Rise Of The School For Good And Evil - Tumblr Posts

Good versus Evil is a commonplace literary theme beyond the world of SGE, and could be likened to mirror-image symmetry, which is often seen in Soman’s juxtaposed images throughout the series. Yet, I was thinking: is there a literary equivalent for rotational symmetry and what would it look like? I think it would have to involve greater than two elements in play, each a few degrees removed from each other instead of a pair of direct opposites, but I don't have an example of this in practice.

In addition, one of the most prominent instances of juxtaposition in the series to me, by the way, is how the brothers treat their respective Deans, and how Rhian’s reaction is far more passive as he just lets Mayberry go:

And across the bay, there’s this laughable bit:

(I'm sure Rafal is not the only soul who finds it funny. Something about the timing and this being the last line to a section and the well-deserved comeuppance of the moment just read as funny.)

More Songs that Remind Me of the Prequels

This time, I thought my choices captured the high-energy, tense vibes of the story more than every lyric being true to the plot. Thoughts or additions, anyone?

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"Problems" by Mother Mother - Could reflect how the twins are irreconcilably different, emphasizes their contrast. Mostly reflects Rhian's deflating pov throughout the plot?

"This Love" by Maroon 5 - Has to be interpreted platonically. Reminds me of Rafal continually leaving, if he were represented as the woman in the song.

"loneliness for love" by lovelytheband - Rhian's pov again.

"Somebody to Die For" by Hurts - Captures the melodrama well. Not entirely true to Rafal's character, but it could represent his misguided savior complex and how his "villainous purpose" was stated to be driven by some kind of underlying love or warmth in his soul for Rhian, originally.

"GOSSIP" by Måneskin - Vaguely reminds me of the Circus of Talents and the duplicitous Evers of the time.

"The Bidding" by Tally Hall - Fits the vibe of the worldly and well-traveled Rafal, ceding some smaller arguments to Rhian, like how he mentioned he had before in Fall. Also, this in part fits how Rafal seduces other characters and strings them along.

"Innocently Annoying at 3AM" by Elysewood - Casually morbid and captures Rafal's characteristic coldness and probably how he can be accusatory toward Rhian. The brusqueness, the abruptness of the delivery of certain lines is really good, like, I can superimpose my interpretation of what Rafal's voice would sound like onto this at times, when the speaker cuts himself off.

"Falling from the Sky" by Kailee Morgue - About falling charades, masks, and being two-faced. It's very Fall Rhian-esque, or it could be addressed to Fall Rhian.

This reblog is fairly late. Sorry. It's been rotting in my drafts for so long.

Someday, I have got to finish my long Adela Sader analysis post (which is more predicated in canon than this AU), but for now, I will say: it may not have entirely been her fault, how things went askew ever since Rafal obtained knowledge of the prophecy, because Rafal's own genre-savviness betrayed him when it came to his "true" identity.

Evelyn, here, could be a goddess of something like duplicity and hypocrisy in the men below, and of course, Rafal has a low tolerance for anything short of "the" (read: his) Truth, meaning he'd viscerally hate what Evelyn stands for, even if he's easily all in favor of duality and complexity himself.

In the context of this AU, I think, at the time, I just felt like Adela wouldn't know Evelyn too well personally, (and there's their clash of the hearing the present ability with seeing the future) so of course, Adela would pick Rafal, the more sensible option in the petty "war" and maybe, the rationale backing Rafal held up better too. Who knows? No one can know her mind. (I probably didn't have that much reasoning to begin with since I was going for symmetry and a vague sense of familiarity in who sided with who.)

Haha, I'm glad that end satisfied you.

I wouldn't be at all surprised if he never proved that trope wrong. I mean, he does sacrifice himself for Rhian in canon during one life-or-death scenario while all along he struggle to display the slightest bit of high regard for Rhian during their everyday lives. So—I don't know what to tell you. Rafal's supremely awkward like that, by my interpretation too.

I am sharing the funniest dnd character idea I’ve ever had bc I know I’ll never get to play them and I refuse to keep a joke to myself

What Rafal's Physical and Immaterial Coolness Could Represent

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As a forewarning, this post is more... observational and has less of a singular, hard-hitting point to it. (Also, see Conan Gray's "Fight or Flight" song for reference, as, most of this post occurred to me in relation to that very song, if you interpret parts of it as representing Rafal's internal monologue on the subject of Rhian's substitutes during Rise.)

Also, this is a long post, so it's going under a cut.

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Why is Rafal's immediate response to personal hurt avoidance of all things? Isn't that kind of a heightened, overly instinctive, clearly "uncool" reaction to have?

And yet, strangely, we still classify it as in character for him. His leaving was, arguably, the most iconic and true-to-self thing he did across both prequels. So, I want to ask: why is that?

That he just up and left seems apathetic and could be construed as part of his cold, cool nature, of course, but still—when we look at what his reaction truly is: he chose flight.

(Flight as opposed to the alternative fight, freeze, or fawn responses.)

FLIGHT! Like, can you believe it? This man, who's so headstrong and willing to stare down anything, chose flight. Let that revelation sink in. (Maybe this is more obvious than I think, but I can't believe I hadn't thought of this weird discrepancy before. Flight!)

Anyway, to explain Rafal's reaction to (potentially) having been emotionally hurt by his argument and corresponding bet with Rhian at the start, I'm going to reference a theory from an old post, as it has suddenly become relevant once again.

In short, the idea is about how Rhian's expressions of authority are personal while Rafal's are nearly always impersonal. Rhian is a master of social dynamics, considering how deftly he lies in Fall to gain favor from others and influence their views of him. And, this makes sense because he once cared so much about how he was perceived, as we take into account his original self-consciousness and his high-minded, conscionable tendencies from Rise. He is the one who wields interpersonal power as Rafal, correspondingly, wields impersonal (often more tangible and brutish) power.

If anyone would like more elaboration, here's an excerpt from that old post:

The strange thing is, in Fall, Rafal admits to having conceded a lot of the time to Rhian in the past, in the face of smaller, pettier arguments, a trend which also represents his yielding to Rhian's (supposedly nonexistent) authority in the early days. That tendency seems self-contradictory of Rafal, but perhaps, even Rafal's authority is situational. He's capable of exercising it over everything and world, but not over his own brother. He can't rein Rhian, the inevitable force, the "fatal" (to invoke both death and "fate") tides of change, the Prime Mover, in. Meanwhile, Rhian is the inverse of that. Rhian cannot exercise authority over everything and the world, but he can do so over his own brother. Besides, Rafal, often by sorcery or by outright manhandling, manipulates and exerts his physicality over others and his environment while Rhian rarely does. And yet, Rafal (from what I remember) never so much as lays a hand on Rhian during Rise (in Fall, everything changes and escalates). I don't yet know why this is, but I think this observation is true most of the time. At least, I haven't thought of any exceptions yet. The working hypothesis I have is that Rhian (being the brother who chose to stay in the comfort and limited confines of the home, according to the Bettelheim text's ideas) only initially felt comfortable to do anything there. To act, and exercise his authority in an intimate, narrow, personal way. By contrast, Rafal (the more worldly, well-traveled, and inconstant brother) wants to gain independence from their stifling "home" life, under the Storian, and, as a result, upon his return, could've felt like a stranger in his own home and with Rhian (who's also changed in his brother's absence regardless). Thus, while Rafal can certainly exercise his authority impersonally, he doesn't feel at ease exercising authority over the familiar because it could be too close for comfort, too unsettling, unsettlingly different and the same, like he can't shed the disbelonging that drove him out of the fairy-tale construct of the "home" as a safe, childhood refuge in the first place—when Rhian first questioned his very core purpose and Evil's existence.

Thus, again, Rafal's ability to wield power is, without exception (I think), always impersonal.

The closest he comes to Rhian's brand of power, which involves acting on a smaller scale or more on an individual, one-to-one level and being intimate, are his interactions with Hook and Midas. And, despite those seductive instances, Rhian is still the master of all the smaller scale exploits, like with Hephaestus and the Pirate Captain rescuing him from the Doom Room where he'd been "abandoned," whenever these acts are in fact intentional.

Yes, Rafal possibly unwittingly, by being more open with his victims, has broader appeal, but that side of him isn't all pure strategy, done with intentionality. Part of it is just how he is. Rhian, unlike his brother, strikes at something inside people that doesn't just rely on scare tactics and classic, one-dimensional intimidation. In Fall, he gains a creepiness factor and the ability to lie convincingly, importantly, without blushing.

Also, I want to commentate a little on Rafal's novel instance of blushing during Fall, which was quite unlike his usual self.

First, here's some context about physical coolness, the socially-perceived "cool factor," and how blushing can only ever be sincere and is valuable because it is involuntary from Quiet by Susan Cain:

I suspect Fall aimed to establish Rafal as more "trustworthy," and as more subject to having humility thrust upon him, than he had been in Rise, when he had previously been insurmountable.

Yet then, after that "invulnerable," unaffected precedent he set about himself, he started blushing, signaling that he suddenly began to care, and that the opposite was true of Rhian as Rhian changed throughout Fall and became more immune to his old, constant feelings of shame that originally must've formed his moral compass.

Also, Rafal gets more points towards being an actual sociopath! He just partially lost his former, low-reactive temperament when he turned "Good."

One other thought of note:

Has anyone ever headcanoned Rafal as having an avoidant attachment style? To complement that, Rhian would probably have an anxious attachment style.

Essentially, the traits of these attachment styles are Rafal and Rhian personified.

Rafal:

Rhian:

In the modern publishing landscape, these days, I think like we do not have many (if any) point-of-view characters with low social motivation for whatever reason.

Sure, there are lots of characters with social anxiety or other perceived or legitimate foibles to overcome, there are many YA villain origin stories, and there are many unpalatable, traditionally "unlikable" men in classics, but disregarding those, who else do we have?

Can the state of openly being alone (and content) rarely be presented as morally-neutral or as the end result of a narrative? Must it always be that either being alone is the starting point, so there's room for "personal growth," or that being alone is seen as "undesirable" and/or an indication that the person alone has a "problem" or something otherwise wrong with them, like a deficit or moral failing that in some kind of karmic way gives them "what they deserve," which is being alone and discontent with it?

Characters with society anxiety, any differences in communication, or other reasons that interfere with forging connections "don't count" because they may still be motivated. Traits such as these only stand in the way of gaining relationships, as plot obstacles. They aren't intrinsically tied to indifference or to low motivation. So, these characters clearly are not experiencing a lack of interest. And they are not the ones rejecting others. Thus, they "don't count" as far as the archetype that I'm looking for goes.

Characters who undergo villain arcs or otherwise negative arcs may want to maintain their relationships or gain them, so some examples are immediately disqualified (hence not having low social motivation), even if they are the type of character most likely to alienate themselves by a story's end, conflicting with what they wanted.

(Unfortunately, Coriolanus Snow, who is quite close to the type of protagonist I'm searching for "doesn't count" because he has some drive to keep people in his life.

Rafal Mistral partially "counts," and is satisfying as a character, but also doesn't count because he temporarily makes "friends" or allies, depending on how you look at his exploits. Yet, despite all this, not having friends isn't exactly framed as a morally-neutral state either, so he is also disqualified by the end. Basically, he does have low social motivation, but his narrative lacks the conditions that would make the natural consequences of that low motivation play out for themselves. He is always surrounded by people, even if he hates every last one of them.

And, generally speaking, the usual, moody-broody, "misunderstood" YA love-interests very easily "don't count" because they have a desire to get closer to their object of affection.

Even Katniss Everdeen, an overall good person, who usually views herself as "unlikable," befriends others, originally for pragmatic, survival purposes. However, she does start with low social motivation, so that's something in her favor.

And yes, I'm aware that we need other people in this world—I would just like to see someone prove that supposed truth wrong once. And perhaps succeed in their world, if that's not too much to ask for.)

Also, are there any instances of characters who progressively alienate themselves from others, in which that progression is not inherently seen as negative? Like, what about non-corrupt misanthropes? Are there few of those in literature? (Maybe—Eleanor Oliphant from literary fiction counts, but something about that book did not appeal me and I didn't finish it.)

Classics guys sort of "count," but I haven't really seen examples of any comparable protagonists today since many authors and readers write and look for "relatability" in blank slate everyman figures oftentimes.

(I'm not done with Crime and Punishment yet, but Raskolnikov is very tentatively looking like a safe bet for a character who may end up alone and who may not be completely malcontent over such a fate, even if I'm expecting tragedy. I'm that not far along, but I also wouldn't mind it too greatly if he died, I suppose.

And even Sherlock Holmes has Watson as his constant, even if he's notoriously asocial! So he "doesn't count" either.

Carol from Main Street also comes close, but still ultimately desires approval from others.

Maybe no one is truly immune to humanity and I should give up on this notion?)

How many pov characters out there are 1) apathetic toward the masses and 2a) either alienate themselves as the plot progresses or 2b) do not make any friends? (I will allow them making friends and consequently losing them though because that still ends in net zero!)

Indeed, this "gap" in protagonists I've been running into lately, especially with coming-of-age arcs and protagonists whose arc is some form of "getting out of their shell," is: why do we (almost?) never see protagonists who just flat-out don't progress in terms of connecting with fellow humans?

Wouldn't having even a handful of those types be reflective of reality? (We as a society are more disconnected than ever, to be fair, despite constantly having access to one another via technology.)

Or I would completely understand it, if it were narratively impractical to have a plot in which a protagonist makes zero friends. Maybe, it's a near-unwritable form for a story?

So, my question is: does anyone have book recommendations, which present a character whose end goal is not to make friends or forge connections (any other ambitions or motivations are fine) and whose state of being friendless both lasts and is regarded as morally-neutral or as not outright evil? Any genre is fine. High fantasy is preferable. I am stumped.

(I also wouldn't mind recommendations of books in which the protagonist is vilified due to being alone, even if that is not my primary query here.)

Do you think/Feel Rafal or Rhian is a psychopath? Or they just flat out monsters.

No, I do not believe either of them are psychopaths (or completely cold-blooded monsters), even if Rafal did exhibit some psychopathic or ASPD-like traits during Rise. Both brothers have/had displayed consciences at times and seemed at least capable of affective empathy. Whenever I claim a character is "psychotic" or a "psychopath," I am usually using the colloquial meaning, not diagnosing them. Also, I'm not an expert and they are fictional, so I can't really confirm anything about them. Despite all this, there is a chance the Pen robbed Rhian of his humanity, which could mean he became a psychopath or an otherwise remorseless person in Fall.

Correct me if I'm wrong, but I think, jointly, prequel Rafal and main series "Rafal" are the only character who ever manages to rival the sheer volume of outfits Sophie has. Tedros and Agatha don't even come close.

Thus, I wanted to ask:

Okay so I've got this weird question (fun to ponder tho)

How do you think Rafal would react if Sophie slapped him?!

(Both the prequel Rafal and the TLEA Rafal.)

And perhaps the prequel Rhian too. Although I'm mainly curious about Rafal (since he has more of a connection with Sophie, I think.)

Ahaha! This is absolutely a fun one on this very fine day, Anon. Here goes—

Because prequel Rafal most likely wouldn't have a connection to, a care in the world about, or any feelings toward Sophie, she could just be another student to him. And if she slapped him, a blatant show of disrespect to her School Master, I think his first impulse would be to send her to the Doom Room, or to react explosively, retaliating with sorcery. Maybe, he'd slam her to the wall. We've seen that happen with the pirates and he has a short fuse.

If he stopped to think about why she'd slap him, if he were in a more tolerant state of mind, say, as Fala in his disguise, he might be able to reevaluate whatever he said to her to have earned that slap. (Probably, he would have said something about how she's worthless as an unconventional, Everish, and superficial Never, who only cares about appearances, who is a disgrace to her side because she wants to find True Love, and who'd never amount to anything, I'd imagine.)

And, maybe, just maybe, she'd actually break through the ice with the slap, or by following it with some critical yet truthful jab about him, thereby reaching his humanity and inspiring some self-reflection on his part.

Yet, I do not believe Sophie reaching him or succeeding in cuing him into recognizing his flaws would be the most likely outcome. I'm not sure what other fault-finding he'd do with her, and we know he just loves disproportionate retribution, which is why I'm most inclined to say: torture it is.

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TLEA "Rafal" is the more uncertain answer.

He does have feelings for her and has exhibited sadistic and masochistic traits. (Remember the moment when they kissed after Sophie returned? He seemed to actually enjoy his bleeding lip for some reason.)

So, this may seem controversial, but he might redden and could potentially feel aroused and/or disoriented/dazed and be unable to react, frozen in place, considering that she opposed his authority, and that he hasn't been contradicted by anyone in about 200 years.

Besides, regardless of whichever of these would occur, I don't think he'd be able to keep a clear head in this particular instance.

If that aroused thought process happened, I think he would try not to lose his cool or get flustered, and would flee the scene abruptly, leaving Sophie to wonder how he took the slap (and unfortunately, worry for her life and what could possibly be in store for her, if he came back).

I'm not sure if her slapping him (probably due to his daily proposal ritual, him telling her to address him as "Master," or something equally controlling and irritating to her) would change their power dynamic. But that possibility does exist.

If their dynamic changed, maybe he would yield to her more often than he already did in canon, or could involve her in more major wartime decisions because slapping him definitely would've exhibited even more of her force of will and agency to him.

If their dynamic went in the opposite direction, he might become paranoid that she lifted a hand against him at all, and try to monitor her more than he already did, exercising his authority over her more oppressively.

Another fairly realistic option would be their having a verbal argument or a shouting match. But, it could be one-sided, if Rafal just decided to endure some kind of berating from her.

He might just allow her to get away with yelling at him while he either defends himself, calmly, maintaining his composure without yelling. Or, he could take everything in stride, or at least silently, and listen to her, seemingly unperturbed or perhaps, wincing the whole time at her sharp tongue? Internally, he could be very pained by all the horrible, hurtful things she's saying, that he would probably deserve. Another route is that he could, strategically, agree with her and yield to her, to regain her favor, but that could be too transparent of him.

Eventually, Sophie would run out of fuel for her vituperative fire and halt her tirade against him, and she might be a little remorseful or blush, but he'd let it slide because it's her. And he needs her.

He'd probably accept any apology, half-apology, blame-shifting, or non-apology from her, just to stay on her good side. And if he were able to swallow his pride, he could give his own speech as he's wont to do, appear to understand and even empathize with her societally-oppressed, downtrodden Evil soul and heart, and apologize himself, like any good Evil "activist" would.

(Personally, I like to interpret TLEA Rafal as The Ultimate Evil Activist™. So, er, take that however you want.)

I think he'd hold himself back from violence against her if it crossed his mind because he probably has the self-control to know that aggression would only worsen his chances with her, no matter what satisfaction it could bring him in the short term.

Alternatively, he could seize her and initiate a kiss against the wall in the same forceful way Sophie did to him once.

If not that, shock is another option I can go back to. He knew, to an extent, that she viewed him as "all-powerful" even though he wasn't. Maybe, he'd be impressed by how brazen she was to slap him at all. He'd never admit that to her, I think, but he'd probably glow inside about the fact that he's (why not credit himself?!) influenced her enough (ahem, provoked her enough) to become more violent, even if it backfired against him. Plus, he could harness that violence of hers during the upcoming war and redirect, train, refine it, towards a more productive cause. Their victory. Because, that violence is also an indicator that his plan for her to embrace Evil wholeheartedly is succeeding, even if his parallel plan to court her is simultaneously failing. (Picture mental fist-pumping, like: yes, yes, yes, basically.)

So, there's a chance he'd remain expressionless. However, he could display shock on his face if he weren't able to control his emotions, or he could grin like a pathetic, love-sloshed idiot, much to her disdain or ire at not being taken seriously.

Whether or not he'd recognize and agree that he was in the wrong due to whatever he'd done to earn himself the slap, he could also try to make it up to her, whether his apology is sincere or not. I'm sure that in either case, he'd resort to personally bringing her (or materializing from afar) more and more opulent gifts—because, what more does he know about her that he could use to his advantage? Not a lot, to be fair.

Maybe, the gifts would appease her while he temporarily stays out of her sight, so she doesn't get mad at him again?

The least likely scenario, in my opinion, would occur if he truly didn't know whether slapping were a thing that "normal young people" did while "dating," and he took the slap as a sign of things going regularly, if not badly.

To be fair, he's watched Ever courtships for years (and he surely must've observed Agatha punch Tedros in the eye over the Gargoyle debacle), but this is Evil's Love—something unheard of, something never before seen. Should it be held to new standards? If so, what standards? What should he expect? What should he set, if the standards are up to him to determine? Should he really hope to imitate the Evers' love on every front? He's had zero successful past relationships, so how could he know?

If this happened, I bet he'd obsess over the meaning of Sophie's slap.

He might have to process it and puzzle over what exactly went wrong for days before he returned to set things right with Sophie. And if he did that, he'd potentially inadvertently abandon her in the tower for those several days, leaving her to wonder if she's going to starve there as her punishment, or die from "the plague," assuming he forgot about everything else and his obsession took hold of him.

(And leaving her alone could be a strategy itself, whether intentional or not, so she would begin to crave his presence again.)

This would also mean, he'd have deal with far more external complications because the assumption that he'd desert Sophie for a short period, the way he did to Rhian for six months in the prequels, would mean he'd also desert his war-training responsibilities, leaving the Old and New students to fend for themselves, and perhaps, to devolve into anarchy—if he's not quick enough to return, provided that his Deans failed to maintain order and discipline during his absence. In fact, I could see Aric actively undermining Lady Lesso's efforts, and encouraging vicious hallway brawls and overall barbarity with Rafal gone.

Also, his love was never "enough" for his brother in the past—that could easily spiral into self-doubt, even if his ego would protect against it. Then again, he's likely more sensitive to rejection if it's from her specifically since he actually values her opinions of him. I feel like he'd just brood in the no-longer-Blue Forest, sit there and do nothing but cycle that thought around and around, because, his plan, his plan that he's had for 200 years, his last hope, is currently falling through all around him, all due to one slap, and what if that means all hope is lost!? All that work for nothing. A terrifying prospect. What then? He'll have nothing if he doesn't have Sophie by his side.

I think he'd know better than to think that so quickly though. Dramatizing things just entertains me.

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Now for Rhian.

Rise Rhian could easily say something about the inferiority of Evil, and that could've insulted Sophie indirectly because I don't believe he would, while still Good, stoop to insulting her directly.

He'd probably just assign her a benign punishment, like dishwashing duties, or confine her to her dorm, given that she is a student and technically one of his wards, even if she's a Never because in this case, she acted against him, not the Evil School Master. So, perhaps, it wouldn't turn out like it did in book 1 with Lady Lesso. If he had no jurisdiction over the Nevers though, the punishment could be the Doom Room, if the decision fell to Rafal. And Rafal would not give a student preferential treatment if they slapped his brother!

Now, if Rhian were sympathetic enough to Sophie and her ongoing suffering in Rafal's School, he could cover the incident up and spare her. Let's face it: while Good, he seems like the lenient, bleeding-heart sort. Maybe, to him, it'd be the right thing to do because she seems kind of fragile and vulnerable. And she's Everish, which could appeal to him emotionally.

Then again, Rise Rhian has poor judgment, so maybe he'd stall and overthink deciding on any course of action, and wouldn't know what to do with her. He might not even feel like he could bring himself to discipline her, and might just continually obsess over it, as the indecision eats away at him. And, in the moment, maybe, he'd just flush red and tear up a little because she's been so cruel to him!

Fall Rhian, on the other hand, would probably insult her and do it so scathingly well. If she slapped him... she'd probably be a dead girl walking at that point. Could he incinerate her? Very possibly.

Midway through Fall, Rhian might just assign her a demanding punishment or task, really, of the same nature (and severity?) as Midas'.

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And that is all I have for now. If there are any outcomes I haven't thought of, feel free to tell me what you think!

Probably, the first, the man who engendered the conditions for this phrase (or warning to Evers) to be born: Fall Rhian, with the Pirate Captain, Hephaestus, and the Kingdom Council -> "Only the best Evil can disguise as Good."

I mean, when else have we seen the "appearance versus reality" theme predate the moment Rhian started stringing people along and mucking up Rafal's already filthy reputation via word of mouth (as early as Fall, not even the main series with Rafal's face)? "Rabid Bear Rex" and other tales from the prequel time didn't seem to involve the same level of trickery or disguise, I'm assuming?

And we don't know if "Finola the Fairy-Eater" (one of Lady Lesso's favorites, I think) came along later, during another generation, so the trickery and disguise there could've been inspired by Rhian (not that anyone knew the true outcome of the Great War, but the general notion may've been passed down, about Evil being subtle above all else).

EDIT: I misremembered/made a mistake. Some instances of Evil in disguise did predate Rhian and "Finola the Fairy-Eater" was mentioned in Rise. However, Rhian and the Great War did (of course) have had the most impact and most enduring consequences, compared to those smaller tales with lesser billing, which still leaves the possibility open that the Great War and the uncertain end result of who the victor was might've been the event to coin the phrase (if anyone shared August Sader's theory that the Evil brother won, contrary to popular belief).

Also, does anyone remember who first said that line on disguise? Was it Arthur's advice to first-year Tedros? And another question that remains was whether it was told to Arthur by someone else.

This photo from Pinterest provoked a thought in me:

Light is traditionally characterized as good and celestial while darkness is not. And yet, people find refuge in the darkness, how it can be comforting, as an excess of searing light can be blinding. And that reminded me again of Rafal turning into a shadow and Rhian turning into light towards the beginning of Rise and the subversion, of course. (This is sort of an offshoot from my flame versus non-existent shadow/Pans/eternal youth symbolism post and its companion post.) And of how James reacted to each of the brothers' souls: the reassuring, probably less volatile, unchanging quality to Rafal's and the deep-rooted instability of Rhian's.

The reaching motion in the photo also reminded me of a line from TLEA and how Rhian was foiled in being both extreme, strait-laced Good and extremely and throughly Evil—partly because he expended too much effort every time, and never allowed himself the chance to inhabit a natural state of being.

"The more you chase the light, the more darkness you find."

This also happens to relate to an idea I once heard in a class, that people (in general, not the Woods denizens themselves necessarily) consider Goodness the default state of being because Evil cannot produce any Good of its own, nor can it be anything more than the hollow "ape of Good" (or God, in some contexts). All it can do is imitate Good because it lacks all that Good has (the heavenly virtues? Perchance, think: patience versus restlessness?). And thus, Evil is the perversion of being. It is (was, in Rhian's case, as he had no "healthy" outlets for emotional release or catharsis, unlike Rafal's seemingly instinctual violence) deprived of being and parasitic toward the Good.

Also, have more photos from my Pinterest because why not?

POV: Rhian and Rafal go ice skating

Rafal: Keep up, Rhian. [he clips as he glides past Rhian as if in flight, posture ramrod straight, elbows out, hands tucked behind his back.]

[Rhian stalls at the edge of the lake from where he hadn't yet moved since lacing up his skates.]

Rhian: I still don't think it's a Good idea to skate over the Wish Fish. They're hibernating at this time of year, and the surface is thawing. It may not be safe.

Rafal: [scoffs from afar as he turns round a bend, completing his first circuit.] Safe? That's why I froze it over again.

Rhian: You could've harmed the fish!

Rafal: Don't be daft. I didn't. How could they sense our presence if they're dormant? You told me you wanted to skate, didn't you? Well then, wish granted. [He spun on his heels to skate backwards in a shower of ice chips, flung out both his arms to gesture at the lake below, and leaned into a passive-aggressive, obsequiously low bow, before straightening up again.]

Rhian: [firmly] But not here, not over their rightful home. Besides—you can grovel before me [he pauses] and them for forgiveness, another day. [he snipped primly.]

Rafal: You can't be scrupulous about everything in this world, or you'll never get anything done. Now, are you joining me? I gave my undeserving Nevers and that miserable Humburg a holiday today, so we could get out of the tower. [snidely] Or will I get the pleasure of watching the coward slink away from a challenge once again? It's not a good look for Good, you know.

Rhian: [mutters offhandedly under his breath] Wish you'd learn your lesson...

Rafal: What was that? [he calls back as he approaches Rhian at the edge, beginning to skid to a stop.]

[The ice beneath Rafal gives out in that instant and he falls through, into the pitch dark water, with one last gurgled shout, the fish shimmering under the surface, twinkling back at Rhian, dimming as Rafal kicks up sediment.]

Rhian: Nothing. [he said wide-eyed and guilelessly.]

[Rafal resurfaces, coughing up clouded, brackish water, dragging himself back over the edge of the broken ice, and glares up at Rhian.]

Rafal: [menacingly] Tell me, brother. Whyever would that happen, hmm? [he pressures. Yet, the effect is spoiled as he pulls a wriggling, silver-scaled fish from his jacket pocket and tosses it back into the gaping hole.]

Rhian: [hesitates, lips curling for a moment before he gloats:] Told you as much. The ice was bound to fall through. You never listen.

Rafal: [waves a hand dismissively.] Bah! My spell would've held if it weren't for, for—well, I just know you interfered, somehow.

Rhian: [grins, beside himself with mirth, having swallowed a laugh.] Let's get you inside. [He holds out his gloves as a peace offering to Rafal.]

Rafal: [bats them away into a snowdrift.] Don't need them. I'm cold no matter the weather.

Rhian: Inside and out. [he sighs.] Just when I thought you'd grown out of temper tantrums, you double back with twice the force...

Rafal: Can't expect any better from Evil. [he grins and yanks at Rhian's scarf, causing Rhian to stumble forward. Then, he takes off before Rhian can grab him out of the sky by his coattails, flapping stiffly in the chill like tail feathers.] Last one back's got to deal with the pots! [he crows.] And, they're on strike, again, so you ought to polish them.

Rhian: [breaks into a fervid sprint] RAFAL! YOU OLD CHEAT! I DON'T GIVE A FLYING FIG ABOUT WHO'S BACK FIRST—AND YOU WILL POLISH THEM IF I HAVE TO DRAW MY LAST BREATH TONIGHT!

Rafal: NOT A CHANCE IN THIS CENTURY!

Rhian: THEN I'LL WAIT A MILLENNIUM FOR YOU TO ACT YOUR AGE AND LEARN TO KEEP HOUSE!

Rafal: LIKE I SAID, NOT A CHANCE. [he cackles at the prospect in the distance.]

Rhian: IF YOU THINK THAT'S AMUSING, YOUR EAR CANALS MUST BE FULL OF WATER!

EDIT: I possibly should have included “Calculated, devious, or seductive” and also “Apathetic” somewhere, so those are two further options. The poll only allows twelve options in total.

Rhian, drop your morning/night routine!

Rhian: In the morning, I don't "wake up" like most do. Instead, I simply get out of bed since I'm usually up all night attempting to fall asleep. Repose rarely overtakes me, and my mind's always reeling. I may have to commission a sleeping draught from a witch one day.

At this stage of the morning, Rafal is usually still out cold, and it doesn't matter how loud I am, so I listen to the morning Kingdom Council spellcast reports from a mirror I've ensorcelled at full volume and review the Putsi market trends as I start on my routine.

The Gillikin Gazette's updates about its ongoing cathedral construction are my favorites though—its flying buttresses rival Camelot's dated, heavier Romanesque designs. I only manage to catch those reports on Saturdays though since I have to be out of the tower and on my way at an early hour most days. Oh, and I tend to cast a spell, so my bed makes itself while I busy myself with more important tasks.

Firstly, I need my ermine slippers and silk dressing gown. I shower and usually start with a facial, rosewater, or whichever magical cure-all I'm currently using to remove my under-eye shadows with.

Though, Rafal's been a bother about the cucumbers I go through. He thinks I'll drain the Woods' supply and that he won't have any left for his sandwiches. Mind you, that isn't true in the least.

I use charcoal imported from Akgul to remove impurities of the skin, and that's been rather effective as of late. I also ice my pores, page through Maxine's progress reports, and keep tabs on the lackadaisical performers. Tracking's very important at a School like ours, you know.

On some occasions, I do my own makeup, but really, it seems to me that only the Evergirls care if they notice at all. These days, I've been fond of whipped beetroot tinctures and orchid cologne. Then, I arrange my hair, dress suitably for the day's activities in whichever clothes I pressed the night before, and polish my boots. I polish Rafal's too. He doesn't notice or care—thinks we're immune to disease and scrutiny—but he's missing the point. It's about image, of course. And I worry that he'll bring bird mites from his Stymphs indoors, and that would not only be unseemly for a School Master, but a disaster of inordinate proportions, even if our health isn't at risk. Think of the parent complaints we'd receive, if we had an infestation. The picket-lines would never end!

When I head out, Rafal's almost always still asleep, so I bring us back breakfast, and wake him then.

Well, I say "wake him," but rousing him isn't as simple as I've likely led you to believe. By now, it's turned into an awfully elaborate burlesque. I switch mirror channels to the Jaunt Jolie Music Hall's Cricket and Brass orchestra production of the day. If that fails, I bang a ladle on our breakfast's silver cloche over him. And if all else fails, I shout "FIRE," "INVASION," or even "PIRATES" if I'm desperate and running late, and that does the trick. I still haven't figured out if he's been deluding me though, or if it's his dreams that leave him with those horrid little grins.

Yet, this particular song-and-dance of sorts has been more of a recent development. His clarion-belled alarm clock from Geppetto's broke last month, and he hasn't had the time to replace it. The flight's a day's trip, and this new class of Nevers cannot be left alone for more than a day because he's sure there'll be either an outbreak of some pox or of some general pandemonium since he doesn't think I'm capable of maintaining order. I'm more than capable in truth.

We eat then, he in his pajama shorts and shirt and black stockings with the runs I chastise him about throwing out everyday, and me in my typical smart attire.

At the end, I wash up, sit, and wait for him to set the dishes to scrubbing themselves, comb his hair, and dress. After that, we split off to our respective sides for the day, and I see him again at dusk.

"Bye." or "Morning, brother." is as talkative as he gets at this time of day before he vanishes into the Tunnel of Trees or crosses the Halfway Bridge into the smog, unless he has a storybook victory to congratulate himself over or another point to bolster his side of an argument with—arguments I naively believed we'd already put to bed the night before.

After a full day of overseeing classes, Rafal legs it over the window sill when he returns and showers immediately when he gets back. Then, he grades papers and exams. On days when he's exhausted by puppeteering mock battle raids or Storian knows what he subjects those poor children to, he passes out in bed fully-clothed without showering, and showers in the morning.

All the while, I perform my nightly skin- and hair care routines, snuff out the candles, and get in bed with an eye mask, in my attempt to get a good night's sleep, often sooner than he goes to bed because he reads news updates and whatever musty tome he's tearing through late into the night.

Sometimes, I wake in the middle of a night terror and realize he's still up marking or reading or scheming, so I confiscate the candles at that point and force him to sleep. Rarely does he listen, and I've stopped bothering most of the time as he reads by the light of his fingerglow instead, contrary to all sound advice. He doesn't view sleep as necessary seeing as the Storian sustains us, but he has no sleep troubles, so I suppose that's an easy conclusion to form if you're him. The latest remedy I've resorted to is tucking lavender into my pillowcase, but I've had not a drop of luck.

Quintana: You should be locked up! You are a danger to humanity!

Rafal: [seething with rage] That will never happen.

⸻

200 years later:

Rafal: [indignantly to no one in particular] Hmpth, I chose to lock myself up!

Agatha: [through an air vent, rolling her eyes] You must've gone stir-crazy. Even locked up you still endangered us.

⸻

Post-TLEA:

Dean Sophie: Oh, this old thing? Yes, I renovated everything in the tower—couldn't possibly live in a musty, old cell like Rafal did. I have standards.

@anobody277642 Here is Rafal's "routine." I tried to keep him in character. You can tell me if anything's off.

⸻

Rafal: I haven't had the chance to take my alarm clock in for repairs, so Rhian has been waking me up these past few weeks. I just wish he wouldn't do something as hare-brained as feigning a state of emergency. It's as if he wants me to die young from a heart attack before I finish torturing M-Z of my students. I'd just gotten up to the Q's when Rhian visited Evil. If only Quintana were still under my authority, putting her in a straitjacket would've been the perfect revenge. [He sighs exasperatedly.]

Wait. [He narrows his eyes with suspicion.] I'm sure Rhian's given you some sort of account. And no matter how accurate or misleading it is, why should I give you intel you could use against me? [cloyingly sarcastic] Tell me, would you also like a written timetable to monitor my every move with, pest?

Slightly niche Modern AU Rafal headcanon (Does anyone agree or have a different take?):

I had a random association and now, I'm almost certain Rafal would enjoy Russian doomer music, even solely for its vibes (assuming he is the fantasy equivalent of a Westerner who only speaks a Germanic language because most fairy tales in SGE are the Germanic ones. Honestly, one thing I wonder about, even if we have evidence of Spanish and other accents' existence, is how the Woods as we've seen them are rather monolingual, probably for plot convenience, but that depiction just strikes me as a little strange, like, too deeply suspect that their world is that unified, all by itself—unless the Storian is to blame as usual—maybe we're not meant to allot it any critical thought...), although I've looked up some English translations of this genre's lyrics and they are rather dark, so that fits him fairly well—unless being silent with his thoughts would be preferable.

Yet, one clarification to make: Even if the music might resonate with him, I think he wouldn't be a fatalist until much later in whatever character progression he'd have. Instead, I see him as a doomsday prepper, in probably a more I-will-live-against-all-odds, Western, literally every-man-for-himself, individualist sense as that might be more in line with his character in canon. He'd be obsessed with survivalism and TEOTWAWKI (The End of the World as We Know It) as a concept.

Here is an example of the music I found—I'm not sure if this is actually representative of the whole and I don't know much about it or the historical context though.

Also, here are some English lyrics from various songs under the cut that I just happened to like:

Again the spring has come, And warming rays of sun Are looking in my cell through window-panes Again the heart will ache The feelings will awake And memory recalls auld days

Those days will come to me And I shall feel and see The girl whom I loved so long ago That girl came and left That girl I can’t forget Her image’s always in my soul.

Vladimir prison-house Сold northern wind My transport came from Tver And all my evil deeds Lie on my heart like heavy weights

⸻

Stab me with that stare as i walk by It's like poison in my blood It trips me up just like a stone I'm just sick of people, and they're sick of everything

⸻

My ship is sailing straight ahead, avoiding the land The captain drunk and stubborn He'll protect it till the end Drowning to the right, drowning to the left Not enough lifeboats, there isn't help for everyone Swimming away, I'm swimming away somewhere straight, somewhere away

It’s rare that I find a completely instrumental song that reminds me of Rafal (forewarning: this is an entirely subjective interpretation), so I present to you: "All Night" by Parov Stelar. To me, it seems to track his character progression, Rise through Fall.

It starts out quick; Rafal doesn't spare anyone a second glance aside from Rhian, generally.

A certain part, in which the music speeds up, the tension mounting, conveys a sense of urgency, reflecting the speed of his return, his overpowering need to get back.

It's got creeps of emotion that are ruthlessly quashed, like how Rafal cuts his ties with others, as he suppresses and denies his humanity the right to interfere in what he does for his own sake (and sometimes the balance), and the recursiveness just feels obsessive. The song always returns to the regular and methodical, the walking pattern.

Then, it slows around the midpoint and deepens in pitch, as he genuinely starts to struggle in Fall as his powers start to fail him, while he has a limp, and he obliterates any attachment he feels to almost everyone, only to not win.

How do you think the twins (like all of them in SGE) would act in real life?

I'm not sure if I'm interpreting your question correctly, so you can correct me if I'm wrong! I will take the ask to mean that you'd like to know how I think they would they adjust to our modern world, not necessarily them in a Modern AU. (Also, would you like me to include Castor and Pollux? I'm not sure if I'd have an immediate response for them, but I'll try to think of something, if you'd like me to.)

Sophie and Rise Rhian would probably embrace modern conveniences, and Rhian would likely exhibit more fear than Sophie would, in response to them, or he'd conceptualize things like electricity, for instance, as a just another form of sorcery. They would both appreciate modern cosmetics and technology, and Sophie would probably never want to return to old, backward ways when the future is so pristine and sanitary. Rhian, however, would mourn the great architectural feats of our past and our obsession with pragmatism and designs purely focused on utility. Unfortunately, I could see them being prone to believing absurd, medical/political conspiracy theories, and their germophobia becoming worse.

Agatha, Rafal, TCY Rhian, and Japeth would be more skeptical about modernity, at first, I think. Agatha would probably grow used to it, but continue to live by her old ways and values, in many cases. She might get into environmentalism, humanitarian causes, or antiwar efforts, etc. If either Rafal, Rhian, or Japeth saw a use or benefit to modern technology and ways of life, they would likely adapt, especially if it could get them something they desperately wanted. Rhian would probably use some form of broadcasting or social media frequently—and eventually get cancelled. I could also see Rafal or Japeth trying to radically change or impact the modern world if it provoked them. Japeth could go down the activism route (if it's in regards to his being gay), but I can't see him being that selfless about others' rights, others who have nothing to do with him, and I can't come up with any modern objects or activities that might appeal to him. Maybe, he'd even disavow modern technology, if it proved it weren't a means to getting Aric back. In addition, I could also see Rafal being incredibly rude in commanding voice-operated devices, and refusing to entertain the trivial, human-like gestures machines are programmed to recite, like greetings, and he would rarely use "please" and "thank you" in his commands. He'd have no patience for small talk or manufactured, repetitive, pleasantness because it's just a machine, and he'd be damned if a machine expected more respect from him than any human subordinate ever would! And, he'd get irrationally offended by certain output before he realized why things did what they were preprogrammed to do, such as give simple-minded answers that could appear to be an insult to his intelligence and common sense, as, a machine couldn't know his identity. After all, machines aren't capable of being hostile like Adela Sader was. So, eventually, he'd learn. Also, getting automated or human directions from the bodiless voices of intercom systems, at self-checkout lines, or on public transportation would probably infuriate him because he's so used to being the greatest authority at all times. Why abide the law when you can keep above it?