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King Midas’ Speculated Involvement in Fall

These are all the possibilities I can think of. If anyone has other ideas, feel free to contribute! Skip to the bold text if you're not interested in the less Midas-related parts.

A young King Midas was promised to feature in Fall, and the Schools turn gold and glow with a magical aura in the Fall trailer, so I assume that must be his influence. I doubt whether the Schools turning to gold should be taken literally though, considering the dark sea on the cover of Rise was just part of another setting, and the Schools didn’t actually rise out of the sea. However, in the main series, every time the Schools were altered (it happened thrice) the covers were accurate to their current state.

Soman once said (on Twitter, probably?) that there were loads of Easter eggs in the Fall cover reveal video. So far, there’s the popular imposter theory/eye color swap, and the shattered sky. I don’t think I see much else that could be important.

The brothers also have winged shoulder-ornaments and some kind of sternum-jewelry, which I could see as being vaguely Storian-shaped, like in a “you can’t shake off the yoke of fate” way.

I am considering the possibility of wizard wishes and someone’s Celestium being involved because no natural sky looks mirrored like that. The shattered sky or glass could represent Rhian and Rafal’s relationship falling apart, if it is symbolic. And, if Celestiums represent a wizards psyche, that wouldn’t be too much of a stretch, especially if one of the brothers goes “psycho.” I also wonder if Soman’s been taunting us, and that one of the brothers could die from being struck by lightning.

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Anyway, here my predictions for Midas’ role:

1. The parent of a student or alumnus. Seems unlikely given that he’s young.

2. Rhian’s love interest. Possible. Also, maybe, Rhian really does love shiny, attractive things, hence the glass castle he had built. I headcanon that he has magpie/corvid tendencies, and could be lured in by gold. This could function like a “Faithful John” arc with Rafal as John to keep his brother grounded. Midas would be cast in the role of the golden princess.

When we think about it: Who’s easily overwhelmed by splendor and drawn in easily, and who’s not? Who’s the gullible, vulnerable one? Will Rhian trade Rafal for Midas? I doubt it because I think Rhian’s learned his lesson twice, but who knows.

3. The brothers appeal to Midas for support, to save their schools. I’d love to see Rafal forced to grovel before a king, but it's more likely he’d threaten Midas with death? This sounds like that dialogue snippet Soman released, about kingdom’s leaders being difficult to deal with.

4. Midas captures both brothers. There’s a chance he’s a villain.

5. Midas kills one of the brothers or turns one to gold. I bet it could be Rafal. He’ll probably suffer physically a lot in this book. Plus, incapacitating the most powerful (and capable) character makes for a dire situation and high stakes. (Sure, Rhian is of equal power but he’s less willing to harm people.) If this happens, it would alienate Rhian, and I bet it would be hilarious to watch him panic at first. He’d be frantic, desperate to do anything. And, desperation could be a good corruption motive for Rhian to become more Evil.

6. Midas wants to capture Rhian specifically. Maybe, to admire him, keep him as a pet, because he’s golden and alive. This would be presuming Midas’ whole court and all his loved-ones have already been turned to gold. (I think he had a daughter in the original story). There might even be foreshadowing in Rise because Rhian was often described as golden. It could be meant to lead up to this. And, it could be fun to read as well as creepy.

7. Midas could produce gold to bargain with Hook or with the possibly Evil Pan. In exchange for their students, to get them back? To make a trade with another Woods leader? To settle other outlying expenses?

8. Alternatively, Midas approaches the brothers. He’d think they can undo his curse, his golden touch. Since they are known as the powerful, immortal twin sorcerers far and wide through all the Woods, we could assume. So, Midas has traveled all this way, and Rafal recognizes he has a bargaining chip here. Midas is desperate. Rafal probably gets Midas to exchange lifting the curse for support or something useful (the monkey's paw? Thereby sealing his and Rhian’s fate as tragic without realizing it.) Then, he and Rhian can get back at Hook, and recover their lost students. But, it may be a Pyrrhic Victory.

Fall Theories on Blood Magic, Homunculi, and King Midas

This was originally going to be my last, long, pre-Fall prediction post. I had other, shorter posts with Rise thoughts and lesser theories, but I don’t have the time to post everything. So, I will likely post those when I go to post Fall thoughts after reading. Even if they become outdated, I may adjust them, or note that they were pre-Fall. Also, I aim to finish my second and final Fall prediction fic before May 2, but I may not. Even if it’s late, I’ll post the fic just in case anyone wants it.

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First, for context:

“A homunculus “[...] is a representation of a small human being, originally depicted as small statues made out of clay. Popularized in sixteenth-century alchemy and nineteenth-century fiction, it has historically referred to the creation of a miniature, fully formed human. The concept has roots in preformationism as well as earlier folklore and alchemic traditions” (Wikipedia).

“The homunculus is a diminutive humanoid creature believed to be created through magical alchemical means” (“Medieval Scientists Tried to Make Little People with Semen, Blood, and an Animal Womb”).

“The Kabbalah, for example, includes legends and stories about the alchemical homunculus, or "little man," and the golem, a kind of proto–Frankenstein's monster. In both cases the idea is that through certain secret magical practices, human beings can share in the creative power of God. To the orthodox believers of both Judaism and Christianity such a notion is considered blasphemous and betrays either the hubris of humanity or the work of the devil” (“Homunculi, Golems, and Artificial Life”).

“Prior to the rise of science and the mechanical vision of human life and the universe, the idea of creating human simulacra had a strong organic foundation. The homunculus was something one grew; the popular belief was that homunculi could be grown from the mandrake root, whose shape lent itself to anthropomorphic speculation. The golem, too, although not quite as organic as the homunculus, was nevertheless not pieced together bit by bit, as Mary Shelley's monster would be; it was fashioned, molded from clay or soil and then miraculously brought to life” (“Homunculi, Golems, and Artificial Life”).

“For the alchemist, matter was not the dead, inert stuff it is for us: it was a living body, one that could respond to a person's attention. As the alchemists transformed the matter in their alembic through the alchemical process, their own inner world experienced similar changes. The entire process centered on the idea of rebirth. The alchemists were to "die" in a sense—to lose their earthly, mortal being—and, if the procedure was successful, would be reborn” (“Homunculi, Golems, and Artificial Life”).

“Death was an essential aspect of the alchemical process; it was out of death that new life could emerge, as it did in the Frankenstein's monster. In Paracelsus's recipe for the homunculus, the horse manure represents the putrefaction needed to begin the process of rebirth. This is the first step in the alchemical work. The old self, the old Adam, must be broken down until we arrive at the prima materia, the primordial stuff, the unformed matter out of which any future creation can take place. The forty days in which the sperma is buried in the horse manure parallel Christ's forty days in the desert, when he is tempted by Satan. This means that the alchemist must undergo trials, must endure some suffering, and that the alchemical process is not something going on outside of oneself but is something that must be lived through. This is also suggested in the idea that the homunculus, the little man who is the alchemist reborn, must be fed by the alchemist's own secret blood. The alchemist's attention, concentration, mind, or soul must be completely focused on the task variously known as the creation or discovery of the philosopher's stone, the elixir of life, potable gold, the universal solvent, and, very often, the creation of the homunculus depicted in numerous alchemical illustrations, often as the god Mercury encased in the alchemical vessel” (“Homunculi, Golems, and Artificial Life”).

“That the alchemists would speak of this in parable, allegory, and obscure language shouldn't be surprising. It's difficult enough for us, who have the advantage of familiarity with self-help and psychotherapeutic literature, to grasp the meaning of rebirth. For the literal-minded of the Middle Ages, who were taught that all magic and occult knowledge was the work of the devil, this would be a subtle notion indeed. The idea that by going through the alchemical rebirth, one would become as Christ—regenerated—would strike them as blasphemous. What was left was the literal idea of making an actual man or woman, just like the idea of making actual gold from lead or finding an actual stone. Yet a famous alchemical maxim reads: "Our gold is not the vulgar gold." Clearly, making material gold was not what they were after. Creating an actual tiny human being was always recognized as a display of power that went beyond nature. This is a dim and distorted echo of the alchemists' belief that their art was against nature in the sense that it both sped up a natural process and redeemed its practitioners from a life lived solely at the natural, Adamic, unregenerate level” (“Homunculi, Golems, and Artificial Life”).

“The imperfection of their creature shows that the magicians, no matter how knowledgeable, are still far short of God, a point that contemporary advocates of "man-made humans" may wish to ponder” (“Homunculi, Golems, and Artificial Life”).

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For background, we know blood magic exists not only in the SGE movie but in the world of the books, to some degree. In the movie, Agatha holds a book called The Blood of the Homunculus, and coincidentally or not, it’s a red and gold book, like Fall. Otherwise, we do know a few other things surrounding blood magic from the main series.

In TLEA, the old heroes of the League of Thirteen, or rather, I think just a select few, paid off a witch to retain their youth or extend their lifespans with a life-extension potion, concocted from an odd mixture of blood and gold. The life-extension potion was also mentioned in the Handbook as well.

Something similar is mentioned in passing in Rise as well. The Pirate Captain was rumored to live on an elixir of blood and gold that kept him from aging. Though, I’m not sure whether you can gain true immortality from the potion. I think it is just a way to artificially prolong a life.

Thus, this potion could potentially have a more prominent role in Fall, especially considering the visual elements of the cover. Rafal and Rhian are dressed in blood red and gold outfits, and if that is not a massive indicator of a plot element, I don’t know what is. I think it’s quite likely that the groundwork has already been set up in canon, in TLEA, in the Handbook, in Rise.

Also, I find the usage of colors on Fall’s cover odd in general. There are probably some symbolic connotations or plot hints, but weirdly enough, I almost never associate Rafal with the color red. (Aside from the Handbook trivia that Sophie named a nail polish color from the line she designed Rafal Red. But, that is her interpretation, not mine. I associate Rafal with black, silver, dark blue, ice blue, and either emerald green, or a cold, wintry, firefly, radium-esque green. I’m convinced he renovated the Schools in TLEA to match Sophie’s eyes, whether it was a conscious decision or not.)

There was also a mention in Rise, I think, about Rafal being capable of using blood magic, as related to his ability to fly, and that Evers can’t use blood magic, which is why Rhian swims. I think this could be proven false, if Rhian goes as far as to do something with blood magic in Fall though.

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My theories regarding blood magic would have to be related to possession, resurrection (likely gone wrong), or raising an army.

I think there is a chance that Rafal could become obsessed with blood magic, and would possibly want to restore the state of the world to its Balance, the natural order of things, but in an unnatural, drastic way, by extreme methods, possibly to also retain his and his brother’s original Good-Evil roles.

If Rafal were possessed by blood magic, corrupted by some new, villainous force or his own greed, then it could explain any out-of-character characterization or his presumed murder of Rhian. Otherwise, he may just be temperamental, unstable, or too ambitious for his own good.

Also, that reminds me, in this particular possession theory, Rhian, no matter what he tries, will not be able to countermand the effects of the blood magic on Rafal’s psyche. The thought brings to mind this excerpt from Beasts and Beauty actually:

And, because the brothers have lost their immortality, they probably need something more: a functional replacement for their former power, more powerful magic than whatever they already have, than their preternatural sorcery, to fix all their problems. The two could see blood magic as the solution to all their problems because desperate times call for desperate measures, and they would become possessed by it as a result of giving up their free will to use it, or through selling their souls in some way or another. I think in many cases, magic tends to come at a steep price, but whether that actually applies in this case, I don’t know. And, by using blood magic that is intrinsically tied to life, they’d also be inadvertently too prideful, bringing about their downfall.

If one of the brothers dies, the other could use blood magic to grant him artificial life, returning as a hollow, empty shell of his former self, a vessel that isn’t quite alive in the typical sense. But, in most literature, having the power over life and death, and giving artificial life tends to be a sort of taboo. It’s simply not ethical, so by doing this, one of the brothers could be crossing the line because it is always dangerous and too prideful for humans to play God. I bet the Storian would not like this at all. Also, if resurrecting one of them backfires or doesn’t work, the brother who’s left alive could spiral into a depression, and could still have some involvement with blood magic or a descent into insanity as well.

For example, if Rafal is alive, he could then, hypothetically, artificially prolong his life after his brother dies, and he wouldn’t have True Love to actually sustain him and his youth. He would continue aging, but his lifespan would be abnormally long, and he’d likely suffer.

Also, this whole creation-of-a-life-through-magical-means is strangely reminiscent of the Spansel from TCY. And, all of this could share similarities with Rafal’s AWWP resurrection and his resurrection of the Old, fairy-tale villains. So, any of these possibilities aren’t wholly implausible.

Another possibility is that Rhian and Rafal, having no support, decide to raise an army of homunculi under their exclusive command to fight Hook, or to contend with any other probable villains of Fall. To back this idea, there are certain existent mythologies with creation stories wherein the human race are little figures sculpted from clay.

Also, any inclusion of such magical or elevated “technology” could be culturally-relevant today, or serve as commentary on current issues regarding genetic modification and the boundaries of what is and isn’t ethical. And, in crossing such ethical lines, Rhian and Rafal could change their own psychology, their inner worlds, by performing blood magic, or tampering with human life.

(This also makes me question whether the brothers have Celestiums. Regardless if they do or do not, I actually have plans to write Rafal’s Celestium someday. It’s already outlined.)

If these ethical debates are transferred over to the context of fantasy literature, to fit thematically into Fall, they could easily be a mirror to our world also. So, including something like this with broader parallels to our world is something Soman could potentially do with the many ways artificial life could come into play in Fall’s plot.

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Then, to go one step further with the blood magic theories: King Midas could be involved.

What if King Midas replaced Rafal, and is the School Master in the main series?

He certainly has the means to do so. He literally has an endless supply of gold at his fingertips. And, he could easily commandeer the Night Crawlers to supply him blood, like how Rafal negotiated with them, and exchanged Hook’s blood for passage to the underwater prison.

This could all add up to Midas abusing the life-extension potion to grant himself near-immortality.

Fall Countdown Day 2: Midas

Not what I'd expected in that I had expected he'd present as Good or more Everish. Again, a potential Rhian love-interest candidate.

Ok, I really appreciate the likely intentional Hamlet reference! Love it. The skull that he looks at, so morbid. All related to the brevity of human life, the fleeting nature of life, that old memento mori theme. I bet he will be a strong carrier of that mortality theme in the book.

"Alas, poor Yorick! I knew him, Horatio. A fellow of infinite jest, of most excellent fancy. He hath borne me on his back a thousand times."

This reminds me of how Rafal figuratively supports Rhian. Alas, poor Yorick! But really, in this context: Alas, poor Rhian and Rafal!

Even the greatest, most powerful people one day die and are buried beneath the earth, to be feasted upon by the worms. Hamlet has the best wit. I loved his “mad” dialogue when I read the play. Anyway, for the purposes of Fall, we all end up in the same place. Physically interred, underground.

And, of course, we're getting imperial Roman vibes from this picture. Midas also has the potential to single-handedly shoulder the themes of greed or avarice in Fall, according to the original myth of King Midas.

Then, there’s the use of purple, a color only worn by the rich in ancient times because it was such a painstaking process to collect the dye and dye the fabric. Also, there’s some version of a laurel wreath at his brow, which is more fitting than a regular crown. The cravat is a good masquerading-as-an-Everboy detail though. Like, it’s definitely believable that Rhian will fall for it. Also, the swash-buckling, pirate-esque boots are the perfect disguise.

Then, there’s the idea of another boy-king. Oh great. He’ll probably be a bit like Tedros but worse. I expect some immaturity in his characterization if the plot goes in this direction. But, he’ll probably be unstable. Definitely emotionally unstable. Yeah, emotionally unstable boys in positions of power are exactly what this duology is all about. So, I wouldn't be surprised at all if he did turn out like this.

Also, I expected Midas to have more of a ridiculous, pompous, Everish personality, but he looks so brooding, so maybe, he'll be more Never-like than I expected. I mean, he's holding a skull, and looks kind of morose.

The mist looks similar to the mist that surrounds the Schools on the cover of Fall. I wonder if it’s significant?

The cage is definitely present and more obvious in this picture as well. Must be some kind of symbolism, or hinting at the actual plot and possible themes of confusion and tainted judgment in war. Actually, I've had ideas about this before.

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The way I could see it playing out is this:

Before they enter Midas' court, Rhian tells Rafal to be polite, if he's capable of it. However, Rafal refuses to bow before a man with less power than he has.

Rhian tells him they are not in the best position to argue, and he'd better keep quiet, submit, and not mouth off to the royalty in the room because they need support to win against Hook. Also, they are in a weakened state because they’ve lost their immortality.

Rafal: And who caused that problem by letting Hook in?

Rhian stops talking. They are not playing the blame game again. Hell knows they've been doing it since the end of Rise, since their students disappeared.

So, Rafal and Rhian enter Midas' court.

Then, Rafal eventually reaches a point where he doesn't respect Midas as a Never. He treats Midas with condescension.

That strikes a nerve in Midas, and Midas doesn't take Rafal's comments in kind.

Rafal says true Nevers like himself take no prisoners, and that Midas is too merciful to have lived this long, and to not have been overthrown. If he didn't have a battalion of advisors and lord-regents to rule for him, since he was a boy, it surely would have happened by now.

And, Midas also reacts with contempt, saying that he'll be merciful, all right!

Rhian is startled, and Midas has him dragged away. And, Midas either encases him in gold to put him in a sculpture garden, or imprisons him in a giant bird cage, likely a golden, gilded one.

Now, Rafal is absolutely gobsmacked, flabbergasted, at how his own plan backfired. He’d only intended to threaten Midas to get what he wanted, an army or support or something else along those lines. But, not for the first time lately, he's underestimated his new foe.

And then, Rafal is dragged away to the dungeons probably, and has to solve this new problem.

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Or, alternatively, this hypothetical could involve Rafal turning into a bird, maybe to infiltrate Midas’ palace, being caged, and Rhian humiliating himself by pleading with Midas to release his brother.

Midas probably agrees to it on one condition: Rhian stays with him. And, in response, Rhian says something like "Never! I must remain loyal to my brother!"

Midas doesn't budge. And, neither does Rhian. After some time passes, and is wasted, Rhian decides to agree, pretends to come around to it, and pretends to fall in love.

Rhian does it so convincingly that Rafal thinks Rhian has abandoned him, and is going mad and lovesick again.

And, this is doing serious damage to their trust.

Until, Rhian gears up to have his heroic moment. The moment Rafal is released, he plans to escape, get both of them away from Midas.

So, Rhian pretends to be seduced, promptly stabs Midas in the back, deserts Midas, and takes Rafal with him.

Rafal is in shock, and is simultaneously so relieved, but still can't fully relax.

He thinks he might be able to trust Rhian now, but is still unsure, because, well, the acting came so easily to Rhian. And, Rafal thinks like a Never, of course, and probably projects intentional Evil intentions onto Rhian (not the accidental: Oops, I went too far and extremist for the sake of Good, and was led astray and manipulated. Not Rhian's somewhat justified victim complex either, no, but real Evil. Or, that’s what Rafal thinks.)

Because, just look at how good Rhian is at acting! What if this was Rhian's plan all along? What if Rhian was pretending this whole time? Because, Rafal’s Rafal and he's paranoid.

So now, Rafal is forever on the lookout, and is observing Rhian more closely than ever before because who knows if he can trust Rhian? Just because Rhian saved him once before doesn't mean he won't try to kill him (again). Then, this could lead Rafal to thinking he has to make the first move, to betray first, so he isn't the one betrayed, who ends up in the losing position.

Meanwhile, Rhian is wondering what is going on in Rafal's head because his brother keeps looking at him strangely. And, not as covertly as Rafal thought. And besides, you can read a person exceptionally well after living with them and knowing them for over a century.

Rhian worries that Rafal doesn't trust him, and only tries harder to make it up to him. But, the continual efforts of "This is why you should trust me" only serve to make Rafal more suspicious as time passes because Rhian is trying too hard to repair their relationship and smooth things over artificially. It certainly doesn't look right, but he's mostly sincere. Rafal just isn't perceiving things correctly because his judgment is clouded by Rhian's earlier display of acting.

Like, how in the world can Rhian switch so quickly? Appear so real. But not be? It's all an act. But still. How? Just how? It's like he's flicked a switch. That's how easily the acting comes. And, it’s unnerving to Rafal.

Rhian is probably innocent though. And, he starts to feel hurt that Rafal won't believe in him or trust him, like ever again, and he starts to become depressed. And, that depression causes him to act unlike himself. Or rather, unlike his usual self, the self that Rafal knows and trusts and is familiar with.

And because Rhian is different and quieter than usual, this only reinforces Rafal's misperception that Rhian is untrustworthy and has something up his sleeve to doom Rafal or be the death of him. Rafal fully believes the betrayal will come from Rhian. That it’ll be dealt by the one person he used to trust. So, he's hurt too, but his pain is in response to his own anticipations, his dread, and his negative, held expectations. Rafal’s not hurt by reality. And, the fact that he's hurt by this, the unreal, and what lives in the realm of possibility, means that Rafal is hurting himself. Sure, there are external factors involved, reinforcing his misperceptions. But, his own mind is working against him. To cause these errors in perception. And, it's just sad.

And, Rhian doesn't know about the prophecy from the Sader who planted the seed in Rafal's mind, to start all this havoc and chaos and unrest. And, that Sader is partly, heavily responsible for the brothers' unraveling.

But, Rhian still worries more than ever because he sees something off or broken in his brother and wants to try to fix it. Yet, the more Rhian does, the more he tries to talk to Rafal or broach the subject of Rafal's mental state, the more Rafal utterly shuts down. And, all this continues to reinforce the problem. But, Rhian is doing it unknowingly, because he's really only trying to put his best foot forward. However, Rafal feels like he has zero people he can be vulnerable with, even if that isn't true.

Basically, each brother acting out-of-character, or revealing other sides of themselves that the other hasn't seen, is what causes them to act out-of-character. It's a vicious cycle, tearing them further and further apart.

Also, keep in mind that I'm thinking about this through a bit of a psychological lens and so, maybe, the plot will be more action-based yet still complex in terms of the brothers' relationship and their characterization. I don't know. But probably, there’ll be more action than this.

It (their downfall) could also be a more simple misunderstanding. It (the eventual ending/fratricide and/or betrayal) could be the result of such a thing, like a real argument, or anything really, no matter how small.

The tipping-point is often the smallest act, the thing that throws everything off balance, to trigger all the rest of the catastrophe, because just jostling something fragile can throw it off balance, in terms of physical objects. And, naturally, this can apply to a relationship too—if it even turns out to be a single, little moment that is possible to pinpoint and identify and define.

This is just one idea. That I somehow feel is likely? Because, at least, I believe in it. The fact that Rafal’s (or Rhian’s) descent into insanity could potentially be paranoia-driven.

I could be completely wrong or off the mark here, but I feel like this makes sense at the very least, and I could be partially right in the end. Partly, because this is based on my "It's not who we are. It's what we do" theory from my post, “Why Rafal Might Still Be a Never and Rhian Might Still Be an Ever.” And, I'm biased toward that theory. In fact, Rafal’s thought patterns in this hypothetical are based off of that other post, discussing his self-inflicted isolation and paranoia.

And, if Rafal’s characterization here seems exaggerated, it could be. But consider: instead of focusing on the positive, on how Rhian rescued him, and appreciating his brother’s heroics and skills as a diplomatic and maybe, more-shrewd-than-he-looks-Ever, Rafal fixates on the negative. Which is understandable. Humans dwell on the negative. We are wired to do so. And, Rafal is probably a pessimist by default.

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An extension to this line of thought:

This is just speculation, but maybe, in TLEA, Rafal projects Rhian onto Sophie, in how Rafal perceives her. See the: “No one will ever love you but me” line. This is given the fact that every time Rhian has fallen in love, it has gone tremendously wrong, and that the only reliable person Rhian has ever loved is Rafal.

In Fall, Rafal could treat Rhian the way everyone treated Sophie in AWWP. Like a ticking time bomb, an inevitability that will only end in disaster because he can’t be trusted. Like he could go off any minute.Because, honestly, Rafal is shocked and astounded at Rhian’s capacity to act and betray others. What dictates that he won’t be Rhian’s next victim? Their love, I suppose, if it's still there. But, I’m sure Rafal will forget about his love for Rhian at some point.

Rereading The Plated Prisoner series to prep for the next book .. and I forgot how much I absolutely HATEEEEE King Midas

Like … how did I put up with him for 3 books …

Doublin' down ⚡️🪽

Strikes from above ⚡🌩️

A king falling with grace 👑🪽

And in the end, is it not the desire for beautiful things that destroys us all?

~gold sinks easy, my poor king midas

And in the end, is it not the desire for beautiful things that destroys us all?

~gold sinks easy, my poor king midas

sketches! twilight princess but with hylian midna and twili link