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clown-eating-pig · 3 months

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One thing that I really appreciate about martin as a character is how you can observe him becoming more open over the seasons. Specifically with how he expresses himself, I like the way he noticeably becomes more vocal in his anger and pettiness by season 5. There are several things that I think contribute to this, and all of them make me varying levels of sad and happy all at once:

Obviously being part of the magnus archives in any capacity is enough to make someone more openly angry (as evidenced by pretty much everyone), and martin isn't excluded from that general "I'm being held captive by an invisible entity and the world is on the brink of collapse" rage.

Job security. This one is probably silly, but I can imagine that part of the reason that martin's season one, people-pleasing personality eases up slightly as time goes on could genuinely be because he literally can't lose his job. He's canonically stated to be manipulative, and I'm sure that one of his main reasons for him being so is that it was one of the only ways to assure that he and his mother were taken care of. Once he has the assurance that the only way he'll lose his job is via Death or Dismemberment (and also maybe once his mom died oop) I'm sure it was a lot easier to ngaf.

Comfort!!!!! Again! Martin is a manipulative guy! Not maliciously! Maybe not even consciously sometimes, but to me it feels like he's more likely to put on the gentle, friendly face with people he doesn't trust or isn't comfortable with. Come season 4 and 5, though, he's actively more petty towards and around jon (notably in how he reacts to Jon's gouging suggestion and just his general demeanor come apocalypse times). Part of this could certainly be bitterness leaking over because of The Circumstances, but I also feel that it has a lot more to do with the fact that he isn't necessarily trying to impress jon any more. In fact, at this point jon is the one actively seeking him out. He's beyond the point of needing to prove himself or make himself smaller for jon. By season five it's clear that jon loves him and that he'd go to the ends of the earth for him, so martin lets loose. He holds a grudge and he makes jealous requests and he snaps at times. He's a little bit bossy, and he ignores requests, and he sets boundaries. And all of this is so so beautiful because this is a person that, for years, has had to make himself as passive and small and as serving as possible - if not to appease his mother (who hates him) to keep her taken care of. So slowly watching him find people that he doesn't feel the need to act small around or to act as a caretaker to (unless he WANTS to) is a wonderful wonderful thing that I love.

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mycupofteafanzine · 6 months

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My Cup of Tea contributor announcement: part 2!

We are excited to share our list of writers and cosplayers in the zine! You can also find our artists here. See below the cut for links to their socials and their answers to the question: Why do you love Martin?

Writers

milkteamoon | tumblr Ao3

I really love how contradictorily human he is! He's a little guy. He's kind of a bitch. He wants so badly to be the sensitive artist type and yet will encourage murder against those whom he perceives to have wronged him at the drop of a hat. He's incredibly kissable and should be kissed by anyone and everyone, I think, for his health.

crescenttwins | tumblr carrd

Martin is this lovely exploration of a person who is deeply affected by trauma but still ends up able to be kind at the end of it.

Morning Softness | tumblr

He’s just such a great complex character. He does his absolute best in a job he’s not at all qualified for, determined to go above and beyond so no one will complain about his work ethic, even when the demands placed on him are ridiculous or dangerous. He’s anxious but he’s also brave and stubborn. He’s jealous and bitter and petty and sarcastic. He’s kind and optimistic and gentle. He’s a poet. He’s incredibly practical, and is better at showing care to others through his actions than his words. He holds onto guilt because he’s convinced it helps him do better. He tries so hard to be needed because he thinks it’s the only way anyone would want him, and he feels like it would be manipulative of him to expect or even want anything in return. He makes an effort to care about others and help in any way he can, even though it is an effort, even when it isn’t returned.

Pine | tumblr

In "Big Picture," Martin says to Simon Fairchild "I think our experience of the universe has value. Even if it disappears forever." I think it may be the most hopeful statement in TMA (not that it has a great deal of competition!), and I thought about it a lot while season five was airing. (And I love, too, how Martin may have been a hypocrite about it, unwilling to let the universe disappear.)

Saint | tumblr Ao3

Golly gee what a question. I guess the biggest thing is I love how full of seemingly diametrically-opposed contradictions he is: his genuine sweetness and kindness vs his very serious desire to see the violent death of people he's perceived to have wronged him, his dorky poetry vs the fact that he's the kind of person to use the word "ontological" in casual conversation, his capacity for love and compassion vs his proclivity for isolation. Also he has the best voice.

Cosplayers

Shashamisen | tiktok

He hit me as the most human-like character to me. Blame it on the beautiful voice acting or the discreet complexity of how his character was written, but I started loving him for how much I related, and stayed for the cutest awkward love I've ever seen.

Bow | insta tiktok

The obvious reason is that I see so much of my current, but especially younger, self in him, but I also love him because to me, he is the character in TMA who goes through the most growth and comes into himself. I love seeing his journey of self discovery and emotional strength.

Kaedan | tiktok

He became a comfort character immediately. His patience, his sweet nature, the way he stutters when he's flustered (just like me,) it all felt like a cool breeze in the fire that is the horror that is TMA. His life and traumas mirror my own, and the way he comes out of it with kindness and an unexpected fierceness is amazing to me. The way he underhanded Elias AND Peter impresses me constantly.

Alex | tumblr tiktok

He is my husband and I adore him.

Slush/Hailey | insta tiktok tumblr twitter

To me, he is the heart of The Magnus Archives! Martin is always showing his most human side to those around him and never lets the horrors around him stop him from being a good person. Like so many on this zine, I see a lot of myself in Martin Blackwood. There's so much of myself I see in him, yet there's so much more I want to be. He's kind and thoughtful. He's soft, but he finds his courage and shows that he can be quite tenacious and clever! He's constantly underestimated, especially by himself, but shows them up with confidence and sass. He doesn't let the horrible things that have happened to him make him hard and is never afraid of being his true self. I also find our relationships with the Lonely incredibly similar. Essentially, it's been quite a long time since I've found a character that is so much like myself, and gives me hope that I can also make the same changes in my life as him to grow and become a better person. Hopefully that doesn't include being stalked by a worm lady.

#the magnus archives #the magnus archives zine #the magnus pod #martin blackwood #tma #my cup of tea fanzine #contributor announcement

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stardustedlyra · 2 years

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i've talked about this fandom tending to not do tim and sasha justice, but also i think fanon fucks up martin's character a fair amount. he is not just soft and nice, he can be an absolute bitch when he wants. he's petty, he's jealous, he's flawed. just like with tim and sasha, we're given characters with a ton of depth but fanon tends to take the facade they present rather than treating them as the complex and, quite frankly, impressively realistic characters they truly are.

also he manipulates old men and i think that's iconic. this is a thing the fanon HAS taken and run with and i love it.

#at it again with late night/early morning tma analysis posting #tma #the magnus archives #martin blackwood

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dykedistortion · 3 years

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I do have a lot of Serious and Genuine thoughts about how, over the course of the series, Martin has more and more moments of speaking his mind and getting to be petty and rude and jealous and just like, exerting boundaries and holding onto his agency (including through how some of his awkward niceness is manipulation!!!) while also being genuinely so caring and compassionate shows his growth from season one and how he’s such a complex character. But also I just

#k talks #tma #the magnus archives #martin blackwood #martin k blackwood #martin tma #magnuspod #tma season 5 #I love him so much!!!!!!!!

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trensu · 3 years

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I had a thought about a vaguely Cupid-and-Psyche inspired crack!fic where Elias is a god of Love

(Jon: don't you mean Emotional Manipulation?

Elias: you say to-may-to, i say to-mah-to

Jon: ... I say to-mah-to, I'm not American, what does this have to do with anything?)

Jon is obviously Cupid. Elias took a shine to him and made him immortal against his will and keeps him as his servant or smth. Idk Elias is a douchebag, okay? ANYWAY, Elias is also a petty bitch and so he gave Jon Love arrows

(Jon: it's mind control.

Elias: they inspire passion, Jon. Just bc you don't experience it, doesn't mean--

Jon: No. Me being ace has nothing to do with it. They're mind control arrows. These people wouldn't have done all that if they weren't being influenced.

Elias: you have no romance in your soul

Jon: ...i find your interpretation of love and romance extremely suspect.)

Whenever Elias feels jealous or neglected or just plain bored tbh, he sends Jon out with to shoot whoever's caught his ire with one of those love arrows and has them make fools of themselves. Jon does it (he's bound to Elias for handwavey reasons so he can't really disobey) and it usually gets him in trouble. It's how he's gotten all those scars. (Jane Prentiss falling in love with worms and attacking Jon with them when he accidentally stepped on one while trying to make an exit was pretty tame in comparison to Jude Perry's reaction when she realized Jon struck Agnes with an arrow so she'd fall for some no-name mortal boy).

Such is Jon's life. Being immortal is not all it's cracked up to be when you can get injured and scarred. So when Elias started muttering about Peter's wandering eye, Jon knew it was only a matter of time before he'd send him out with those arrows again.

Peter, apparently, had been showing too much interest in a mortal boy named Martin, whose Loneliness tasted as bittersweet as dark chocolate (or so Peter claimed as he boasted during his dinner with Elias while Jon slowly sunk further into his chair the more irritated Elias's scowl grew).

"make him fall in love with something hideous and embarrassing," Elias had seethed at him, practically throwing the quiver at his head. At least two of the arrows pricked him so he was quite grateful that he was immune to their mind control (Elias: don't be ridiculous, Jon. Having you susceptible to the magic you're tasked to handle would be a stupid move on my part. You could get compromised and be completely useless to me!)

Grumbling, Jon set out to track down the mortal boy. He was not prepared for the the way the sunlight glinted off of Martin's light hair or his warm smile. He was not prepared for the twinge he felt in his heart when Martin's pale eyes glimmered with tears after receiving his mother's harsh words (the pain, worryingly, felt all too similar to the slice of the arrows he aimed at people).

He didn't want to shoot Martin with one of the mind control arrows. He wanted Martin to be happy. So he persuades his good friend Daisy to get her gf Basira to fake a prophecy. To her credit, she did a fantastic job delivering a fake prophecy. But there was some sort of miscommunication (or Martin's mother deliberately misunderstood; it could go either way). Instead of telling Martin's mother to marry off her son to a kind and handsome man with a gentle heart in order to avoid the wrath of the gods, the prophecy was somehow interpreted as sacrificing Martin's hand in marriage to some sort of hideous beast that lived at the peak of a nearby and treacherous mountain.

(Jon: how did she get that idea from your prophecy? what exactly did you tell her???

Basira: i can't fake a prophecy, Jon. and i'm not telling you what the prophecy was

Jon: What?? Why not???

Basira: it would violate the oracle-client confidentiality clause on the consent form we have them sign prior to a reading)

Jon was irritated by how quickly and eagerly Martin's mother was to dress up her son and dump him on the mountain. He was tempted to use the arrows on her, instead, but he figured Martin would be upset if something happened to his mother so he refrained. Jon fretted as Martin started his slow procession up the mountain. Martin wasn't made to endure such a harsh environment, and even if he had, he shouldn't have to!! Martin deserves to be loved and treated well and get given all the good things life could offer!!

So Jon constructs a luxurious enchanted castle using godly magic and more favors than he probably should've called in. He puts big obvious signage to Martin knew it would be his castle provided by his non-existent monster spouse.

(Daisy: he's gonna get suspicious when his monster spouse doesn't show up. he'll probably leave and try to find it. he seems like the self-sacrificing type and you know how those get.

Jon: i have a plan

Daisy: .... is this like all your other plans?

Jon: shut up, daisy)

So Jon pretends to be the hideous monster spouse Martin was expecting. Sort of. He only visits after dark, and informs Martin that he can not bring light into the room for if he sees his visage he'd be cursed (or something; Jon came up with something on the fly and was definitely not suave about it but Martin complied and that's all that mattered). He spends his nights with Martin, telling him stories and meekly asking permission to pet his hair and hold his hand while doing his best to ignore the pounding of his heart and the heat on his cheeks whenever Martin softly says yes. He didn't say yes the first time Jon asked, and Jon skittered away from where he had been creeping closer. He respected Martin's boundaries (he isn't Elias, after all) but as he and Martin spent more time together, Martin became less guarded and began to allow Jon close.

It got to the point where they would cuddle in bed and Jon was so content in Martin's arms that he occasionally dozed with him. Everything was great and Martin seemed genuinely happy to spend his days in the castle learning new hobbies and such while spending his nights with someone he couldn't see. Until one day Martin asked if he could have his mother visit. Jon wanted to say no, but the hesitant way Martin asked tasted too much of fear of rejection for Jon to deny him.

(Daisy: why do I have to guide her here?

Jon: bc you're my friend and if you don't Martin will be sad which means I'll be sad and you'll have to listen to me cry about it and you hate that

Daisy: damn it jon)

And because martin's mother is awful and bitter and spiteful, she tells Martin he should find out what his "captor" looked like. his spouse was a monster, after all, he should know what he's dealing with so he could defend himself and her if it should decide to attack them. so one night, shortly after his mother left, he waits until Jon has dozed off before quietly lighting a candle.

Jon wakes when he feels hot wax drip onto him and sees Martin staring a him with a shocked expression. Jon realizes what happened and flees in a panic. He knows what he looks like; short and skinny an riddled with scars of all kinds. Ofc Martin would be disgusted by him. He ends up licking his wounds at Elias's.

(Elias: my poor delicate darling precious boy

Jon: really, Elias?

Elias: can't a father worry about his child??

Jon: you're not my father!! you kidnapped me and immortalized me against my will!

Elias: details, details. anyway, you can stay here until you recover from your grievous injuries. byyyyee!

Jon: where are you going? elias? why's the door locked? elias?? LET ME OUT, YOU POMPOUS ASS)

When Jon recovers and finally manages to escape, he finds out that Martin had been trying to find him but Elias had given him impossible tasks to prove he's worthy of him. Thankfully, Daisy, Georgie and Basira all helped him out, much to elias's displeasure. Since Martin completed the tasks, Jon was able to reunite with him and they lived happily ever after~!

#tma #the magnus archives #jonmartin #jmart #jonathan sims #martin blackwood #trensu tells stories #this is a purely self-indulgent not!fic in case you couldn't tell #its a little bday gift to me since it's been rolling around my head for awhile now #i've also been thinking about an almost phantom of the opera au but this one amused me more #because it's more ridiculous and cracky than the other #and these characters need more comedy XD

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dwellordream · 3 years

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“Pamphlets and ballads do not make the parallels between domestic and political tyranny explicit; nor do they explore the implications of the parallel, particularly the possibility that a wife's or servant's active resistance might be justifiable. Yet in narratives about murderous husbands, as in those about murderous wives, domestic violence reveals the contradictions that undermine marriage from within. These narratives particularly expose the violence that underlies, and is even produced by, the fiction of subsumption, of two becoming one. Rather than reproducing the "plots" most typical of actual instances of wife-killing- an angry husband who loses his temper, or "correction" (abuse) that escalates into murder- the pamphlets and ballads dwell on excessive, ingenious brutality.

Detailing husbands' violent refusals to act as protectors, partners, or lovers, these texts present the murders of wives as abuses not only of authority but of intimacy. They thus join with the accounts of petty treason that we have seen to articulate deep fears of sexual and domestic familiarities. In both kinds of narratives, spouses employ the physical vulnerability of the conjugal relation to assault rather than solace their partners' bodies. Representing particularly grotesque acts- throttling a bedridden invalid, clandestinely inserting poison into the vagina, roasting the murdered body as if it were meat- accounts of wife-murder depict husbands as enemies, rather than protectors or partners.

In presenting such intimate betrayals, many texts follow the model of the Judas kiss. After pretending to be reconciled to his pregnant wife, John Marketman, for instance, "took her about the neck Judas like as if he intended to kiss her, and all on a sudden thrust his accursed knife into, if not through her poor Heart, so that she fell down dead upon the spot." Another jealous husband, William Tite, perched his wife on his knee, kissed her and spoke lovingly to her, then "put his hand under her Apron, and ript up her bowels and belly, insomuch that the child which was in her womb, fell out on the ground, and sprawled before him." Thomas White, sitting close beside his wife, slowly and secretly maneuvered the point of his "scimiter" into his "pocket-hole" and "as he sate close by Her, he forc'd it in at her right Breast, and through her Body" to the amazement of others present in the room.*

In all these cases, the husband not only exploits his wife's trust and physical proximity but acts out his betrayal in an unseemly way. Hunt reviewed consistory court wife-beating cases from 1711 to 1713 and relates: "One often gets the sense, reading these cases, of acts designed specifically for an audience. Men persistently abused their wives in front of relatives." " Similarly, representations of those husbands who kill their wives depict the murders as simultaneously intimate and theatrical. Pornographically conjoining violence, eros, and performance, the murders force into visibility a disturbing connection between marital sex and violence against women. The Examination, Confession, and Condemnation of Henry Robson Fish of Rye, Who Puysoned His Wife in the Strangest Maner That Hitherto Hath Bin Heard of (1598) explores this connection in even more extreme terms than the popular texts that begin with conjugal and end with the wife's disembowelment.

In this pamphlet, the profligate Robson secs his wife's life as an obstacle to his release from debtor's prison. To eliminate her, another prisoner advises Robson to mix ratsbane and ground glass, and wrap this mixture "in the skinne of a shoulder of mutton, to the quantity of a hasle nut, or lesse, and in the night when his wife should next come to lie with him, [Robson] should convey it into her privie parts, which bee would warra[ n ]t without danger to him shuld kill her." When Robson's wife next pays him a conjugal visit, by "a dissembling shew of friendship" he "constrain[ s] her to stay all night," during which time she enjoys "the dearest nights pleasure that ever woma[n] had." Those scholars who have commented on this text sanitize Robson's act.

One describes Robson's method as "filling his wife's genitals with a mixture of ratsbane and ground glass while she slept," although the text suggests that she was having sex with her husband, not sleeping; another describes Robson as "introducing rat poison into her vagina," decorously evading the means by which Robson "introduces" his carefully prepared depository." Clearly, Robson uses sexual penetration to poison his wife. Although the wife expects "pleasure" from sexual intercourse, physical intimacy empowers her husband to kill her "without danger to him," rather than mystically transforming husband and wife into "one flesh."

An account of a less devious murder, A True Rendition of the Most Humble Murther Committed by Thomas White ... upun the Body of His Wife Mrs. Dorothy White (1682), reveals a similar concern with the complexities and dangers when spouses become one flesh occupied by antagonistic wills. Citing Genesis ("'This is now Bone of my Bone, and Flesh of my Flesh"), the title page asserts the husband's obligation to love his wife as he loves himself. The text then recounts the breakdown of this marital ideal; through his "vitious Practices" and "the Abuse of Himself with lewd Women," Thomas White contracts "that Disease which commonly is the Consequence of Uncleanness" and transmits it to his wife: "'Thus you see a Man, who by the Laws of God and Common Natural Duty, was Bound by all lawful means to take Care for the Welfare and Preservation both of the Souls and Bodie, of his Wife and Children, Contriving and Resolving the Ruine of both."

After White infects his wife, he proceeds to threaten her against disclosure so that she does not seek adequate medical attention; the text presents his subsequent murder of her as the logical consequence of neglecting to cherish her flesh as his. In some accounts of the murder of husbands, a wife's infidelity leads to her husband's death; in these two texts, a wife's fidelity enables her husband to kill her, suggesting the dangers of "due benevolence" for women. Like discussions of wife-beating, then, these texts explore what it means to be one flesh when the occupants of this shared body are at odds. The construction of husband and wife as one flesh, like the legal fiction that the husband subsumes his wife, assumes that the husband's and wife's interests correspond.

In a vivid, often-cited image, Milton explicitly links the failed ideal of one flesh to tyranny. When husband and wife are incompatible, "instead of becing one flesh, they will be rather two carkasses chain'd unnaturally together; or as it may happ'n, a living soule bound to a dead corps, a punishment too like that inflicted by the tyrant Mezentius.” While Milton assumes that the husband is the victim of tyranny, writers more concerned that husbands themselves may act as tyrants similarly insist that the degeneration of "one flesh" into "two carkasses chain'd unnaturally together" subverts constructions of the subject and the couple as stable, self-preserving, cohesive: ''The wife is as a mans selfe. They two are one flesh. No man but a frantike, furious, desperate wretch will beat himselfe"; "What man will be so wicked as to strike, and beate, and ban, and curse his own flesh which is his lawful and absolute wife[ ? ]"

Yet accounts of wife-beating and wife-killing suggest that the masculine subject, and therefore the corporate subject forged when he subsumes his wife, could be fragile, fragmented, and self-destructive. Examining cases brought against brutal husbands in church courts, Martin Ingram argues that the community judged such men's domestic violence as a symptom of uncontrol and abnormality. For instance, in five cases of excessive, life-threatening wife-beating in Wiltshire, "all of the husbands involved showed signs of mental disturbance or instability." .. , One account of a husband's murder of his wife suggests that legal, literary, and moral texts so consistently attributed murderous husbands' actions to madness that husbands themselves might have exploited this convention.

The Bloody Husband (1653) presents Adam Sprackling as dispassionately calculating his own insanity defense immediately after murdering his wife. According to a servant's testimony, Sprackling, who "loved his Dogs better than he loved his Wife," enjoined the servant to help him slaughter them: "Now let us kill the Dogs, and then they'll say we are mad indeed."' Subsequently, Sprackling pleads in court "that he was mad when he kill'd his Wife; and that he knew not what he did." .... According to The Bloody Husband, Sprackling manipulates the convention of the mad husband, and even his public persona ("He loved his Dogs better than he loved his Wife."), to defend himself.

The servant's testimony that Sprackling calculated the effect of slaughtering the dogs combined with testimony that Sprackling "was of an habitual bloody disposition and practise" undermined the strategy and led to Sprackling's conviction. The narrative framing here (the story of the story that Sprackling devises) and the function of the courtroom as an arena of competing narratives draw attention to a cultural perception, produced and transmitted through popular accounts of actual crimes, that a man who would murder his wife was no longer a representative of order or authority. Like the emphasis on their instability, the emphasis on murderous husband's tyranny suggests that their actions bear no relation to acceptable assertions of domestic authority and reveal nothing about the distribution of power in marriage.

Two Horrible and Inhumane Murders Done in Lincolneshire (1607), for instance, describes how John Dilworth silences his wife's justifiable complaints with several blows to her head, makes a fire, and then, "like a terrible torturing tyrant, tooke uppe the dead carcase, and laide it thereon, clothes and all, not forgetting to hang uppe blankets and coverlids before the windowes, to the end to hide the light this great fire did cast." By offering the demonic image of Dilworth reveling before his wife's smoldering corpse, "as it were rejoycing at that his most hatefull, horrible, and hellish fact, like a most gracelesse and mercilesse miscreant," the text sidesteps the issue of the husband's responsibility; at the same time it qualifies his claims to authority. Such exaggerated, grotesque characterizations evade the relationship between wife-murder and the dominant ideology of male supremacy.

…Like the peers who tried Castlehaven and the narratives circulating about his trial, however, most pamphlets and ballads deny transgressive husbands' attempts to justify their actions, labeling their interpretations of coverture as criminal and crazed. By the eighteenth century, conduct literature, legal discourses, and popular literature demonized wife abuse and "rhetorically" displaced it onto the lower classes, so that "wife beating became, for literate people, a particular mark of the inferiority and animality of the poor." Anticipating this trend, pamphlets remove "terrible, torturing tyrants" like John Dilworth from the continuum of husbandly authority, foreclosing the interrogation of husbandly power and its limits. While Heywood's An Apology for Acton ( 1612) suggests that murderous wives lurk everywhere in the disguise of the familiar and innocuous, a text such as Two Horrible and Inhumane Murders suggests that murderous husbands are monstrous exceptions, not husbands whose "legitimate" correction of their wives gets out of hand.”

- Frances E. Dolan, “Revolutions, Petty Tyranny, and the Murderous Husband.” in Dangerous Familiars: Representations of Domestic Crime in England, 1550 - 1700

#cw: domestic violence #cw: infanticide #frances e. dolan #history #renaissance #tudor #elizabethan #jacobean #stuart #dangerous familiars

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stopitjon · 5 years

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I'm honestly so so curious about how Georgie's.......existence interacts with Martin's jealousy. I mean, I believe him to be a normal mature person and not be weird about Jon having exes but still, he's so jealous when people just vaguely allude to being Okay with Jon, how would he behave with like. Jon's ex with whom Jon has good relationship, basically shares a cat and can still live with,

God, YES, I am curious about this too! I think that Martin’s choices in S4 are reflective of his having grown out of the jealousy a little bit, since regardless of where what he’s doing falls on the spectrum between ‘tragically sacrificing himself’ to ‘playing 4D chess and manipulating literally everybody,’ there’s a danger that he may not always be around to protect and take care of Jon himself inherent in it, and it does require that he leave Jon in the hands of the other assistants in the meantime.

But even if that’s the case, Georgie is just…too powerful. Like you said, she and Jon are so close—close in the way that I’m sure Martin wanted him and Jon to be. And as we’re all aware, she is so cool(!) that even if she weren’t Jon’s ex, and Martin weren’t naturally a jealous person, it would probably be pretty hard not to be jealous of her, even if Martin only knows her as “Jon’s ex girlfriend who visits him in the hospital a lot.”

There’s also the fact that she’s known Jon the longest. His reaction to Basira and Melanie is basically, “who is this new person just showing up here and befriending my Jon,” but it seems like knowing that Georgie was there first would probably make him feel even more left out and resentful.

I am seriously dying to know if Martin and Georgie met at any point while Jon was in the coma. It seems unlikely that they wouldn’t have, during the time when Martin was still visiting, since they were probably the only two people that kept showing up after it was clear that he wasn’t going to wake up anytime soon. And if they did, that interaction has so much potential. Because Georgie is almost certainly immune to petty bullshit, and she’s perceptive, and she knows Jon, so even if she didn’t spell it out for him in so many words, I bet she would’ve told Martin that Jon really does care about him.

I keep picturing some kind of interaction where Martin is there in the hospital room, and Georgie comes in. Because of course she does. She visits all the time. And he’s trying not to hate that, because it’s good that Jon has someone else who cares for him that much, of course it is, but he still can’t keep an edge of bitterness out of his tone as he gets up, a little stiffly, to leave,

“Oh, you’re here. I’ll just…go then. I’m sure he’d rather have your company.”

And Georgie, knowing full well that it’s not within her power to make Martin understand, but wishing she could anyway, even though Jon really ought to have said something before he went and got himself blown up like an idiot—and right when she had gotten used to having him back, too—would just say,

“That’s not true.”

And even if they couldn’t really bring themselves to talk more than that, that would be enough, wouldn’t it?

I also don’t believe that either of them ever really gave up on Jon waking up, so it seems like knowing the other could potentially have affected the decisions they each ended up making. Like, I do wonder if Martin thought that he could leave and focus on protecting everyone at the Institute precisely because he could trust Georgie to take care of Jon. As far as Georgie goes…how much does she know, I wonder? Because it’s a little weird that she hasn’t shown back up yet (both because we know she’s going to and because this is Georgina “hey you were asleep so I went ahead and lied to the cops for you” Barker we’re talking about), and I’m starting to think something’s up with that.

In conclusion: ???? and also bring Georgie back from the war plz

#sorry it took so long to reply!#i had to fly to america for my friend's wedding and there was just so much bullshit i wanted to ramble about #that i couldn't possibly type it on my phone #really though just BIG SAME I AM SO CURIOUS AAAAAAAAH #tma

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fairietale · 5 years

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this is a starter call for all unfinished / wip characters who don’t have separate starter calls yet:

laena talila stone, elf. was cast out by her family for refusing to partake in a dangerous ritual and marrying an outcast in the elven kingdom. sister to zinnia. + generous. mild mannered. stands up for what she believes in. sweet. loyal. - melodramatic. stubborn. impulsive. indecisive. skeptical.

fox lyari stone, elf. daughter of laena. sister of kymil silveril stone and vissera silvyr stone. niece of zinnia. cousin to elora azraiah, zelphar axilia, rathiain fenain, ellisar folen, tsar eroan, and emalia jade storm. + witty. dependable. independent. compassionate. ambitious. - distrusting. stubborn. suspicious. self - absorbed. willful.

vissera silvyr stone, elf. daughter of laena. sister of kymil siveril stone and fox lyari stone. niece of zinnia. cousin to elora azariah, zelphar axilia, rathiain fenain, ellisar folen, tsar eroan, and emalia jade storm. + independent. funny. caring. loyal. adaptable. - vengeful. drama queen. impatient. clingy. spoiled.

emalia jade storm, elf. went off on her own against her mother’s advice to reunite with her family. niece of laena talila stone. niece of zinnia. cousin to fox lyari stone, kymil siveril stone, and vissera silvyr stone. cousin to elora azariah, zelphar axilia, rathiain fenian, tsar eroan, and ellisar folen. + independent. marches to the beat of her own drummer. kind. loyal. persistent. - temperamental. moody. uncompromising. oversensitive. impatient.

rathiain fenain, elf. was spared by viviana deluca in the uprising. son of zinnia. brother to elora azrariah, zelphar axilia, tsar eroan, and ellisar folen. nephew of laena talila stone. cousin to kymil siveril stone, fox lyari stone, vissera silvry stone, and emalia jade storm. + compassionate. has a heart of gold. helpful. brilliant. generous. - weak willed. easily manipulated. shy. quirky. submissive.

aurelia arwen, fae / vampire hybird. bastard daughter of the seelie queen. true neutral. + clever. quick - thinking. logical. honest to the point of being blunt. intuitive. - secretive. untrusting. obsessive. withdrawn. pretentious.

jason “jase” valois, king of france. married to viviana deluca. brother of maragux valois, jenna valois, rafael valois, lucas valois, theodore valois, and martin valois. + a king of the people. generous. fair. kind. strong. - easily manipulated. willful. obsessive. passive. thoughtless.

margaux valois, french princess. more badass than all her brothers put together. elder sister of jase valois, jenna valois, rafael valois, theodore valois, and martin valois. + strong. intuitive. brilliant. fiesty. wise. - stubborn. paranoid. nagging. opinionated. overly critical and judgemental.

kieran nox, death. the leader of the four horsemen of the apocalypse. + non judgemental. willful. strong. wise. confident. - narcissistic. arrogant. stubborn. willful. uncompromising

erika queen, conquest. the victor of the four horsemen of the apocalypse. + witty. adventurous. passionate. fearless. charming. - always has to be right. blunt. arrogant. shameless. sly.

grace gold, ice dragon. daughter of the earth and moon. sister to tara gold. + warm. sweet. thoughtful. caring. loyal. - passive. rash. judgy. touchy. sanctimonious.

azriel eldrin, elf. the queen’s personal guard. + loyal to death. rational. quick thinking. courteous. brave. - obsessive. prim and proper. arrogant. vain. rigid.

lana zenovia, the key. she is the key that opens other dimensions, along with the gates of hell / hades and the pearly gates themselves. constantly reincarnated. + hopeful. optimistic. generous. kind. strong. - opinionated. paranoid. secretive. nervous. touchy.

ripley savage, princess and the last daughter of the planet ragnum. she goes by the alias ghost or ghost slayer. after the death of her planet, she became an intergalactic outlaw. + clever. witty. keen. intuitive. resourceful. - uncompromising. judgemental. touchy. thoughtless. vain.

commander cleo, commander of caelesti’s armies. works directly under a the god malicious. the best of the best of the second dimension’s soldiers. + strong. brave. unwavering. heroic. loyal. - ruthless. vengeful. arrogant. stubborn. tactless.

arden ignatius, phoenix. prometheus stole fire from mount olympus and gave it to humanity, and, from that fire, he created the first ever phoenix to watch over humanity. + wise. caring. strong. brave. loyal. - prim. lazy. tactless. vague. self - indulgent.

natharia, kelpie. travels through dimensions. + wise. brilliant. clever. witty. funny. - selfish. thoughtless. uncaring. passive. sly.

kendall constance, newborn vampire. after the disappearance of her boyfriend, valentino xavier reyes, kenall went searching for him only to find herself in trouble and a vampire! + loyal. caring. blunt. resourceful. tough. - selfish. arrogant. temperamental. judgy. rash.

joy “jj” jenner, heretic. part of zarya angelov’s growing coven of heretics. + honest. actual royalty. brilliant. daring. straight - forward. - narcissistic. vain. thoughtless. spoiled. petty.

harlow reid, hybird. the first hybrid that was turned by niklaus mikaelson using the blood of the doppelganger that came before katherine pierce. + curious. loyal. clever. quick - witted. warm. - secretive. passive. sly. guarded. willful.

fleur bellerose, empathic vampire. she was trying to find a cure for her dying mother when she learned of viviana deluca’s true identity, but viviana was too late getting there to save fleur’s mother, so she offered to turn fleur instead. fleur has always been empathic. + caring. loving. kind. positive. genuine. - withdrawn. impatient. neurotic. nosy. obnoxious.

caterina gabrielle deluca, light made flesh. she was a gift from the heavens for her mothers, vienna and briar deluca. niece of viviana deluca, gabriel and jenna sharp, and freya sharp. sister to valentino xavier reyes - deluca, avery mae deluca, archer vincenzo deluca, and lucia violetta quintana - deluca. cousin to too many to count. + compassionate. all heart. accepting. warm. caring. - quick to judge sometimes. assuming. stubborn. willful. extreme in everything.

valentino xavier reyes - deluca, werewolf. accidentally killed his best friend in a car crash and triggered his werewolf gene. was found scared and alone by vienna deluca after his first full moon, and she brought him home. adoptive son of vienna and briar deluca. adoptive brother to caterina gabrielle deluca, avery mae deluca, archer vincenzo deluca, and lucia violetta emilia quintana - deluca. adoptive nephew to viviana deluca, gabriel and jenna sharp, and freya sharp. too many adoptive cousins to count. + sweet. caring. compassionate. generous. genuine. - quick to temper. touchy. hesitant. nervous. overly cautious.

avery mae deluca, angel / warlock hybird. in avery’s warlock bloodline, twins have to merge at the age of twenty one, with the stronger twin winning. avery is the twin to archer vincenzo deluca. avery has a growing darkness in her that will end up in her overtaking her brother in the merging and avery turning full - demon, unless the merging is stopped by her adoptive sister, caterina gabrielle deluca, because caterina is made of pure light. also the addoptive sister of valentino xavier reyes - deluca and lucia violetta emilia quintana - deluca. adoptive niece of viviana deluca, gabriel and jenna sharp, and freya sharp. also has too many cousins to count. + witty. resourceful. rational. confident. independent. - dark. sly. secretive. hot tempered. vain.

archer vincenzo deluca, angel / warlock hybrid. in archer’s warlock bloodline, twins have to merge at the age of twenty one, with the stronger twin winning. archer is the twin to avery mae, and will end up losing in the merge unless it can be stopped by his adoptive sister, caterina gabrielle deluca. archer is being hunted by his demon grandfather. archer is the adoptive son of vienna and briar deluca, nephew of viviana deluca, gabriel and jenna sharp, and freya sharp. archer’s other adoptive siblings are valentino xavier reyes - deluca, and lucia violetta emilia quintana - deluca. archer has too many cousins to count. + sweet. thoughtful. quiet. trustworthy. polite. - carries around a dark secret. neurotic. pessimistic. weak willed. depressed.

lucia violetta emilia quintana - deluca, demigod. lucia is the biological daughter of neptune, the god of the sea. since lucia’s mother was a practicing wiccan and dabbled in witchcraft, though not a full witch, lucia's demigod powers are used in witch - like ways. lucia’s mother dies, and she ends up in briar deluca’s foster care system for supernatural children, and vienna and briar decide to adopt her. she is the adoptive sister of caterina gabrielle deluca, valentino xavier reyes - deluca, avery mae deluca, and archer vincenzo deluca. she is the adoptive niece of viviana deluca, gabriel and jenna sharp, and freya sharp. she has too many adoptive cousins to count. + peppy. bright. brave. honest. energetic. - vain. vengeful. insecure. jealous. overly critical.

guiliano luther rose - deluca, elf / vampire hybird. almost a thousand years after having their daughters, rowan alessia and stella viktoria, viviana deluca and alyssandra rose decide they want one more child, and, thus, guilano is born. + kind. gentle. thoughtful. free - spirited. curious. - quick to anger. stubborn. willful. arrogant. moody.

rosalie saito, vampire / forest nymph hybird. before she turned, rosalie was unaware that she had any forest nymph in her because it was her great - great grandmother who was the nymph, and her families powers had dwindled with every generation. but when viviana deluca sired rosalie, her nymph abilities were supercharged, and now she has the power to control and communicate with not only nature, but animals, as well. + witty. loyal. logical. protective. responsible. - withdrawn. quiet. depressed. shy. vague.

devyn zezza, vampire. devyn was the cast out of her village, as she was tall and large and manly. but viviana deluca found her fascinating, and devyn became the first vampire viviana turned. ever since then, devyn’s gone by many aliases, but she keeps her last name, zezza, as it’s italian, in appreciation of her italian sire and mentor. + deathly loyal. protective. fierce. strong. unwavering. - vengeful. ruthless. bloodthirsty. cruel. a real predator.

theon chevalier, vampire. theon’s was a french lord, but was unsuited for royal life, so his mother sought out viviana deluca and paid her handsomely to kill her son. and she was in the middle of doing so when theon awoke, and, there was something in his eyes that made her change her mind. he was an awful man, a whore, a pig, but he looked at her with such understanding that he was going to die, and he told her he knew it was his mother’s doing, and she just. she couldn’t kill him. so, she turned him on a trial basis. and, ever since, he’s been blindingly loyal to her, despite continuing with his drunken, whorish ways. + loyal. protective. courageous. never gives up. witty. - weasly. alcoholic. man whore. melodramatic. moody.

aria alleva, seelie princess. in seelie custom, the twelfth born to the seelie queen and king is the official heir to the seelie throne. and, in this generation, aria is the twelfth born. and she put up with her royal duties for awhile, but she so loathed them, and the idea of being queen made her miserable. all she wanted to be was free, so, one day, she ran away. + sweet. naive. wise. compassionate. free. - insecure. cowardly. moody. gullible. easily manipulated.

elizabeth, the first witch. fearing the darkness and magick that filled the land, the first people got together and voted a sacrifice. that sacrifice was elizabeth ( or so she is now known ) and, together, they gathered up all the magick and darkness in the land and sealed it in the body of this one girl. elizabeth is the most powerful being that walks the earth, but the amount of power has driven her completely insane, so she cannot use it all. + wise. thoughtful. genuine. blunt. strong. - unstable. speaks in riddles. terrifying. shy. unable to control her magick.

logan hunter, hellhound. logan was hailed the most vicious and bloodthirsty hellhound the devil had ever trained, and, after five thousand years of loyal service, he granted her a retirement. though, she sees it more as a snub than a gift. now, she works as a supernatural bounty hunter, and she’s trying so hard to return to hell where she belongs. + loyal. protective. principled. strong. fearless. - surly. vain. ruthless. cruel. shoots first, asks questions later.

griffin brooks, hunter. there are many kinds of supernatural hunters. griffin’s line is somewhat supernatural themselves, gaining supernatural strength, speed, reflexes, ect when they come of age at sixteen years old. they also gain a spirit animal that looks after and protects them on hunts, and they take on aspects of their animal depending on what animal it is. since griffin’s is a fox, she is especially charming and clever. + strong. fiesty. brave. true. noble. - impatient. arrogant. vain. cunning. irrational.

cosima nightly, spirit kitsune. a mixture of teen wolf and japenese mythology with a little mythology of the chinese huli jing mixed in. very, very old. has nine tales. + wise. honest. advisor. spiritual. strong in body, mind, and soul. - sly. secretive. cunning. aloof. patronizing.

garrick, wrath. personification of one of the seven deadly sins. + protective. resourceful. smart. witty. resilient. - filled with constant rage. arrogant. temperamental. judgemental. ruthless.

nyx, the goddess of night. in this portrayal, nyx is also the mother of monsters. + loyal. wise. honest. profound. brilliant. - dark. mysterious. easily angered. protective to a fault. cruel.

siena orlena, innocence. she is the previously human personification of innocence, and she was a scottish princess in her human life, but she's evolved to be immortal like most personifications. she likes going back to school every now and again to keep up with modern culture. very soft. very pure. + innocent. pure. soft spoken. kind. wise. - prim and proper. pretentious. pompous. ignorant. easily manipulated.

chase cody, tragedy in human form. new york socialite and budding actress and model. daughter to two of the biggest names in hollywood. at the start of her career ( 15 y/o or so ) she started getting creepy letters from a fan who eventually evolved into a stalker. he became so obsessed with her that he killed everyone he thought was standing in the way of their “relationship" including both her parents, her sister, her boyfriend, and two of her friends. so chase moved to try and escape him because no matter how hard the police and fbi tried, they couldn't capture him so they put her in protective custody. + generous. gracious. compassionate. animal lover. media darling. - rebellious. depressed. withdrawn. guarded. shy.

falcon arcane, “genie.” everyone is born with a gene that gives them what can only be described with superhero or supernatural powers. some are born with this gene activated already, but most aren’t. genies spent centuries and centuries in hiding until world war two when nazi scientists started experimenting on some they found, and they learned that this gene can be activated with brain alteration. they were shut down after the war, and genies went back into hiding, but falcon’s mother picked the experiments back up after her twins, falcon and vincent, showed signs of being genies. her experiments targeted her children, and how to make them even more powerful. she built an empire on these experiments after being successful with her children, and started activating others genie genes. falcon has spent most of her life rebelling against her mother, while her twin brother is their mother’s pride and joy. so, falcon is under constant supervision and imprisonment, until she agrees to work with her mother and bring in the “nobodies” of the world for the experiments. + quick - witted. resourceful. charming. compassionate. tough. - manipulative. rebellious. stubborn. willful. paranoid. cold.

so, like this post for a starter !

comment for a specific muse or i’ll choose for you !

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#write with me u cowards. » starter call.#long post #long post for ts

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