Contrary, aren't you?

+ TRC ANIMATION: WORKING ON IT + +.26. XXVI.+ +.He/Him.+ +.Half Scottish, half Irish. Raised Scottish.+ +.Prompts: closed.+ +.Header and pfp: DM me for credit or removal.+ +.Some 18+ content so kiddies, shoo.+

[i-dvnt-share]

Bio post, since my last one was short & vague.

About me:

Name: Rónán-Lukas, though I usually go as Ronan/Rónán, Lukas or Lucky online.

Age: 26 (born in '99)

Hobbies: writing fanfic, reading fanfic, photography, looking after my family pets, animation, writing, reading, and listening to music

Likes: art, music, nature, animals, old buildings, folklore, mythology, forgotten things, old stories, seeing the beauty in things that might otherwise be considered unbeautiful, and gay stuff

Dislikes: people full of hate, people who can't see past their own nose in order to see others, anyone who hurts anybody for entertainment, people who don't grow from their past selves, Christianity (ask me, if you dare), abusers and politicians

Career: I'm an author & artist, and I'm on track to be earning money from my streams pretty soon so feel free to ask me about that!!

About this page:

Fandoms: The Captive Prince, The Song Of Achilles, All For The Game, The Raven Cycle, The Dreamer Trilogy, Merlin (BBC), The Tarot Sequence, The House in the Cerulean Sea, Under The Whispering Door, Summer Sons

Ships: Lamen, Jord x Aimeric, Lazar x Pallas, Patrochilles, Andreil, Wymabee, Reneison, Nicky x Erik, Andrew x Roland, Andrew x Matt, Aaron x Matt, Aaron x Kevin, Kandreil, Pynch, Sarchengsey, Declan x Jordan, Merthur, Lancelot x Gwen, Gwain x Merlin, Rune x Addam, Rune x Brand, Rune x Brand x Addam, Arthur X Linus, Zoe X Helen,

Rules: Ship and let ship. Hate will get you ridiculed & blocked, abuse will have the same result, and if you are underage please don't interact, unless I have interacted with you in which case please tell me you're under 18 so I can undo my interaction.

DNI: P*rn bots, any other bots, anti-anything shippers, purity police, pro-police people, Staff, p**dos and minors.

My tagging system:

It's a bit of a work in progress, but I am LEARNING to organise.

Honestly just look up initials for the fandom you want, or the ship name.... that's about as organised as I am right now.

Ao3, Kofi & TikTok are tagged accordingly.

Other stuff I do on here:

My main, which I'll interact & follow from: @w0lfb0y99

Interior design & architecture: @redlight-interiors

My professional one: @selkies-world

My self-help one: @recovering-from-hell

My witchcraft / pagan one (which I really need to be more active on): @never-a-witches-cat

Only mutuals get to ask about my Problematique fandom one & my Adult Entertainment one

Also I have a RedBubble store!!! There's wall art, stickers, badges, stationary, posters, phone cases, clothes & tote bags!!!

You should also totally check out my Kofi

I post bookish stuff on TikTok, so come say hi?

If you want to know about the TRC animation, DM me. Tumblr auto-deleted the post.

[i-dvnt-share]

[i-dvnt-share]

OK so I need to reread Hamlet to be 100% sure on this but I have a running theory that Captive Prince is a Rococo France X Ancient Greece retelling of Hamlet

[i-dvnt-share]

OK so I've dead the first 3 scenes. So far we have:

Incestuous uncle* who took the throne after the King died

Dead King

Sassy Prince who people say can't feel real love & who hates the family dynamic he's stuck in now but has to bite his tongue to keep the peace

Love interest who is seen as too trusting & naive

Love interest's brother who warns her away from the disingenuous prince

* I know the incest in thos context is the Queen marrying the uncle almost as soon as the King has died, so it's not the same type of incest or the same kind of tongue-biting, but. Just go with me on this one, ok??? I feel like I'm onto something here.

[i-dvnt-share]

OK so this theory may be crumbling but I am not giving up yet

Brother (prince) killed brother (king) & murderer-brother took the throne & in doing so, uncle became father-figure to the heir

Uncle-king wants to send prince away "for his own good" & "for everyone's benefit"*

Uncle-king prays for the trip to either kill the madness in his nephew or just to kill his nephew outright - either way, he'll sleep easier knowing the troublesome nephew isn't coming back

Nephew-prince is paranoid, anxious, driven by grief & bloody hate for what uncle-king has done

"Put him on the frontline in the army, it'll be good for him" type mentality from uncle-king to nephew-prince

*OK fine Hamlet's uncle claims Hamlet madness is dangerous to everyone & to himself & wants to send Hamlet to England to serve in the army & for his time on the front line to distract him & improve his mental health - or get him killed. Meanwhile Hamlet's madness is making him challenge his uncle's authority & uncle's right to the crown & he is set on revealing or proving the fact his uncle killed his father & is committing incest with the queen

The details aren't the exact same but you see the correlation, yes?? YES?!??!

[amethystroselily]

I’m the world’s biggest hater of the Katelyn is a redhead headcanon. Like ‘oh Aaron and Andrew have the same type teehee 🤭 ‘ No! No they don’t. It doesn’t work thematically!

Katelyn represents this desperate need for normalcy that Aaron has. He wants to stay under the radar, he wants to finish up college and have a steady career as a doctor, and he wants to be with this nice bubbly girl he can be vulnerable with. Neil is literally more fucked up than Andrew, and that’s part of his appeal.

Also, like, Neil and Aaron are the character foils out of these 4 characters. With the complicated mommy issues and the trying to lay low and the similar bitchy attitude. He’s not dating a version of Neil, he IS Neil. (And Katelyn and Andrew are the ones with I-Can-Fix-Him complexes)

[i-dvnt-share]

OK so I need to reread Hamlet to be 100% sure on this but I have a running theory that Captive Prince is a Rococo France X Ancient Greece retelling of Hamlet

[i-dvnt-share]

OK so I've dead the first 3 scenes. So far we have:

Incestuous uncle* who took the throne after the King died

Dead King

Sassy Prince who people say can't feel real love & who hates the family dynamic he's stuck in now but has to bite his tongue to keep the peace

Love interest who is seen as too trusting & naive

Love interest's brother who warns her away from the disingenuous prince

* I know the incest in thos context is the Queen marrying the uncle almost as soon as the King has died, so it's not the same type of incest or the same kind of tongue-biting, but. Just go with me on this one, ok??? I feel like I'm onto something here.

[i-dvnt-share]

OK so I need to reread Hamlet to be 100% sure on this but I have a running theory that Captive Prince is a Rococo France X Ancient Greece retelling of Hamlet

[lavenderprose]

You know, I am GENUINELY unsure that I understood the Pining While Fucking trope before Heated Rivalry. I'm convinced that it's 80% of the absolute crack cocaine infused into Hollanov. The other 20% is the rivalry and the language barrier and the forbidden eroticism of it all but mostly it's the pining. A fucking masterclass of the trope. Rachel Reid really sat down to write the sequel to her coffee shop AU and cooked the literary equivalent of crystal meth.

[shanehollandered]

[drabbles-and-rambles]

I saw a post about Shane and Ilya being sad that they can't thank each other in their acceptance speeches like other can with their spouses and it got me thinking:

Ilya wins his first awards and hes got nobody he really wants to thank after his team and coach cause he he hates his family but he knows his speech is too short so on impulse he goes "And I want to thank Shane Hollander for being slightly worse than me this season". Everyone knows it was going to one of those two, so everyone thinks hes an asshole to say that but whats new so it works for him. But from then on it then becomes a bit for both of them to thank each other in their speeches in a snide way as a reason they won.

Shane winning the Art Ross Trophy (Awarded to the player who leads the league in total points at the end of the regular season). and going "special thanks to Rozanov for missing at least 5 shots this season, he was a huge help"

Ilya winning the Conn Smythe Trophy (Awarded to the most valuable player for his team in the playoffs.) "Just want to give a quick shout out to Hollander for getting knocked out in the second round this season. Must hate to see me up here."

They find a way to mention the other in their speeches every time all the time.

[literary-chameleon]

Aziracrow find each other time after time in this universe and not just 18.2 billion years later so here's them meeting as dinosaurs

[i-dvnt-share]

Gonna make a new bio post sooonnnnn

[spinchip]

The funniest part about liking Serious Angst Themes while simultaneously fixating on a silly blorbo from my show is that 13 year old me would be writing the exact same type of fanfics as me now. Real tragedy enjoyers know ts for life

Me: what if my favorite characters smoked cigarettes ans has severe trauma 😈

13 year old me: And drank alcohol and had horrible coping mechanisms too

Me: thats badass. I like the way you think

13 year old me: stop saying cusswords my mom Will get mad

Me: sorry

13 year old me: why are you a boy

Me: We're getting off topic.

[i-dvnt-share]

OK so I'm rereading Captive Prince for the gazillionth time & this part just fucking hit.

This part has never stood out before on rereads. But THIS TIME?!?!?!? GOD. I feel so bad for 14/15 year old Laurent. Because we all know the Regent is talking from experience here. "Inexperience often confuses bedding for love." JSJSKDKDJWKLWJFHCOWOW JUST HIT ME WITH A HORSE IT WOULD HURT LESS.

(& ofc this is 2ish pages before THIS PIECE which actually had me screaming the first time I read the books because this moment was the moment I knew.)

[thetamingofspike]

I've put some thought into this and I've come up with a theory. My theory is as follows: there are two main reasons people think the aftg novels are filled with bad writing.

1. They are self-published. This point is really two points. Because they are self-published they have a lot of typos and editing errors. Also, because they are self-published they are associated with not being good enough to be traditionally published. The belief that self-published books failed at being traditionally published is false. Nora has stated that she received interest from agents and publishers. They wanted her to change too much of the books, including replacing exy with an existing sport. She said that it would have felt like betraying her characters, especially her female characters, as exy is a coed sport. As for the errors, this is not an example of bad writing. It is an example of amateur proofreading, which is different.

2. The books do not have lyrical prose, which is actually an example of good writing. What?! How can this be? I'm about to tell you. The novels are completely from Neil's POV. They stay in Neil's POV. The reason the prose isn't lyrical is because Neil doesn't think lyrically. He is blunt. Straightforward, even though he's a liar. Think of the scene where he rejects Marissa or when he tells Seth why people don't like him. The writing style reflects this. In fact, many writers struggle with staying inside someone's head, with keeping to their POV. The way that Nora keeps Neil's perspective, and Neil's perspective only, is pretty impressive. His language actually changes a little as the books progress, which is seen around Andrew and his golden eyes. He starts to feel feelings around Andrew and his perspective changes to reflect this. Again, an example of good writing.

In conclusion, aftg are actually really good books. Source: me

[zombiecowboy65]

Anyway let’s discuss Jeremy’s instinct because I think it’s freeze

[minyards-pipedream]

I think it might be fawn, especially given the little information we have on the environment he grew up in. It would be easy to believe that when he’s panicked and doesn’t know how to stop what’s happening that he folds into being people pleasing and agreeable. Whatever you want, of course, just let me remove myself from this situation kind of vibes.

[zombiecowboy65]

Hmmm I could see that too. I was using his response to Jean possibly coming after him as my base. Before he tells us that Jean wouldn’t come after him he just kinda sits there and braces for violence ? But I do see how fawn = people pleasing and I agree

[elene78-blog]

Actually, isn't that what Jeremy does with his family? We don't see the reason yet, but it's clear that he's trying to please them. With Annalisse he acted practically like a servant. If Jeremy has done something, he tries to make up for it. If they have done something to Jeremy, he tries not to repeat it with that servitude. Both are Fawn actions. Could we be talking here about authentic Fawn in the face of trauma versus a feisty response (Jean) with learned behavior from Fawn?

[zombiecowboy65]

True but idk if that’s a response in the same way as fight or flight? I think fawning there is more like a reaction to the guilt he has for whatever he thinks he did/whatever he did. His immediate reaction to danger (Jean grabbing his face, Jean nearly coming after him) seems to be freeze. Maybe fawn is more like a learned thing, like Jean’s ?

[charminglygrouped]

I just think a lot of English-class-lovers on here have very boring and simplistic ideas of what adaptation can or should be. A book-to-movie adaptation is not "directly translating the matter (or even the 'spirit') contained 'within' a book onto film," and scholars of adaptation studies and book-to-movie studies have been making this point for decades.

There's no particular reason that a film adaptation should have to straightforwardly present the events that occur in a book in a literalist way. There's no particular reason that a film adaptation should have to 'respect' the 'spirit' of a book, either! If we're judging an adaptation, we should judge it on its own terms, and for what it says about itself & its medium, and what it says about the book it's adapting: not just judge it on how 'faithful' it is to a book.

[mikkeneko]

#for sure but like. you gotta admit that even if we’re judging adaptations on that - which we should - most of them still suck. #most the times it seems like what happens is somebody takes on an adaptation because they think they can do something better than the#original when they don’t even have an understanding of what the original is about or what it means or why it was notable#and then the way they make it ‘better’ is by making it flashier or edgier or more superficially interesting#but without adding much substance.#I think a lot of times this is at the heart of people’s real problem with adaptations…#but they assume it’s just because the adaptation wasn’t ’faithful.’#for example the new interview with the vampire series is not what anyone would call ‘faithful’#yet I really don’t see its fan base complaining about this.#mostly people seem to really like the changes! - and I think that has everything to do with how purposeful those changes are#and how much they have to say and how much more relevant those changes are in the present. - @undead-moth continues the debate

[i-dvnt-share]

[feignedremote]

In his frail whispery voice, that was near-inaudible, Rat-boy spoke in the Countess’s ear: “I would like to play draughts with M-Master.” “‘Draughts with—Master’?” The Countess stared at Todd with genuine alarm. “Are you mad? You will lose, and your dear little head will be chopped off, and flung to the carrion birds; and your Countess is not prepared for that, just yet.” But Master had heard the page’s reckless words, that could not so easily be revoked. And through the gloomy vaulted room that resembled, for all its air of febrile festivity, and fires burning in several fireplaces, a vast mausoleum, there were startled exclamations and a scattering of applause, for the possibility of such sport was exciting, or at least carried the promise of excitement, in this morass of ennui. “My page is too young to play draughts,” the Countess protested, “and my brother is a master of draughts who can’t be beaten, or even held to a draw; so it would be only slaughter, and can’t be permitted.” “All things are permitted,” the Countess’s brother said to her, with a scornful curl of his lip. “All things in the Bog Kingdom are permitted me.” The Count was delighted that his sister’s Rat-boy page had issued such a challenge, for, over the centuries, he had grown so skilled at draughts, and so ingenious and frequently negligent in his playing, he often played with two or three opponents simultaneously, and had begun to find the game, even with its bloody finale, tedious. So he rejoiced that this evening should at least be diverting; for in the history of the Bog Castle, dating back to time before Time, no child was ever known to issue any challenge to any adult, still less one of the nobility. And it struck the Count that there was something treacherous, something uncontrollable, indeed something unnatural in the very concept of a child. “For is not a ‘child’ a being that will alter by degrees, not quite before our eyes, yet in our presence,” the Master of the castle mused, “and is not a ‘child’ an early version, or mockery, of ourselves?—an image of our despoiled innocence and our blasted hopes? Most intolerably, is a ‘child’ not one who will replace us?”

Joyce Carol Oates, The Accursed