Kiss prompt #10 desperately for Scarian <3
this went in a direction i didnt expect so hopefully it's enjoyable<3
also ft. a very scribbly doodle at the end
Scar tilts his head, baring his neck in offering to Grian’s blade. His words almost don’t register to Grian.
"You may slay me—"
And he was about to, wasn’t he? He already struck Scar once, only hesitating because of the man’s clear unwillingness to strike back. Why wouldn’t he fight back??
Nothing stopped Scar before, when a stupid piece of paper escaped Grian’s grasp.
After everything they’d been through, nothing stopped him then, so why now?
Why is Scar smiling, laying down his life for Grian like it’s the easiest decision he’s ever made?
“I can’t,” Grian stammers. “I literally can’t.” His sword slips from his grasp, cutting a thin slice down Scar’s neck as it falls. Scar doesn’t as much as flinch.
His eyes do travel upward, however, a weakly hopeful look flickering across the crimson red. “Oh,” is all he says at first, as if he still doesn’t believe what Grian said.
Grian doesn’t either, to be honest.
Not because it isn’t true, but because it ultimately might not be up to him.
He’s heard them— the voices of players passed. Their cacophonous rage has been blaring in Grian’s ears from the moment he awoke on his last life. A symphony of violence calling for blood, for an end to this nightmare.
The spectators want a fight.
They want blood. A victor. An end.
“Then—“ Scar says tentatively, that hope still alive and blazing behind his red eyes— eyes that should crave violence, not— “do you want to fix the sand castle? Can we… can we win together?”
Grian can hear the symphony rise, a unanimous no ringing through the air, suffocating Grian where he stands. They won’t have it. The ghosts won’t allow it. But—
Grian’s legs buckle, falling to his knees before Scar, meeting him down at his level. Scar’s hands hover on either side of him, worried he may faint. The gesture isn’t lost on Grian, that Scar was still ready to catch him if he were to fall.
It only makes everything hurt that much more.
Fight, fight, fight, FIGHT.
Their chanting is relentless and Grian looks up at Scar with such fear, he— can Scar not hear them? Does he not feel the pull? The call for death and destruction?
Or perhaps Scar grew numb to it long ago.
“Scar…” Grian says, his voice hoarse, entirely drowned out by the grating shrieks of those they have killed.
Scar’s hands are on him in an instant, fingers threaded through his feathered ears, sheltering him from the cacophony. “Shhhh,” he says, and against all logic, the chorus subsides, merely a whisper carried along the ripples of the pond.
With what little clarity Grian can grasp in the momentary silence, he grasps onto Scar the same way, hands tangled in his hair, palms covering his ears— urgent and desperate— and he pulls.
While he can still hear the rapid heartbeat in his throat, Grian kisses Scar with all the sanity he has left, taking this moment for them alone— no care for the audience they never asked to have. No trace of violence they never asked to embrace.
Just lips against his, passionate and dear, loving and anguished— something urgent, yet drawn out, neither of them willing to part, the awareness of what is to come burning at their insides.
Please.
Not yet.
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ten examples of characters calling Lymond “Francis” for the first time, or the first time on page! So many flavors of Francis feelings. Take your pick. (and let me know if I missed earlier instances)
Speakers and context:
Sybilla to the son she hasn’t seen in five years, as he breaks into her castle and sets it on fire. (first on page, The Game of Kings)
Margaret Douglas to the man who kidnapped her. They, too, haven’t seen each other in about five years. (first on page, The Game of Kings)
Christian to her anonymous friend at Threave. I normally wouldn’t count this, because she says his last name, but it’s THE REVEAL, and she calls him by his first name to Sybilla later in the chapter. (first on page, The Game of Kings) - “Francis Crawford: you’re another fool, playing Macarius with the lockjaw. I told you sound was my stock-in-trade. I’ve known your voice since I was twelve.”
Richard. The dell near Hexham. God, Francis had screamed. (first on page, The Game of Kings)
Oonagh when they wake up together and she declines to give him Artus Cholet’s name. And she’s quoting Sybilla? I desperately want to know more about that interaction. We get some information in Checkmate, but still… (genuine first Francis, presumably. Queens’ Play)
Will Scott after the Hough Isa scheme and after spilling soup on himself! (first on page, presumably not a genuine first, The Disorderly Knights)
Graham Reid Malett. What the fuck, dude. (first time directly to Francis, The Disorderly Knights) - “‘I desire,’ he said abruptly to Lymond, ‘to call you Francis. Is that permitted? It is out of affection and a … purely spiritual love.’”
Jerott after he finds Oonagh’s body. (first time on page directly to Francis. Given the context and the way the Francises begin to multiply soon after, I would believe it’s the first time he’s addressed Lymond that way in ten years. Pawn in Frankincense) - “She is more than dead, Francis. If I thought you would do it, I would beg you to go without seeing her.”
Marthe to her brother, at Volos, after he calls her his sister by reciting a poem. The turning point. (genuine first Francis, Pawn in Frankincense)
Philippa, after falling in love with her husband as they wreak sweet, lyrical havoc across the rooftops and through the traboules of Lyon. Before the rest of that night happens. (genuine first Francis, Checkmate)
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I love all of LM Montgomery’s work, but the Blue Castle is raw in a way unlike her others. There’s a sense of cynicism from the first page, one quite at odds with LM Montgomery’s classic Anne (at least, Anne at first – Rilla of Ingleside’s Anne is different, and understandably so). It’s notable how this cynicism is met with delightfully sappy conclusions and happily ever afters, but if I had to define the Blue Castle’s tone at first, it’s dreary. It examines how dreary life is, and although it rejects the idea that life has to be this way, it acknowledges the reality that it often is.
Of all of LM Montgomery's characters, Valancy Stirling is the most real to me. This is a woman I know in real life--I've seen her in friends, I've seen her in family, and to be blunt, I've seen her in myself. I think quite a lot of women can relate to Valancy Stirling in some way. Valancy Stirling is someone who is neither liked nor disliked; who has neither friend nor foe; who is neither pretty nor charming; who is simply, quite often, not registered at all. As Valancy herself thinks miserably, she doesn't even have an enemy.
Valancy Stirling is also stuck. She's deeply unhappy with her life, which isn't difficult, but is empty and lonely. In the first few chapters of the book, LM Montgomery paints such an effective picture of despair I can find it difficult to read. There's no romanticism here--instead, there's the brutal acknowledgement that not everyone gets their Gilbert Blythe, often due to no choice of their own. Valancy's problem isn't having her head in the clouds about romance like Anne, or wrangling a love triangle like Emily, or a dancing will-they won't they with the neighbor boy like Pat; Valancy's problem is that no one finds her desirable at all. As the book states:
"Ay, there lay the sting. Valancy did not mind so much being an old maid. After all, she thought, being an old maid couldn’t possibly be as dreadful as being married to an Uncle Wellington or an Uncle Benjamin, or even an Uncle Herbert. What hurt her was that she had never had a chance to be anything but an old maid. No man had ever desired her."
And then LM Montgomery takes this a step further--she doesn't stop at the pain of being overlooked but confronts the grim reality in stark terms:
"The moment when a woman realises that she has nothing to live for—neither love, duty, purpose nor hope—holds for her the bitterness of death.
“And I just have to go on living because I can’t stop. I may have to live eighty years,” thought Valancy, in a kind of panic."
Raw, cynical, and true. What makes Valancy's situation so painful is that she has nothing to look forward to or hope for. She isn't needed or wanted by anyone. This isn't melodramatic; this is reality. Valancy is an unmarried woman in a time period where her options were already limited. She has nothing left to do but exist in a life where existence is a chore.
Of course, being in an LM Montgomery novel, Valancy gets her happy ending (in fact, in one of the more fantastical LM Montgomery endings that I won't spoil). Seeing Valancy throw back her shoulders and reject the life handed to her--from telling off her family at the dinner table to merrily giving societal conventions the middle finger--is remarkably satisfying. Still, there's something about those first few chapters that stays with me. Rather than the (accused) saccharine nature of Anne, you have a blunt statement that yes, life can be terrible, unromantic, and lonely. And that can be it. It's a weary recognition of the lack of happily ever afters, even if it turns into a happily ever after itself.
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Punisher (and Moon Knight???) of Earth-51910
Remember that time in Vengeance of the Moon Knight (Vol. 1/2009), #5 when Khonshu was kvetching about why Marc couldn't be more like the Punisher, who's god probably didn't need to beg for blood constantly (to which Marc astutely replied that Frank Castle had no god)? Well, looks like Baroness Khonshu of Earth-51910 lucked out.
Created by Mike Benson and Laura Braga for Secret Wars Journal (Vol. 1/2015), #4, this Frank confirms his connection to Khonshu (if the bird skull wasn't evidence enough) by occasionally swearing in her name. I wonder though if this Moon Knight is a werewolf as well, like the rest of the Cult of Khonshu in this reality is implied to be??? But honestly, I'm just a big fan of how, even as an ancient deity's Fist of Vengeance, Frank still manages to carry a very large firearm.
As well as some other exciting but far less explosive weaponry.
(Bird skulls on the knees also seems to be a common Earth-51910 theme)
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