I recently commissioned @salesart to do a portrait of Solas (aka “Song”) and Lavellan (aka “Ink”) from my fic, In And Out Of Time Again. I’m so thrilled with how it came out, especially all the little details that reference their codenames. Thank you SO MUCH to Sales for all your work on this piece, and for asking me all the hard-hitting questions like “what’s their height difference.” I had so much fun collaborating with you!
The first chapter of In And Out of Time Again is below the cut, and you can read the completed work on AO3.
Song has had many names. The latest suits him no better nor worse than the others. If he has one complaint, it is that this name lacks specificity. Fen’Harel was a name that was a lie, and a lie that has long since become irrelevant, but he cannot argue that it painted a clear and awful portrait. His other name, the one that came both before and after, he is only too glad to be rid of. He rarely thinks of it now.
Song is in his element in Strands like these, when he can submit to the demands of his teeth and claws and blessedly forget the version of himself that is not like this. It is simple here in the verdant expanse of his home, his first love. When a mountain stands in his way he moves it with a thought. When a beating heart must be silenced, he rips into it and tastes warm blood on his tongue.
His assignment today is a wonderfully simple one: a death. The target is ancient and powerful, though only in comparison to the other things of its world. Beside an agent of Music, it is nothing. He longs for a crush of strength against his own and for the moment when uncertainty asks him whether he can snap his target’s neck before it breaks him in two. The answer, of course, is that he will hear the crack of bone and hold its dying form within his jaws too quickly to satisfy the hunger that burns within him.
Still, he will try to afford it a fair fight.
When he finds the edges of its lair, Song realizes something is wrong. Demons should swarm around him, challenging his right to intrude on their master’s territory even as he cuts them down. There should be whispers here, a choir of disembodied voices singing the Melody’s secrets for those who know how to listen. Yet all that greets him are emptiness and silence.
The raw Fade has begun to reclaim this place, the green waters of its currents rising up to erode the poisoned ground that has been here for three thousand years. Song wanders farther in, his paws sinking deep into the muck, until finally he finds the corpse.
The fear demon that claimed this part of the Fade is gone, reduced to a husk of tangled limbs and fangs that still drip with venom. Song has arrived too late. The death has already been administered, but this means that the timing is all wrong, and for Music, timing is everything.
Whatever killed the demon has done so before it had a chance to strike a bargain with a young mage girl in Kirkwall. Now she will not murder her family and dozens of others; she will not leave alive one angry, orphaned sister. Thanks to this single fault in the rhythm, the entire Strand is lost.
Song is so annoyed by all the absences that at first he does not notice the addition. It is so impossibly out of place that for a moment he simply stares at it. Stuck to the venom on the dead demon’s fangs is a piece of finely-made paper that smells of sugar and flowers, its perfume somehow drowning the stench of the rotting carcass. He reaches out for it with a hand and fingers; it is a thing too delicate to be held by claws. The venom stings but he pays it no mind, for he has seen the single line written on the page in a delicate script: Touch me with fire that I be cleansed.
It must be a trap. Not the venom, of course. Whoever left this certainly knows it will take much more than that to wound him. It would be best to leave the note here and let it rot along with the rest of this discordant Strand. But this is a challenge and an invitation - words that hint at more words.
Song ignites the paper between his fingers and it is as if he has turned the first page in a book. He reads, and when he is done he has become the wolf again, mouth twisted to a snarl. When he has committed the words to memory, he shreds what’s left of the sweet-smelling paper between his claws and grinds it into the mud.
When Song is gone, a shade steps into the pawprints he left and searches until it finds every piece of the burned, shredded, filthy paper.
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Tell me I have sung to Your approval.
I’ve always been fond of the Canticle of Transfigurations, or at least of the versions that I’ve penned. Hopefully you have more than a passing familiarity with it as well, or the cosmic cleverness of what I’ve just done will be totally wasted on you. (But I suspect your familiarity is more than passing. If you are who I think you are, you’ve probably written versions of it yourself. If so, how do you deal with the bit in 10:1 about the moth and the flame? I feel like I can never get it quite ominous enough, you know?)
I’ve barely just begun and already I’ve distracted myself with all the questions I wish to ask you. But that just speaks to my point (that I’m about to make).
Is there anything in this world more insidious than words? It took me eight of them to grab your attention. Honestly, I could have managed it in fewer if I didn’t want to make a dramatic entrance. But I did.
I’ve been curious about you for a while now. It’s not like there are many things left to be curious about when you have all of time to catch up on anything you might have missed, so I should thank you for that novelty. I think the first time I saw you was during that bad business in the Deep Roads in Strand 398. I was the hurlock, you were the Grey Warden recruit. Our eyes met as I bit into your commander’s neck and tore out his windpipe. (Sorry about the mess, by the way - I really enjoy getting into character.)
You were definitely meant to lose that fight. I know - I’ve gone back and checked a lot of other Strands and that recruit always dies, the darkspawn always swarm, and the Third Blight always begins. But then you single-handedly cut down the horde after everyone else in your party had died. (I know because I stuck around after you chopped off my head with that broadsword - I just had to see what would happen!) You killed enough of them to prevent the swarm, even though you died for it in the end. (And of course you died for it - you’re good but no one’s that good.)
My point is: do you remember how it felt when that shriek bit into your arm and the Blight burned into your veins? Do you remember the way it spiraled into you, burrowing in your lungs and your heart and your gut until it felt like your body had always been its home? (I’ve been Blighted a lot so I’ve got some pretty good descriptors for it.)
Anyway, let me spell it out in case my metaphors are getting too convoluted: In this letter, I’m the shriek and my words are the Blight. I’ve bitten you and poured my words into you. Your memory will pump them through your mind just as surely as your heart pumped the Blight to the tips of your fingers and toes. Want a cure? Too bad, there isn’t one.
I’m not only writing to gloat. I meant what I said above - I appreciate the novelty you’ve brought to the battlefield. Things are dreadfully dull most of the time. Mainly the Story sends me off to retcon the occasional plot holes your Music introduces to the narrative. There’s very little chance for improvisation, so I have to find amusement where I can.
Fantastic art and gif by @salesart !! Thanks for giving permission!
The war was lost
The treaty signed
I was not caught
I crossed the line
I was not caught
Though many tried
I live among you
Well-disguised
I had to leave
My life behind
I dug some graves
You'll never find
The story's told
With facts and lies
I had a name
But never mind
Never mind.
Names so deep
And names so true
They're blood to me
Dust to you
There is no need
And this survives
There's Truth that lives
And Truth that dies.
