The Mother Who Would Burn His World

With the myth she sold him, he is the son of a god.

Rikka writes her own myths using her proprietary worldbuilding.

She stockpiles burning fuel, collects shards of broken mirrors, and plunders the dignity of the dead - for a mashup of a distorted reality that keeps her son permanently tethered to her.

She tells him his father is a god, but it's never clear if he was born divine or if he only became one after the fact.

Every story she tells is retroactive, shifting constantly to suit her current agenda.

She fills his head with toxic prejudice and racism, teaching him that everyone else is beneath them.

She creates a problem and sells herself as the only solution where she told him to ask his father - the god - for whatever he wants, but since he cannot actually talk to a god, he has to go through her - she is the only medium, the only gatekeeper.

Ask and you shall receive, she says.

But of course, he never receives anything at all.

Photo by Marek Piwnicki on Unsplash

It is just like a charlatan claiming a miracle when water flows from a tap, ignoring the fact that the plumbing was already in place and it took a human hand to turn the handle and - not to mention - the outstanding water bills had to be paid.

She can frame even the most mundane events as proof of her god's favor. Treating her son's business the same way she treats everything else: she attributes his success solely to divine intervention she alone mediates, systematically erasing his actual human effort.

It is damning how she actively positions herself at the center of all tangible hard work - the capital, the sweat, and the human effort - only to launder it all through her own mythmaking.

Consider the situation with her in-laws: they were the ones who provided the financial support for her other son's business, yet Rikka stripped them of that credit entirely, framing the success as a miracle from her godly husband instead.

Or perhaps we've been looking at it all wrong. Maybe it isn't just calculated manipulation - maybe she actually believes it.

It is entirely possible she views herself as having conjured those in-laws into existence before her son was even born, setting the board just to ensure that they were ready for his convenience decades later - and that she also personally oversaw the placement of her future daughter-in-law in the womb.

If that is her internal logic, then claiming the credit isn't a lie to her; it's a statement of fact. Otherwise, one would have to possess a staggering, bottomless ego to lay absolute claim to everything that falls into place.

It is a rigged game. When things go right, it is a miracle, and the credit belongs to her or her god. When things go wrong, it is never her fault; the failure is always framed as someone else' lack of faith.

What is Rikka's actual motive?

Total, unyielding access.

She has no interest in her son becoming independent; she requires him to remain a supplicant, eternally bowing at the altar with her serving as the sole priestess.

He is surrounded by charlatans, cultists, and relic-sellers who bleed him dry. These vultures did not arrive by chance - Rikka hand-picked them, pushing them into his path.

If he wants to make connection with the divine - or find any success in his own life - he must go through her.

Photo by Andrey Shatalin on Unsplash

She is LARPing (Live Action Role-Playing) as Olympias, but she is a total fraud.

The historical Olympias raised a leader to conquer the world, not a collection of dumb, mindless, spineless, and irrational spawn caricatures to serve as her puppets.

Rikka, by comparison, does not foster his growth - she stifles it, placing her need to be needed above his right to exist as an individual.

She is breaking her son simply because she is too possessive to let him go, and she would rather watch his world burn just to keep him sitting at her feet.

I’ve chosen to write parts of Mio’s story out of chronological order because her experience is simply too overwhelming, too complicated, and too difficult to articulate linearly.

I have written some episodes of her story over the past couple of years, and since it’s a developing one, I’m unsure if I’ll be able to write it all completely.

These narratives will be compiled under my Cinderella Must Die collection.

The working title, though seemingly terrible: imagine all the antagonists from famous fairy tales ganging up on Cinderella. That’s how dire Mio’s situation is.

I cannot claim this is purely a work of fiction, as it contains elements of actual events. I also cannot label it as non-fiction, because it’s Mio’s truth. I can only change names and certain details to safeguard my protagonist. For now, let’s just label these as creative non-fiction and narratives.

©Britt H.

Thank you for reading this.

If you’d like to support my writing — you can consider buying me a coffee here Any support holds immense significance for a disabled neurodivergent like me.

More about the person behind the writing in My Introductory Post