Who had amplifiers and whipped cream in the next chapter of Crescent Moon on their bingo card?
BECAUSE YOU WIN.
Who had amplifiers and whipped cream in the next chapter of Crescent Moon on their bingo card?
BECAUSE YOU WIN.
Pics from Netflix Geeked
If you haven’t liked their post on Instagram, pls do so in hopes that it would motivate the writers to give us more instead of less darklina scenes.
We can’t control how the story ends or how canon would be written. But likes wouldn’t hurt to encourage more scenes of them for s2 and thus more inspiration for darklina fanworks (our true shipping lifeline)
"Some Things Cannot Be Undone"
Chapter Six: Act II: Genya (part A)
Everyone had come to expect the General's--and the Sun Summoner's--absence for a day or so following his return. No one had seen Fedyor or Ivan, either, but the two Heartrenders had been apart from one another just as long as the two Summoners had, so their whereabouts were presumed to be just as obvious.
As if the two pairs weren't perfect matches, Genya thought, the perfect examples of what it looked like to be two halves of a whole, so inextricably in love.
Was Ivan really scared when Aleksander opened the door with THIS expression on his face?
The big bad scary general looking like a giddy schoolgirl.
Me knowing e eryone hates Darklina: the Darkling and Alina
Every other s&b fan:
Waiting for shadow and bone season 2
Everyone: excited about new characters and future awesome fights and exploring more characters backgrounds
Me: IS DARKLINA GOING TO GET BACK TOGETHER? I NEED MORE DARKLINA KISSES!
I feel so sad. The best thing to do would be updating a fic because i mean it when i say that comments give me life... But i dont want to write in such an awful mood. Alina had it bad enough in "misclassification" so far..
(I did have a tiny lil bit more angst planned tho...)
guess who started watching shadow and bone this morning and reached ep 7 already
Alina curls into his side, burrowing into his kefta like a little bear when the carriage rolls to a stop. She peeks out, slowly opening her eyes against the rising sun.
"Papa, where are we?" she asks with a pout, grumpy he'd bundled her out of her nice warm bed before dawn.
"You've been so well behaved, malyshka," he says. "And you were so sad when your classmates went on their trip to Kribirsk, I thought I'd make it up to you." He pulls the curtain over the window aside, and she scrambles across the bench to her knees so she can look out.
"Where are we?" she asks again, this time in wonder.
“The Grisha Quarter in Os Alta. All of the merchants here are Grisha, and they are very discreet. They've agreed to help me keep you safe this morning, so you could go on a shopping trip."
Her eyes light up. "Shopping?" she asks. "And you're coming with me?"
"Oh, Alinochka. Did you think I'd leave my precious little sun alone for a moment? No, dearest, I'll be with you the entire time. I think I'll enjoy dressing my lovely girl up."
prompt from darklinastories on twitter
No Star Like Thee
Rating: Explicit Pairing: Aleksander Morozova x Alina Starkov Tags: Established Relationship, Married Darklina, Jealous Alina
Summary: "Alina.” He says her name the way he always says it… to her, it feels like a prayer, like a benediction. Like she is the answer to every question the universe has ever thrown at him in his long, long life. “Do my ears deceive me, or are you trying to say that you’ve missed me?” or: the one where Aleksander returns home from a long trip and Alina doesn't quite want to admit how much she has missed him.
read on AO3 | listen to the playlist
when I started reading the grisha trilogy i was all for darklina because of all the shit I’d seen about mal and the darkling on the internet
like I’d been fully led to believe that mal was this bland 2d and controlling character in the trilogy but then my man came out with line like this
and this is just a few lines from ruin & rising
seriously? I was supposed to be shipping my girl alina with emo darkles when hunk MALYEN ‘MALEWIFE’ ORETSEV was right there? PLEASE
NIKOLAI CASTING RUMORS:
The latest rumor is that Outer Banks star, Drew Starkey, will be the actor playing Nikolai in S&B season 2.
source: Bryce Olin, Fansided
<--- Previous part
If you recall, I mentioned that Soth killed Crysania in Chapter 7. As she dies, she has a flashback to her meeting with Raistlin – during the prologue, he invited her to his definitely-not-a-phallic-symbol Tower, but until now the audience was denied the scene due to a timeskip between the prologue and Chapter 1.
For our purposes of comparison with TGT, the Tower of High Sorcery (Raistlin’s domain in “the fabled city of beauty” Palanthas) is the equivalent location of the Little Palace (the Darkling’s domain in “the dream city” Os Alta). This chapter parallels roughly the time from Alina’s journey to the Palace and her first days there, but also has shades of a scene from her return to the Palace in S&S.
First, the dashing rescue. Raistlin saves Crysania from the spooky forest; it’s very romantic and an obvious contrast to the way he stands by and idly watches Kit nearly get murdered by the Hands of Doom in Chapter 5.
“What was that, speaking her name from the shadows of the oaks? She could see it, standing in a clearing, robed in black. “Crysania,” the voice repeated. “Raistlin!” She sobbed in thankfulness. Stumbling out of the terrifying grove of oak trees, fleeing the bone-white hands that sought to drag her down to join their endless torment, Crysania felt thin arms hold her. She felt the strange burning touch of slender fingers.”
She swoons in his arms, but then:
“...realising what she had been through, and realising, too, that she had allowed him to see her give way to weakness, Crysania pushed the mage’s arms away. Standing back from him, she regarded him coldly. ...How was he capable of doing this to her? Never had any man been able to humiliate her so! Never had any man cast her mind in such turmoil!”
This part where she scorns him because she’s ashamed of showing weakness parallels exactly what he does to her in the prologue. Generally throughout the story, they keep pace with one another in terms of their emotional development and desire for the relationship. The story treats them as equals in terms of agency and it certainly doesn’t take long for them to become equals in vulnerability once Raistlin starts to fall for Crysania at warp-speed. Like her thoughts above, “How dare this woman make me be attracted to her! This has never happened before!” is going to be Raistlin’s constant refrain once we eventually get into his POV.
By contrast in S&B, Alina is very passive in terms of both her thoughts and actions in the relationship, in order to more clearly position her as a victim of this ‘manipulative’ man. At certain points in S&S and R&R, Alina is the one to take the lead, but always in an attempt to manipulate The Darkling. The fact that she attempts to take advantage of his feelings is never given any sort of narrative reproach, presumably because the reader is supposed to assume that his feelings are ill-motivated and thus unworthy of their concern.
In Legends, this avoidance is treated as a flaw in both Raistlin and Crysania, whereas in TGT, Alina is shown to be 'weak' for wanting the Darkling, but as we said in the Chapter 5 discussion about repetition of tasks, it seems to be the case that he is supposed to give in to wanting her and thus abandoning his quest for the stag (and the rest of the plan).
The interactions in this scene are quite opposite in tone to Darklina’s interactions in S&B when the Darkling rescues Alina from the Fjerdans.
“He raised his hood and offered me his hand to help me onto the horse. For a moment, I hesitated. He stood before me, a dark rider, cloaked in black, his features in shadow. ...He had saved my life. And what other choice did I have? I put my hand in his and let the Darkling help me into the saddle.”
When Crysania sees Raistlin as a dark silhouette in the shadows, she’s so happy to see him, and it’s only after she gets embarrassed about falling into his arms that she gets angry with herself and pushes him away.
When Alina sees the Darkling, she sees him as a sinister figure. Presumably this is supposed to be foreshadowing of his true nature, an instinctual warning that Alina disregards reluctantly, not because she wants him, but because she thinks she has no choice but to go with him.
In both cases the woman does first, unconsciously, the thing that the story wants her to do by the end (for Crysania, to love Raistlin; for Alina, to reject the Darkling), and then forces herself to back down, but a difference in the effect of the scenes are perceived is created because of the advance warning we have of Raistlin’s scheme.
Crysania’s scene is more tense because the reader is already aware of the danger she is unwittingly heading into – by backing away, the reader thinks that she is doing the right thing by resisting what we know is Raistlin’s manipulation, although later on it will turn out not to be so simple as that. Crysania maintains some dignity and strength, whilst Alina merely appears standoffish and ungrateful because the reader has no reason to doubt the Darkling’s integrity except for the nasty rumours we have heard about him, which in any more generous story would exist only to be proven untrue.
Crysania remembers a conversation with Elistan which is broadly equivalent to Alina’s fight with Mal in S&B.
"He was surprised - and alarmed - at hearing Crysania had been invited to visit Raistlin in the Tower - a place where now beat the heart of evil in Krynn. Elistan would have forbidden Crysania to go, but freedom of will was a teaching of the gods. He told Crysania his thoughts and she listened respectfully. But she had gone to the Tower, drawn by a lure she could not begin to understand - although she told Elistan it was to 'save the world.'"
This conversation is much less aggressively confrontational than the scene in S&B. She's too embarrassed to tell Elistan that Raistlin kissed her - uh, "charmed" her - she can't even think the word "kiss". It still achieves the purpose of raising the narrative tension by showing that she's wading into something she isn't emotionally prepared for, but it's so much less hysterical and humiliating than the Mal/Alina fight.
Other people (mostly old men) telling Crysania how terribly naughty she is for chasing after this bad wizard is something that happens quite often in this book, but unlike Alina, Crysania is allowed to make her mistakes and suffer the consequences (once again, remember that she is currently dead) rather than being immediately smacked down and then 'saved' from having her purity sullied, as Alina is when Mal warns her against the Darkling and then immediately afterwards Baghra tells her to run away, following which she must be rescued by Mal again.
It’s actually Raistlin that saves Crysania here – he needs her alive, so he does some magical finagling to make it appear as though she’s merely comatose, then puts Caramon, Tas, and Bupu (more on Tas and Bupu in a couple of chapters’ time) into a magical sleep, and summons the mobile Forest of Wayreth (where the mage Conclave is stationed) to surround them, knowing that the mages will do what they must to free Crysania’s soul from stasis.
"She was too startled by the fact that people lived here. How silly, she scolded herself. What kind of monster have I pictured this man? He is a man, nothing more. He is human, he is flesh and blood. The thought relieved her, made her relax."
I'm fairly reminded of the scene in S&S when Alina goes to the Darkling's quarters for the first time:
"A servant had lit the lamps in the Darkling's chamber. I surveyed the room and let out a long breath. What had I been expecting? A dungeon? A pit? That the Darkling slept suspended from the branches of a tree? ...It was good to know that some part of him was still human, that he laid his head down to rest at night like everyone else."
In Legends, the readers' anxiety rails against Crysania's comfort, because we've already been told that Raistlin is putting it on, but she's allowed to fall for it and consider him human (which he certainly is).
In S&S, this passage is immediately followed by one of Alina's long-distance visions of the Darkling, which terrifies her and emphasises the ‘unnatural’ nature of their bond. She's immediately punished for considering his humanity; the scene seems to exist solely for the purpose of disproving it.
"What is this fruit?" Crysania asked, picking up a piece and examining it in wonder. "I've never seen anything like this before." "Indeed not, Revered Daughter...Shalafi has it brought to him from the Isle of Mithas." "Mithas?" Crysania repeated in astonishment. "But that's on the other side of the world!"
Meanwhile, in Ravka:
"...I saw with astonishment, sliced plums that must have come from a hothouse. A servant brought us hot tea from one of the large samovars. "Sugar!" I exclaimed as he set a little bowel before me. ...Sugar had been rationed in Ravka for the last hundred years, but apparently it wasn't a novelty in the Little Palace."
In Legends, the reader already knows this is all fake, and is waiting for the rug to be pulled out from under Crysania; the intimate nature of the scene also makes it an obvious Persephone allusion, whereas in S&B this is merely the first time that Alina has been happy and properly fed and thus it’s very cruel when her life at the Palace is snatched away from her.
I won't go through every little detail of this chapter; by now it should be obvious that the goings on here are well-matched with Alina’s various experiences at the Little Palace.
"What marvelous hands you have," Crysania said, without thinking. "How slender and supple the fingers are, and so delicate." Suddenly realising what she had been saying, she flushed and stammered. "B-but I-I suppose that is requisite to your Art-"
Female Gaze: The Novel
I won't quote them all but this is every other chapter with these two. Crysania knows what she likes in a man, and good for her.
TGT is much lighter on description than Dragonlance, but the Darkling’s hands and fingers are variously described as “long”, “white”, “strong” and “graceful” , which is more adjectives over the course of the trilogy than anyone else’s hands get. It’s an implicit rule of fantasy that wizards should have nice hands, as a consequence of their usual indoor lifestyle and a mark of refinement, in contrast with the of clumsy appendages of more brutish types - Mal is said to have hands that are “rough” and “calloused”.
This is a bit of a tangent, but all the Dragonlance characters have canon stats and this is not so much random fluff as it is in-story acknowledgement that Raistlin has high Dexterity; I think there’s an even chance that the Darkling's disappointingly seldom-seen knife kink is a holdover from Raistlin's silver dagger, which is a Dex weapon and a D&D mage’s traditional last resort, being the only physical weapon their order permits them to wield.
Returning to the point I raised in the Chapter 5 commentary about Raistlin and the Darkling being opposite in terms of their personalities, motivations, and self-image: Raistlin really is out for himself first, the rest of us are just lucky we get to come along for the ride because it makes him feel magnanimous to look after all the little weak people, and he has never hesitated to tell us so:
"Yes, I was weak. Yes, they protected me. But some day, I vowed I wouldn't need their protection! I would rise to greatness on my own, using my gift - my magic!...For what I have sought - power. I don't need them - any of them – anymore."
It’s unimaginable that the Darkling would ever say anything like this to Alina. The only way it’s possible to get this kind of interpretation of the Darkling is by asserting that everything he has done and wants to do for the Grisha and for Ravka is just an excuse for him to amass personal power. Even his own internal POV narration in RoW is entirely focused on (what he perceives as) the good of Ravka, so taking that line also necessitates the argument that he has no self-awareness.
I find it strange that, according to the infamous June 2012 blog post on Once Upon A Bookcase that sparked this whole controversy, Leigh herself considers Raistlin to be the least bad of her Bad Wizard list ("not quite bad enough"), but she still made the Darkling arguably less bad than that.
“But this power is evil!” Crysania said, leaning forward in her chair and regarding Raistlin earnestly. “Is it?” asked Raistlin suddenly. His voice was mild. “Is ambition evil? Is the quest for power, for control over others evil? If so, then I fear, Lady Crysania, that you may as well exchange those white robes for black.” “How dare you?” Crysania cried, shocked. “I don’t--” “Ah, but you do,” Raistlin said with a shrug. “You would not have worked so hard to rise to the position you have in the church without having your share of ambition, of the desire for power.” Now it was his turn to lean forward. “Haven’t you always said to yourself – there is something great I am destined to do? My life will be different from the lives of others. I am not content to sit and watch the world pass by. I want to shape it, control it, mold it!” Held fast by Raistlin’s burning gaze, Crysania could not move or utter a word. How could he know? she asked herself, terrified. Can he read the secrets of my heart? “Is that evil, Lady Crysania?” Raistlin repeated gently, insistently. Slowly, Crysania shook her head. Slowly, she raised her hand to her throbbing temples. No, it wasn’t evil. Not the way he spoke of it, but something wasn’t quite right. She couldn’t think. She was too confused. All that kept running through her mind was, How alike we are, he and I!”
Perhaps TGT’s theme about “the lure of power” (quoted in the Chapters 1-4 commentary) being inherently corruptive owes something to this conversation, however Dragonlance has got no business pushing that message when half the main cast are the leaders of nations or religious groups (not to mention the fact that the source material is a TTRPG where levelling up, performing epic feats and amassing magical loot are core aspects of the gameplay). Its position on power and ambition is specifically that 'desire for power is corruptive if you desire power for selfish reasons'. The in-depth discussion on the concept of ‘balance’ in Dragonlance is still to come, but briefly, the story recognises that qualities usually associated with “evil” such as ambition are beneficial and even necessary to have in measured amounts, and the trouble only begins when a person’s 'evil' traits too strongly overrule their 'good' traits.
In (present day) Krynn, political, spiritual, physical and magical power are all clearly separate things, and as we discussed in the previous chapter, the characters can choose to sacrifice (or be forced to lose) one type of power in order to gain another type, and so loss of power can be seen as an exchange rather than a narrative punishment.
TGT tends to get rather confused on this point because of the fact of Grisha power being tied to physical health and immortality, and Alina’s status as the Sun Summoner also giving her political and religious status. For Alina to have all the power is deemed by the story to be ‘too much’, and therefore she is made to lose all of it; this arbitrary rule deems it wrong for the Darkling to become ruler of Ravka because he is also immortal and a Grisha and will use his Grisha powers to enforce his will, whilst Nikolai is a virtuous absolute monarch because he is an otkazat'sya (who knows how this theme is supposed to apply when it comes to Zoya in RoW).
As I have said before, Crysania is a much stronger character than Alina, so Raistlin just exploits what's already there - she already knows she's destined to be the hero, whereas Alina starts out with negative self-worth and in order to ‘manipulate’ her the Darkling has to convince her that she's the only one who can save the world, it takes a long time for her to start to believe she actually is important, then 'the reveal' happens, and for the rest of the story Alina keeps on insisting that she doesn't really want any of this power or importance, but she gets punished for it in the end anyway.
"How alike we are - he and I!"
I don't think this is where Like Calls to Like comes from; I think that's more a reference to real life concepts of Hermetic ("That which is Below corresponds to that which is Above") or sympathetic magic:
“If we analyse the principles of thought on which magic is based, they will probably be found to resolve themselves into two: first, that like produces like, or that an effect resembles its cause; and, second, that things which have once been in contact with each other continue to act on each other at a distance after the physical contact has been severed.” - The Golden Bough: A Study in Magic and Religion, Sir J. G. Frazer (1922)
Unlike Alina, Crysania was born into a wealthy noble family and is very sheltered. Raistlin forces her to watch conjured visions of all the poor and homeless people in the city, “Bars, brothels, gambling dens, the wharves, the docks...all spewed forth their refuse of misery and suffering before Crysania’s shocked vision...” Relentlessly, he expands the visions out and out until Crysania has witnessed all the suffering of all the people in the world.
She collapses with grief, he holds her. They sit up all night talking about Raistlin’s plan to “change the world”, but the reader still isn’t told what it is. Crysania’s faith is clearly starting to waver, but she holds out on him because she believes the dream vision Paladine sent her was intended to warn her that Raistlin’s plan would “cause the world’s destruction!”
“You cannot do this,” Crysania whispered. “It is wrong, you must be stopped.” She held onto his hand very tightly. “Prove to me that it is wrong,” Raistlin answered, drawing her near. “Show me that this is evil. Convince me that the ways of good are the means of saving the world.” “Will you listen?” Crysania asked wistfully. “You are surrounded by darkness. How can I reach you?” “The darkness parted, didn’t it,” Raistlin said. “The darkness parted, and you came in.”
Raistlin is one of those people who constantly lies to himself in order to hold onto his sanity and pretend that he isn’t completely miserable and that he likes being all alone and doesn’t need love from anyone (his previous tirade about how he no longer needs protection also comes off as protesting too much). This chapter isn’t in his POV, so we don’t have access to his internal thoughts, and it’s up to the reader to decide how much of this is him trying to appeal to Crysania’s pride and self-importance, and how much is a subconscious plea from arising from a secret hope that his mind can be changed, that he doesn’t have to go through with whatever it is after all.
The imagery in this scene of a man drowning in darkness and a woman as a beacon of light is the same imagery used in the camp scene where the Darkling tells Alina that only her power can help him to “change the world” by destroying the Shadow Fold.
“I’ve spent my life searching for a way to make things right. You’re the first glimmer of hope I’ve had in a long time.”
Once again, we know that Raistlin is trying it on here, but as the story progresses he will be caught in the trap of his own pretty words; the Darkling is being completely honest, but his hopes will ultimately be dashed when Alina betrays him.
“Slowly, gathering the folds of her white robes in her hand so that she did not trip, Crysania descended the stairs. And kept on descending...down...down...into unending sleep.”
“I looked up through the broken beams of the barn’s roof to the night sky. It was full of stars, but I could only see the endless reaches of darkness between them. I imagined myself standing in the dead silence of the Shadow Fold, blind, frightened, with nothing to protect me but my supposed power.”
Both of these images – Crysania descending into ‘unending’ darkness and Alina looking at the stars in the night sky – are recurring images in their respective texts. The main difference is in the level of agency afforded to the female MC.
Crysania consistently and deliberately chooses to walk into the darkness. She disregards the warnings of her allies and superiors until in the end she is completely unable to escape the darkness, but her actions are always presented as being her choice, and thus she earns her fate.
The use of this imagery in relation to Alina shifts throughout the story, but in this first scene, she is completely passive, presumably in order to communicate how powerless and unimportant she feels at the beginning of her story.
I think the most important distinction to note in this chapter is that Raistlin’s pursuit of Crysania is overtly, almost aggressively romantic right from their first encounter in the opening scene, both in terms of his actions and in the way it’s framed by the narration. Legends often lets its subtext carry the romance - Raisltin’s invitation to Crysania in the prologue is labelled a “proposal”; at one point during this chapter, “Raistlin’s voice seemed to come from the flames”, and Crysania replies “to the flames”. Fire, beyond being an obvious symbol of passion, is used to represent the crucible within which occurs the “alchemical marriage” that I described in the prologue chapter.
He deliberately targets her sexual repression and inexperienced curiosity, whilst assuming that he himself will remain immune to any such folly. He spends time alone with her and always makes her the centre of attention. Considering that prior to the prologue they have never met and know one another only by reputation, he seems unnervingly attuned to what she likes, and so it’s easy to interpret this as profound natural compatibility.
Regardless, he doesn’t mean to make good on his apparent intentions, and although Crysania apparently has some indispensable role to play, he excludes her from his glory, saying “I will change the world.” (not “You and I are going to” etc).
Raistlin decides that he has to get Crysania to fall in love with him because that is the only way he will be able to convince her to help with him his plan. His actions genuinely feel manipulative (because they are), but the other characters and even the third-person narration all pile on trying to make the reader believe in this as a true romance, even before it starts to go that way in-story.
Legends quite desperately keeps doling out all these hints and hopes that Raistlin does have some real feelings for Crysania (and his brother and his friends) despite his wickedness, because in Dragonlance the ability to love is what makes a person worthy of being loved in return, and love earns forgiveness.
In R&R the Darkling tells Alina that he “seduced” her because he “needed [her] loyalty...needed [her] bound to [him] by more than duty or fear,” but that supposed original intent hardly seems borne out by his actions in S&B. The Darkling and Alina slowly build up a connection over time, which appears to surprise even him. The couple of heart-to-heart conversations they have at the Palace are impromptu, unless he has cunningly planned in advance to be ‘interrupted’ by Alina during his visits to Baghra. Is he pretending to constantly look “ruffled”, “genuinely baffled”, “surprised” every time he is around her?
He seems to be quite uninterested and in fact treats Alina with great indignity during their first meeting, where he talks to everyone else before her, stabs her in the arm with a knife, and hands her off to Ivan like “a sack of potatoes”; on the journey back to the Palace he starts to give her his personal attention but nothing that seems untoward, except for perhaps the part where he holds the back of her neck on the horse (but then, that can be fairly easily dismissed by the fact that an amplifier needs to be in direct contact with skin to work, and Alina’s neck is likely the only bare skin she has other than her face and hands). Alina herself seems to think nothing of it. At the time she is too tired to think clearly, but she never reflects on it later.
During her time at the Little Palace, Alina “rarely saw the Darkling, and when [she] did it was from a distance, coming or going...He never said a word to [her], rarely even glanced [her] way.” She becomes desperate for scraps of his attention and is paranoid that he’s ignoring her; since we never see his side of it, it’s not really possible to tell whether he’s deliberately winding her up, or whether he's...actually just really busy because there's a war going on, and she needs to focus on her lessons, anyway. Even when he calls her to his office during dinner, he doesn’t sit up with her for hours like Raistlin does with Crysania – they have a short conversation about nothing interesting, and then he dismisses her.
The Darkling doesn’t really seem to care whether Alina feels anything for him at first, hence his initial poor treatment of her. He expects her to help him ‘destroy’/control the Shadow Fold not for him, but for the sake of the Grisha and Ravka – for their people. Nevertheless, he gets progressively more emotional and 'human' from the camp scene to the “kefta will be black” scene to the couple of scenes at Baghra’s hut, as any ‘trustworthy’ love interest would, but after ‘the reveal’ the reader is apparently supposed to stop sympathising with him, even though he still has feelings for Alina, because in the Grishaverse, love is not enough to make a person worthy of care. The argument that his love is selfish because he only loves her ‘for her powers’ is too awkward to countenance because of the way that Alina’s powers are explicitly stated to be an intrinsic part of who she is. The argument that he loves her ‘for her pliability’ also has holes because he tells her that she is meant to be his equal and his balance and “keep [his] powers in check”. Whether this is his believed truth or ‘manipulation’ cannot be proven (as usual) because the idea of whether there actually is some kind of destiny or higher power that caused the advent of the Sun Summoner is never explored in the story.
“The darkness parted and you came in” The audacity of this man, what a fucking faker, I love him
This is why I can’t take the Darkling at all seriously as some kind of ‘master of seduction’ or whatever Leigh wants me to believe.
Raistlin is all “Revered Daughter you are so special, let me put my arms around you, I will stroke your hair, do not fear” every five minutes, he’s a damn menace.
The Darkling hardly even does anything. He just...talks to this girl a couple of times, falls for her (seemingly because of his own romantic idea that this is ‘destiny’, rather than anything Alina does), the two times he kisses her it's apparently unplanned, and it’s only after she dumps him that he starts up with the personal space invading and the double entendres, because he may as well go for broke since he’s got nothing to lose.
I could have kept going on this point forever but it was just turning into words words words words words all saying the same thing – I was convinced that Raistlin seduced Crysania over the course of about three conversations because I could see how much effort he put into it (bless his heart) and she actually acts seduced. The Darkling had months to work on Alina, but he doesn't succeed because he doesn't pay her enough attention to get her out of that 'whatever would he see in poor little me' angsty stage. He’s so bad at this I feel sorry for him.
Why do I feel like Ben has a lot more substantial access to the writer’s room than he’s letting on??? On that note, I realized that that S&S bond scene will not get the same treatment because Ben is the King of Consent.
S&B but make it book quotes (2/?)
The Darkling regarded me in what remained of the twilight. I had the disquieting sensation that I was being studied.