THIS IS AMAZING BTW - Tumblr Posts

Twst cards are pretty. Love them. I just have one minor inconvenience

Why should Mammon and Simeon be the only ones with spicy shower cards, hm?

AFTER AN OVERWHELMING WAVE OF SUPPORT AND ENCOURAGEMENT, I'VE DECIDED TO POST THE WILL WOOD ESSAY!!!! it's below the break !!!!

I would like to really quickly state though that this essay is my property, I put a lot of time and effort into this, so please don't claim it as your own !!!! thank you <33

I will be analysing Will Wood’s song ‘Suburbia Overture / Greetings from Marybell Township! / (Vampire) Culture / Love Me, Normally’. which, for simplicity, most fans refer to as simply ‘Suburbia Overture’. This song is the first on his first solo album entitled ‘The Normal Album’, which came out in July 2020.

This song, in the most general possible terms, is a criticism of modern suburban life, how it is advertised as “the perfect life”, and how this advertising is incredibly false unless you fit the picture perfect standard that these facets of society seem to require.

The song itself is split up into 3 distinct sections, "Greetings from The Marybell Township!", “(Vampire) Culture” and “Love Me, Normally”. I'll be tackling each section one at a time in order to properly break down what each means, what different analogies they use, how they all relate to each other and the intended end result of the song and the message it intends to convey.

Let's begin with 'Greetings from The Marybell Township!'.

This section of the song uses a lot of analogies that compare suburban life to a warzone, the first line of this section being “white picket fences, barbed wire and trenches”. This section also focuses heavily on the concept of the nuclear family, and it often literalises the term and uses analogies based around radiation and nuclear warfare. Such analogies can be found in lines such as “the snap crackle pop of the Geiger, camouflage billboards for lead lined Brookes Brothers”. Now there's a couple of terms that require definitions in this line. The first of course being “the Geiger”. A Geiger counter, which is what this lyric is referring to, is a tool used to measure levels of harmful radiation. This, paired with the concept of billboards advertising “lead-lined Brookes Brothers” when lead is a material used to deflect radiation, and the knowledge that ‘Brookes Brothers’ is an American vintage style clothing brand, this line really paints a picture of a seemingly post apocalyptic/post nuclear war but still consumerist and capitalistic suburban society. The last line in that verse is “buy now or die”, which ties back to the concept of safety equipment being advertised on billboards, while residents of this town have no choice but to buy the products. This all relates back to the hyperconsumerism that plagues our society, and runs particularly rampant in middle to upper middle class neighbourhoods. The very same neighbourhoods that are often referred to as “suburban”

In the second verse of this section there are a lot of hard hitting lyrics that to me really show that this perfect idealised life is far from perfect or even good, so we will work through them one by one because I feel that they all deserve proper analysis.

The first line that i want to point out from that verse is the line “takes a village to fake a whole culture” which is clearly a rip off of the phrase “it takes a village [to raise a child]” but it also references the fact that usually suburban towns are incredibly monotonous in both residents and architecture, and so it takes the collective effort of the entire population of the town to pretend that there is an actual culture to it.

The next few lines I'll speak on all come in quick succession of one another, essentially blending them into one line.

“Your ear to the playground, your eye on the ball, your head in the gutter, your brains on the wall.”

So let's break these down. This line is easily split into 4 distinct phrases, and all of these phrases have a few things in common, which I will point out later.

“Your ear to the playground” is a play on the phrase “ear to the ground” which essentially means that the person with their ‘ear to the ground’ is attempting to carefully gather intel about something. Someone having their ear to the playground simply reinforces the idea of this suburban “paradise” being. Not as paradise-y as one would hope, seeing as the people who use playgrounds most of all are children, so this line is demonstrating that the picture perfect life that this suburban town offers is actually corrupting children so young that they are still on the playground.

The next phrase is “your eye on the ball” isn't a play on anything and is in fact in itself a common phrase. To have your eye on the ball means to be entirely focused in and paying attention to something, and not allowing anything to divert your attention. Given the last line this line very well could be another reference to the corruption of the youth and the idea that their every day play has already been tainted with the hostilities of modern life usually reserved for adults.

Following this is another well known saying “your head in the gutter” which, as most know, someone whos head is ‘in the gutter’ is someone who will see some sort of innuendo or otherwise vulgar/inappropriate meaning in something that was intended to be entirely innocent, leading to others in the interaction telling the perpetrator to ‘get [their] mind out of the gutter’

And finally, in my opinion the most hard hitting phrase in this set, “your brains on the wall” which is clearly in reference to the notion of ending your own life with a shot to the head, which would lead to, well, brains being on the wall. These last 2 phrases come in stark contrast to the seemingly picture perfect life that suburban towns offer and advertise, the concepts of suicide and perversion are not concepts one expects to see or hear when imagining this idealised form of life.

There is one main similarity in each of the 4 phrases, that being that each phrase has some body part being on something else, your ear to the playground, your eye on the ball, your head in the gutter, your brains on the wall. This similarity almost offers a body horror aspect to the song, which when paired with the concept that this is written about a seemingly post nuclear apocalyptic town presents an interesting idea of possible mutation, but i'll be the first to admit that may be a little far fetched. However that's not the only similarity that these 4 phrases share, another is the fact that they are all directly, or only slightly modified versions of already well known phrases, a similarity that is found in many lines over this entire song, through all 3 sections.

I want to analyse a few more lines before we move on to the second section of the song.

This next line comes directly after the previously analysed line, and it goes “home is where the heart is, you ain't homeless, but you’re heartless”

Sticking with the theme of using already existing and commonly used phrases, “home is where the heart is'' is once again a phrase that you could likely find as a cross stitch hung up on the wall of any of the homogenous houses you could likely find in this idealised suburbia. But what Wood is saying in this line is that home is where the heart is, and that while people in this town may not be homeless, they are certainly heartless, meaning that they in fact don't have homes. They have houses. Rows upon rows of houses that all look the exact same in the horrifying monotony that is suburban living.

Following this line is the lyric “it's the safest on the market, but you still gotta watch where you park it”. These lines seem to be in reference to buying a car. The car being the "safest on the market" is likely in reference to the fact that it may have a lot of safety features. But this is immediately negated by the fact that you “still gotta watch where you park it” meaning that the safety features could be a reason that the car gets stolen, rendering all the safety that those features offered useless because in the end it made the car and the owner less safe.

In the third verse of this section, you immediately hear the line “so give me your half-life crisis” which partially is a play on the term ‘mid life crisis’ wherein which one realises that they may have wasted their life up till that point and they're already halfway through, but the use of the term “half-life” instead of ‘mid-life’ is very intentional, as the term “half-life” can also be used to refer to the half-life of an isotope, which is the amount of time that isotope takes to lose half of its radiation, which ties back into the theme of radiation that we see mentioned a lot in this section.

Later in the same verse is the line “if it's true that a snowflake only matters in a blizzard”, which is interesting in a few ways, first, it brings up the idea of a singular individual means nothing on their own and that they only matter when they’re part of something larger or a larger group, but i also think that the use of the terms “snowflake” and “blizzard” instead of something like ‘raindrop’ and ‘storm’ is very intentional in the fact that snowflakes are known for being individual, none are alike, every single one is different. So saying that a snowflake doesn't matter unless it's in a blizzard is yet another hit at individuality, essentially implying that in this town individuality means nothing and is essentially rendered useless.

The final line in this verse is “everybody's all up in my-” repeated thrice, and on the third time the sentence is finished to say “everybody’s all up in my business” and before the word “business” can be finished its overlapped with the beginning of the chorus, the first word of which is a very loud “SUBURBIAAAA!”. I believe this is reminiscent of the fact that in towns like this, everyone cares so much about what everyone else is doing, they’re all so interested in everyone else's business, and i think that sentiment being stated and cut off by the word “Suburbia” is essentially saying that ‘this is the norm, this is just Suburbia, this is how it works around here.’

After the final chorus of this section, in the final verse, you'll find the line “chameleon peacocks are talk of the town” which particularly interests me because if you know anything about chameleons or peacocks you’d find that they seem incredibly different as animals. Chameleons blend into their environment in order to stay safe, whereas peacocks are known for parading around bright colours to make themselves look better, but if you think about it the term “chameleon peacock” actually makes a lot of sense, a person who blends into their surroundings in order to make themselves look good. This sentiment seems to perfectly describe the homogeneity of the people that live in these perfect towns, they're all the same, they blend in with one another in order to make themselves look good, or perfect.

Another line heard shortly afterwards is the phrase “he cums radiation”, rather vulgar, I grant you, but it's important because it is yet another literalisation of the phrase ‘nuclear family’. It could also be a reference to the general toxicity of this societal norm.

The final line in this section of the song is “the dog bites the postman, as basement eyes dream of a night at the drive-in, with an AR-15”. Which is another use of juxtaposition, intended to cause a kind of whiplash in the listener and reinforce the idea that while in this place there is scenarios that would happen in a hollywood movie esque picture perfect neighbourhood, like the dog biting the postman, there's also horrors that lurk below the surface. (although clearly not TOO far below.)

Now let’s move on to the second part, ‘(Vampire) Culture’.

If you listen to the song, you’ll immediately be able to recognise where 'Greetings from The Marybell Township!' ends and ‘(Vampire) Culture’ begins, due to the insane juxtaposition between the two. Where 'Greetings from The Marybell Township!' is soft and sort of reminiscent of the 1950’s, ‘(Vampire) Culture’ is loud, jarring and grotesque, complemented with much raspier and strained sounding vocals compared to 'Greetings from The Marybell Township!' ’s soft and melodic ones. The tone for this section of the song is immediately set with much more graphic lyrics, the very first line of this section (after the opening scream) is “i dropped my eyeballs in the bonfire, we fucked on a bed of nails” which absolutely sets the scene for how different this section will be to the previous.

This song immediately jumps into using cannibalism as a metaphor, with the first line after the jump start opener being “I caught kuru from your sister, and I'm laughing in jail”. While this line is written to sound like the concept of catching an STD from an act of adultery, Kuru is actually a disease only found in human brain tissue, meaning that you can only contract this disease by eating a human brain, and what's one of the symptoms for this disease? Uncontrollable laughter.

This use of cannibalism as a metaphor is used again immediately after in the line “smell those screaming teenage sweetbreads on that 4th of July grill”, ‘sweetbread’ is the term used to refer to the pancreas and thymus gland of an animal, usually a lamb, but in this particular case it is in reference to the human teenagers that supposedly lived in The Marybell Township, or a least they did before they were dissected, cooked and served at a neighbourhood 4th of July barbeque hosted by the same people that were once referred to as their neighbours.

This line adds an interesting level of patriotism to the song and criticism of how America utilises patriotism and their love for their country as means to justify harming the youth, however a 4th of July neighbourhood barbeque is also commonly associated with white picket fence gated community America, which ties us back to the base criticism of that style of life and how it is seen as the “proper” and “perfect” way to live.

These cannibalistic sentiments are followed up with the line “smile and wave boys, kiss the cook, live laugh and love, please pass the pills.” which brings us back to the repeated use of commonly known sayings being taken directly or modified only slightly to remind the listener of the setting were in, that being a seemingly 1950’s era tight knit neighbourhood.

Phrases like “live laugh [and] love” or “kiss the cook” are both phrases that could easily be seen in a setting like this, especially “kiss the cook”, as this is a phrase commonly associated with aprons worn by grillmasters at neighbourhood barbeques, not unlike the cannibalistic 4th of July barbeque that this particular neighbourhood seems to be hosting.

These phrases being immediately followed up with a sentiment such as “please pass the pills” serves to entirely undermine the pleasantries that, until a moment ago, seemed to be plastered all over the faces of the people living in this fictional town that Wood has created. I think that final phrase brings the listener back to the realisation that not all is right here, quite the opposite in fact, and drags them from their momentary paradise.

Circling back very quickly to the phrase “smile and wave”. I felt the need to point out that this phrase has been used for centuries as a way to say “stop talking and act normal” which once again reinforces that these people are pretending to be something they’re not in order to fit in.

We enter the next verse with the repeated phrase “it's only culture”, after that line is repeated three times we hear “sulfur, smoke and soot”, which could either be a reference to how dirty and disgusting the ‘culture’ is, or it could be a different way of saying that this culture and the people participating are going to hell, as per the common phrase ‘fire and brimstone’ and the fact that sulfur is another way of saying brimstone, and smoke and soot are both byproducts of fire.

The last line of this verse and the first line of the chorus blend into each other, so I’ll speak on them both.

First, the last line of the verse. It goes “you cocked and sucked your lack of empathy, pulled the trigger with your foot to prove you've got-”

Putting aside the clear innuendo, this line refers to the idea of ending one's own life with a long shotgun. According to the media, by the time the gun is cocked and the barrel is in your mouth, you're not able to pull the trigger with your hands due to the length of the barrel. This line instead presents the solution of pulling the trigger with your foot to end your life.

So this person “cocked and sucked” the gun (cocked the gun and put the barrel in their mouth) before pulling the trigger with their foot to prove they’ve got-

And here's where the verse blends into the chorus.

Because the first line only consists of one word.

“Blood”.

The person who was shooting themselves with a shotgun only to prove that they bleed. Which is where the title of this section comes in. “(Vampire) Culture”. This section seeks to portray either the people in this culture or, the more likely option, the culture itself, as metaphorical vampires, who aim to destroy those around them. This knowledge makes the next line “didn't they want your blood, so why apologise for being blue and cold” make a lot more sense. After all, if these culture vampires have drained you of your blood, is it not their fault that you’re now “blue and cold”, as bodies tend to be if they lack blood flow. However, if you look at synonyms for the words “blue” and “cold”, you could also interpret this phrase as meaning “sad and apathetic”.

A sad and apathetic person doesn't seem to be the kind of person this ‘culture’ seeks to enlist however, and so one who is “blue and cold” is shunned as an outsider.

What Wood is getting at is that if this culture is the one who made you sad and apathetic, then you should not apologise to it for being so.

The next verse is short, and like the previous one, also blends into the chorus in the same way, by having the last line of the verse cut off right where the chorus would finish the sentence with the word “blood”. However in this verse, there's an interesting line. “It's only culture and it's more afraid of you than you are of it”, which is a sentiment usually used by adults to attempt to subdue a child's fear of something, usually insects. However it's interesting in the fact that it brings up the idea that this culture that has caused so much damage and harm is actually incredibly fragile, and would, in theory be very afraid of the concept of the individual, because if this ‘culture’ is only being held together by the silent agreeance that everyone will simply pretend, then the idea that there is people who refuse throws the whole idea into jeopardy.

This line is followed up however, by the line that blends it into the chorus. “Go on drink that-”, clearly intended to be finished by the first line of the chorus, making the full line, “go on drink that blood”.

This line is in reference to the phrase “drink the kool-aid” which essentially means to pledge your undying loyalty to something, a concept, a person, a god, etc. and it derives from an infamous mass cult suicide where over 900 people drank poisoned Kool-Aid and subsequently died for the cult. It is not a far cry to believe that this event and this phrase is what the line is referring to, as it's something that Wood has referenced in other songs, so it only makes sense to believe that this is what he means here.

After that chorus we move on to the bridge, which begins by listing 3 pairs of names, all famous or semi famous, and each pair being similar in one right but opposite in another, the line goes as follows; “were you Nabokov to a Sallinger, were you Jung to Freud or Dass to a Leary”, so let's break down these pairs one by one.

First “Nabokov to a Sallinger”, these names belong to Vladimir Nabokov and J.D. Sallinger, both authors who wrote famous books that both surround the theme of innocence, but in very different ways. Nabokov’s book “Lolita” is a story told from the perspective of a grown man about his sexual obsession and attraction to a little girl, and his desire to ruin her innocence, exploring the theme of innocence in a grotesque and frankly horrifying way, which is in stark contrast to Sallinger’s book “The Catcher in the Rye”, which explores the topic of innocence through the main characters desire to preserve their little sisters innocence, and in that desire displays hesitancy at the idea of sex themself. Both books explore the topic of innocence, however while one seeks to preserve it, the other seeks to destroy it, two sides of the same coin.

The next pairing is “Jung to Freud”, meaning Carl Gustav Jung and his mentor Sigmund Freud, who once again are similar in one right, but opposite in another. Jung and Freud both had theories on the nature of the human mind, but where Jungs was all about the concept of spirituality and how that ties into the collective unconscious, Freud's approach was much more focused on the individual unconscious and the concept of sexuality.

The final pairing is “Dass to a Leary”. both psychologists, both at the forefront of the ‘Harvard Psilocybin Project’ (before they both got dismissed from harvard entirely following controversies around the project) Richard Alpert and Timothy Leary were both psychologists and eventually authors who studied the effects of psychedelic drugs on the human mind, and while they were co workers they ended up with pretty conflicting views. Dr. Richard Alpert, who apparently ‘died’ and was ‘reborn’ as spiritual guide Ram Dass, centred his teachings heavily around the concept of living in the moment, (in fact his best selling book, written in 1971 was titled ‘Be Here Now’) and he believed that psychedelic drugs were not needed and that a permanent version of the same effects could be achieved through meditation. Whereas Dr. Timothy Leary advocated heavily for the use of psychedelics, believing that LSD specifically had great potential for therapeutic psychiatric use.

All of these pairings and examples utilise the concept of duality and speak on how every coin has two sides, which can easily be tied back to the idea that the picture perfect suburban life is just one side of the coin. This idea is then reinforced by the next line, “were you mother, daughter, subject and author?”, The use of the word ‘and’ here shows that it's possible to be two sides of the same coin at once, just like how this town, which is perfect on one side of the coin, is still terrible on the other side of the coin. The line is stating that it's possible to be both at once.

The very last line in this section is; “you don't make the rules, you just write them down and do it by the book you throw around”. This line combines a few relatively well known phrases. The first being of course ‘i don’t make the rules’, which can have two distinct meanings. The first is to express a kind of sympathy for someone being punished, and the second is to absolve yourself of the blame for that person being punished, a sort of ‘don't shoot the messenger’ situation.

The ‘rules’ that are likely being referred to here are the societal norms and expectations forced upon people who reside in these towns, the standard for ‘perfection’.

However, following this sentiment up with the phrase “you just write them down” is essentially saying that while it's not the fault of the people in these towns, they didn't create the norms, they still enforce them. They expect everything to be in line and perfect at all times, they follow these ‘rules’ to a T, and they shun and punish anyone who doesn't fit the standard and/or refuses to follow these ‘rules’, which is where the line “do it by the book you throw around” comes in, doing something ‘by the book’ means to follow rules strictly and to the letter, nothing out of line, and to throw the book at someone means to punish them as severely as possible, usually used in the legal sense to mean punishing someone for their crime as severely as the law will allow. So in all, the lyric “you don't make the rules, you just write them down and do it by the book you throw around” ends up meaning ‘you didn't create these norms but you still enforce them by following them to an absolute T and punishing anyone who doesn't.’

With that we enter the third and final section of the song, entitled ‘Love Me, Normally’, a title it shares with another song on the album, but of course this song is partially meant to serve as an overture for the whole album, meaning it shares some similar lyrics with lyrics from other songs on the album, so sharing a title isn't all that surprising.

The first lyric in this section is “do you know the difference between blazing trails and slash and burn?” which is another instance of duality in this song. Trailblazing or being a trailblazer means doing something no one has done before, paving the way for other people to follow in your footsteps, it comes from the literal act of creating a trail in the woods for people to follow, usually by creating notches in trees or setting small fires, hence ‘blazer’, as blaze is another word for a fire. However “slash and burn” is a method of deforestation that involves cutting down and burning a section of forest to create a field. Both examples include using fire to change something, but where one is seen as progress and positive, the other is negative, and seen as a means of destruction. Once again, two sides of the same coin, innovation and destruction.

This is followed up with the line “going against the grain and catching splinters”, which is a line i particularly like because while it is something that literally can happen, if you run your hand along wood in the opposite direction to the grain, you're more likely to get a splinter because you're essentially pushing your hand against the chips of wood, but it also is another metaphor for the dangers of not being the same. Going against the grain in this instance means daring to be different, not going the same way everyone else is going but instead the opposite of that, and in this example splinters are the consequences one would face for being different, especially in a setting like this perfect town, where everyone is the exact same as everyone else.

A little bit later you hear the line “well Lot he had his lot in life, Job his job and i guess you’ll too, and die”.

Lot and Job are both figures found in the Bible, whose names both share spelling with common English words, but are pronounced slightly differently.

Job, from the Book of Job, was a man that was tested by God, made to suffer to test his loyalty, his ‘job’ was to believe unendingly in God and see Him as always correct no matter what.

Lot, from the Book of Genesis, was a man who went through a lot, and the phrase ‘my lot in life’ is a phrase commonly used by people to write off/explain why they don't have it as good as others, they say it's simply their ‘lot in life’.

The end of this line “i guess you’ll too, and die” i believe refers to the fact that everyone will have their own job and their own lot in life, and then everyone in the end will die.

This theory is solidified by the fact that the next line is “The Lord looked down and said ‘hey, you're only mortal’” which is a play off of the phrase ‘you're only human’. Wood himself said that the phrase ‘you're only human’ has always felt weird to him, he says, “cause like, of course I am, aren’t we all? How is that fact supposed to help? I still feel bad. What does being human mean to you?”. He follows this up by saying that the idea of God saying "hey, you're only mortal" offers the same kind of sentiment, but in a “cosmically condescending” sort of way.

The following line reads “giveth and taketh away, till things come out a certain way, leave you wondering when they might go back to normal… leave you wondering why they can't have just been normal”.

This line presents a sort of hopelessness in the realisation that things are constantly changing, nothing is any more ‘normal’ than anything else, there's no such thing as ‘normal’, which is an overarching theme found throughout the album. Once again bringing back the fact that for all intents and purposes this song is an overture for the rest of the album.

To conclude, ‘Suburbia Overture’ is, in my opinion, one of the greatest criticisms of suburban, middle class, gated community, nuclear family life i've ever seen, it highlights the problems in that life and showcases how this kind of lifestyle in its incredibly rigid and restrictive standards is incredibly harmful to the very concept of individuality, because the expectations and unspoken rules set in communities like this and the widespread idea of forced normality seeks to crush any individuality before it even has a chance to blossom.

The use of metaphors and phrases that are well known and are likely to be seen in settings such as this gated community suburban town that Wood has created really paint a subconscious picture of what this community looks like, the use of duality, how every story has another side, and how nothing that is seemingly perfect from the outside is actually perfect on the inside.

Will Wood is an incredible lyricist and the fact that he was able to cram so much symbolism and such a powerful message into a song just over 6 minutes long is genuinely incredible.

Thank you for listening to my/reading my autistic hyper fixated rambling, i hope i didn't melt your brain too badly <3

another animation!

Alright, time for another Merlin au! This one won the last poll, marked as "an au featuring Arthur being an idiot"!

In this au, set sometime in the three years between season 4 and season 5, Arthur, Merlin, and the knights of the round table get ambushed by a large pack of ferocious wyverns while on a quest. This time, Merlin couldn't be subtle about using his dragonlord commands to pacify them, and that was the only way to ensure that they would all make it out alive. So, Merlin uses dragonlord commands to make the wyverns leave and, in the process, reveals that's he's a dragonlord. However, he at least managed to keep his magic a secret through the ordeal, so he's got that going for him.

Arthur is, of course, rather upset about Merlin keeping this secret from him, and is even more upset when he learned that Balinor was Merlin's father and guilty that he didn't support his friend through mourning his father as Merlin had for him. However, Arthur can also keep things in perspective. After all, dragonlord powers weren't actual sorcery, apparently it was a magic-adjacent gift that Merlin had inherited at the moment of his father's death, whether he wanted to or not. Besides, it wasn't like Merlin chose to have the ability, so Arthur couldn't really hold the ability itself against Merlin.

And anyways, Arthur mused to himself at their camp after Merlin came clean to the knights the night after the the wyvern attack, it wasn't like there were any dragons left. The only thing Merlin could do was command wyverns. While that could perhaps make him a threat if he wasn't the most harmless person Arthur knew, they didn't even encounter wyverns that often.

So, Arthur was willing to just let this be a useful little trick that Merlin could use on the off chance that they ran into wyverns. Still, the image that the whole situation gave Arthur, an image of Merlin being a formidable, powerful dragonlord with devastating dragons under his command, was rather amusing.

So, as Arthur settled in for the night after hearing the last of Merlin's explanation, this wasn't going to be a big deal. Sure, he was still hurt that Merlin kept this a secret from him, but Arthur could understand why. Uther had killed all of the other dragonlords, so it made sense that Merlin felt unsafe with his father still on the throne, and since they didn't run across wyverns often, there was a very real chance that Merlin just forgot about his ability entirely until it was relevant again. That was a very Merlin thing to do.

So, everything was fine. Everyone with them looked comfortable with Merlin, and he knew that they would keep this a secret for Merlin's sake. If word of Merlin's dragonlord abilities got out, Arthur could always publicly grant him a pardon. After all, it wasn't like he had ever hurt anybody with it. The only thing he seemed to do with it was send wyverns away.

Arthur quietly snorted to himself at the thought. Oh no, the terrible powers of Merlin the dragonlord, telling some wyverns to shoo.

Arthur relaxed into his bedroll, listening to the knights settling in to sleep and their fire crackling a few feet away. The quiet noises were peaceful, but were broken a few minutes later by Leons seemingly innocuous question.

"Merlin, if you were already a dragonlord when we rode out to face the great dragon, did you do anything with your powers? I assume you're the reason Arthur made it out alive through the whole ordeal."

Merlin froze where he was sitting, a myriad of emotions passing through his face before his expression settled on a grimace. Arthur sat up, interested in hearing Merlin's answer. What truly happened that night with the dragon? In the comfort of his own mind, Arthur admitted that Merlin's explanation of Arthur slaying it was... unlikely, at best, considering that Arthur was unconscious at the time.

"Well, you'd be correct Leon. It took me a while to figure out how to use dragonlord commands, since I never got any instruction on how I was supposed to command Kil- the great dragon. I'm truly sorry that I wasn't quick enough to save the other knights."

Merlin hung his head low, with what looked like shame. Arthur frowned at his manservant. Surely Merlin couldn't hold himself responsible for their deaths? Every knight had similar guilt, telling themselves at night that they should've been faster, should've been better, should've been more aware, then maybe some of their friends would still be with them.

Every knight learned the same lesson: those thoughts were the path to madness. It was disheartening to see that misplaced guilt on Merlin as well.

Luckily, before Arthur had to try to articulate that, Leon seemed to have similar thoughts, and spoke to Merlin with a soft, reassuring smile.

"Merlin, they volunteered for that mission, and they knew the risks. You are not to blame for the dragon's actions. Now please, tell us, how was the dragon actually defeated?"

Merlin nodded at Leon's words, but the guilt remained on his face.

"I, uh, was able to find my dragonlord voice after Arthur was knocked from his horse. He hadn't managed to hit the dragon, and he was about to kill Arthur, but I couldn't let that happen."

Merlin glanced over at Arthur, who was valiantly trying to ignore the warm fuzzy feelings blooming in his chest at the thought of Merlin slaying a dragon single-handedly just to protect him. He wasn't some maiden in a children's tale!

"But, when I gave the order to the dragon to stop attacking, I- I couldn't-"

Merlin swallowed thickly before continuing.

"I couldn't kill him. He was the last dragon, the last of my kin. So, I ordered him to leave. I banished him from Camelot and forbade him from ever harming another human again."

This time, Arthur froze where he was sitting, and he could see that the knights were in similarly tense states. Poor Leon turned a rather disturbing shade of pale.

Finally, Arthur spoke up with a forced calm tone, the type that was only a thin veneer to panic.

"Merlin, you don't mean to tell me that the dragon is still alive? And it could return to Camelot to finish what it started?"

Merlin looked at Arthur and tried to reassure him, but Arthur could barely comprehend Merlin's words through his rising panic.

"Well, yes, he's still alive, but dragons physically cannot disobey orders given by their dragonlord. He cannot return to Camelot at all, unless I call for him."

Merlin tried to give him a comforting smile, but Arthur wasn't sure he could feel any sort of comfort at the moment. He locked eyes with Leon, who wasn't faring much better with his own panic. Dear gods, that monster was still out there! They had all been living under a false sense of security! And all the while, Merlin was smiling at him like there was nothing wrong at all!

Arthur took a deep breath and tried to think through the haze of his panic. Right, Merlin hadn't killed the dragon. That made sense, since Merlin hated killing anything at all, much less the most dangerous monster on the planet. Right. But, according to Merlin, the dragon physically couldn't enter Camelot or hurt any humans.

Information, what Arthur needed was more information. If he had more information, he could come up with a strategy to keep Camelot safe from the dragon indefinitely. Merin's orders had worked for now, but there was no guarantee that those would work forever.

Forever... wait a minute...

"Merlin," Arthur called out frantically, fueled by an awful thought. "How long does a dragonlord's order bind a dragon?" Please say forever, please say forever...

Merlin's eyebrows shot up, apparently not expecting Arthur to ask such a question.

"Well, any dragonlord's order is fully binding to a dragon up until the original dragonlord rescinds the order or the dragonlord dies, whichever comes first."

Arthur felt panic's icy fingers wrap around his heart. Arthur despised even thinking about any hypothetical death of Merlin's, couldn't fathom an empty life as the king without his friend, but this, this information put a whole new layer of dread onto the though, which Arthur previously thought wasn't even possible. He could see the other knights catching onto his logic as well, while Merlin still sat on his log, looking at all of them confusedly.

If Merlin somehow died, then his banishment on the dragon was lifted. And if that happened, there would be no dragonlord left to stop it from reducing all of Camelot to ash. If Merlin died, then Camelot was doomed.

This new knowledge sat heavy in Arthur's gut, putting him on edge. Balinor had been killed from a bandit's crossbow bolt, something that Merlin faced regularly while following Arthur around. All it would take was one lucky shot on a bandit's part, and all of Camelot would die.

One bandit attack gone wrong, one assassin from Morgana, one accident on the training field, one illness contracted from a patient, and all of Camelot would go up in smoke.

Wait... dragons lived for thousands of years... and Merlin would, if Arthur had his way, live for at least a hundred years, but everyone died eventually. The dragon would surely outlive Merlin, and then the only way that Camelot would still stand was if there was another dragonlord! But Merlin was the only one left, and it was passed down from...

from father to son.

Arthur choked on air as he realized it. Good god, what had his life come to?!

If Camelot was going to survive, Merlin needed to have a son, and have one quickly. For the continued survival of Camelot to be ensured, Merlin needed to find a wife and get laid.

Arthur wanted to start laughing hysterically. The fate of his kingdom rested upon Merlin's ability to sire a child.

Arthur stared at Merlin as the other man tried not to squirm under the shocked gazes of all the knights. Ok, he could do this, his kingdom would be safe from the dragon, he just needed a plan.

First, they needed to get Merlin back to Camelot, where he would be safe and away from murderous bandits. That part was easy enough, they were already heading back to the kingdom anyways. The knights had estimated that it would have taken them another three days to reach Camelot, but with all of the knights sharing Arthur panic around Merlin's safety, for both the sake of their friend himself and the kingdom, they were able to make it back in only two days.

For those two days, Merlin seemed more confused by their frantic and panicked behavior than anything else. His shocked and embarrassed face when Percival had helped him on and off his horse - "so he doesn't fall and get hurt", the gentle giant had rationalized - had been very amusing. All the while, Arthur planned out what they would do when they returned and repeatedly reassured Merlin that no, he wasn't too mad about Merlin letting the dragon live since Merlin could at least keep it away.

Then, they needed to ensure Merlin's protection in Camelot. Granted, there weren't many dangers in Camelot, but the clumsy fool could find danger anywhere. With his luck, Arthur would bet that Merlin would trip over some stairs in the castle and wind up bleeding out! That could be remedied by assigning knights to guard Merlin at all times in Camelot and keeping Merlin physically by his side as much as he could. Merlin raised an eyebrow at his new guards and schedule, which kept him glued to Arthur's hip at all hours of the day, but otherwise said nothing (besides a little mocking about how Arthur couldn't get anything done without him. Arthur tried not to think about how the familiar taunt rang far more true than he had ever realized.).

(Merlin, on his end, took these measures as a sign that he had lost Arthur's trust with the admission of letting the dragon live. What else was he supposed to think about knights following him 24/7 and being kept in Arthur's line of sight more than ever before?! Merlin consoled himself that it was by far more lenience than he had been expecting. Arthur hadn't threatened him, he wasn't being executed or exiled, Arthur was still treating him as a friend, and he had every chance to earn Arthur's trust back again. Really, if his punishment as just having to be with his knight friends at all times, then he could happily live with that.)

Still, Arthur didn't know how to go about the final part of his plan: ensuring that Merlin would have an heir to inherit his dragonlord powers and keep Camelot standing for generations to come. Of all of the trials and quests he'd faced, this one seemed to be the most daunting of all: finding a woman attracted to Merlin.

Arthur eventually settled on a plan. He'd have Gwaine accompany Merlin on long walks around the castle and the lower town, and the knight would report back to Arthur on which ladies had caught Merlin's eye, and which ladies Merlin had caught the eye of. Gwaine had a way to spotting attraction between people, something he frequently used to gather ammunition to tease his fellow knights with. With any luck, there would be some overlap between the two lists, and they could find some nice woman for Merlin to settle down with.

After a few weeks, however, Arthur found himself having to re-evaluate his plan. While Gwaine had reported that there were a good number of young ladies in the lower town that seemed to fancy Merlin, Merlin didn't seem to have eyes for anyone, which made their mission trickier.

Eventually, Arthur resorted to inviting Merlin over for dinner with him and Gwen, hoping to flaunt to Merlin how great the married life was and how Merlin was getting older and was running out of time to settle down and have children. To his disappointment, Merlin didn't seem to get the hint, instead telling both of them how much he appreciated them including him in their time together when they didn't have to. Arthur had to swallow back frustrated screams at his friend's obliviousness.

(Gwen, meanwhile, was perplexed by Arthur's push for Merlin to find a wife. At first glance, she would think that Arthur was worried about Merlin never settling down and starting a family, which was something Gwen sometimes worried about as well.

However, Arthur's push was more vehement than a concerned friend's. There was something there, some underlying passion forcing him to push Merlin towards a wife.

When Gwen finally realized the truth behind Arthur's efforts, it broke her heart. Gwen knew that her husband could be a bit old-fashioned in some ways, and that the prejudices that he must have grown up with as a noble were not easily shaken off, but still, that wasn't an excuse to be homophobic towards Merlin!

Gwen had figured out about her friend's preferences during the Lamia's attack, since Merlin was the only man unaffected. Truthfully though, Gwen had suspected long before that, given how Merlin had looked at both Lancelot and Gwaine. And while it was shocking for Gwen, she would support her friend no matter what!

So, she was very disappointed in Arthur's behavior. Arthur must have somehow learned about Merlin's preference towards men during their last quest, and now he was trying to pressure Merlin into finding a wife! She agreed that Merlin deserved a lovely family, but Arthur should not force him into the nobility's narrow definition of family! If Merlin wanted his lovely family to involve a husband instead of a wife and that's what made him happy, then that is what they all should wholeheartedly accept!

Gwen really needed to give her husband a stern talking-to before he could hurt Merlin with his prejudice!)

(Merlin, meanwhile, is far too sleep-deprived and stressed over keeping Arthur safe and the prophecy to even think about romance or starting a family. His disaster bisexual ass has too much on his plate right now.)

So, Arthur tries everything he could think of to find Merlin a wife. Unfortunately, Arthur is not nearly as good of a wingman to Merlin as Merlin was to him. Arthur had hosted many balls and feasts, making sure to invite attractive ladies around Merlin's age, but Merlin didn't even bat an eye at any of them.

Perhaps the only thing more frustrating than Merlin's lack of attention towards any of the young ladies of the court was the fact that, now that Arthur was looking for signs of anyone's affection towards Merlin, he could see how many members of his own court were smitten with his manservant.

And Arthur was just baffled because how?! How was that possible?! That Merlin, a lanky beanpole of a man with a blinding smile and charming wit and unending loyalty and eyes he could get lost in...

Where was Arthur going with that? Oh right. Merlin, with all of the suaveness of a wet sock, was somehow the object of desire for most of the ladies in waiting. Arthur was entirely baffled by it.

And just when Arthur thought that it couldn't get any worse, it did. It got so much worse when his wife sat him down and started lecturing him for some sort of prejudice that he was showing against Merlin by pushing him towards a wife, because apparently Merlin's eyes didn't stray towards women at all.

Look, Arthur knew that some of his own knights preferred the company of men, and he wouldn't begrudge them something like that. To each their own. But if Camelot was going to still be standing for Arthur's heir, Merlin needed to sire a son of his own.

After Arthur explained to Gwen the situation that they were in with the great dragon still alive and Merlin's life being the only thing holding the beast back from destroying Camelot, Gwen also became grave with the realization that they were stuck without a solution that would keep Camelot safe for the next generations.

Arthur moped around for a few weeks, unable to think of a single solution for the situation he had found himself trapped in. How on earth was he supposed to get Merlin to have a biological son if Merlin doesn't even like women?!

Wait, but Merlin had liked a woman, at one point. Perhaps his preferences had changed, but at one point, he was willing to sacrifice himself, to willingly confess to sorcery in front of Uther Pendragon, in order to keep the woman he loved alive. And Arthur knew that love like that didn't die easily. And Arthur should know, since he loved the same woman in the same way.

From then on, Arthur kept a keen eye on Merlin and his wife. He knew that his wife would never be unfaithful to him with Merlin, and Merlin had been nothing but supportive towards Arthur and Gwen's relationship, even when Arthur himself had given up on it. Still, Arthur knew that if Merlin had eyes for one woman in the world, it would have to be Gwen. He saw the way that Merlin looked at Gwen sometimes. Merlin didn't look at any other woman that way.

Gwen had confessed that she had romantic feelings towards Merlin at one point, and Merlin certainly had some sort of feelings for Gwen that went beyond platonic. Arthur swallowed dryly as he thought about it. Could... could that be the only way?

(Cue slowburn Mergwenthur, with Arthur trying to set up Gwen and Merlin together with a heavy heart, while the other two are kinda oblivious and mistake it as Arthur wanting a threesome, which they would be more than happy to go along with, along with Arthur slowly realizing his own feelings for Merlin.)

(Meanwhile, since Arthur's crap at communicating, Merlin doesn't actually realize that it all started because they thought that they needed Merlin to have a son to keep Camelot safe from the dragon after Merlin was dead. Upon Arthur finally telling him, Merlin then has to awkwardly informs them that he's immortal and doesn't really need to sire an heir.

Arthur, understandably, screams into a pillow at the news that his efforts were pointless, while his lovers laugh gently at him and start kissing him to make up for all the stress he had to go through.)

And that's all for this au! I hoped you liked Arthur's himbo-ness shining through one again!

Thanks for reading through my ramblings! :D

Oh it is?- *Pausing between mouthfuls of popcorn*

Could've fooled me 😔

Just shut up!

© Magrete S.