jaclynhyde

I wrote But Gentle Pulls the Strings for Chocolate Box 2022, and turns out I have a lot to say about it! This post will spoil the fic and Malevolent through public episode 19 (one mention of an episode 20 detail not in the fic). My beta vanishinghitchhiker/Spooky was an absolute wonder and was invaluable for this fic!

The title comes from: The yellow jester does not play / But gentle pulls the strings / And smiles as the puppets dance / In the court of the ~~crimson~~ yellow king
I really wanted to pull in the "King in Yellow is linked with artists" canon from the original canon because that's one of my favorite parts of his mythos! Plus it's supported by John being so fascinated with Arthur's music and poetry, and adds to Arthur's mixed feelings about composing.
The Pastoral Players (which Spooky came up with) is named after the original Hastur, Ambrose Bierce's god of shepherds. The Chamber Theater (which Spooky also came up with) is named after Robert W. Chambers, author of The King in Yellow.
So, The Tempest! I wanted a role that would be tailor-made for Arthur, and the first thing I thought of was one he could compose for. I wanted to use Feste in Twelfth Night, since I composed the music for my college production and Feste's songs are the best. Unfortunately, the rest of the play didn't really fit ~~(especially since Feste isn't involved in the love triangle)~~ outside of Malvolio wearing yellow stockings. So I looked up the characters who sing the most in Shakespeare and realized Ariel would be a very interesting part for John, and the King as Prospero. The lyrics didn't have any fun parallels, so I had to downplay those a bit.
"What do you even plan to do? Interrupt the play shouting 'I object'?" Spooky's comment on this: This is great with the wedding suits later! Me: ...oh
John laughed mockingly. "Says the mouse heroically snatching the cheese he craves." Shades of Patreon's booth!John in this; I cut the other lines where he strayed too far into that but this one fit.
Arthur said, circling John's wrist with his fingers and John pulled his hand free, swatting Arthur's away: Arthur and John spent their time together post-Dreamlands becoming more touchy-feely and that is adorable.
She's probably half a foot shorter than us: She got six inches taller after considering how awkward it would be for her to hold a gun to his temple...
All of the Player's names are from Robert Chambers' KiY stories. Cass Morton is named similarly to an actress friend of my grandfather's (and, of course, Cassilda). She rooms with Cam (Camilla). Bill Davies comes from Spooky and is my grandfather's partner plus a Welsh last name to scare Lovecraft.
"Yes, that's it. We'll investigate the players and stay out of the—Arthur, you're going back into the theater."

"I am," he said, tucking the handbill into his pocket as he crossed the lobby and entered the auditorium.

"Arthur, don't you fucking dare—"

"I know the part," Arthur said, ignoring John's frustrated growl.

"I think we escaped too easily. I think the King let us go." This is where the story started! I really liked Croik's Arthur/John/King prompt about the King giving up on Jarthur but following them to Earth to gloat in his own human body. It tragically didn't end up shippy for the King (well, not overtly), but I loved the idea of the King following them and Jarthur going crazy trying to figure out what his game is. Which I related to, because I wrote about 2/3 of the fic before figuring out why the King let them go.
"That was years ago. My memory's not that good." lbr it probably is
"I don't expect Gielgud, John," John Gielgud, a Shakespearean actor active in the 30s. I was looking for an era-appropriate version of Laurence Olivier.
He dreamed of Shakespeare, of practicing lines, of laughing with his friends while a voice in the back of his mind laughed along. Arthur dreaming of having a good time with his friends, including John, is so goddamn cute
Their only victory was tracing down Cass's phone number to a nearby hotel I spent a few drafts trying to fit in how phone numbers worked in the 30s (no area codes, but phone exchanges covering certain areas) until I finally gave up and left the details vague.
Sandwich research led me to a useful list of what sandwiches were popular in the US in different decades, and also led us to us ordering corned beef sandwiches the next day. (Spooky suggested John's opinion on sauerkraut, as he shares it.)
"He…he thinks he owns Ariel. He thinks Ariel will do what he's told just because he saved him in the past. And he's furious, because something that's his—someone that's an extension of him—isn't his anymore." This is partially analyzing Prospero, but mostly projecting. But also fuck Prospero, he's an asshole.
I really like the idea of John being into acting, taking something that was a hobby(?) of the King's and making it his own.
The gun was really just a massive pain in the ass! I couldn't imagine them not getting another gun once they got back to Earth, but figuring out when they could carry it without making a big plot point out of it was tough. I am very proud of them for not losing the gun in the end! Good job!
"Were you more ethereal back then?" Translation: Were you a twink, Arthur?
"Oh," John said, positively gleeful. Spooky objected to my calling this John's "Oh." moment, but I find that hilarious.
Could John feel the wind, harsh against their eyelids, as well as he? Spooky: Yes, he was just whining about it!
"They could wait just as well with us chained up in a basement somewhere." John's laugh was alarmingly sinister. "Would you prefer that?" things they should have discussed further, in detail
I can't help but notice the variety in your players' accents. Canon-Typical Accents
He let out a puff of smoke, the smell sweet and nostalgic in a way Arthur didn't want to dwell on. Parker's brand!
Spooky encouraged me to push the innuendo in the lock-picking and I approve
He worried at the edge of John's glove. I very much enjoy the mental image of Arthur in leather gloves
The King's entrance and Arthur pretending he needs his lines from John is one of my favorite scenes--writing the King was a lot of fun! In my mind, he looks like Patrick Page as Hades in Hadestown.
He could almost see him, silhouetted against the stage lights, impossibly larger than a human, the stage, the theater. One, I love this imagery. Two, there are hints throughout the fic that Arthur is getting sensations that he shouldn't--almost seeing light and shadow, almost feeling the embroidery under John's hand, feeling the tension in John's fist. Foreshadowing!!! I like to think Arthur and John having time together not spent fighting for their lives would let them grow closer and get more in sync, eventually letting them share control of their body. Arthur didn't quite realize this was happening, but the little blips of sensation got it in his subconscious mind so he knew what to do to confront the King.
The King leaned in, then, and Arthur felt a chill wash over him at the brush of breath past his left ear. Just an extra little fuck you to John!
"Hell is empty and all the devils are here," he murmured. Arthur quoting Ariel quoting Ferdinand.
John being overwhelmed because Arthur suggested he belongs here, ~~with him~~....
There was silence for a long moment, Arthur's arm held fast in the King's grip. I just love the pettiness of the King holding Arthur's arm so John has to take the mask.
So yes, John, I do like you. I enjoy your company, when you're not arguing with me."
"So…never."
"Oh, don't sell yourself short. There's been entire minutes."
"Fuck you," John said, the words belied by the clear affection in his voice. I just love this banter!

Something about it makes me want…" John made a frustrated noise. "I don't know. Freedom.
I don't think I ever created anything myself. I really love the idea of the King being so entrenched in the arts but unable to create anything himself, but John learning how through Arthur's encouragement...
Words were never my forte, really. I can't BELIEVE that the combination of the Chocolate Box delay and Malevolent's early release jossed this before it even revealed. Spooky and I were simultaneously screaming about a) the contents of the poem, and b) the fact that that bastard wrote poetry!
Reciting them…well, it feels more like music. More personal when I say it out loud. I like how this ties in with Arthur writing music for Ariel's lyrics!
It's really something intimate, reciting poetry to someone you—" Arthur stopped abruptly, face warming as he remembered how John had hung on to his every word. Arthur finally realizing how goddamn romantic they'd been
"He can hurt you!" John exploded. And that's what it all boils down to.
And, slipping back from his body, he let John borrow his voice. One of the first parts I wrote! I wanted John to get the chance to confront the King, and with Arthur and the trust he has for John backing him up. Plus using his own words at the end parallels John going from reading poetry to writing his own.
His voice sounded strange through Arthur's throat, smoother and higher than it was in his mind. WOW JOHN'S VOICE COMING FROM ARTHUR'S MOUTH THAT WOULD BE WEIRD HUH
"So many inconsequential details filling your mind. Facial expressions and colors and scraps of scenery you'll never see. So much that you miss what is vital to your survival." Another line I just really like!
"You were so sure that I've been confined to a single body." So what is going on with the Players? I think they're real people, but the King encouraged Cass to found the troupe. They were just a side toy of his, letting him pop in and play roles he liked (and yes, the probably performed the King in Yellow back when they had a different name). Once he lost John, the King started experimenting with the body sharing and was able to bring them to where John and Arthur were. As to how much they know about him...good question!
"After all, you have so much experience drowning people." The absolute glee I felt when I realized this parallel...
But this was his sin to bear. He wouldn't let her be a weapon. Not again. I love the idea that the King can't use Faroe to break Arthur because John did it first. Arthur doesn't feel any less strongly about Faroe, but he can recognize this manipulation for what it is. His guilt is personal.
You'd let that parasite take the only victory you've managed away from you? The King just refuses to acknowledge John, even responding to him by addressing Arthur. John infuriates him.
And it only took one person to change John's life. I would like to apologize to Lilly, who I couldn't fit in without being clunky. You helped!
You think I can't reabsorb him. The first time the King refers to John as a "him." He's lost, and they all know it.
With all this humanity surrounding you, you wouldn't stand a chance. I really like the idea that there was something inside of John, inside the King, that left him susceptible to Arthur's humanity; if Nyarlathotep had been trapped in Arthur's head, I don't think he would have turned out like John. So Arthur played a huge role in the creation of John, but that seed wouldn't have sprouted in concrete without a few cracks. And the King knows this, and knows he's been spending more time with the Players, and realizes that the same thing could happen to him. His relationship with the players isn't nearly as intense as John and Arthur's, of course, but still.
"You've been mine from the beginning." "No. You never had me in the first place. I love that Arthur's answer boils down to fuck you, I'm John's.
"And I choose to stay that way." My fondest wish for Malevolent, with how important choices are, is that Arthur chooses to stay entangled with John.
"You're half a god," Arthur said. "Just half. John is whole." He stepped forward, the arms holding them captive falling away with no resistance. "So keep following us. Throw your tantrums. Put on your plays. I'm happy to dedicate my life to eradicating every last crumb of what John left behind." This is my favorite paragraph and I love writing badass Arthur (and letting him win for once).
"Goodbye, Hastur," said John. I love significant uses of names! I love John using Hastur instead of calling him by his intimidating title!
The last scene was either the first or second thing I wrote--I wanted an endgame where John and Arthur could look at each other, and everything just kind of fell into place around that.
John let out a long sigh. "Arthur, if I could leave this room right now, I would." Spooky's verbatim response when I read Arthur's left feet comment to him.
"Do you love me?" John asked, his voice almost a whisper. I like the ambiguity of using asked instead of recited! (It's not actually very ambiguous, John wears his heart on his sleeve.)
John writes absolutely terrible poetry and shyly reads it to Arthur and Arthur is just overwhelmed with how all this terror and torment and tragedy could have turned into something beautiful. (Not the poetry, it's awful.)