Os Marotos e o Primeiro Voo
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Ongoing, First published May 11, 2026

A narrativa acompanha os primeiros dias de um grupo de estudantes de Hogwarts, navegando o primeiro ano. A chegada de Y/n L/n e a rápida amizade com James Potter, Sirius Black, Remus Lupin e Peter Pettigrew revelam a formação dos “Marotos”, um grupo dedicado a travessuras e brincadeiras, especialmente contra um certo professor. Conforme o ano avança, uma dinâmica se desenvolve entre Y/n e James, embora ambos neguem qualquer interesse romântico. Estes capítulos revelam uma vida escolar repleta de camaradagem e travessuras cada vez mais audaciosas.
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38 Part
A creeping dread clings to the shores of a dying world. The sun bleeds crimson into a sea choked with silence, where the last echoes of humanity drift amongst the ruins of a forgotten paradise. This is not a tale of monstrous creation, but of monstrous *extinction*. A plague, born not of fever or rot, but of a profound and suffocating ennui, has withered the passions of men and women, leaving them listless, hollowed by a grief they cannot name. The narrative unfolds through journals discovered within a desolate, abandoned fortress – fragmented accounts of a scholar, Lionel, who watches the last vestiges of civilization crumble into dust. His observations are steeped in a melancholic beauty, documenting the slow, insidious unraveling of desire, ambition, even the will to *remember*. The air is thick with the scent of decay, not just of bodies, but of ideals. Every stone whispers of loss, every shadow holds the weight of a forgotten generation. Lionel’s desperate attempts to preserve memory – to catalogue the last songs, the last stories, the last faces – are rendered all the more agonizing by the realization that even *he* is fading, becoming a ghost amongst ghosts. The sea, a constant, mournful presence, mirrors the encroaching nothingness. It is a world adrift, haunted by the ghosts of its own futility, where the final act is not a dramatic struggle, but a quiet surrender to the encroaching darkness, a slow, deliberate letting go of everything that once made life worth living. The final man is not a hero, but a witness, documenting the last, shuddering breaths of a species consumed by its own emptiness.
10 Part
Dust motes dance in the perpetual twilight of decaying Parisian apartments, mirroring the slow rot of ambition within the hearts of its inhabitants. A suffocating stillness clings to these shadowed rooms, where men—and a single, brittle woman—have pledged themselves to a cold, calculated austerity. Not for God, nor for love, but for the relentless accumulation of power, the silent, parasitic growth of influence woven into the very fabric of the city’s underbelly. Each gesture is measured, each glance a ledger entry. The air tastes of stale ambition and the lingering scent of denied desire. The narrative unfolds like a tightening noose, detailing not the act of living, but the meticulous subtraction of humanity. Rooms become tombs, draped in the funereal silks of wealth; conversations are brittle exchanges of debts and futures. A creeping dread permeates the cobblestone streets, where the celibates move like specters, their pallid faces reflecting the gaslight’s sickly glow. The city itself breathes with a morbid pulse—a labyrinth of whispered transactions, decaying grandeur, and the gnawing hunger of those who have sacrificed everything for a throne of cold, indifferent gold. The true horror lies not in what is done, but in the chilling precision with which lives are hollowed out, leaving only the skeletal framework of ruthless calculation. It is a story of shadows consuming shadows, where even silence becomes a weapon wielded with terrifying grace.