a small bean, screaming at the world

a place to scream about projects that will, hopefully, see the light of day. catch me on main @inkedinserendipity

[serinkdipity]

xx. jonathan sims, head archivist of the magnus institute

There is a backdoor, here in this world of doors.

He does not know why this one is different. (There is a lot, these days, that he does not know.) Only that it feels different, kinder somehow, the curlicues garnishing its wrought edges more solid and defined.

[serinkdipity]

me @ my boy: you get to live. for now. 

[serinkdipity]

xx. jonathan sims, head archivist of the magnus institute

There is a backdoor, here in this world of doors.

He does not know why this one is different. (There is a lot, these days, that he does not know.) Only that it feels different, kinder somehow, the curlicues garnishing its wrought edges more solid and defined.

[serinkdipity]

tmatt tim’s brother deal w nikola and also skin hands

[serinkdipity]

- how daisy and jon’s finger-link got started in the buried

- fuck jonah magnus. my season 5 now

- jon sims + martin k smackdowns w the avatars, in order

[serinkdipity]

conrad lukas

quick dumping ground for thoughts before i’m LATE LMAO

- unafraid of physical contact. grabs martin’s jaw to inspect better. what’s the point of associating meaning with touch and people if they mean nothing to you —

- studies martin like a thing. of course he’s lonely.

- much less people adversed than peter because he doesn’t connect to any of them

- talks abt how his brother gloated about martin and calls peter a fool for underestimating a man with such steel

- points out that martin’s eyes are graying and taunts martin that jon wouldn’t know that, and that —

- connection will be much more difficult if jon can’t See him

- points out that good emotions are fine to deal with, love is easy, but resentment and conflict are far harder to share, and —

- youve always been rather conflict adverse, havent you martin?

- connection point: poems. some are about how awful jon was, and —

- when he gets there jon breaks off. stumbling. makes it clear he’s not giving up he just needs a break. (he was such an ass.)

- calls naomi. she’s not aging either. has a new boyfriend but can’t connect.

[serinkdipity]

skeleton

scenes: 

1. with jon; realizing something’s wrong with martin

2. with naomi; abt aging, her boyfriend, the lukases

3. with conrad; what has to happen

4. with jon; actually connecting

[serinkdipity]

Jon laughs, then, drawing Martin’s attention back to him. It’s a brittle and broken little thing. “That’s selfish of me, I think,” he murmurs, wry and amused in that way of his that hides something much darker.

“What?”

Jon smiles. It is not a happy thing. “That I wanted to grow old with you.”

[serinkdipity]

it’s FUCK conrad lukas hours. bastard man. horrible. i love him. FUCK him.

[serinkdipity]

conrad lukas

quick dumping ground for thoughts before i’m LATE LMAO

- unafraid of physical contact. grabs martin’s jaw to inspect better. what’s the point of associating meaning with touch and people if they mean nothing to you —

- studies martin like a thing. of course he’s lonely.

- much less people adversed than peter because he doesn’t connect to any of them

- talks abt how his brother gloated about martin and calls peter a fool for underestimating a man with such steel

- points out that martin’s eyes are graying and taunts martin that jon wouldn’t know that, and that —

- connection will be much more difficult if jon can’t See him

- points out that good emotions are fine to deal with, love is easy, but resentment and conflict are far harder to share, and —

- youve always been rather conflict adverse, havent you martin?

- connection point: poems. some are about how awful jon was, and —

- when he gets there jon breaks off. stumbling. makes it clear he’s not giving up he just needs a break. (he was such an ass.)

- calls naomi. she’s not aging either. has a new boyfriend but can’t connect.

[serinkdipity]

skeleton

scenes: 

1. with jon; realizing something’s wrong with martin

2. with naomi; abt aging, her boyfriend, the lukases

3. with conrad; what has to happen

4. with jon; actually connecting

[serinkdipity]

Jon laughs, then, drawing Martin’s attention back to him. It’s a brittle and broken little thing. “That’s selfish of me, I think,” he murmurs, wry and amused in that way of his that hides something much darker.

“What?”

Jon smiles. It is not a happy thing. “That I wanted to grow old with you.”

[serinkdipity]

conrad lukas

quick dumping ground for thoughts before i’m LATE LMAO

- unafraid of physical contact. grabs martin’s jaw to inspect better. what’s the point of associating meaning with touch and people if they mean nothing to you —

- studies martin like a thing. of course he’s lonely.

- much less people adversed than peter because he doesn’t connect to any of them

- talks abt how his brother gloated about martin and calls peter a fool for underestimating a man with such steel

- points out that martin’s eyes are graying and taunts martin that jon wouldn’t know that, and that —

- connection will be much more difficult if jon can’t See him

- points out that good emotions are fine to deal with, love is easy, but resentment and conflict are far harder to share, and —

- youve always been rather conflict adverse, havent you martin?

- connection point: poems. some are about how awful jon was, and —

- when he gets there jon breaks off. stumbling. makes it clear he’s not giving up he just needs a break. (he was such an ass.)

- calls naomi. she’s not aging either. has a new boyfriend but can’t connect.

[serinkdipity]

skeleton

scenes: 

1. with jon; realizing something’s wrong with martin

2. with naomi; abt aging, her boyfriend, the lukases

3. with conrad; what has to happen

4. with jon; actually connecting

[serinkdipity]

conrad lukas

quick dumping ground for thoughts before i’m LATE LMAO

- unafraid of physical contact. grabs martin’s jaw to inspect better. what’s the point of associating meaning with touch and people if they mean nothing to you —

- studies martin like a thing. of course he’s lonely.

- much less people adversed than peter because he doesn’t connect to any of them

- talks abt how his brother gloated about martin and calls peter a fool for underestimating a man with such steel

- points out that martin’s eyes are graying and taunts martin that jon wouldn’t know that, and that —

- connection will be much more difficult if jon can’t See him

- points out that good emotions are fine to deal with, love is easy, but resentment and conflict are far harder to share, and —

- youve always been rather conflict adverse, havent you martin?

- connection point: poems. some are about how awful jon was, and —

- when he gets there jon breaks off. stumbling. makes it clear he’s not giving up he just needs a break. (he was such an ass.)

- calls naomi. she’s not aging either. has a new boyfriend but can’t connect.

[serinkdipity]

I DON’T HAVE TO KILL MARTIN BLACKWOOD

[serinkdipity]

so as it turns out, watching 10+ hours of a series that scares you and makes you anxious can, in fact, make you physically ill! today on seren’s bad choices!!

that was probably too many episodes......

[serinkdipity]

me, starting tma and hearing about the representation and seeing all the jonmartin content: :D!!! found family! strong bonds! fuck yeah!

me, now, looking at the responses to my post on main: hm. 

me, now:

me, now:

me, now, putting down the podcast and giving it a little pat: this might not be what i wanted it to be. 

[serinkdipity]

[1] 

Oh, Danny boy, the pipes, the pipes are calling From glen to glen, and down the mountain side. The summer's gone, and all the roses falling, It's you, it's you must go and I must bide.

[2] 

But come ye back when summer's in the meadow, Or when the valley's hushed and white with snow, It's I'll be here in sunshine or in shadow, Oh, Danny boy, oh Danny boy, I love you so.

[3]

But when ye come, and all the flowers are dying, If I am dead, as dead I well may be, You'll come and find the place where I am lying, And kneel and say an Ave there for me. And I shall hear, though soft you tread above me, And all my grave will warmer, sweeter be, For you will bend and tell me that you love me, And I shall sleep in peace until you come to me.

[serinkdipity]

oh fuck me, i forgot about frumpkin.

also, take this beginning of the second epilogue:

--

Their group returns to Xhorhas. They use moorbounders, and Nott rides behind Jester, in front of Beau, sandwiched between two women who don’t let go of her once as they travel, still protective, still frightened –

(And how strange is it, that they haven’t died once, yet? How strange is it that Beau would be so hard to hit from the falcon-wraps on her forearms, that Caduceus would be so versed in the dangers they were to face, that Fjord would be so strong in healing, that Jester would smile so bright already, that Molly’s charm glowed with warmth whenever he took too much damage? How strange, how peculiar; and yet not, when Nott thinks about it, strange at all.)

-- and between all that she thinks, too, about moorbounders, and how long it should have been since their group has travelled by foot, unused to the strange spinning world of a teleportation spell, unused to the odd convenience of going anywhere in the world in an instant.

Three days of this type of travel find them back in Rosohna, reporting to the Queen. Nott already knows what Beau will say: that they’ve found one of the God-killing artifacts, that Yasha wears the bracer around her forearm, but her gaze catches and lingers on one member of the Court in particular, one who has never stuck out to her before in this timeline but whom she knows, now, as invaluable.

--

She still doesn’t really understand how he walks. Once, a long time ago, she and Jester and Beau had spilled marbles across their foyer in a clumsy attempt to find out for themselves. She almost smiles at the recollection.

Sneaking up on him is easy enough. He is a prodigy, yes, but she is the best rogue to have ever lived, comfortable in her body and her own ability. And besides. She knows him far, far better than he knows her.

“Shadowhand,” she says, as he ducks out of a shop stocked with fine papers and inks (one that she and Caleb used to frequent, one of many stops on their meandering walks around Rosohna, before the Crawling King and Ikithon and the beacons and before they started dying, one-by-one). She pushes down nostalgia as he startles and hides it, just as quickly.

She pushes back her hood. “Veth,” she says.

“Veth Brenatto,” he says, smoothly. “I know who you are.”

“I know,” she says. “I have a favor to ask.”

He deals in favors. Toward the beginning of a relationship, at least. “What is it?”

“For the peace we have wrought between our countries,” she says, because she knows that was his objective, too, the first thing that aligned him and the Nein, back in a timeline that is no longer. “I’d like to borrow one of your beacons.”

They’re called many things, here, these objects of nigh-unstateable importance; Light-Bringers, the Eyes of the Luxon, the Mirrors of Possibility. They can, Nott knows, from a lifetime long-gone – because here, they had not looked into the beacon before they turned it over, not a single one, so of course they did not know what it would show – these Mirrors can show what might have been.

They can show what once was, and what will never be.

[serinkdipity]

the legacy of rmiti is fully about to be an epilogue with 20% of the total word count

there’s just so much to say!!

[serinkdipity]

hi can i ask a quick question? why is thrazidun the chained oblivion going in the rmiti tag????? seren???????????? are my kids okay??????????????????

[serinkdipity]

WAIT IS THARIZDUN ACTUALLY GONNA BE THE C2 BIG BAD BECAUSE I

I’M-

A GENIUS

[notraylen]

Oh, hello there Tharizdun “The Chained Oblivion”