I have no idea if I ever actually specified which Sanctuary house Reed lived in(referenced in this drabble and probably somewhere else that I can’t remember), so:
It’s the ruined blue one at the end of the cul-de-sac, closest to the river
And some miscellaneous headcanons & ramblings under the cut
Reed has a really weird relationship with Sanctuary. He was in Boston for all of a month before the bombs hit, still in the process of unpacking, & had no idea when Mercy would be heading back to the east coast to actually see where they’d be living. It’s not really home in any meaningful sense, but at the same time he has this weird disconnected homesick feeling over it because it was supposed to be. He hadn’t had a legitimately permanent home in almost a decade, this would’ve been the first one he’s had since leaving home to join the army, and (to him) it feels like it’s completely destroyed in a matter of minutes. He eventually meets Preston&Co and helps them get to Sanctuary, but even after they’ve started to rebuild he just can’t settle there. Something about trying to live in the ruins of what would’ve been his new life just makes him incredibly uneasy.
His feelings about vault 111 are similar; he goes back to the vault exactly once, months after the fact, after dealing with Kellogg, to make sure he didn’t actually miss anything. He still has no idea who Shaun is at this point and he’s not entirely aware of how involved the Institute is. He’s on edge the entire time he’s in the vault and rushes through it as much as he’s able to. I don’t think I’ve posted anything with him actually mentioning the vault yet, but he primarily refers to it as a crypt.
It eventually gets to a point where he just avoids that entire northwestern region of the map. He likes Preston well enough but can’t stand how uncomfortable both locations make him feel- the vault up on the hill and within sight at pretty much any given time, and the new homes and lives being created out of the empty shells and rubble of what should’ve been his new life.
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https://href.li/?https://www.reddit.com/r/HouseOfTheDragon/comments/zjkdxf/now_this_is_an_interesting_tidbit_from_tom/?utm_source=share&utm_medium=web2x&context=3
what do you think of this? aegon and aemond were loyal to one another till the end in the book, I really hope their relationship "spiralling" isn't permanent
I think it's not out of the realm of possibility that we're going to see the relationship spiral for a period of time. TGC makes some good points in that video, which is that Aegon and Aemond have a lot of complicated feelings towards one another that have yet to be fully expressed or resolved. One thing we also have to keep in mind is that Aegon and Aemond are going to go from massive highs to massive lows in a really short amount of time in season 2. Aegon is the only person, in the book, who isn't viscerally angry/horrified/disgusted with Aemond following the events of Storm's End (he literally throws him a party my son I love you), and I think that'll likely be important for Aemond, now that the show's made it clear that he didn't intend to kill Lucerys and clearly understands that this is a massive fuckup. So we might see them get closer for a moment, if Aegon's the one trying to stick by his side while Alicent and Otto are upset with him, both out of whatever brotherly affection might exist, as well as knowing what it's like to be seen as the screw up.
Problem is, Blood and Cheese follows soon after. Blood and Cheese, for however much it was spurred by Aemond's actions, is an attack on Aegon. It's Aegon's mother who is physically assaulted in her own rooms, it's Aegon's children who are terrorized, it's Aegon sister and Aegon's wife who is being psychologically tortured, it's Aegon's daughter threatened with rape at one point, and it's Aegon's son who is murdered. Blood and Cheese are a strike by Rhaenyra against Aegon, his son for her son. And while everyone in the family is going to be hugely affected by what happens, we know from the book that Aegon takes it really badly, that he "raged, and drank, and raged", and I don't think it's out of the realm of possibility that, in that rage and that grief over what's happened to his family, is going to let loose on Aemond. Blood and Cheese say point blank "an eye for an eye, a son for a son", Jahaerys for Lucerys, and who killed Lucerys? Aemond did. It's entirely possible that Aegon is going to blame Aemond for what happened, and be vicious in doing so, and that the relationship will spiral out for a time, especially if all those other unresolved feelings get dredged up in the ensuing conversations.
I don't think it'll be a permanent rift. Things said in grief and anger are often excused, and Aegon's going through it in a way nobody else except for Helaena could understand, and Aemond's likely going to go the route of blaming himself for what happens (personally I think we should get one of those scenes where Person A allows Person B to beat them into the ground without fighting back because they think they deserve it, I would like to see it), but whatever spiraling that happens as things reach an emotional crescendo with them doesn't have to last, and likely won't. Rook's Rest happens soon afterwards, where Aegon and Aemond are fighting together against Rhaenys, and Aemond's going to be named the Prince Regent (and despite wanting to be king, very conspicuously doesn't name himself as such and only calls himself "Prince Regent and Protector of the Realm" while Aegon recovers).
And even beyond all of that, one thing to remember is that the actors aren't the writers. TGC has amazing insights into Aegon as a character and generally seems to get him far better than even the writers do sometimes, but he is still ultimately beholden to act out what he's given, and what he says at a convention isn't necessarily gospel truth unless the writers take what he says into account when starting pre-production for the next season. So his interpretations isn't necessarily how it's even going to go.
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Please drop mrd theatre au lore????
OH HOO BOY so. genuinely did not remember i never explained that au huh ksjdngd
its been a hot minute since ive messed with that one, but lets see what i can dig up for it. as a disclaimer, its kind of an... abstract au, very rough around the edges as well. dont expect it to be anything too concrete WAHAHA
anyhow. tldr:
the mrd theatre au is exactly what it sounds like: the plot of the game described entirely through the lens of a theater production! alternately referred to as the dance au, because... its a musical! major events are described through dance, each piece pushing the story forward with the power of music and expression. literally-- the story won’t move on without it. starring mad rat as the lead role, rat god as the director, and heart as... That One Guy, Sure!
the abstraction kicks in in its presentation though-- it's told through the framing of a stage-- however, the story itself is Real to the characters. their world is real, and as characters, they see it as such. to everyone else, it's exactly as its namesake: a play. the term "actor" and "character" go hand in hand, practically synonyms. actors are the characters. the narrative is their world. all in all: the theatre au is an inspection of the meaning of Reality and Perception, the meaning of what it is to be a Character or a Person, and a play on Stories and Roles. more under the cut.
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As it does in canon, the narrative starts with Mad Rat waking up, and Rat God telling him his situation. Y'know, he died, she's giving him a second chance, etc etc. However, she Specifically tells him that he is, in fact, a character in a play and, as someone outside of the narrative, she knows what to do and what paths to follow. As long as he followed her, he'd be able to make it to the end of his story a-ok, and finally get the ending he deserved!
In the beginning, Rat God starts out with a whole musical number as she narrates the scene (to both the audience and Mad Rat) to catch him up to speed on where he is, who she is, and why he died. As she finishes, hands off the (metaphorical) mic to Mad Rat to get a word in for his debut scene. Unfortunately, Mad Rat, having just recovered from a terminal case of Being Dead, Does Not In Fact Have The Nicest Voice. Seeing this, Rat God quickly interrupts and redirects to another option: Dance. Which is where a major quirk comes in: every character has a specialized dance style!
Rat gods style is tap/swing, which is what the intro scene Truly is! It's Rat God introducing Mad Rat to the concept of The Show in a duet swing performance. Specifically, in this performance, Rat God takes the lead role in this one for several reasons: 1) She's Extra and Likes Showmanship. 2) She's ensuring Mad Rat goes in the direction he's supposed to-- making sure he's following along. And 3) She's effectively re-teaching Mad Rat how to move after. Y'know. Being Dead. Swing is a heavily motion-focused and improvisational dance: Mad Rat Does Not Know How To Dance. However, Rat God is good enough at it that she can take the lead and turn his stumbles and missteps into motion and flair. It's essentially the tutorial stage!
The narrative is pretty much the same through the first third of the game, more or less. Mad Rat meets Heart, who doesn't really Dance but rather just cheers him on, and they begin "travelling" together, with periodical "intermissions" where Rat God, off to the side of the stage presents recaps, narration, and questions-- but it's never clear if it's to the audience or Mad Rat. Maybe both. What's really important is the Framing, though. Mad Rat (kind of) acknowledges he is just a Character, but doesn't really Understand it.
Despite the knowledge, he still functions through the frame of a Character. He perceives the stage as The World Around Him rather than A Stage, while Rat God is the opposite. This leads to Mad Rat essentially just Following Her Lead. Which ends up just seeming... brazenly reckless and incredibly dangerous-- because Mad Rat doesn't think it will lead to anything. Obviously he's the main character, so he's probably going to just... get to his goal and whatever happens happens, right? Rat God said which way the story goes so... whatever, right?
Which all culminates at Heart's intervention: Heart notices all of this and gets worried. Whatever this Mess about "shows" and "story" and "directors" is, Mad Rat is still being really really flippant about how many Near Death Experiences he's had (not to mention the whole "Seeing Things That Heart Doesn't" thing.) So he decides to step in.
This is the first time we ever see Heart dance! He'd always insisted on being moral support/backup for Mad Rat, not really stepping in in any major way. Turns out, he's really good at a lot of dance styles. It's the first time we have a music genre outside of showtunes and the adjacent. It's heart basically trying to tell him that, whatever bullshit about "Narratives" he's following, Mad Rat is still Here. He's still a contributor to the world around him-- he can affect It, and it can affect him. It doesn't matter what he knows about Whatever This Is because it all wont matter if he gets himself into Real Trouble. Which is a convenient segue to the next arc-- they go off-script.
The following arcs are pretty much just those two figuring out what to do and where they’re going. Mad Rat, up to this point, was just (kind of badly) trying to imitate the swing style from the beginning, but slowly starts figuring out his own specialty on his own. Mad Rat kind of dabbles through a lot, but is Particularly good at breakdance/krump. It’s a bit of a slow process, but he slowly forges his own place in a world he technically does not belong in.
All the while, Rat God is suspiciously quiet. They weren’t supposed to go that way, or do any of that, But she could improvise. She passively tried to mess with them from offstage-- changing the background scenery, tossing obstacles after them-- but they just. Kept going. Mad Rat even began Understanding the nature of The Stage and learning how to use that to his advantage, predicting the way things would move or shift, and using that knowledge to move even faster. It was only after Mimolette’s scene (which was Not supposed to be this early in the script, to Rat God’s chagrin,) that she Really started to get particularly miffed. They’d completely gone off-script, avoided Everything she sent after them-- but there was still an ending that needed to be told, and she was going to tell it no matter how messy it was to get there. Which leads to an intervention of her own.
As the director, she had direct control over a lot of things-- but she herself could never interact with the Narrative. She had no real Hold, as it were. She was barely a concept to the characters in the narrative-- they could not really perceive her. So, she decided to break that rule-- and interact with them directly. Rat God’s scene is incredibly similar to that in canon: Incredibly Chaotic and Hard To Track. She mostly keeps to swing, as that’s her specialty, but regularly switches it up to try and throw Mad Rat off. But things are different than their first dance.
Mad Rat has a grasp on himself and his goals. Rat God’s plan is already off its rhythm-- it was clear from the start that this was a last-ditch effort on her part to kill him. Despite her still trying to take control, Mad Rat was nothing if not stubborn. He was just as good at deflecting and navigating the scene as she was. But it’s hard to truly get rid of something like Rat God. She isn’t done until the Story was done. There was still a story to be told, so here she stayed. She could keep going as long as he could, and longer. So knowing what he did now, and understanding the circumstance, he did the only think of. The two had, to some extent, switched places: Rat God taking the stance of a Character/Participant in the scene, and Mad Rat seeing the full scope of The Stage and how it worked. The show was still going, so all he had to do was end it.
Tricking her into a monologue, he truly exits the frame of the narrative for the first time, grabbing one of the curtain ropes and letting it free, closing the curtains on the stage-- with Rat God behind them. And... silence. In the end, it was just the closed curtains, the audience, and Mad Rat and Heart in front of them. They saw the audience, truly, for the first time-- that larger force constantly watching over him from beyond his view, pushing the show forward not of their own actions, but of their presence alone. This is who it was all for. And seeing this, Mad Rat makes the decision... to ignore them.
They weren’t important anymore. The show was over-- the audience had no more use here. No more power here. They meant nothing to him. Nothing to them. He has one last talk with Heart-- they knew they weren’t alone, not truly-- but all that mattered right then was just the two of them. What they’d seen, what they’d been through-- it all had to come to an end eventually. But not by the hand of someone who had no stake in their story-- in their lives. Mad Rat gets to make his own choice about his future: And with no story left to tell... he gets up, and walks off the stage.
The Story Is Over.
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