate." Ron finally quips.

"Come on, we don't have much time." Griphook warns, he advances forward and the four of you follow.

As you arrive at the vault, it appears familiar to you, but only distantly.

It was not the vault Snape led you to a few months ago but it appears almost identical.

"Is this where you got the sword?" Hermione asks in a hushed tone, and you quickly shake your head.

"No, the key Snape gave me led to a different vault." You explain, but your girlfriend doesn't say anything, expecting your response.

As the five of you enter Bellatrix's vault, it is worse than you expected.

It is filled with random trinkets, some valuable, some not.

The three of you sport a defeated expression, but Harry was not going to give up so easily.

He steps forward.

"It's in here, I can sense it." He states.

You observe silently as The Chosen One approaches a particular cup, amidst an array of objects that look nearly identical to it.

Soon enough he reaches for it.

Harry holds out the cup, nothing is said, but there is an energy that reverberates through the air.

It's unmistakable. He has a Horcrux in hand.

"Pass me the sword." He extends his arm and Hermione scrambles through her bag, eventually retrieving the steel.

She passes it to Harry, he grips the pommel, but doesn't get the chance to do much else as a noise captures your attention.

Ron knocks over a goblet by accident, instead of breaking as it touches the ground, it only multiplies.

As the duplicate makes contact with another object it does the same thing. Soon objects are spawning at a rapid rate, filling up the already limited vacant space by your feet.

"What's happening?" Hermione exclaims over the loud noise, you instinctively step to her side as she nearly loses her balance.

"It's an enchantment, everything you touch will multiply." The Goblin explains, you aren't given much chance to come up with an escape plan as the objects quickly engulf all five of you.

For what felt like eternity, you fought to keep your head above.

You spot Hermione and Ron doing the same, but you can't see Harry anymore.

Amidst the chaos, somehow, Griphook gets a hold of the Horcrux.

Then, Harry finally emerges from the sea of gold and silver. He frantically looks around, in search of the object, but his attention shifts to the Goblin as he proudly holds up the Horcrux.

"We had a deal, Griphook!" Harry bellows, and the creature only grins, malicious, irritating.

"The cup for the sword!" He strikes up the bargain, and you curse under your breath.

It is getting increasingly difficult to stay afloat, and you watched as Hermione and Ron struggled the same.

Harry begrudgingly hands over the sword, the Goblin then returns the Horcrux back to him.

"I said I'd get you in, I never said anything about getting you out." Griphook quips, he holds his hand up against the door, unlocking it.

Soon the objects begin spilling out of the vault after him but the four of you continue to struggle to make your way to the exit.

If only you could retrieve your wand, you could stop the Goblin from going any further.

"Hermione, can you reach your wand?" You shout, and the struggle in your girlfriend's face is evident.

"I'm trying!" She replies.

After moments of struggle, the four of you miraculously manage to make your way out, but it was too late.

The Goblin is nowhere to be seen.

"Griphook!" Harry calls out in anger, he doesn't expect a reply, and he doesn't receive one.

His voice echoes through the dungeons, and it only works to disturb the dragon ahead.

It lets out another deafening screech.

You approach slowly, in search of the object that you know will subdue the beast, but you can't find it anywhere and you know for certain Griphook is the reason for it.

"The bell- it's gone." You don't try to conceal your distress.

"That foul creature– how are we supposed to get out of here?" Ron curses and you begin looking around for some type of solution, an idea to come to you.

You take an experimental step forward; careful, quiet.

You consider that perhaps, if you moved slowly, the dragon won't react.

However, your theory was quickly proven incorrect as the beast storms towards you within the confines of its chains, soon opening its mouth.

You were only inches away from getting charred alive before Hermione harshly grabbed your arm, yanking you to her side.

The pins you up against the pillar, out of the dragon's sight.

Ron and Harry stood a few paces away, their backs also against the wall.

"What on earth was your plan there?" Hermione hisses, and you are staggered for a moment.

You've never seen her so furious with you.

"I just thought if I moved quietly–" You start, but then another loud noise pierces the atmosphere.

Clearly, your stunt only exacerbated the dragon's already agitated state.

The sounds that follow suggest that the formidable beast was now fighting to be released from its restraints.

"Don't you ever try something like that again–" Hermione warns, her hand still gripping your collar.

You nod apologetically, suddenly you almost feel like a child being reprimanded.

Your girlfriend finally loosens her grip on your shirt.

The beast's actions begin to get larger and louder, in its outrage it clamours at the stone walls, chipping large pieces off.

"What a joke– did we go through all of that just to die in here?" Ron quips.

"We can't apparate.." Your girlfriend mumbles to herself, mentally debating an escape plan.

"Hermione?" Harry asks, it sounds closer to a desperate plea.

You were all stumped, only hoping that the mostly brilliant mind out of the four of you will manage to think of a plan to escape.

Hermione finally looks up at you, and by the look on her face you can tell whatever it might be; she's figured something out.

"I've got an idea, but it's mad." She admits, with a raised voice and truth be told you hated the sound of that.

Harry and Ron stare at her expectantly and you only grow more nervous by the second.

Hermione turns to y/n, you don't speak a word to her but it is not required as she already senses your anxiety, she places a firm hand on your chest right above your heart, you were certain she can feel it pounding against her palm.

"Just trust me." She reassures, too swiftly for your liking, as she completes her sentence she retreats.

You can only anticipate her next move, and it is not one you'd ever expect, in fact it nearly sends you into an early grave.

You watched as Hermione leaped off the balcony, landing on the dragon's back.

"Hermione!" You exclaim.

She struggles to get a grip of the beast for a moment, you are stunned when the dragon stills, it doesn't try to force Hermione off it's back.

"Come on!" Your girlfriend shouts, and you were first to mirror her earlier action. With a single large leap you manage to grab onto the dragon's horns, you pull yourself up, situating yourself behind Hermione.

The dragon reacts the same, but it is too fixated on the chains wrapped around its neck to care.

Soon enough Harry and Ron manage to climb on as well.

There is a point of eery stillness as the dragon seemingly appears too tired to continue fighting.

"Now what?" Harry poses a good question, and you take it upon yourself to fish out your wand.

"Relashio!" In one swift move, you fling the spell, aiming for the dragon's tail.

The beast reacts violently, in the process, the spell breaks the chains tethering it to the ground, finally freeing the beast from its restraints.

"Defodio!" Your girlfriend exclaims as she holds out her own wand, and soon enough, the dragon takes flight, bursting through the ceiling.

In an instant, Gringotts Bank is reduced to fragments of wood, glass and stone as the dragon flees the building, taking the four of you with it.

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You have been on dragonback for what felt like hours, however an uncanny feeling of serenity, fills you as the beast flew through the air, past villages and hillsides.

As you approach the vast water, the dragon begins to fly lower; it appears the beast aims to halt its tiresome journey through the city soon.

"We're dropping!" Harry exclaims, panic begins to set in amongst the four of you once again.

"I say we jump!" Ron suggests, but you aren't particularly fond of the idea.

"What?" You bark.

"When?" Hermione chimes in.

"Now!" Harry responds as he lets go, you watched as he falls into the freezing water below.

He is quickly followed by Ron and Hermione, and you let out a groan as you release your grip on the dragon.

"Damn you, Weasley!" You exclaim as you freefall into the lake.

As your body touches the water, it immediately feels like hundreds of blistering hot knives are incessantly puncturing your skin.

It is almost unbearable, but then your head rises to the surface and pure instinct kicks in. The four of you, with some difficulty, eventually manage to swim to shore.

Hermione grabs your hand to help you up, in your weakened state you barely manage to climb the cliff.

Harry storms ahead, seemingly unaffected, no doubt driven by pure adrenaline.

"He knows." He blurts out.

"You know who." Harry explains, and Hermione lets go of your hand to catch up to the dark haired man.

"He knows we broke into Gringotts, he knows what we took, and he knows we're hunting Horcruxes." He admits.

"How is it you know?" You ask, jogging slightly to catch up, Ron following closely behind.

"You let him in?" Hermione asks, her tone dissaproving.

"Harry you can't do that–" She says but her bestfriend interrupts.

"Hermione, I can't always help it! Or maybe I can, I don't know." He retaliates.

"Never mind that, what happened?" You interject.

The four of you halt as you get to the top of the cliff.

"Well, he's angry– and scared too." Harry starts, he holds out his hands as Hermione retrieves her bottle of Essence Of Dittany from her bag.

She places a few drops on his palms, doing the same on yours, and then Ron's.

You rub your hands together as Harry continues speaking.

"He knows if we can find and destroy all the Horcruxes, we'll be able to kill him. I reckon he'll do anything to stop that happening." Harry finishes and you scowl at the thought.

Soon, the boys begin stripping so they may change into dry clothes.

Hermione instead retrieves a large blanket from her bag, she drapes it over you, before pulling you close to her body so she may share your warmth.

"There's more– one of them's at Hogwarts." Harry explains.

"What?" Ron says in disbelief and his friend only nods.

"You saw it?" Your girlfriend asks, skeptical.

Harry nods again.

"I saw the castle, and Rowena Ravenclaw. It must have something to do with her, we have to go there now." The Chosen One states, assuredly.

"What? We can't do that, we've got to plan, we've got to figure it out." Hermione counters.

"Hermione when have any of our plans ever actually worked?" Harry recounts, his gaze shifting between y/n, Hermione and Ron.

"We plan, we go there, all hell breaks lose." The dark haired man states, and neither of you have an argument, he was stating the plain truth.

"He's right– just one problem." Ron starts.

"Snape's headmaster now, we can't just walk through the front door."

Then there's a pause.

You can feel Hermione shivering against you, you swiftly wrap an arm around her, an attempt to keep her as close as possible.

"Well, then we'll go to Hogsmeade. To Honeydukes– take the secret passage." Harry offers a solution, and you nod in agreement.

"I think– there's something wrong with him–" He adds, and the three of you wait for Harry to explain.

"In the past, I've always been able to follow his thoughts– now everything just sort of feels disconnected." The dark haired man says, he adjusts the glasses on his face.

"Maybe it's the Horcruxes? Maybe he's growing weaker, maybe he's dying?" Ron suggests but Harry was quick to shake his head.

"No, it's more like he's wounded. If anything he feels more dangerous." Harry states plainly, and now you are shivering for an entirely different reason.

Hermione glances at you, as you exhange a look, you can't help but acknowledge that all too familiar sense of impotence as it looms over all of you.

The uncertainty and impending doom; it feels as though the more Horcruxes you uncover, the more uncertain the end seems.

#hermione granger imagine #hermione x reader #slytherin au #hermione granger #harry potter #harry x hermione #hermione granger x reader #ron x hermione

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hometoursandotherstuff · 7 months

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Okay, let's get a little spooky with the early 18th century Wingfield House, Wingfield, Wiltshire, UK. The 4bd, 3ba home underwent significant expansion in the late 19th century when there was a demand for additional entertaining rooms and separate wings for bachelors and children. During WWI, the manor was used as a military hospital. In the 1940s, the property was divided into four separate dwellings. £1.250M / $1.530M

The newer portion of the house was done in Gothic Revival style, while the original is Georgian.

The home is accessed via an enclosed communal courtyard and a Gothic revival doorway. This opens to a double-height entrance hall paved with York flagstones.

The impressive ballroom off the main hall features a timber barrel-vaulted ceiling.

Tudor-arched fireplace has the Caillard family arms (owners that renovated the home after WWI) above the arch, along with a French motto on top of the fireplace. Note the large Inglenook and window openings in the fireplace itself.

39 ft library hall, (and the oldest part of the house), with six floor-to-ceiling oak bookshelves, giving both open and closed storage options.

Drawing room with early Georgian plaster is finished in a vibrant shade of turquoise and has a white marble fireplace dating back to 1760 that came from the Circus building in Bath.

Large kitchen and dining area with cream-painted cabinetry. Wide, stripped timber flooring and an original limestone fireplace create focal points in the room.

Ascending to the first floor via a fine early Georgian staircase with waist-high paneling and a delicate domed skylight above is the remarkable primary bedroom suite set in the corner.

This space was meticulously crafted by the current owners including Gothic-inspired doors and built-in seating in a contemporary oriel window inspired by the Pre-Raphaelite movement.

A modern marble shower room cleverly concealed behind double wardrobe doors. That's how ya do it- this is a great idea.

Secondary bedroom adjacent to the primary has a beautiful built-in closet and window seats.

On the floor above is a bedroom under the eaves with thick original beams.

What a magnificent home- look at the architecture. Lovely pond on the property, too.

Horticulturist's delight is a modern greenhouse on the property.

There's a plethora of different plant and tree species on the property, all meticulously maintained.

#historic home UK #georgian architecture #greek revival architecture #old house dreams #houses #house tours #home tour

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dresshistorynerd · 1 year

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Favorite Historical Architectural Styles

Since I've done my favorite historical fashions, I thought it would be fun to do historical architectural styles too. I want to write more about architecture too, but I've started thinking should I do a separate blog for architecture and architectural history or should I just do it all here? I think it would be better in a way that I wouldn't have to worry if anything I want to write is too far from the actual topic of the blog, but then again, there is a lot of overlap, especially when it comes to Arts and Crafts movement (which I'm currently writing my thesis about and which I definitely will talk a lot about), and also I would have to manage yet another blog.

Anyway, I'll again do this from oldest to newest. I will limit myself to western styles (except when we get to Modernism all styles are very international), even though there's a lot of non-western styles I enjoy, but it's what I know most about.

Perpendicular Gothic

I love Gothic architecture in general and the several first entries will be my favorite sub-styles of it. I love the the way Gothic Cathedrals try and so often succeed to feel like forests. I love how the structural elements are used to create the aesthetic. I love the organic visual elements. I love that it's such a unique style in Western architecture. And I love the amazing craftsmanship that went into it.

I'm particularly a fan of English Gothic because of it's insanely beautiful and complex ribbed vaults. From English Gothic my favorite though is the Perpendicular style, which was basically the English late Gothic. It's characteristics can be seen in the second pic. It has the stretched arch and the very flowing and organic traceries. I do include here the rest of English Gothic too, since even though the Perpendicular style is my favorite of them, all if it is still one of my Gothic favorites.

German Late Gothic

As it's becoming clear I love Late Gothic architecture in general the most, and in the geographical axis I also love German Gothic. Early and High Gothic were mainly divided into French and English styles and the French style dominated in the continent, just being altered a little to the local building traditions outside of France, but during late Gothic it diverged much more strongly into different styles.

German Gothic also has beautiful complex faulting (though less insane than English) and it also has that same pursuit of massive height French Gothic has. Those combined with that Late Gothic's more streamlined flowing and organic aesthetic, some of the German Late Gothic cathedrals really sell that feeling of standing in a forest.

Finnish "Gothic"

I have a soft spot for the Finnish Medieval stone churches, which are not nearly as sophisticated or detailed as the other European counterparts, but still made with beautiful craftsmanship and they have some cool own features. It's very far from the European Gothic traditions, as you can see, but that's still the influence, hence Gothic in scare quotes. I love the simple outward appearance with the exposed thick stone walls, the details of the gable that worked as the calling card for the building master and the very steep roof. Like everywhere at the time, the roof in these has wooden structure, which is frankly super cool. It was not a simple engineering problem to make a roof that steep and massive at the time, but the structure works so well there's 600 year old roofs with the original logs still working perfectly well. I also really love the original medieval murals in them, which were painted over during the Reformation (you can't have color in a Lutheran church damn it), but thankfully some of them have been restored from under the paint.

Finnish "Renaissance" Log Churches

Renaissance also didn't land in Finland similarly as it did rest of the Europe. When Renaissance was going on in Europe, they still were building those "Gothic" churches here. These log churches were based on Scandinavian version of the Renaissance church, but they didn't really look like Renaissance churches, and were kinda it's own thing continuing a lot of the aesthetics from those Gothic churches. This is a highly specific style, but I just think they are so cool and pretty? Like they really made a CUPOLA out of log.

Arts and Crafts Movement

Arts and Crafts Movement didn't have exactly a style, rather a design philosophy that was more important than specific style. There's of course a lot of stylistic similarities in the works of the different members of the Movement, because they had overlapping sources of inspiration and were influenced by each other, so we can think of it as a style. I could, have and will talk about them for hours, but briefly now: It was a moment in latter half of the 19th century and early 20th century and their goals were reviving craftsmanship skills and professions, socialism, opposing industrialism and abolishing the hierarchy between fine arts and applied arts. They were very much influenced by Medievalism and Gothic art and architecture, though unlike Gothic Revivalist, they took more from the guiding principles than the aesthetics. They basically started Modernism and lay ground to all the Modernist architecture's main principles, like form follows function.

Art Nouveau

Art Nouveau was directly influenced by the Arts and Crafts Movement and was the first mainstream Modernist style. I especially love the more toned down Finnish Art Nouveau, or Jugend as it's called here, but I do love the style more broadly too. I'm not that into those almost Baroque style versions of it though, with barely any straight lines. I love the round doors, the stylized floral patterns and the use of light.

Organic architecture

This has to be my favorite modernist/post-modernist (?) style. It's direct successor of Arts and Crafts movement and it's also more of a design principle than a unified style. There is some stylistic similarities, but it is stylistically very diverse philosophy. It was most prominent during the 20th century, but it always stayed in the sidelines, though there are still architects who might be considered practicing organic architecture. Organic architecture is all about living in harmony with nature, taking inspiration from it, designing the building to fit the building spot and the surroundings, extra care taken in to preserve the nature already there, and using local natural materials when possible. My favorite architects are Raili and Reima Pietilä, who were most prominent organic architects in Finland. (I almost moved into apartment designed by them, but it was in pretty bad condition, so it wouldn't have unfortunately been worth the price.)

Brutalism

I know it's not for everyone and it's not easy to make it work but when it works, it really does. It was born in 1950s during the reconstruction era. Brutalism is not just concrete though. The point is to show the raw materials and the structural elements. Technically a lot of Gothic and Arts and Crafts architecture is then brutalist. Timber frame architecture? Also brutalist. I'm only half joking, of course the style itself is also very bare and, well, brutal, but I love it for the same reasons. I really love bare textures of materials and exposing the materials of the structural elements. And I do actually really like the texture of concrete. Though I will say concrete is destroying our world and we should use it as little as possible. But we should also protect old buildings and keep using them rather than built new ones, so I feel fine admiring the old brutalist buildings. The best brutalist buildings combine materials very intentionally and make works of art with the light.

Bonus - Favorite contemporary architecture: Traditional methods

As we're living in the post-modern times, there's not really unified and specifiable styles or architectural ideologies anymore. They all kinda flow into each other and architects don't organize themselves into clear groups based on style and design philosophy. So it's hard to put into words the style I like in contemporary architecture. There's been growing interest in studying traditional structures and methods, learn from their sustainability and incorporate them into contemporary architecture. They are techniques that have been developed through trial and error on the span of centuries, so we really don't have to reinvent the wheel here. Traditional methods of a given area have also been developed for that area and it's climate, from the materials available there, so they also push us to use local materials. Typically these traditional structures are very simple, often made from solid material, which makes them easier to built without construction error (a huge problem in modern structures), and easier to fix and maintain, when inevitably there is issues. Also they are beautiful, definitely more so that steel and glass. I love solid brick structures, log structures, timber frames, natural stone, rammed earth and all of them, especially when these beautiful materials are left bare.

#architecture #architectural history #historical architecture #history #art history #modern architecture #gothic architecture #brutalism #arts and crafts movement #art nouveau

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