Okay guys, I have a theory/headcanon.
What if Harry's scar wasn't originally put there by Voldemort? What if it was Lily? Hear me out!
Imagine, Halloween, 1981. Lily had Harry up in his nursery. She prepared for this inevitable outcome. Being a prodigy in both Charms and Ancient Runes, she research a ritual that would protect Harry from the monster currectly climbing the stairs.
She doesn't have much time. Not having her wand on her, she finds the sharpest object she could find, and pricks her finger. Using her blood, she draws the Norse symbol for "Sun" for "Soul", upon Harry's brow.
Telling her baby boy to be strong and safe. That she and daddy loves him no matter what. And then kissing the crown of his head. For what she knows is the last time, is the most difficult thing she's ever had to do.
Standing between the monster and her innocent baby, she willing, gladly, takes the killing curse. If it means that her little Bambi was safe.
As the breath leaves Lily Potter's body, her willing sacrifice, combined with her love for her son. And her blood, marking Harry's brow, sealed the spell. And Voldemort's fate.
For when he turned his wand on the baby in the crib. A baby, who no longer had blood on his forehead. As the same killing curse, that took away his parents flew towards him, Lily's sacrifice powered spell came to life. Lily's love for her son, combined with her blood, Harry blood. And the ancient magic that Lily had invoked, meant that Voldemort and his magic, couldn't touch him.
The dark and evil curse rebounded off of Harry, and struck the one who cast it. Hitting him, ten-fold. Leaving nothing behind but his wand.
However, because the curse is meant to attack a person's very soul. And Voldemort's soul was already frayed as it was, a piece sheared off of what was left of it. And because it could not survive without a host, it search, and attached itself to closest, and most magically viable object in the room. Harry.
As Lily's spell had only just been activated, and was still fresh and new. It attached itself like a leach. Turning what was beautiful, and full of love and hope. A sacrifice that lived in Harry's very skin.
And twisting it. Corrupting it, into something dark. Full of pain and misery.
Turning it, into a scar.
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I woke up from a nap and want to swing at a hornet’s nest again, so I’m gonna give a hot take on villain redemption arc discourse:
A villainous character earning a redemption arc does not mean “Has this character become Morally Good enough to earn a slot on the good guys team?”, it means “Has the character’s writing earned this particular type of conclusion as the conclusion to this character’s arc, and can said writing sell the audience on it being the best narrative path for this character’s story to take? Or is the writing for this character such that giving the character a redemption arc without some serious groundwork leading up to it would at best give the audience intense narrative whiplash?”
Because a lot of villain redemption arc discourse - when it’s not dealing with the actual bad implications of the impulse of “Everyone who has ever been victimized by this character must magically forgive them, no one is allowed to have beef with this character who hurt them” that comes with a lot of redemption arcs - really just boils down to the redemption arc sucking ass because it’s being handed out to x characters when the writing around said characters has done nothing to really earn said payoff. You have to actually build up to the heel-face turn before you can say “This character is good now!”, the same way you have to have build up for any character arc’s conclusion. This is why it’s so common to have villains the writers want to redeem openly doubt their cause or get smacked in the face with The Consequences Of Their Actions - a villain with moral qualms about what they’re fighting for is more likely to leave and join the good guys, and a character Facing the Consequences Of Their Actions is more likely to go down the path of personal change that’s essential to any good redemption arc.
This is also why so many people get frustrated with redemption arcs getting handed out to fantasy tyrants. A fantasy tyrant’s crimes are typically massive and far-reaching and affect the whole cast, and tyrants in general just aren’t the type of people who would naturally come to a conclusion of “You’re right, we should stop being evil!”. Something big usually has to happen on the level of the universe itself punishing said tyrant for their sins - whether it be them getting violently deposed and thrown out of their Fantasy Tyrant position, or them facing immense personal tragedy as consequence of being a Fantasy Tyrant - so that the writing has an actual catalyst for the personal change required for the redemption arc in the first place. Situations like these is also where the impulse to say “Everyone must magically forgive this character because they are Good now!!!!” tends to get really ugly, since now it’s basically forcing the entire cast of a work to shut up about their grievances and let the Fantasy Tyrant do whatever they please, and that’s just shitawful writing.
To put it all a simpler way - if you’re writing a character who is a cartoonishly vile villain who’s constantly cackling while kicking puppies and is overall Evil And Lovin’ It, you’re going to need the run time of basically the entire series in order to get that villain to an ending of “They’re a sweet person on the side of good who runs a wholesome well-intentioned orphanage”, because that is a massive change in characterization that’s going to be extremely goddamn hard to sell to your audience unless you put in the legwork to make your writing earn that outcome. And depending on the villain, you really might just be better off writing the more natural outcome of “And then they were a horrible rat bastard to the end” rather than trying to force a redemption arc you’re in no way equipped to write.
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@nezumivc103221
It was the middle of the night; couldn't have been much past two or three AM if the darkness outside was anything to go by. The curtains had been closed at Nezumi's request, but through the sliver of space, a narrow, orange stripe of light indicated that the streetlamps were on and buzzing. The bedroom itself was quiet and cold; none of the outside ruckuses penetrated the thin walls of the apartment complex. During the day, Nezumi could hear various noises from their neighbours, but at night, they all fizzled out like a soda in mid-summer.
Mads' steady breathing was the only sound, usually a pleasant white noise that lulled Nezumi to sleep—except right now, Mads' every breath sounded like a drill through his ears. Nezumi tossed around, irritated, sleepy, anxious, hot and uncomfortable. A dream woke up him, not a painful one or a scary one, just a dream involving his Gran. A true fantasy that was too far out of Nezumi's reach. It made him sad; it made his heart ache with longing and his limbs numb with loneliness.
Nezumi huffed, frowning at the ceiling. He glanced to the side where Mads slept, unaware, then looked away.
Beside him, Mads shifted in his sleep. He turned his back to Nezumi.
Nezumi whimpered softly and chased after him.
" . . . Mads?" came the first tentative whisper. Nezumi circled an arm around Mads' shoulder and tried to get him to lay back down so he could place his head on Mads' chest. "Mads . . . are you asleep?" he whispered again, softly, inquisitively. ( Of course, he was. )
"Mads . . ." Nezumi pleaded again, gently petting Mads' cheek. "I can't sleep. Will you talk to me? Mads?" He nuzzled into Mads' neck. " . . . Please? I'm lonely."
//50s verse
From his peaceful and pitch-black land of dreams, Mads felt that something was bringing him back to reality. An everlasting poke onto his skin, like a dripping faucet that kept leaking. Poke, poke, poke. Mads waved his fingers in the middle of nowhere and grumble to whoever or whatever was trying to wake him up to fuck off. He felt that it wasn’t working at all. He frowned and grunted, scratched his belly, but the more he tried to fall asleep again and the more he was aware that someone was really trying to wake him up.
At some point, he blinked, his limbs completely numb, the urge to stretch invading every single cell of his body. “What is it?... ‘Fuck you want?...” He didn’t even realize to whom he was speaking right now, but at some point, consciousness was awakened. He understood that the person who was eagerly trying to get his attention was Nezumi, and it was quite strange for him to be so demanding – but in a physical way. Suddenly, Mads was profoundly aware of their proximity, the way he was throwing his limbs to have him closer, the warmness of his breathing…
“What’s happening?” He said while he rolled on his back, his hair completely disheveled onto his pillow and falling in straight lines over his tired blue eyes. He could perceive the emergency inside Nezumi’s voice. It was honestly a siren call Mads didn’t wish to resist. He sighed and rolled again, this time to wrap his fingers around Nezumi’s waist, pulling him against his chest.
“You’re not alone. I’m here.” He slowly caressed the length of his back, up and down, from the top of his skull to almost the birth of his bottom. Mads swallowed. Loneliness was a very familiar blanket for someone like him. He had been lonely most of his life after all. All these one-night stands were just a balm to appease the deepness of his sorry existence. He squeezed Nezumi a bit harder, pushing his nose into his long black hair.
“I know how you feel.” He confessed while he rubbed the back of Nezumi’s ears. His gestures were slow and controlled, just in case the young man would freak out. Proximity was still a foreign language between them. “You know, when I was little, I was sharing my bed with my brother. His name is Mika.” Mads realized that he had never talked about him yet. Mika didn’t visit him for a while, but they would exchange letters or quick phone calls, from time to time.
“Mika often had nightmares when he was a kid, and he was clinging to me like a monkey to a trunk. It pissed me off back then… I wanted to throw him out of the bed for that. We fought a lot.” He continued to caress Nezumi’s back, tenderly. Mads chuckled to the memories. “But when I went to the army, when I was on my own… I couldn’t sleep at night for a while. I was almost missing his chaotic kicks and his sleep talking…”
He hummed, looked down. He hoped Nezumi felt more at ease right now. “Oddly… When you grump at me, or scratch, or push your cold feet against my ankles… I always sleep like a baby. I don’t feel lonely when you’re here.”
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I fundamentally do not understand this show. The Dominion War was RIGHT THERE. Like, RIGHT. THERE. Why did we need some whack Romulus-blew-up backstory when the federation was already decimated by the war?? A follow up on the fallout of that and how the ceding of territory, the betrayal by allies, and the xenophobia of threats from both within and outside would have been SO much more interesting to me.
And they're so busy pulling half developed plotlines out of thin air that they're not even pounding in their anchor points for it all. Like, case in point, Jay looking for Icheb's cortical node. SEVEN HAS IT. IT IS LITERALLY IN SEVEN'S FUCKING HEAD. Like, okay fine easter egg? Maybe? But a major plot point isn't exactly an Easter egg?? Like obviously Beyer knows a shitload about Voyager, so at least one of them must be aware of that, so I assume it's implied... but not everyone has seen every Trek and that is from one specific Voyager episode, and Seven had the perfect opportunity to rub that in Jay's face... And are we not going to talk about Seven becoming a Ranger which is HUGELY antithetical to where she was at in Voyager? Because the fact that she became an individual on a ship that was what, 1/3 Maquis? Um, that's a super fucking important fact? Love that for her, but Christ alive nail. these. plot points. home.
idk I guess these two are nitpicks, but I have so many more and just don't feel like writing a novel expounding upon what I perceive as their many (MANY) failures in writing this show. But this show is just full of those moments and I don't understand their choices. Easter eggs only work when there's actually something semi coherent to hide them in (hence why most of M*rvel's fail nowadays, just saying). This feels almost as incoherent as Renegades, and I am SOOOOO very sorry to be actually saying that because woooooof that is not a compliment. Like... it's the Romulans, it's the androids, it's the Borg. It feels like whatever unholy combination is happening with Applebee's and iHop right now. Like... Okay I guess? But it's just a weird combination and very unnecessary. Just fucking pick one and go from there.
I do however need like a lot more ex-Borg bonding that was such a good moment okay thanks bye
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