Ficool

myth

The Hero Of Misery

This story is entirely fictional. In a world where wars are no longer declared but designed, Grayhaven stands as a model city—polished, efficient, and rotten beneath the surface. Power here doesn’t belong to the strongest or the loudest, but to those who understand status: who has it, who enforces it, and who gets crushed under it. Ethan Crowe, a quiet seventeen-year-old with no ambition to be a hero, survives by observing rather than participating. Invisible by choice, morally unaligned by instinct, Ethan understands one brutal truth early: systems don’t fail—they work exactly as intended. For the wrong people. When a symbolic act of sabotage shakes the city without spilling a single drop of blood, Ethan is pulled into a conflict that has been brewing long before he noticed it. The attack is not terrorism, but an invitation—issued by a darkly humorous strategist known only as Mr. Rook, a villain who values honesty more than innocence and chaos more than peace. As Grayhaven descends into silent war—fought through manipulation, reputation, youth indoctrination, and economic pressure—Ethan becomes an unwilling pivot point. Around him rise allies and enemies his own age: a sharp-tongued girl who laughs at death, a foreign transfer student who questions every rule, a charismatic heir groomed to inherit power, and friends who may one day choose betrayal over loyalty. Romance blooms where it shouldn’t. Comedy cuts through moments of dread. Violence appears not as spectacle, but as consequence. What begins as survival evolves into choice. As the city fractures and conflicts spill beyond borders, Ethan must decide what kind of figure he will become—not a hero who saves people, nor a villain who destroys them, but something far more dangerous: a boy willing to accept the misery created by his actions and carry it alone. In a world addicted to clean narratives and false morality, The Hero Of Misery asks a ruthless question: If justice demands sacrifice, who deserves to be sacrificed first?
Blanc_Dragon · 13.9k Views

I'm Not A Master, I'm A Director (Creating Fate Movie In Nasuverse)

“Director Matou, the magical effects in your fantasy film looked incredibly realistic! How did you pull them off?” “They were real magic,” Shinji replied without missing a beat. “Director Matou, your historical drama was praised for its uncanny accuracy. How did you manage that?” “I had direct consultation from the people who lived in that era.” “Director, in your tokusatsu films, why does the Ultraman-like hero always use Bajiquan in combat?” “Well, that’s because the actor playing him is none other than the founder of Bajiquan himself.” “Director Matou, why do the female leads in all your films look so… similar? Especially all those Arturia actresses with the same name and face?” “That, my friend, is a long story. And it all begins with a certain mushroom-headed man—” “......” . . . . . Shinji Matou. A prodigious talent in the world of film, a renegade magi who defied the orthodoxy of the Clock Tower, and an eccentric summoner who had long since stopped pretending to get along with his own Servant. A director who blended modern cinema with ancient magecraft. A magus who saw the silver screen as a new kind of reality marble. He stood boldly before a press conference filled with journalists, film critics, and confused magi alike. “I am the greatest Master among Directors—and the greatest Director among Masters!” He declared it like a line straight out of his own movie, with all the pomp and confidence of a man who had rewritten the rules of both cinema and sorcery. The hall fell into an awkward silence. And then, in perfect unison, a thunderous cry echoed from behind the curtains— “SHUT UP AND GET LOST!” ×N A chorus of exasperated Servants, all fed up with his antics. Shinji didn’t flinch. He simply smirked, adjusted his director’s beret, and turned back to the flashing cameras. "Good! Now let’s roll the cameras! Scene one—reality itself."
Delizard · 1.2m Views