#Because references to Norse mythology

[justliketheseed]

Idk if anyone is up for it but I have a RotBTD genshin impact au and I will makes a whole post of all the stuff that's going on in my head so far

[amphibifish]

i think more heimdallr designs should give heimdallr horns that are not just part of his helmet. i mean thats just me liking to take things literally based off a vague maybe incorrect translation of hallinskiði but i do like to see him him resembling a ram because. i just do

[raining-anonymously]

kennings can be such a tender thing

they can also be kind of rude

[tyrannuspitch]

of course it's perfectly fine to point out the many, many ways in which the thor movies do not represent norse myth in order to teach people what norse myth actually is, but i will sincerely never understand people who do it to like... complain? that mcu thor is "inaccurate" and "bastardised"? like my friend that's quite literally the entire premise. look at him. he has a laser gun. he was a baby during the viking age and if you call him a god he's going to laugh at you. he doesn't know who baldr is. what gave you the impression that mythological accuracy was ever on the table? the mcu isn't even interested in being accurate to the comics.

[galaxionart]

Bad news about Boulder? What did Loki convince Hodr he was a rock again?

what do you mean i have to go to work today. when i just did it yesterday???

[violet-dragongirl]

>_>

[ao3org]

Updates to AO3 "Mythology" Fandoms

Hi AO3 users! You may have noticed that recently, fandoms previously canonized as "Mythology" are being updated to "Religion & Lore". This renaming project is part of a wider ongoing process on AO3 about respectful treatment and naming of various religions, spiritual beliefs, faiths, and collections of folklores belonging to a particular religious or cultural tradition. This includes both major and minor religions, as well as reconstructionist, ancient, and modern religions.

In the coming months, the term "Mythology" is being phased out of canonical fandom names. This is because of its potential for use as a disparaging term, and the way in which it is used primarily for religions which are already under-represented. Since "mythology" has connotations of being fictional or inferior to the religious beliefs of the speaker or writer, and is unfortunately used in this way by some, the decision has been made to replace this term with something that the Wrangling Committee believes is more inclusive and less derogatory.

After extensive discussion between individuals from varying religious backgrounds and beliefs, including wranglers representing the various fandoms which were being covered, it was felt that "Religion & Lore" was an appropriate and neutral way to describe the bodies of faith, belief, knowledge, and tradition associated with many of these religions which were ancestrally imparted and regional in nature. It is also hoped that this will decrease ambiguous or confused use, allowing people to more accurately describe their works and find works in which they are interested moving forward.

The use of "Ancient" in many of these fandoms' names reflects that these countries still exist but now have different predominant religions or spiritual beliefs. For example, Ancient Greek Religion & Lore (as Greece is now a predominantly Christian country) or Ancient Egyptian Religion (as Egypt is now a predominantly Muslim country). Because "Norse" does not refer to an extant country, region, or culture, it is not necessary to specify that it is historical or ancient in nature.

The names of these fandoms will also have the native language piped, if the English-language demonym is significantly different from the native-language demonym or if there is a culturally specific term based on consultation with individuals who speak these languages as a first language. We hope to give representation to the language of the source culture by doing so.

Each of these changes has been and will continue to be carefully researched and discussed with traditional knowledge keepers and researchers from the cultures represented in the fandoms under discussion.

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[dailyadventureprompts]

Hello Dapper. I don’t really expect too much about this, but do you have any ideas for Wargs? They have an interesting relationship with goblins and are weird in that they’re essentially sapient wolf monsters, but I don’t think they’re ever really used that creatively.

Monsters Reimagined: Wargs, wolf panics, and the Economics of Lupophobia

While the surface level answer is pretty simple (warg is a conversion of varger, an old Norse way to refer to mythological wolves like Fenrir) there's actually a surprising amount of material to drill into here on the topic of sapient wolf monsters, especially for someone like me who has a interest in moral panics and mass hysteria events. Wolves were effectively a boogyman for pre-industrial societies, a deep seated generational fear that we only recognize today through cultural relics like the big bad wolf or boy who cried wolf.

TLDR: If you want to do something interesting with wargs beyond just "wolves that talk" I'd advise playing to their folk / fairytale roots. They're creatures of embodied dread, drawn from the stuff of the feywild to sow fear among those who would travel off the path or too close to the wilderness. This lets you tell interesting stories about how the party/major characters respond to fear: Does fear of being attacked in the dark drive the party to make risky decisions that might endanger their quest? How do the villagers react when the wolves are very literally at the door, demanding just one of their neighbours as a meal in exchange for safety?

I'd also advise getting weirder with a warg's powers, playing into that fear of the unknown by doing unexpected things. The party can fight off a pack of wolves, sure, but what does it mean when the lead wolf rips off the bard's shadow and takes off into the night?

Background: If you want a window into the headspace of wolf-panic, think about the neigh omnipresent fear of sharks created by the Jaws franchise. Children who have never seen the movie, let alone seen a shark in person can become irrationally afraid of getting into deep water because they've absorbed the pervasive cultural phobia, which goes onto shape environmental policy as sharks are overhunted or killed out of spite for their perceived threat.

So it was for wolves, even after they were largely hunted to near extinction by medieval and postmedieval societies, the fear of them was so ingrained into cultural traditions that wolf and werewolf panics were a thing that went hand in hand with witchtrails. France had a country wide one as late as the 1760s and the movie based on it ended up inspiring Bloodborne. Alternatively look at the anti-wolf efforts during the colonization of the Americas, right up to the opposition to reintroducing wolves back to Yellowstone park.

On that note (and because we can't have a Monsters Reimagined without some kind of class analysis), lets talk about how these fears are propagated: On many levels it makes sense for everyday people to be afraid of wolves, they're a hunting species that can absolutely pose a danger to us, and when you're living or travelling outside the protection of a settlement you really are vulnerable to a coordinated pack of carnivores running you down.

However, the primary threat that wolves pose to humans isn't predation, it's property damage, specifically in how they kill livestock. While we can talk about individual farmsteads beset by beasts, in reality the herds that wolves were most likely to prey upon belonged to the landowning classes, powerful people who had a profit incentive in seeing wolves driven off or exterminated. This is where you get bounties on dead wolves, not just paying for the value of the hide but actively rewarding people for going out and killing as many wolves as possible to the point of it becoming a profession. This practice has existed for MILLENIA and is still active today, primarily in places where big agriculture influences governments.

It seems incidental at first but then you realize that it fits the model of just about every other kind of cultural panic: widespread ignorance and fear that just so happens to mobilize the populace in a way that financially benefits a select few. You can see the same thing happening today in england with badgers of all things, which have been identified with the local dairy industry as a threat to their herds. This is not only led them to petition the government to cull the badger population, but to put out anti-badger propaganda, eventually turning it into a culture war issure to the point where conservative mouthpieces like Jeremy Clarkson openly encourages killing and gassing badgers on sight.

Returning to the land of fantasy for now: I think it's worth taking the idea of the warg and mixing it with a few other "black dog" cultural archetypes, which can also include the creatures like the shuck or church grimm. In this instance the warg is a sort of curse made manifest, the fear of a haunted place given literal teeth. People who transgress into these forbidden spaces find themselves pursued by a manifestation that dogs them till they're exhausted and vulnerable, much like a wolf harrying its prey.

The bhargest is also of special interest here, considering how I like to relate goblins back to the feywild. You could easily see bhargests as agents of fey that feed on human fear, leading a pack of goblins or hobs that occupy the desolate lands they've called to haunt. My version of Maglubiyet would also delight in employing such creatures as his emissaries.

Going back to the vargr/ Norse mythology angle, it's interesting that most of the wolves that show up are destined to devour something, whether it be a god or celestial certanty like the moon and sun. It's like the concept of an inevitable chase is so fundimental to what a wolf IS that it became a theme of ragnarok's inevitable certantly. Consider having certan packs of wargs be offspring of some fenrir style god eater, beasts of forboding doom who's mere presence is an omen of ill times.

Alternatively, if you wanted to play on the big bad wolf angle, give wargs the ability to take on flimsy human disguises, all the better to get close to their pray and sow fear among the townsfolk. Historical wolf panics after all are not all that different than serial killer panics, and it'd be a fun twist on a traditional werewolf adventure to have the party on a creature that didn't play by the usual lycanthropic rules.

Artsource

[skamenglishsubs]

Subtext and Culture, Young Royals, Season 3, Episode 3

Episode 3 picks up the day after the camping trip, and Wilhelm calls his mom to check on her. She dumps a massive guilt trip on him, maybe unintentionally, and Wilhelm is feeling a little bit down.

Culture: These are Swedish studentmössor. They originated in the 1800's among Nordic university students and they wore them as a common marker. Later, they were adopted as graduation caps for high school students, signifying that they were now allowed to begin studying at a university.

Culture: Valborg, April 30th, is a traditional Swedish holiday where you celebrate the coming of spring with bonfires. It is also the start of graduation season for high school students, and graduates are allowed to start wearing their caps.

Cinematography: This season they started writing most on-screen social media commentary in English, despite those users being pretty obviously Swedish. I suspect it's because it saves them having to subtitle all of them, it makes it a bit easier for all the viewers to follow along.

Subtext: No, keeping up appearances is more important than mental health for the royal family, which is why this is new behaviour that Wilhelm has never seen before.

Subtext: As a reminder of the increased interest, here's a paparazzi intruding on school grounds. Also, where the hell is Malin? Isn't it her job to shoo away photographers?

Culture: Vintern Rasat is a classic Swedish song celebrating spring that's often performed by student singers at Valborg.

Subtext: Boris cleverly offers August individual therapy, something he sorely needs.

Subtext: It's of course a bit ironic that pretty much the entire fandom hates August and has decided that he can't be forgiven or redeemed. Yes, you, dear reader. But Boris lays out a way for August to start his redemption arc. Will it work? Tune in for next week's episode!

Culture: These usernames reek of white supremacy. Norse mythology references are very popular, and 88 means H*il H*tler, so that's the kind of people we're dealing with. The show is also foreshadowing what's gonna happen at the end of the episode.

Blink and you miss it: Linda made Pabellón, a Venezuelan dish. In season 1 we didn't know where Linda was from, but in season 2 she was canonically made as being from Venezuela, just like Omar is in real life.

Subtext: I think August actually cares, Kristina is family to him too, but Wilhelm refuses to treat him as family, so he lies about how she's doing. Not very convincingly, though.

Cinematography: This is an absolutely hilarious shot with a bunch of students anxiously peering out through the windows as the dreaded enemy arrives: Skolinspektionen! Dun-dun-dun!

Blink and you miss it: There's a rainbow flag on the board to the left.

Subtext: Vanessa totally knew she interrupted a makeout session between our boys. Oh, and there's a lot of purple in these two scenes, colour theory exploded with joy.

Subtext: Simon will be proven wrong, someone will be honest.

Subtext: It's also ironic that Simon joins the rest of the Forest Ridge boys pretending to have a great meal together that is totally not stiff and awkward at all, absolutely not.

Lost in translation: Simon Walter says that May 1st is a "röd dag" - a red day, which is how Sundays and public holidays are usually marked in a Swedish calendar. "Bank holiday" is the term used in the UK for public holidays. There are 13 public holidays in Sweden each year.

Culture: Första Maj is the name of the International Workers' Day in Sweden, because it always occurs on May 1st. In defence of Henry and Walter's shared braincell, most Swedes actually don't participate, but it's a bit weird to not even know what it is.

Subtext: This entire sequence shows how Felice's dad tried to stick up for himself, but quickly learned to keep his head down instead and conform and roll with it. And it wasn't just the other students who were racists, the staff was in on it too. This goes for all the shit the students are doing, the partying, the booze, the alcohol, the bullying: The staff is in on it. They know. They're complicit.

And despite all of this, Poppe's immediate answer when asked how his time at Hillerska was, is that it was the best time of his life. This is why schools like this stay the way they are, why they never change, because they're very good and very bad at the same time. Trauma-bonding works, the kids will all get friends for life, they'll forget the shit and remember the good times. They'll become like him.

But when Felice learns what the school did to her dad, she decides to help shut it down, to stop the cycle of abuse. The reason she goes in alone is because she now knows she can't trust her dad, he's gonna defend the school, and she also doesn't want him to know that she snitched.

Subtext: In official surveys, students from schools like this generally rate them very highly. Student satisfaction is very high. Maybe they're lying, maybe they're delusional, but they sure care more about their schools than public school students.

Blink and you miss it: REAL SUBTLE THERE, SHOW.

Subtext: Keeping with the school theme, this is how students defend the shit that goes on. Outsiders are kept in the dark, you don't tell them anything, because they "wouldn't understand", they're missing the "full context", etc. Oh, I don't know shit about fashion, but Fredrika's jacket smells very expensive.

Blink and you miss it: While Wilhelm pinned a polaroid of himself and Simon prominently on his wall, August keeps a similar polaroid of himself and Sara hidden.

Subtext: Micke's redemption arc is in full swing, so why not play a song that reinforces the idea that people can change?

Subtext: August's redemption arc is in full swing, so let's cut to him nervously waiting outside Micke's place for Sara to come home, while the same song is playing. Is he gonna be a villain forever?

Blink and you miss it: Micke introduces himself as Micke af Eriksson when August introduces himself as August Horn af Årnäs. The English subtitles for some weird reason went with "Micke Eriksson of Bjärstad", but that's actually not what he says.

Subtext: Sara is pretty realistic about her expectations of her dad because she's seen this before, but this also applies to her expectations of August, because she knows that he can also slide back into his normal shitty self. Also, she's wearing a purple sweater.

Subtext: In case you forgot, August's dad also struggled with addiction, and died from it, so he and Sara actually has that in common. Maybe there's hope for this redemption arc thing?

Cinematography: I don't fucking know why they included this baking scene. It serves no purpose, and I suspect quite a few people in the production have a serious hand fetish, because what is this? What is this? Also, why are Simon and Wilhelm joining what appears to be a Manor House thing with the rest of the girls? How? Why? This makes no sense! It's very cute, though!

Subtext: Oh ok, we got a social media pic that Sara could see and feel bad for her lost friendships. But man, those Hillerska aprons! On point!

Subtext: This is unfortunately a very common thing for people on any kind of psychoactive medication. How can you tell if you need medication if you feel good right now? Is it lasting or temporary? Can you trust your own brain? Either way, fantastic conversation between Micke and Sara, which starts her on her journey to reconcile with Felice at least.

🎵 I can change, I'm not the same, not forever. 🎵

Culture: The official hat-on-putting ceremony where all the third-year students put on their hats, set to another traditional Swedish spring celebration song: Vårvindar Friska.

Culture: It's Valborg, so Hillerska has their own little bonfire. We saw some students with torches pretending to light it, but it's actually floating in the middle of the fountain so, uh, how did they do that? Normally, your local bonfire or Majbrasa is just a huge heap of wood that you set on fire.

Cinematography: Man, this is a pretty show. Look at that shot. The fire, the sunset, the pool reflection. The end of April is over a month after the spring equinox, so the days are getting longer, and the sun now sets at about half past nine in the evenings.

Subtext: Ok, let's do one more on-the-nose lyrics thing for when August sees Sara back at school. Yes, yes, he needs her.

Culture: I had to post about it immediately after watching the episode, because setting a sex scene to Uti Vår Hage is hilarious. Everyone in Sweden knows it, most people have sung it at school, it's a cute little song about enjoying your garden, flowers, and giving your loved one a wreath of flowers. I can now never hear this song without thinking about this scene. Thanks a lot, show.

Blink and you miss it: Simon fucks Wilhelm. Yay! Versatile supremacy!

Subtext: Sara is still so suspicious of her dad's behaviour, she can't make herself trust that his current good period will last.

Subtext: Even though this dialogue is about how Simon and Sara are so different, it of course also applies to how Wilhelm and Erik were different, because Wilhelm struggles with not being able to handle his duty the same way Erik could.

Culture: Alright, it's time for the actual local Första Maj event in Bjärstad. The town is probably a bit small to have a proper demonstration parade, but there's people with banners and socialist slogans, and a bunch of local organisations have joined in, including Bjärstad BK, the football club Rosh plays in.

Culture: Meanwhile, the absolutely not socialist rich kids at Hillerska are nursing their hangovers and enjoying the day off, and they're doing some yoga and playing some padel instead. As you do.

Subtext: Drugs. He looks like he's selling drugs.

Culture: These apparently confused a bunch of viewers, but they're just raffle tickets. It's one hundred numbered, rolled up, paper tickets stuck on a metal ring. When you buy a ticket you just tear it off at the perforation, and when all tickets are sold you can just break the seal on the ring and pour all the stubs in a bag or whatever so you can draw winners.

Blink and you miss it: Cute kiddo has a pride pin on his jacket.

Lost in translation: The show waited a bit with showing what it says on the banner behind them in the photo, but if you can read Swedish you immediately saw that it says KROSSA ÖVERKLASSEN - CRUSH THE UPPER CLASSES. Oh no, Simon, what have you done?

Blink and you miss it: Like a pack of rabid wolves, the social-media starved Gen Z kids rush to their phones for an hour of glorious feeding on Instagram and TikTok.

Blink and you miss it: I love Vincent so much, he's terrible, but he's just so much fun! The little fist he makes as he says "kampen" just seals it.

Subtext: The show still hasn't revealed the banner text to the non-Swedish audience, but Wilhelm immediately sees it and knows how bad it is and why Farima tried calling him seven times. Also, Vincent is just on a roll here.

Cinematography: Man, this is a pretty show. Look at that shot. Look at how they perfectly aligned the hole in the window with Simon, the police car, and the entrance to their house, as he discovers that someone decided to vandalize it.

[cartoonist-in-theory]

You’re walking down a long quiet road. It’s winter, snow covers the ground, the sky fades gray. All around you are trees that have long since dropped their leaves, cold and dead, waiting for spring. You stop beneath one, eye caught by a striking sight. Amid the bare branches you see a round bundle of stunning green leaves. Hanging down above you are dozens of beautiful little pearly white berries. The fruit tempts you, but you don’t dare touch. Instead you simply admire them. Life among the dead of winter. Mistletoe.

@slocotion Hi, here is my design for slocotion's patreon dyo doll contest. Her name is Haustoria of the Pale. I was very excited to put this together once it struck me. I thought of all my favorite fruits I could have used but then inspiration hit me as I was considering less common fruits and fungi. Mistletoe is used medicinally by some but the entire plant, including its cute white berries, is toxic. Since this is a longer post, I’ll include more notes on my design under a cut but to point out the most important thing, I’ve combined the nature of the toxic berries with some historical+mythological inspiration that I think echoes it nicely.

In Norse mythology, a well known story is that of the death of Baldr. Baldr was the most loved god of the Aesir, so when a vision of his death reached his parents Odin and Frigga, they did all they could to protect him. Frigga sent her servants all over the world to make every creature and thing vow to never harm a hair on Baldr’s head. All but mistletoe promised, too insignificant or too young to make the vow. After it was done, Bladr seemed invincible. Since nothing was willing to hurt him, the gods would sometimes gather around and throw things at him, watching everything bounce off without injuring him. Loki, jealous of the love and affection that was always paid to Baldr, came up with a plan to get rid of him. He had an arrow made of mistletoe and brought it to Baldr’s blind brother Hodr. He gave it to him to throw at Baldr as all the gods pelted him with objects and weapons. Hodr threw the arrow and, since mistletoe had never promised not to harm him, it pierced his chest, killing him instantly... And so Baldr was delivered to the depths of the land of the dead, looked over by Hel.

specific design notes under the cut thank you for looking!

Mistletoe is a very interesting plant to me. It’s not a tree or vine or bush, but instead its an evergreen parasite. The sticky seeds attach themselves to the branches and grow into it with a haustorium, which is a structure that lets them sap nutrients from the host plant. Haustoria’s name is a reference to this structure. “of the Pale” is a reference to not only the color of the berries but the pale gray and white landscape of winter.

Mistletoe berries are heavily toxic but also exist in winter, when other plants may be barren and “dead.” Because of that and their parasitic nature I see them as a sweet little balance of life and death. In addition to that, I use the split colors of the face/mask of Haustoria to reference the goddess of the land of the dead, Hel, who is described as having a body that is half black as death, split down the middle.

The structure of the outfit is inspired by Scandinavian and specifically Norwegian folk dresses, since I’m borrowing old Norse history for more inspiration, it seemed fitting. I also felt the style would be good to accompany the botanical and berry designs attractively.

The twin peaked hood is to further split the design down the middle, with little charms to show life and death.

I included white beads all over the outfit to represent the mistletoe berries themselves so they could stand out.

The dark side of her face is adorned with thorns and has three mournful black tears leaking down from her eye, as well as a hollow half of the center heart.

The light side is blushed and lively with shiny eyes, leaves shaped like the mistletoe leaves, red petals like the mistletoe blooms, three white dots to be the mistletoe fruit, and the center heart is full.

Her cape is white on the inside to represent the white of the berries and also the white of snow.

To cap it off, I do believe mistletoe is fitting for a plague doctor as they are still used medicinally to this day. :)

Thank you for reading everything and looking at my design! I’m very proud of her and I hope she doesn’t stretch the theme. And definitely more than anything else I hope you enjoy looking at her!

[filurig]

its been a while but new pareidolia creature!! ive been thinking of making these for a while. in case u don't know what an älgfrode is (a bit more of a niche nordic mythology creature), an älgfrode (or elgfróði in icelandic) was mentioned in hrólfs saga kraka, one of the old norse hero sagas. while the context for that was one specific character i just wanted to make moose people..

more info abt my creatures below the cut...

they wear more clothes than in the ref this is just to show their anatomy LOL. clothing is actually very important to them and textiles will almost always have a role in any tradition/significant social event. their textilework is very renowed and is one of the trades that cause some other vättar to want to trade with them as mentioned in the ref!

one potential reason for their high level of defensiveness is that their species suffers from a higher than average infant mortality rate - with time, this mortality rate has lowered from what it used to be, but when the species first appeared, it wasn't unusual for a mother to have to give birth to many calves before one even made it to adulthood. this rooted a deep set vigilance in them - even now that the rates have stabilised a bit. the high mortality rate was probably due to the affected "shift" gene sometimes activating improperly which could result in stillborns. with time and selective pressure new gene mutations would arise in the species that "counteracted" the instability of the first initial one and made the infant mortality decrease. it is, however, still a little higher than usual for similar species, and so it is traditionally encouraged to have many children.

gender roles for älgfroder are interesting - there is a strong sense of "equal strength", or "laorhgr" in älgfrode, which is important. while males are usually slightly larger than females, there is emphasis on the importance on a pair being able to stand their ground both physically and emotionally to the other and a relationship can only go ahead if a spar between two älgfroder is fair. this extends to an interesting dynamic that involves polyamory. älgfroder can be both monogamous and polyamorous, however polyamorous relationships often only arise when there is a big physical differential between two parties. the belief is that if one party is stronger than the other, that strength can be equalised if the other party is accompanied a second partner of similar strength - usually this happens between one strong male and two females on the smaller end. that way the resulting relationship has achieved "laorhgr". this ofc varies as everything does but ya. basically if you are a big strong älgfrode dating a small petite älgfrode it's seen as shameful and barbaric. there is also a bias to heterosexual relationships as it is seen as an important social duty to at least successfully raise one calf.

dhukohr are the more commonly occuring intersex condition in älgfrodar, but there is an equivalent to it for "males" where they fail to grow antlers and have very small dewlaps due to low testosterone levels - those are usually referred to as kvikohr. they are often recognised as their own gender respectively however there are many that identify as men/women too. some of these dhukohr/kvikohr are actually moreso trans than intersex - simply having utilized faerie dust in order to transition. this can be a bit of an ordeal though because usually this requires being administered it by a tomte which, depending on the settlment, can be a tense negotiation, although individuals usually have a less hard time with that.

älgfrodar and bäckahästar can hybridise and do sometimes produce fertile offspring! i would have to think more about this though erm. but i think it does and can happen. there is a sense of rare camraderie between the two species in many cases but especially so between älgfrodar and bäckahäst communities that choose to spend more time as their faun shift than their base shift - in fact a few of these bäckahästar choose to integrate into certain älgfrode settlements, but this is more of a rare occurance. most bäckahästar that possess "unishift" clothing have actually had them made by älgfrodar, or at least had the fabric sourced from them

[for-a-longlongtime]

Little Beast

Written for @perotovar 's writing challenge 'An Offering of Frith'. The P Boys they had planned were already taken, so I asked for Santiago Garcia and got Fenrir assigned! Pairing: Santiago 'Pope' Garcia x Francisco 'Catfish' Morales Word count: 18.5K Warnings: Explicit, 18+ only, MDNI. 🏳️‍🌈 (DDDNE) DARK fic, AU. Extreme angst from A to Z. Lots of violence (guns, knives, beating, kicking), swearing, hate crime, homophobia (repeated use of a slur), abuse, repeated assault and murder, kidnapping, many mentions of blood and injuries, raiding, (body) horror, nightmares, substance use/abuse (alcohol, cocaine), smoking, arms trafficking, sex work, mental health struggles, trauma. M/M pairing, frotting, masturbation. Norse mythology meets Santi + P Boys meets magic realism in Colombia in the early nineties (so: Narcos related references like Escobar, the Castaño brothers and the Cali cartel).

A/N's: Written in Second Person - not reader insert, but Santiago's POV (aka you are Santi). Not gonna lie, this one is A LOT; writing it turned into some out-of-body experience. More about the gods & characters (and thank you’s) in foot notes.

main masterlist | read on AO3

Bogota, Colombia. 

You’re five years old and your name is Santiago. The house you share with your brothers and parents is small, deep in the comunas, and most people know where to find it. Lots of them will stop by, because of papi’s work, sometimes very early in the morning or really late at night. When you ask what kind of work he does, mama hushes you, and your brother Jay looks away. Your brother Joel however will quietly stare at your dad - too calm, while his eyes are so angry.

You’re seven years old and you still don’t know what your father’s job is. Not a teacher, or someone at the market. Not one of the guys who cleans up the trash on your corner. For a while you thought that maybe he was a butcher, because mami was often cleaning the blood from his clothes. “It stains so bad.” But you’d never seen him in the market, selling his wares.

Every few weeks he is gone for a long time, and often the police will visit the house, which always makes your mom cry.

Every now and then a new face will show at the house, asking to speak to your mother. The girls are always very pretty, dressed in bright colors. The guys often have shiny guns; some of them will let you hold it when mami isn’t in the room.

You see your father all the time when you’re waiting with her at the store. Often he’ll wear a funny looking hat, and sometimes his face looks different. But you know it’s him, always, by the smile and wink he gives you. When you tell mami, she never sees him and starts crying again, so you stop telling her about it.

Jay doesn’t come home often anymore. When you ask Joel if that is your fault, if you made him cry too, he shakes his head. “Don’t worry about it. You’re okay.”

You’re not sure if you are.

When it’s your eighth birthday, your father suddenly shows up with presents that make you the envy of your friends. Boxing gloves, a large pocket knife - that your mom right away tries to take away from you -, and you all eat so much dulce de leche cake.

You wake up in the middle of the night because you hear your father arguing. The loud bangs that follow are unmistakingly gun shots, and you find one of the casings the next morning near the front door. When you ask your mami about it, she gets so angry that you run away from home for the afternoon to hide, until it gets dark and she’s had the drinks that make her happier.

When you got the boxing gloves, you didn’t know that they would also give you more time with your father - but they do. He teaches you how to throw a punch, how to avoid an attack, read someone’s body language. When to attack someone if you need to defend yourself. Which parts of the body are most vulnerable, and where to stab somebody to make them bleed out quickly.

He’s proud, always, as he tells people about how good of a fighter you’re becoming. “Takes after me.” You don’t - not really, but you do your best to make him continue to believe that. Until you start to believe it too and knock out a guy who is twice your age.

When you’re ten, they try to burn down your house. You don’t know exactly who ‘they’ are, but you’ve heard the name El Gran Señor Lorenzano often enough to know that you should fear him.

The first time it happens, your dad is just in time to stop the fire from escalating. The second time, he’s not home, so you do put out the flames together with Joel.

The third time starts with a flaming bottle being thrown through a window, and as you all stare at the sight, the door gets knocked down and men with masks on their faces storm into the house

Your father runs away, seems to escape the men somehow. Your mom is hysterical and won’t listen to anyone, not even when the tall guy hits her in the face, and you want to beg her to not cry because you know it makes men more angry at her. Not even with your fight training do you stand any chance, and all you hear when somebody shoves a bag over your head and drags you outside and into a van, is your brother’s voice - Joel yelling at you to not fight the men and just protect yourself.

You’ve been away from home for almost a year when you turn eleven, to the point that you don’t think of it anymore as an actual place you can go to. You think you’re still in Bogota but you’re not sure. Sometimes they make you get in a truck again, or a car. Almost always you have to hide; you know that they don’t want people to see you. Sometimes there are other people, or even kids, and you’re pretty sure that you’ve seen at least a dozen dead bodies over the past months.

It’s when they send you to training camp that you realize there’s no way they’re ever going to let you go. The training unit is not the army, but it feels like a military group somehow. Maybe this is like the guerilla fighters you’ve heard about, defending your country.

This time you fight without the boxing gloves, using only your hands or sticks, just like the other kids your age are also being trained.

There are five of you, and Ramiro explains to each of you how to get to the location. The white powder isn’t heavy, tightly packaged in plastic, and every step of the way to your contact person you’re terrified of losing it somehow. You know the consequences - have seen the boys who were shot in the head, and the ones who weren’t lucky enough to die so quickly.

The man who is waiting for you is tall, fat and smells like grease and blood. You don’t remember much of what he says, your heart thumps so loud that it feels like it’s inside of your ears as you accept the package he hands you in return.

You’re one of the four boys who make it back.

Gustavo, the fifth boy, shows up two days later. His lifeless body is covered in bruises and blood, and when someone dares to ask what happened, the answer is that rats will be dealt with accordingly. “Exterminated.”

After three nights of solid nightmares and another mutilated body that’s found outside as a warning, you stop trying to think of ways to escape.

You’re almost twelve when you meet Francisco.

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He’s quiet and keeps to himself, but he’s not shy. When some of the older boys mistake that for fear, deciding to taunt him, he doesn’t respond initially. Only once the biggest bully steps right up to him, a sneer on his face, does Francisco lift his eyes to him and stares him down - and you can feel the tension.

You see the twitch of Francisco’s jaw, and even before the other guy takes a swing you know this is not going to end well for the bully.

It’s impressive how fast the new kid tackles his attacker to the ground, blood streaming from the boy’s noise as he scrambles to get away. But Francisco’s hand closes around his throat, keeping him pinned down. In a flash you see a piece of glass held against the boy’s neck, and that’s when you know for sure Francisco learned to fight the way you did. Your father’s voice echoes in your head, “If you stab someone there, it’s all over.”

You want to be his friend.

Not because he’s a good fighter; he’s far from the only one around here. It’s because he seems to be one of the few kids who doesn’t want to fight, just like you.

By the time you’re twelve, you and Francisco - Frankie - have become inseparable. You know that he’s never known who his mother is and that his father was recently killed by Pero Tovar, one of Lorenzano’s most feared men.

While the other kids try to get their hands on cigarettes, or booze, Frankie is just interested in books.

You like watching him read. On the very rare occasion that nobody else is around, he’ll often read something out loud for you. Mark Twain. Something about going to heaven for the climate, and hell for the company.

The first time Frankie reads that aloud, you have your eyes closed while listening to his voice. It makes you think of the ‘business’ your dad would do, or the way Lorenzano’s men would refer to ‘the company’ and ‘the big boss’. Bullet casings and dried up blood, the smell of your mami cooking beans with pork, and how some nights you fell asleep listening to her cry when your father still hadn’t returned home.

The second time Frankie read those words to you, about a year or so later, you realize it isn’t about going to hell for the work you do. It’s about not being alone in hell since you’ve got someone by your side.

The runs you’re sent on to drop off the product are not that bad at first. It’s a relief to be able to walk the streets, not be holed up inside or be in training.

Most of the kids that work for the cartels still live with their families in the comunas. You, Frankie and the others don’t have that freedom.

There are curfews to follow, gun practice, different kinds of training. It’s not the army, but it might as well be.

There often is discussion about the ACCU, Autodefensas Campesinas de Córdoba y Urabá run by the Castaño brothers. But when one of the other boys mentions FARC, he’s immediately silenced with a hard slap to his face by the instructor. “Those fucking communists. They’re the problem, you understand me?”

Pablo Escobar, however, turns out to be one of the few topics that’s welcomed for discussion by your instructors. Sometimes you have to think of the prayer candle your grandmother would light at the small altar in her living room, the framed picture of Escobar on the wall almost as large as the one of your late grandfather.

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Frankie is the only person you confide in, and you listen to the stories he tells you about his father. In return, you tell him about your brothers, Joel in particular - but the nightmares you have that night are enough to stop you from bringing them up again. It’s better not to think of your family; keep them locked away in small boxes in the back of your mind, where you can pretend they’re okay.

You’re both still not sure how you ended up here. When Frankie points out Tovar one time in passing, you recognize the man with the scar on his face as one of your dad’s frequent visitors. And the person who tried to kill him that night they took you away.

You’ve been getting some attention from the girls, but it’s nothing to the amount that is directed at Francisco - not just the girls in your group, but even during a drop-off in the brothels at times.  That’s how you’re both urged to ‘take some time with a girl you like’ when you join Juan for a drop-off. While you’re fucking a brunette who is a few years older than you are, Frankie is getting busy with a pretty red head on the other side of the room. You try to sneak a peek every now and then, but you know you have to be careful. If anyone catches you looking, you’ll get your ass beaten up - but you still can’t keep your eyes off him. 

The girl - Rosa? - under you moans, calls you ‘papi’ as she asks you to fuck her harder, and you do so. She’s tight and wet around your cock, and pretty, and you like her small tits, but your head is too focused on not openly looking at Frankie, making it hard to come. Once you do, Rosa kisses your cheek as she gets up, gives you a towel and she tells you she’s gonna clean up. Frankie finishes up not long after that.

When you’re both waiting in the dark alley out back for Juan to wrap up business inside, sharing a cigarette with Frankie, you can’t help but ask him. “Was it good?” You’re hoping he says no - that you’re not the only one who barely got off. Because maybe you’re not the weirdo if there’s at least one other person who feels the same, who isn’t thrilled like you know the other boys would be. “The girl.”

Frankie shrugs as he inhales the smoke, closing his eyes. “She was friendly. Nice.”

You wait for more words, but they don’t come from Frankie. So you try to force your own words out. “Yeah. Friendly.”

When Frankie opens his eyes again, he looks tired and conflicted. Unsure perhaps. He lifts the cigarette to his lips again, and your guard is down too much to stop your eyes from following that movement. 

His mouth.

Fuck, now you’re really hard. 

“We’re friends, right?” Frankie’s voice is hoarse, and somehow that sound makes your dick throb even more. 

You nod, then clear your own throat when you realize it’s not really all that clear in this dark street. “Yeah, of course,” you manage, trying to remember how long it’s been since you two met. Four, five years?

More of Frankie’s lips around the cigarette, and more tiredness in his eyes. Perhaps the uncertainty in his expression is more like the fear you’ve had beating in your chest now for half an hour already.

“Good.” Frankie nods, and before you can ask him why, he pushes you back against the brick wall, covering your mouth with his. You groan softly, your breathing suddenly so fast as he kisses you in a way you’ve never experienced before - in a way that, until now, you’ve never wanted to kiss anyone.

The sigh that escapes from Frankie’s mouth into yours is quiet, but you can feel the relief in his body when you kiss him back, feel how he grabs your hips and presses closer against you. You’re so hard that for a moment you can’t think straight, not until you feel him grind his cock against you, and then everything just goes electric in your head, because he’s just as hard as you are, and there is no time, because anyone can walk in on you two right now. It’s such a fucking dumb thing to do here - or anywhere.

He whispers your name, making it sound like a question, and when you nod and suck on his tongue, his hands slip from your waist to your ass, grabbing you tight and oh - fuck. Fuuuck. 

It’s not even a minute of desperate kissing, panting, the uncomfortable but so fucking good rub of his cock against yours through your clothes, and before you know it you’re whispering his name too, the word turning into a plea, because please, Francisco, please - and then it’s no longer just rubbing against each other, it’s Frankie actually fucking you against that wall, right through your clothes, neither of you breaking the kiss until you both come just like this. Right in your pants, not even having put a hand on each other’s dick, just pressed so closely together while you’re drowning in the taste of his mouth.

“Hey, assholes. You ready to go?” 

Juan’s loud voice booms through the alley, and Frankie immediately lets go of you like he’s been burned by fire. He moves several steps away, nearly tripping over his own feet, and the fear in his eyes is as loud as the fear beating inside of your rib cage. 

You drop down to one knee and tug at the laces of your sneakers, pretending you’re tying them, giving you just a few more seconds to catch your breath before you need to look Juan in the face, who seems completely oblivious about what he almost walked in on.

“Shithead. Took you long enough to keep us waiting.”

You’re both eighteen when someone catches the two of you. Your hands and mouth on Francisco in places they shouldn’t be, and his hands and mouth all over you. The fact that you’re both still fully clothed is probably the only thing that saves you from a much worse treatment. 

You beg them not to hurt him, tell them to give you the beating twice, even swearing that you were the one forcing yourself on Francisco. 

Somehow you manage to convince them, and it’s the comfort of knowing Frankie isn’t hurt that helps just a little against the abuse. Against the ringing in your ear which lasts for almost a week, the bruises on your ribs where they kicked you. You let it happen, know that it would be better if you didn’t fight back even though you could probably take out at least three of them. It would be one thing if it were just some guys bothering you - but a few of them are part of the leadership, and there’s no going around that. 

You see the anger and helplessness in Frankie’s eyes, the way he balls his fists and looks like he’s ready any moment to tackle the guys. But you know there’s no point in letting him get in between them and you, because you know better than to show any sign of weakness.

It is only once the tallest and older guy grabs you by your jaw, his other hand undoing his dirty pants, that you fight back. In less time than it takes him to growl “let’s see how good you suck my dick”, you kick out another guy’s legs from under him and swipe his knife, knocking your assailant down in the same move. 

“You want me on your dick?”, you yell as you grab him by his balls, jerking his pants down roughly so his dick and balls flop out. Your knife is against the base of his cock before he can even blink, and you stare him down, pressing the razor sharp blade against his skin and not caring if it draws blood. “Dare me,” you hiss at him as you spit into his face. “I’ll fuckin’ cut it off you right now.”

The other men jump you before you can slice into the man’s sweaty pale skin, just a hair away from cutting off his pathetic excuse for a dick and shoving it into his mouth to choke on. Frankie meanwhile has had enough, now launching himself at the biggest men who are holding you back - and if these were any normal circumstances, you’d welcome the help. Instead you just shake your head, begging for him to see that you’re dead serious about not wanting him to interfere.

“No,” you mouth wordlessly, then gasp out loud as you bite your lip until you taste blood, working hard to swallow your cries as someone pulls your arm behind you and breaks at least two of your fingers. There’s no way you’ll give them the satisfaction of hearing you cry, so you just stare at Frankie until you trust your voice to not crack. “Fish, get out. Go back. I’ll be-...”

“Fuckin’ fag.”  

Someone’s steel toe boot lands in your stomach, startling you with the hit of pain, and this time you yell at Frankie as they drag you away - that it will be okay, that he has to lay low and look after himself. The same way Joel had yelled at you when they had ripped you from your home and thrown you in the back of a van.

“You need to be smarter.”

The voice is suddenly so close that it makes you wince. Especially after having been locked up in silence and darkness for two days, without anyone coming to let you out or even say a word to you. “Please, just stop, okay?”, you manage as you get up to your feet, leaning against the cement wall as your head won’t stop spinning. “I haven’t done anything since. Can you…”

“They feed you?”

You stare at the man who interrupted you, trying to focus on the vague outline of his body as you can see - no, feel - him move closer through the darkened cell. “What? Who are…”

“Esdras-... Ezra. I asked you something, boy.”

“No. They didn’t.” You raise your chin up in defiance, even if he can probably not even see it. “I’m fine.”

The stranger hums, pushing some food into your hand. “You need to stay strong. Get stronger, and smarter.”

You can’t help but shove it right into your mouth, and by the time you’ve swallowed all of it your stomach is already hurting. It was a stupid move, and you usually know better; small, slow bites are the best way to eat after having gone without for a while. But the hunger and loneliness had gnawed at you these past two days, making it hard to think straight.

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You’re locked up for a week, but Ezra keeps showing up daily with food. With conversation, too, even if it’s mostly him talking. It remains unclear how he fits into the organization you’ve been with for years now. When he mentions ‘El Gran Señor’, you suddenly remember Lorenzano, the fires at the house, your father as a fading face in the crowd. 

After they took you away, your father never showed up anywhere again for you. Not in your dreams either. You wonder if it’s because you failed him, because you didn’t fight well enough - even though Joel told you not to fight, keep yourself safe. Maybe if you’d been more like Jay, this wouldn’t have happened. 

You only get a decent look at Esdras’ face once. 

His eyes remind you of Francisco.

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Once you’re finally released and sent back to the barracks, it takes just a few hours for you and Frankie to sneak off somewhere. When he kisses you, both of you pretend to not notice the tears that are flooding your eyes. 

Out of that cell, his warm body under yours, it really sinks in what you’ve known deep inside already for months, despite knowing the risks and consequences. 

There’s no way you can ever give this up. Give him up. Not even if they try to beat it out of you.

When Ezra shows up one night, standing at the back of the communal dining area, Frankie tenses up in the seat next to you. He nudges your leg with his foot as he continues eating, then draws your attention to the other side of the room with a barely noticeable flick of his index finger. 

Even when you tell him this is the guy who gave you food when you were locked up, he won’t take his eyes off Ezra. Frankie has always been taller than you, broader, and when Ezra passes your table you can tell by the way he sizes him up that Frankie has already considered at least three ways to take him out.

“Santiago. Tell your guard dog to stand down.”

Slowly you close your fist around the fork you’re holding, your anger right under the surface, but the smirk tugging at Ezra’s lips makes it clear that his words were a test rather than a challenge.

“I can train you. An hour every night. You’re good - but I can make you great.” Ezra nods at Frankie without taking his eyes off you. “If anyone besides him finds out, we’re done and they’ll probably take you away.” 

“And do what?” Francisco is still staring at Ezra, and you’re sure he’s figured out at least one more way by now to take him out. 

“Kill me,” you say, with zero doubt about that outcome, at the exact moment Ezra also says, “Kill him”.

Frankie’s eyes narrow immediately, the muscle in his jaw flexing as he tries to control himself. “What if he says no?”

“He won’t,” Ezra replies simply, at the same moment that you nod and tell him you’re in.

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Ezra is a study in contrasts. He speaks like someone from Francisco’s books, with a slight accent that makes him stand out as much as his blond patch does, and often more candidly than most people are expecting. It’s only much later, when you hear him speak to an American guy, that you realize he’s likely not from Colombia.

“The origin of my story is fairly irrelevant, Santiago.” He waves off your question when you ask him about himself. “Besides, people are never quite so hard pressed to go find Parson on a map.”

He’s worked for Lorenzano for many years now, initially a mercenary who became one of the people highest up in the system. The nickname most people use for him is The Judge, or, if you are to believe the most wild stories about it, La Venganza - The One Who Brings Retribution. 

Lorenzano and Tovar primarily run the organization, neither of them shy about the opulence and violence around them. But Ezra is a third pillar whose sober green-brown clothing often makes him blend in anywhere. Anything but quiet, but focused on other things than his two partners. He’s not keen on having a public face as he prefers to move quietly, getting both the impossible and the unspeakable done.

Most people fear him and it doesn’t take you long to figure out why. The man moves and fights like a killer, striking without hesitation, and you can’t help but wonder if he has had military training. He was right about what he had told you at the start - he did make you better and stronger, in physical combat as well as verbal expressiveness.

Frankie notices it too, even only a few weeks in. “When you get back here, you always look like you’ve been fed,” he remarks one night as you sit on the rooftop with him, gazing out over the thousands of city lights sparkling in the dark sky. “He said yet what he wants in return for all the teachings?”

You shake your head. “I’m sure that’ll come later.” And see, that’s something you still haven’t learned in all those years. It’s hard to look ahead when you don’t know what to expect and don’t have something specific to look forward to.

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You’re still eighteen - or so you think, because it has become impossible to keep track of the days - when you realize that you actually love Francisco. 

As you slice the throat of the guy who tries to attack him, you know that you would do anything for him. It doesn’t matter that it takes you hours that night to wash your blood soaked clothes.

Your mother was right all those years ago. Blood stains are hard to get out of fabric.

Once killing becomes a regular thing of your work for the syndicate, so do the nightmares. It’s not like you didn’t have them before; they’ve always been there, ever since Lorenzano’s men took you away from home. But this time you keep seeing the faces of the men you’ve killed; sometimes one by one, other times all of them together in a room. 

They keep coming back, unwilling to let you rest. 

Sometimes they try to speak to you, other times they can’t. Occasionally you need to kill them again, but their screams get drowned out by Frankie yelling for him - but you can never find him, see him.

You see your brother Joel every night that you dream of the people who died by your hand. 

Half of him looks normal, even though he’s older now: a man instead of a boy, still several years ahead of you in age, and you wonder if this is really what he looks like now. The other half of his body he keeps out of your sight if he can help it, turned towards corpses or soon to be dead bodies that are bleeding out. 

You know he tries to not show you that side of him because it scared you the first time; it was still Joel, but mostly just bones and muscles and tendons, someone who stands half in the world around you and half in the underworld. Worse than a ghost. But still Joel.  

Every time you see him, he tells you to keep yourself safe. “It’s not your fault.” But unlike when you were little, he doesn’t try to tell you that you’re fine. You both know that you aren’t.

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Others also notice how good you’ve become over the past year. How training exercises are a breeze for you, how much faster you are at tactical planning than most others. Now you’re eighteen, both you and Frankie are being watched carefully to see if you have potential to move up in the ranks - something Ezra had already mentioned and prepared you for. 

“Beat them at their own game, little beast. You’re smarter than almost any of them.”

At first you hate the nickname, because it feels like he is mocking you. But that was not Ezra’s style; he is always upfront and open, at times to a fault. Too many years in this place have made you hyper vigilant and protective, quick to attack with bared teeth and intention to take the other person down. But around him that’s not necessary. So you reluctantly accept the nickname, work to do justice to it.  

Once they start sending you off on serious engagements, you find that Ezra tends to be in charge of many of them - the raids, the more undercover missions, occasionally dealing with conflict among stakeholders rather than just being there to clean up a mess. It’s not surprising that you and Frankie work well together in the field whenever you’re teamed up; you both know each other so well, including limits and strength, to the point that you can easily anticipate each other’s moves, and that puts you front and center for effectiveness. 

On the rare occasion the two of you are split up in different teams, Ezra is always assigned to Frankie’s group - something none of you comments on. They’re not exactly on friendly terms with each other, particularly to Frankie always being cautious, but then again they don’t need to be. The mutual respect is reassuring, especially because you’re sure Ezra knows there’s more going on between you and Frankie than the syndicate allows for.

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The next time you dream of Joel, there’s a black wolf cub playing at his feet, gentle and even tempered, playfully nipping at Joel’s fingers. When he sees you, he immediately bounces over to smell you, then happily paws at your legs - just like he’s just any other stray puppy, excited to get your attention and become familiar with your scent. His joy is contagious, and it’s not long until you’re sitting down on the ground to play with him, where eventually he falls asleep in your lap.

When something in the darkness catches your eye, the pup stirs almost immediately from his sleep, picking up on your body language. In the blink of an eye he’s put himself in front of you and Joel, suspiciously eyeing the wisps of smoke that curl from the darkness. He growls low, baring his small fangs as he tries to make himself bigger than he is to face the unknown.

Joel hushes it gently, assuringly. “Little Beast, you’re okay.” When both you and the cub simultaneously look at him, you wonder which one of you two he is talking to. 

Even if the days have become more bearable and lighter since you met Francisco, you still don’t think you’re the one who is okay - and sometimes you wonder if you ever will be again.

Ezra fights dirty. 

Knives, guns, hand-to-hand combat; he always has an extra card up his sleeve somehow. But it’s not the moves or weapon mastery you learn from him that make you better and faster. 

It’s the resilience he teaches you. Clearing your mind, striking without hesitation. Thinking ten steps ahead and not giving away what your next move is. You’ve seen him out on the streets or during raids, and unlike Lorenzano and Tovar he tends to hang back, take a moment to take in the scene. While they go in guns blazing, often blasting an actual path through people to get what they want, Ezra is more deliberate. If he can take out just a single target to get the job done, he’ll opt for that - he knows that other syndicate members will deal with the rest of a DEA team, guerilla fighters or a competing cartel. 

He’s also one of the few in leadership who makes calculated decisions regarding the location that he will take out a target. You’ve seen Gilberto kill more than a few sicarios by simply showing up at their houses - no regard for any wives, children or elderly people who either get into the crossfire or are witness to it. But Ezra will always opt for a much cleaner kill; out in the street, in a bar or at a roadstop when it’s least expected. If it didn’t all come down to the same thing - killing people and moving coke or arms -, you would almost call it more ethical.

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One night, you hear the pup whining before you see it - a low, unhappy sound that chills your blood. It takes too long to find him in the darkness, and you’re tripping over things in front of you, something telling you it’s probably for the best that you can’t quite see what or who they are.

You finally find the pup when his eyes open and look right at you, the golden pupils and white of his eyes a stark contrast to the darkness around you. As you kneel down to examine him, you see the golden cords wrapped around his fur, and a wave of terror washes over you. He didn’t just get tangled up in them; somebody deliberately put those bindings on him. 

You hush him softly as your fingers slide over the cords, trying to find any knots or weak spots where you can start prying them off him. “I’ll help you, okay? We’ll get you out of this.” But as you do so, the wolf starts wriggling around, his sharp teeth snapping at the cords around until they all break and disappear into the darkness, along with the rest of your dream.

“I’m moving to Cali in a few weeks.” 

Ezra offers you a cigarette, and you take it from him, your head working overtime as you digest the news dropped on you. “Shit. Alone?”

He shakes his head, sharing his lighter with you as he brings his own cigarette to his lips. “There are some relocations happening in the structure of - well. You’ve seen it out here,” he gestures at the city you’re overlooking from the hill you’re standing on. “The Army is withdrawing support from ACCU. Some new government people are acting surprised about the Field Workers Self-Defenders ties with the Castaños, which is bullshit. But dynamics are changing in Córdoba and Urabá, which also affects Cali.”

“Does that mean-...”

“Do you want to come along, Santiago?” Ezra blows out the smoke before he looks at you. “You can stay here, of course. Nothing much should change aside from my… influence.” You both know that means Lorenzano will make the decisions, and that without Ezra’s influence, life becomes a lot more unpredictable in the syndicate. “But Cali will give both of you the opportunity to move up. Be in charge of operations, eventually.”

You don’t miss the casual reference of ‘both’ that he uses, and you feel relieved that you don’t have to ask the question out loud - if Frankie would be able to join you, too. Part of you wants to say no, because leaving Bogota would also mean leaving behind the scraps of life you remember before the syndicate kidnapped you that night and roped you into their organization.

“Think about it,” Ezra interrupts your thoughts before you can respond. “Your choice to make, your consequences to bear. I know you never asked for all of this - neither of you did, of course. But owning your choices and what results from them makes all the difference.” 

When you ask Frankie later that night, he doesn’t hesitate for a second. “I’m in.”

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The move to Cali is uneventful in a good way, and the new living space is both brighter and larger than Bogota. Some things don’t change though: there are still about ten of you per sleeping quarters, but at least the beds are better and the facilities aren’t as old. 

It surprises you how it feels a little easier to breathe. You hadn’t expected it, but there’s a relief in just seeing the city as it is - not thinking about who had died on that corner, which house is a drop off spot or a brothel, or where you’d gotten beaten up. Even when you know it won’t last long.

The warmer weather means longer evenings outside, too. New spots that you and Frankie discover, where there’s just enough privacy to be together for a few minutes. You kiss him in new alleyways, let him press you against the wall behind a quiet church. Let your hands roam and grab when you’re on the rooftop and you’re sure that nobody is around. 

It’s never enough, and the waiting in between opportunities is torturous. Sometimes it takes weeks until you can take him in your mouth again, have him slide inside of you, or when you can fuck him - rushed and hard and frantic -, leaving marks that were made within minutes but that last for days as dark bruises on your hips and shoulders and thighs.

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Your nightmares remain the same in Cali as they were in Bogota. A constant every single night, at times in different settings than before, matching the buildings and streets of this new city. 

You dread all of them, but Joel’s presence in those dreams makes it manageable. Even when he’s not around, the wolf cub is always there with you. Protective and affectionate, at times bigger than you - but never intimidating.

Part of you wants to tell Frankie about your dreams. Not just about the cub, but Joel too. You just don’t know where you’d even begin to explain it without sounding insane.

Ezra gives you more space those first couple of weeks in Cali, training only every other day with you, then informs you that you and Frankie will be joining him on an assignment out of town. You’ve done this before and know that lodging is always together with leadership in the same room. Except this time that seems to be different.

“It appears there has been a miscommunication. They didn’t have any rooms with two beds, only singles,” he informs you, his face uncharacteristically neutral as he hands you a room key. “You two are across the hallway from me and will have to share a bed.” 

Your jaw nearly drops as you stare at him, and you can feel the disbelief radiating from Frankie, too. But Ezra pretends to not notice it as he turns away. “I trust there will be no disappearing, Little Beast. You know the fatal consequences of that.”

The room is shitty, there are only three channels that work on the tv, and there’s a concerning smell coming from the toilet if you don’t close the lid completely. The bed is a full size though instead of a twin, creaks every time you move, and has some threadbare sheets and two thin pillows.

It’s perfect.

It has never happened before that you and Francisco had more than half an hour of privacy to yourself in a locked room - let alone nine hours in one that also has a bed.

You fuck so, so very much that night. 

It’s deliriously intoxicating, having each other in every possible way you can imagine - and a few more ways you hadn’t even considered before. By the time it’s 5:30 am, neither of you can move anymore. Sore, exhausted and beyond spent you fall asleep, curled up against each other.

For the first time in eight years you don’t have any dreams, let alone nightmares.

The newness of Cali lasts about three months. By then, the city has gained the same marks and blood all over it that you had left behind in Bogota; the drugs, fights, but this time there are also bombs. 

It’s a lot more damage than you’re used to, the number of victims making your stomach turn when the news reports on it later those nights. Some of the other guys are thrilled when they see the result of their work on tv, bragging about it, but it sickens you every single time.

It’s bad for you, but it hits Frankie even harder. He has lost family and friends in the past because of bomb attacks, and you know that when he wakes up at night screaming, it often tends to be exactly that which replays in his mind.

You’re both used to helping each other through hard times, but you see his eyes become more distant as the weeks pass. You do what you can, from stupid jokes to trying to find him new books, but you can’t help but feel it’s your fault.

Maybe he wouldn’t be in such bad shape if you two had stayed in Bogota.

Maybe you did this all wrong.

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Frankie is fast. Really fucking fast.

Not when it comes to running, although he does well if needed. But it’s when you see him behind the wheel of a truck, with Ezra, you and a handful of other guys, that you realize just how good he is. Driving a getaway car, chasing down another truck through the city, diversion techniques. You don’t know where he even learned them, because it’s not that often that any of you get to drive. 

It’s Ezra who decides that this is going to be a regular thing for Frankie. “I want you as our transportation guy next time we venture out on an endeavor,” he says, eyes sharp as he observes Frankie switch gears, avoid a child who runs out into the road, then rev the engine to catch up with the other vehicle in your party. “Are you interested in cars?”

Frankie just nods affirmatively, his eyes locked on the terrain in front of him. You can’t help but chime in, also realizing this could mean that the two of you won’t be assigned to different teams anymore. “His uncle had a garage, so he grew up in it. Learned how to work on cars before he was eight,” you offer. 

It earns you a warning look by Frankie, who is clearly not thrilled about you offering that information - but you know it only helps his case. Ezra only asks things for a reason, and you know it would not be to fuck Frankie over. “He really knows his shit.”

“Good. That will get you far.” Ezra pulls out two guns, checking the ammo, then suddenly looks at Frankie like he just got a bright idea. “Francisco. Did you ever fly a helicopter before?”

This time Frankie actually takes his eyes off the road, and you can tell by the twitch in his jaw that he’s very hard trying to not show his enthusiasm. You know him well though, and his eyes suddenly look more radiant than you’ve seen in a long time.

“Not yet. But I bet I can with some training.”

The first time they put you in charge of a raid, you end up puking behind a bush once everything is over. More than just a few bodies are scattered across the property that’s about to be set on fire, and that’s not new - but being the leader of a raid hits so much harder than any time you had to merely participate. The only relief you have is that you don’t need to deal directly with the losses, or gather the money and drugs. 

When one of your men calls you over, he points his rifle at the three kids huddled against each other on the back porch, and you can only get yourself to look right at them once you feel Francisco’s hand on your back.

“Not worth the trouble,” you inform the guy who called you over, ignoring the way your stomach turns, and you turn back to the children once he has left. A six year old girl is the oldest of the kids, her eyes blank as she holds a baby in her lap and a four year old boy pressed against her side. Something about that look in her eyes reminds you of Joel - not the brother you grew up with, but the one in your dreams with that side he tries to show you as little as possible. 

“Are they dead?”, she asks you, still not showing any emotion despite the crying boys clinging onto her, and you nod. Whether it’s her parents or someone else she’s referring to, none of the adults in the raided house are still alive. 

She nods back at you, no sign of surprise on her face. “Please don’t hurt the boys,” she then says, sounding so much older than her age. “They didn’t–...”

“We won’t.” 

You breathe in deeply when Francisco speaks for you, then reach for the wad of money that you had put into your pocket a few minutes earlier. Stealing from El Gran Senor always ended badly, but these raids were the only options you had to get your hands on anything of value. 

The girl flinches when you reach for her, and once again it’s Frankie who reassures her. “We’re not gonna hurt you.”

“Do you know how to get to the village?”, you ask her as you put the money in her hand. She nods, and for a moment you could swear that you see a wolf cub staring at you from the trees. “Find someone to help you. Don’t show them the money.” You bite back the words of apology that are on your tongue, knowing that they won’t help or would even be believed. “You can do it. Be brave.”

“We have to go.” Francisco’s voice is tight but decisive, and you nod as you let him tug you along, back to the men who have loaded up their cars with all the valuables they could gather. Drugs, money, guns. 

Like the next raid will be. And the next. And the next.

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“You exceeded expectations, little beast. A mission well planned and executed. Congratulations are in order.” The look on Ezra’s face is one of pride as you debrief him. As he scribbles down some more notes to wrap up his report, you hesitate for a moment, considering one last thing.

“There were three kids.”

Ezra’s eyes flick up at you much faster than you expect, but then he shakes his head. “It appears that you are mistaken about this,” he says as he resolutely puts away his paper and pen. 

“I saw them. I…”

“You’re exhausted.” Ezra’s voice cut you off sharply, the tension in his jaw suddenly clear and reminding you of Frankie. “I appreciate you doing the debrief at this late hour, but you should probably rest. There’s nothing more I need for the final report.”

You know when to take a hint; know that the walls have ears, too, so you take the dismissal in stride. The walk back to the barracks is short, and most of the other guys are already fast asleep as you get in.

Francisco’s bed is only a few feet away from yours, one of about a dozen in the room. The moonlight offers just a small stream of light into the room, and as you start to take your clothes off, you can feel Frankie’s eyes on you. You’re both showered and cleaned up hours earlier, but somehow you still feel the smoke in your lungs and ashes on your skin, like some kind of phantom feeling.

Frankie watches you quietly as you strip down to your underwear. He knows that you’re aware of him looking at you, and you swallow hard when you see him shift under the blanket - see his hand move down to touch himself.

There’s no privacy here - there never is, maybe even less so than there was in Bogota. But at least there’s this, knowing your bed is just a few feet away from his. Being able to see glimpses of him in the moonlight. His hand moving further down, still under that blanket, and when his eyes close momentarily you know he’s got his hand on his cock. 

You get into bed and pull the sheets up over yourself, laying on your side so you can still see Frankie. When his eyes flutter open again, you slip your hand into your underwear to touch yourself too, and you see his eyes flick over your body as he realizes you’re joining him. 

It’s hard to control your breathing, especially when it’s so quiet at night, but you’re both experts at this by now. Hungry eyes focused on eachother in the mostly dark sleeping quarters. You pretending your fingers are his - him pretending his fingers are yours. It’s not much, but it’s something; anything to make you feel alive during nights like these. 

Frankie is in your dream.

And Joel is looking at him. 

Right at him - both Joel’s living half as well as the one that is in decay. It chills you in a way that’s so startling that the fear grabs you by your throat out of nowhere.

This isn’t supposed to happen. Frankie isn’t supposed to be in any of your dreams that are also occupied by Joel. It happens all the time that you hear Frankie scream in your dreams, but it is always separate from where you are - like he’s in a different space and the sound just happens to carry.

Not now. At least he’s not screaming, but he and Joel are looking at each other from a distance, before Frankie’s glance meets yours. Full of questions. 

You try to keep your voice calm, but you hear the trembling when you speak. “Don’t take him from me.” 

You don’t know how you would do it; prevent Joel from taking Frankie with him the way he does with the other people, the other bodies. All you know is that it can’t happen.

“I never would.” Joel shakes his head. “Besides, he’s a warrior. And she wouldn’t allow me to. She’s the one who owns his head.”

“What does that even mean?”, you ask, suddenly noticing the woman behind Frankie. She’s taller than he is, dressed in a style that seems very out of place, not in the least because of the brown fur that’s a prominent part of the outfit. But something is familiar about her.

When she puts her hand on Frankie’s shoulder, he glances at it for a second before he brings his eyes back to you.

“Nothing for you to worry about,” Joel says, and you shiver from the cold wind that blows past you.

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By the third raid you lead, you understand why Ezra assigns you to these missions. You’re good at planning, leading your team, getting the work done, taking down the people that need to be eliminated - but you’re pretty sure that it’s really about the children. 

There never is any mention of them in the information you get beforehand; those reports are only about the adults, the snitches, dealers who don’t hold up their end of the deal, or the sicarios who have taken wrong steps. And you’ve seen what happens at other raids. Many of the others won’t hesitate to shoot a child, use them as collateral, and you don’t doubt that there are situations that end even worse than those two options.

You quickly develop the habit to let the others chase the targets while you - and most often Frankie too - will explore the premises to find any children. In some cases, they’re barely teenagers, the fear in their eyes clear enough to indicate that they are in the wrong place at the wrong time. Other times, they’re infants, toddlers, held close by siblings who are barely older than them.

Getting them out becomes a priority for you, particularly when after every mission you see Ezra’s relief when you make a subtle remark about any kids. There’s a lot he can’t say out loud, not just because of his position in the syndicate, but also because wiretaps have become frequent these days. So you keep it very brief, often will only mention it when the two of you are alone - a quick update on what happened to the kids.

“She was brought to her older sister.” 

“They ended up at the neighbor's house.”

“Someone knows where her other relatives live.”

You always swipe money from raids when given the chance, stashing it away in an air vent in your sleeping quarters that only you and Frankie know about. But as the raids occur more often, each leaving behind an even bigger impact than the one prior, you start to put most of the money in the children’s pockets before whisking them off to safety.

It never stops feeling like you’re trying to fix a broken dam with a band-aid, but it feels like the best possible option. Especially when you think back of how you landed in this position, and how you’d been taken away from your home. In an ideal world, you could decide to defect – find a way out for you and Frankie, take the money and run. But throughout the years you’ve seen that almost every single person who attempts to get out of this world will end up dead; not just murdered, but tortured first, before it’s all inflicted on the people closest to them, too. 

So you run the raids. Find a way to get the kids out. Have nightmares - then repeat. And repeat. And repeat some more.

The problem is that you’ve gotten really good at this.

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The next time you see the tall woman covered in furs, you’re not dreaming. 

It’s the middle of a raid, and you and Frankie are chasing down a guy who is trying to escape from the rooftop. He jumps over to the next building, and Frankie is about to leap the same distance between the roofs, when you suddenly see that woman right next to him. 

Calmly she puts her hand on his shoulder and Frankie stops abruptly, turning around to look behind him with a bewildered expression. “Santi, we-...”

A terrible scream sounds from the other roof, and when you look over, you see your target scrambling to hold onto something, while the roof shingles under his feet are slipping away. With a loud noise, the foundation of the roof falls apart, yanking the man’s body down with brute violence and you hear him scream more until a loud bang silences him.

“Fuck,” Frankie croaks, staring at the destruction, and you grab his untouched shoulder tightly, needing to feel him under your hands, that he’s really still here by the grace of not having made that same jump as the man did. “I think he’s impaled.”

The tall woman on his other side looks right at you, then nods as she steps away, disappearing into thin air in that same move. 

These days, when Tovar and Lorenzano make a stop in Cali, it happens more often than not that one or both of them will talk to you; an extremely rare occurrence for somebody in your position. 

Sometimes they’re there for a debriefing with Ezra, other times one of them will remark that bigger things are waiting for you in the near future. Trying to find a balance between doing the work that’s expected from you and keeping your head straight has become increasingly difficult, and you’re not the only one struggling with it.

Francisco oscillates between extremes most of the time. As a co-pilot, he’s mastered skills that very few in the syndicate actually have to offer, not to mention his skills when it comes to engineering and fixing up vehicles. Flying clears his head, grounds him in his body in the best possible way it seems. But once he’s back on the ground, especially when they need to go on raids and he’s dealing with anything but transportation, you often see him shut down and try to dissociate, something that’s hard to bring him back from. It gets even worse during moments when he decides to partake in the cocaine that’s always easily available.

A year later, you still haven’t figured out a way to get the two of you away from all of this. The money in your stash isn’t enough, and you know Lorenzano has men everywhere across the country - there was no way to make it anywhere without being shot in the head sooner or later. So you work. You learn from Ezra. You take the praise. And the nightmares - during the nights and during the days - keep getting worse.

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Leaving Cali happens in a rush, with none of you expecting it - including Ezra. ‘Reassignment to a rural area’ is the official message, which in practice means a camp right in the middle of the jungle. 

“We’re here to take out those fuckin’ communist guerillas,” was the more extended explanation that everybody who relocated from Cali to officially join ACCU. Also known as ‘Peasant Self-Defenders of Córdoba and Urabá’, the group had been founded by the Castaño brothers after their father was kidnapped and killed, in retaliation to the left-wing Marxist guerillas. ACCU was knee deep into the drug trade, and, as you had discovered years earlier, a lot of people fighting for them got here the same way you and Frankie had.

FARC, the Revolutionary Armed Forces of Colombia known as the guerillas, stood out because they did employ tactics like kidnapping, but weren’t involved in the drug trade. Instead they fought for ‘social justice and the rights of the poor’, which in practice meant a whole lot of enemies.

“These aren’t the usual raids,” Ezra told you in the first couple of days on the ground, as he’d been filling you, Frankie and the others in on the different stations, people in charge, and what to expect. “This is a lot of combat, sometimes involving hostages.”

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‘A lot of combat’ is an understatement, as you and Frankie find out right from the start. The amount of assault rifles was overwhelming, as were the number of casualties per week. No more flights for Frankie for the time being, now mostly driving trucks of various sizes. What perhaps is the worst of it all is the complete and utter lack of privacy, even by the low expectations you already had.

With all the communal areas even more exposed than in Cali, there barely was any opportunity to sneak off. Here, finding a good hiding spot meant doing so in the jungle, risking death, because the odds were too high that you’d run into FARC members.

At times there were reports coming in from the major cities. Whispers about a pact between the DEA and some narcos, competing cartels. American reports on what was happening in Colombia, which often had barely anything to do with what was really going on. Rumors about the commies having grown massively in numbers. Everything is urgent, all the time, but now with a constant threat of being hit severely worse than would be the case in the city. 

Sometimes you wonder if you and Frankie should’ve stayed in Bogota all along.

The second time you dream of the wolf cub in bindings, you immediately notice something is wrong - even before it cries out for you. This time they look like proper chains, the metal scraping against the cub’s fur and skin, and your first thought is that these are going to be much harder to remove than the first ones.

They’re also not merely restraining the wolf; this time it has properly been captured, the chains secured to a palm tree like the ones you see every single day around you. The pup howls, clearly more agitated this time, and you hush it gently, petting his fur while examining the restraints. “What keeps happening here, buddy?”

“Trusting the wrong people has consequences.”

You look up when you think you hear Joel’s voice from nearby, except it’s not him - but your father leaning against another palm tree, his face solemn as he looks back at you.

Your FATHER?

The wolf cub growls, and this time it’s not the usual angry growl of caution that he tends to make — it’s more like a snarl, layers of rage and destruction underneath. It yanks hard at the chain that has him tethered to the tree, sharp teeth biting at it until the chain breaks, and before you can do anything, it bolts over to where your father is standing, leaping up to attack him viciously.

You wake up screaming so loudly that you wake up all the others in the sleeping quarters, only calming down somewhat once Frankie physically shakes you out of it.

Going back to sleep turns out to be impossible, and it’s only after you try to skip sleep for the next two nights that your body finally caves in, knocking you out into a deep sleep, while you’re exhausted and scared of the dreams that might come back to you.

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Choices have never been an option with the syndicate. Either you do what you’re being told, or chances are that someone puts a bullet into you. That’s how you find yourself leading a team that is much bigger than you’re used to, not to mention with more challenging missions than you’ve done before.

Running drugs or arms in a city is pretty easy - even collecting it by force, or dealing with money. When raiding a building, there’s always a clear plan beforehand: assign people to specific spots, have a backup plan, keep the escape routes in mind, and make sure there’s enough ammunition.

Taking over a small FARC outpost is an entirely different thing. The unpredictability of the jungle, poorer communication methods, and with sightlines often being blocked, it’s not all that straightforward to take out a group of guerillas.

If it hadn’t been for Ezra’s training over the past years, you wouldn’t know where to start. But as always, you adjust - particularly with Frankie by your sight. The outpost gets conquered, another group of armed fighters elsewhere is taken down. But the guilt you were sort of able to remedy in Bogota and Cali, by helping to get some of the kids out, gnaws at you constantly here in the jungle. When twelve year olds are as heavily armed as you are, and even more eager to put a bullet in between your eyes, there’s not much of a chance to find some redemption.

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Just because Ezra is a good killer doesn’t mean he’s comfortable with it, you’ve noticed. You can see it eating away at him, just as it does with you. He still talks plenty to you about everything, but you can tell the isolation out here in the jungle is getting to him as well.

“I did a lot of work as a freelancer, Little Beast,” he replies when you ask him one day while you’re training with him. “I’m a floater, and some might say a merch, but I’m not merely a hit man. To be completely candid, this situation out here has… proven to disappoint.”

You want to ask him if he’s ever thought about getting out, but you don’t dare to - not with the lack of privacy around you. It’s not like you expect him to just offer you a way out; you know it’s not that simple, but throughout the years you’ve considered every possible option. Being here in the jungle has led you to consider defecting and joining FARC’s side, but you’re not naive enough to believe that will be a solution in the long run.

The one thing you’ve been able to keep secret out here is the money you’ve saved throughout the years. You carry it on you most days, as there is no proper hiding spot out here, carefully folded into a small pocket bible as that’s the one thing that won’t get searched during inspection.

Sometimes you try to remember the prayers your mother would say as she’d ask for help and protection. Even when you’re pretty sure none of her saints would listen to you, after everything you’ve done.

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Something snaps inside of you when you find Frankie doing coke.

He swears it’s not a common thing, that it has only happened ‘two or three times’, that one of the guys - that bastard David - just offered it to him to be able to make it through a mission he was dreading. You know Frankie has been struggling, has just as many nightmares as you do, and the complete lack of privacy here is making it so much harder to find moments to sneak away and find a moment of peace together. But you also know it always ends very badly when anyone starts doing coke to be able to make it through the days.

The next day it’s hard to control your anger - not at Francisco, but at everything regarding ACCU. You make him stay back in the camp, despite his protesting, leading your team on an afternoon attack, and the blind rage that takes hold of you in the heat of the battle is all consuming. It takes less time than expected to carry out the siege with your team, with more casualties due to wrongly estimating how many rebels you were attacking, and just when you shoot their leader you suddenly realize David is on your left, fighting someone else.

Fucking David who gave Francisco that coke.

You aim your gun without even thinking twice and shoot him straight through the head.

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Tovar is not amused when he finds out David didn’t make it. “He was one of our best. What the fuck happened?”

“I’m not sure. Didn’t have eyes on him.” You calmly look at him, giving him an opportunity to respond, and you know that you’re too good of a liar to give anything away. When he doesn’t say anything, you continue with the rest of your briefing. News spreads fast through the camp, and by the time you catch up with Frankie that evening, you can tell by the look in his eyes that he knows. Of course he does. He’s the only one you’ve never been able to lie to.

Ezra also doesn’t ask you what happened.

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When you were younger, running around with Joel and Jay in the neighborhood, your grandmother would always be the one to tell you boys to get home before dark. “It’s not that I don’t trust you - I don’t trust others to not get you into trouble,” she’d say.

You trust Frankie when he told you he wouldn’t take coke again. But now, you understand what your grandmother meant.

David’s buddy Arturo is the next person who offers some coke to Francisco, clearly hoping to make a deal. When Frankie turns it down, he keeps pushing, then eventually tries to persuade you.

You give it six days. Then, when you’re out in the field, you send him into a situation that you know is going to get him killed. He gets ambushed by two kids who take him out with their knives. Even though you could’ve taken down both of them with your rifle, you don’t shoot, and you see the relief in their eyes as they run away.

Arturo is still breathing when you check on him, but your own knife quickly deals with that before anyone else finds him.

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This time when you dream, you don’t see the wolf cub in chains. It’s you who is tied up, and after struggling in disoriented panic, you realize that you are the wolf. Thick dark fur where there should be your arms and legs, claws instead of your fingers, but the overwhelming feeling are the bindings wrapped around all of your limbs and the rest of your body - so thin that you can barely see the golden shimmer, but so sharp that it feels like it’s made from razors, pressing into your skin. 

You can’t scream - or howl -, you can’t even move. And all you see in front of you are Lorenzano and Tovar, each heavily armed, dragging your human body along with them up a mountain, leaving a trail of blood on the rocks.

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“I want them all DEAD.” Tovar nearly spits the words out at the group of you, banging his hand on the table with the map that has several FARC camps drawn onto it. “All of them. I don’t know how the fuck they got their hands on the product, but if it doesn’t all come back here…”

He’s terrifying like this, especially because you know he won’t hesitate to act on his threats. Somehow FARC had gotten a hold of internal intel, it seemed, not only being able to avoid being attacked for almost a week now but also having confiscated a massive amount of Lorenzano’s cocaine that was being packed and processed at a nearby facility.

The first two missions that week are done from the sky, and unsurprisingly Frankie is the co-pilot. You have a select team that goes up in the air with you and Ezra, two of your crew each armed with a M60E4 machine gun and one person with a Mk 153 SMAW launcher. It’s not your first time running an attack with this kind of artillery from the sky, but it still makes your stomach turn to see the damage that’s inflicted, the only small relief being that at least it’s not happening up close like would be the case with a ground attack.

On the third day, it’s back to the ground with your team, and you manage to overtake a building that holds at least half of the missing cocaine. At least half of the FARC fighters that are assassinated are still practically kids, who had been repackaging the drugs in the building. You and Frankie, as always, try to focus on the adults rather than the young teens, and at the end of the day you see Ezra’s expression is similar to how you feel: not just empty, but hollowed out.

Whether it’s the exhaustion setting in or bad strategizing, you’re not sure, but on day four the mission goes awry, and your team barely manages to pull through. Tovar is with the group though and aggressively moves in on the remaining cocaine that someone finds, but seeing how a large amount of it got shot up during the attack makes him absolutely furious. Eventually, he splits the team, sending half of your crew back to your camp with the repossessed drugs, while you have to do another sweep of the premises to make sure everything got covered.

It’s when Frankie pulls open a side door that seems to have been overlooked, and you step in with your gun ready, that you stumble into her. She’s young, younger than you, bruised and bloodied, but what stands out the most is that she’s pregnant - and very far along, it seems. It’s extremely unusual to come across someone in her position, here out in the jungle, because you all know that FARC does not exactly allow any of their fighters to start a family.

You see the hysteria on her face as she realizes that she’s been discovered, know she’s about to scream and fight, so you move on instinct, putting your gun behind you as you hush her and urge her to not yell. “You’re okay, you’re okay- I’m not gonna hurt you, alright? We’re not…”

She stares at the both of you with wide eyes as she nods, and you hear Frankie curse behind you. “Fuck, Santi, no – they’re gonna fucking see her, man. This place is going to get torched in five minutes from now.”

“Please, don’t hurt my baby, I’ll do anything.” She’s sobbing, on her knees now, and you turn to face Frankie as your head is working overtime.

“But we can’t– she’s pregnant,” you say to him, and he nods sadly, his jaw clenching as you can see him think. You curse, peering outside to check if anybody is watching, then close your eyes as you say a quick prayer. Please let this work. Not for me, but for her. “You need to get to the others and tell them it’s clear,” you tell Frankie as you nod to the front of the building. “I’ll get her out of here and to the back of the premises. Just tell them… something, okay? I’ll join you soon.”

“I don’t fucking like this.” But Frankie nods and disappears back outside, while you help the girl to her feet and explain to her how you’re gonna get her out.

“You can’t make a sound. You can’t trip. If they catch us, we’re both dead, okay?”

She nods as tears are rolling down her face, then tries to take a few deep breaths to calm herself. Meanwhile you listen closely to what’s happening outside, hear Frankie’s voice louder than usual - but not exaggerated - as he’s calling out to some of the team members. There’s no time to overthink matters, so you grab the young woman’s hand as you tug her outside, making sure to keep her covered with your own body as you rush her towards the trees that are at a small distance from the building.

Your heart is thumping so loudly that you feel like everybody in the vicinity must be able to hear it - but finally you get her there, pushing her behind a palm tree as you press the handle of a small knife in her hand. “Stay out of sight until we’re gone. Not a fucking sound,” you hiss at her, and she nods again at you, tears brimming in her eyes. She mouths a silent thank you before you turn around, and you don’t look back as you rush back to the property.

Somehow you manage to make it back to the front without raising any questions. Tovar is directing some people around, distributing gasoline, and mere minutes later the whole place is on fire. You’re exhausted, and not fully aware of how you all get back to the base camp, where you do a quick briefing with Ezra, then go find your sleeping spot in the tent to pass out even though it’s still early.

You wake up by Frankie sitting down on your makeshift bed, his hand on your back briefly as he hands you a plate with food. “Told them you got hurt getting back here and needed to rest,” he says, and you’re so grateful that you could almost cry. “Good job.”

━━━━━━━━━━━━━━━━━━━━━━

The next two days Ezra puts you, Frankie and the team on rest, giving you the opportunity to catch up on sleep and deal with the bruises and injuries most of you have. Then there is patrol duty, and you’re separated into pairs to guard between your camp and the other ACCU location. It’s hot, as always, but the vegetation mostly offers some shade which makes it more bearable.

Once you’re at least twenty minutes away from your camp, you tug Frankie behind a large tree and kiss him, unable to go on any longer without feeling him against you. You can feel him sigh in relief as he returns your kiss, his tongue eager as he takes over your kiss and presses you against the tree trunk.

“I thought this week was gonna fuckin’ kill us,” he whispers, and you nod as you brush his curls back, twirling a few around your index finger. You want him, in each and every way, but at the same time you feel so utterly drained that you can’t even imagine doing more than kissing and letting your hands roam for now - and you can tell he feels the same way.

You stay like that for a few minutes, just kissing each other, glad to have the slightest bit of time together. The tiredness ebbs away eventually, comforted by the touch of his body against yours, and just when you start to feel his hands drift lower, you realize that you need to stop this now before it gets to the point that neither of you can dial it down anymore.

“We gotta get going,” you make yourself say, and he groans softly, not happy about it, but he lets go after giving you one more deep kiss.

The path to the other camp is mostly easy to follow as you’ve walked it so many times before, a few tree trunks in the way here and there, and eventually the scenery around you changes, going up a hill to higher ground. Francisco talks about the helicopter maintenance that’s scheduled later this week, and you’re glad that they’re keen on keeping him in that aviation position - he really is good at it and still enjoying it, a welcome change from most of the field work.

You halt when you suddenly hear a sound that isn’t common around these parts, and you look around at you try to locate the sound. “Did you hear that?”

Frankie shakes his head. “What?”

“I heard a… Almost like some kind of howling.” You stop abruptly at the edge of the path, grabbing Frankie’s arm as you stare at the sight thirty, forty - maybe fifty - feet away from you, at the bottom of a steep slope. Surrounded by the lush rainforest vegetation stands a large adult wolf, eyes locked on you but not showing any signs of intending to approach you. You blink repeatedly, for a moment wondering if you’re making things up. “You see that?”

You stop abruptly at the edge of the path, grabbing Frankie’s arm as you stare at the sight 30 or maybe 50 feet away from you, at the bottom of a steep slope. Surrounded by the lush rainforest vegetation stands a large adult wolf, eyes locked on you but not showing any signs of intending to approach you. “You see that?”

Francisco gives you a questioning look, then follows your line of sight. “No. Somebody there?”

“The wolf, Frankie.” You have a hard time taking your eyes off the animal; you’ve never before seen one in real life. Meanwhile Frankie is looking at you as if you’ve grown three heads.

“A wo-… Santi, there are no wolves in Colombia.”

“Yes there are, look.”

Frankie smacks the back of his hand against your cheek, the frown on his face growing deeper. “Oye, pendejo. There’s nothing over there. You sure you’re okay?”

“No,” you say absentmindedly as the wolf tilts his head, and for a moment you wonder if it will attack you. Then you hear it; the sound of branches breaking behind the two of you, several pairs of footsteps, and you realize the wolf is not a threat but a warning. And for some reason you can’t explain, you just know that one of the guys behind you will be Tovar.

You take a deep breath as you take one more look at Frankie, drinking in every detail of his face and presence next to you. You wish that you could kiss him one more time, but you don’t dare to risk it.

“Something is very wrong, go back and find Ezra,” you say quietly, and you see his eyes widen as he reaches for his gun, but you stop him immediately as you shake your head. “No. You can’t win this, I’m so sorry - I love you.” Then you shove him, hard, so he trips over the edge and falls down the slope of dirt and vegetation, towards where you saw the wolf moments earlier.

You turn around while you pull out your spare gun, shooting down the guy closest to you without even blinking, then aim at a second and third person. You’re determined to do as much damage as possible to give Frankie a chance to get away.

Tovar’s eyes are dark and furious when they meet yours, and within moments he has overpowered you, dragging you away from the edge of the slope as he bangs the metal of his gun against your fingers. The pain is so sharp and hard that it makes you scream, and you drop your guns involuntarily, blindly reaching for your knife.

“You son of a bitch,” he hisses at you, but your fingers close around the hilt of your knife and you sink it into his leg with all of your strength, before you get hit over the head and lose consciousness.

━━━━━━━━━━━━━━━━━━━━━━

When you regain consciousness again, there’s arguing, loud banging against things, and yelling happening all around you. It takes effort to focus when you open your eyes, but finally you can make out some of the faces around you. Tovar, unsurprisingly, a gun in his hand as he’s leaning against the wall. Lorenzano, also armed. And surprisingly - Ezra. On the floor, half kneeling, and with Lorenzano’s gun pressed against his head.

“You made him this way!” Lorenzano practically spat at him, looking like he’s about to have an aneurism out of rage, but Ezra merely looks at him all calm. “You… you conspired. With those faggot boys. And now you’re trying to take me-…”

Tovar cleared his throat. “Us,” he said sharply.

“Yeah, and now you’re trying to take us down,” Lorenzano continued, moving the gun from Ezra’s temple to his forehead.

“I’m afraid I must interject. I did no such thing, boss. Neither did Sant–” Ezra’s words are cut off as Lorenzano hits him hard across his face, and you wince at the sound of what possibly is a broken nose.

“Don’t. Lie. To. Me.”

Ezra takes a moment to compose himself, then shakes his head again, wincing as it seems to hurt him. “I am not a greedy man. You of all people should know that after all this time.”

“Then how did those fuckin commies get their hands on that stash?” Tovar speaks up, looking irritated. “They clearly had intel. Not to mention that ambush the other day.” He wanders over to you, and you groan as you try to sit up on the floor, but your hands are cuffed behind your back and your ankles also tied together. “And you. You let that whore escape the other day. Did you really think you could get away with that?”, he sneers. “Did you deliver Esdras’ messages to her or something?”

Your head is spinning as you’re trying to follow the conversation even though the pain is making it hard to listen and speak. “I didn’t do — I never tried anything like that,” you manage, trying to keep your eyes open. “Please. You have to believe me. Ezra never…”

Tovar grabs you by your neck, pressing his gun up against your chin. “We found your money stash,” he hisses. “Do you know how many of your comrades were eager to speak about the shit you pulled in Cali and Bogota? Letting people get away from raids while they should’ve been six feet under?”

You fight the urge to argue that it wasn’t just people, that it was mostly children and some women, because you know that’s not gonna help your case. “I’ve done as I’ve been told to do. All of my missions. Every single one of them was successful and profitable…,” you wince when you hear Tovar take the safety off the gun, and you close your eyes as you speak faster, trying to focus more on convincing him. “Ezra was just training me so I would be better working for the syndicate. That’s all, I swear. He never… we wouldn’t.”

“What about your faggot boyfriend, huh?”

“What about him, gentle man?” Ezra speaks up before you can even begin to think of an answer. “He didn’t do anything. Neither of them did, nor did I. If we had, you’d have concrete evidence, my friend.”

Tovar ignores his words, and you feel the gun barrel press even harder into your chin. “Where is he? That pilot boy.”

“I don’t know,” you say honestly. Clearly that’s not a good enough answer, because a moment later you’re kicked in the stomach and collapse, gasping for air. “God, I swear, I don’t…”

“Are you religious, Santiago?” Lorenzano walks over to you with slow, menacing steps. “Because you’d better pray to your god that they won’t carry you out of here in a body bag.”

Nausea rolls around your stomach, and you brace yourself for what you know is going to be another kick or punch. You manage to hang in there at first, but when another blow lands on your head, your dizziness quickly overtakes you while the sound of an electric tool whizzes in the background. You hear Ezra scream as the smell of burnt flesh fills the room, and then everything goes dark again.

It’s so dark.

You’re not sure where you are, but you know you haven’t been here before. It doesn’t feel like a dream either, not with the briny ocean air that you smell all around you.

Painfully slowly the darkness begins to clear eventually, showing that you’re standing somewhere high up on a cliff. There’s a man near the end of the cliff, his back turned to you, dripping wet like he just got out of the ocean. 

It’s your brother Jay.

This is the first time you’ve ever seen him in a dream. You know it’s him, even from the back, and even if that looks nothing like how you remember him. When he turns around to face you, something wells inside of your chest and crowds your throat - tears of fear or relief, it’s hard to tell. You just know you’re exhausted, and in pain, and bleeding profusely.

Jay reaches out to you, seemingly offering something he’s holding, but when you take a step closer to him you see it move and realize it’s an animal. A snake, or - no, a sea serpent, biting its own tail, immersed in water that Jay is able to hold in his hands somehow. 

“Brother. It is time. Come join me.” You hear Jay say the words, even though his lips don’t move, and you notice that his eyes are swirls of blue and white. Like waves in the ocean, or a stormy sky.

You know this is Jay, but none of it feels like when you’ve been seeing Joel in your dreams. Something is seriously wrong. 

All of a sudden the choked up feeling in your throat turns into a sharp, blinding pain. It’s like someone jammed a knife into it, or a sword, that goes all the way up to the roof of your mouth. The taste of blood takes over your senses as an alarming amount of it begins to pool into your mouth.

“Were you not looking for me?” Jay’s voice grows louder while the serpent in his hands grows bigger, wriggling in the water. Again offers it to you, stepping even closer, and the ocean smell grows stronger. “Come. Take its tail out so he can breathe and live.”

The words are a bitter irony since you’re nearly choking on your own blood. You feel delirious, your head spinning as you’re already nauseous from the pain. Right when you’re about to reach out and grab the creature from Jay, you hear someone screaming behind you - loudly. 

It’s Frankie. And it’s not even the screams that you would normally hear in your dreams with Joel. This is much, much worse. It reminds you of raids gone wrong, sicarios going after you, and that time the both of you almost died falling off a roof. It’s the kind of screaming that’s full of despair instead of just fear, only rivaled in intensity by the sudden sound of a helicopter that you can’t see. It’s so foreign in this setting that it shakes you out of your delirium, just long enough to see three men step out from behind Jay’s back. 

Tovar. On the right. Teeth bared, the scar on his face looking an angry red color, a M16 in his hands that’s aimed at Jay’s head.

Lorenzano is standing behind Jay, the expression in his eyes dead and vacant as always, with a barely concealed sneer on his face. There’s a Beretta in his hand that’s aimed at the back of Jay’s head, and for some reason you know that if there’s anyone who wants to kill Jay - it’s gonna be Lorenzano.

“Little Beast.”

Your attention gets pulled to the left of your brother, where the third man stands: tall, a familiar shock of blond in his hair, green brown clothing. Ezra. Unarmed and chillingly calm in contrast to Lorenzano, Tovar and your brother, he extends his left hand to you.

"Every moment of our lives is filled with choices, Little Beast. Your choice and your consequence to bear."

“BROTHER.” Jay’s eyes flash in anger at you, the blue of his pupils turning almost black. “Do not ignore me. Come join me. Kill him as it has been prophesied in word and song.” 

Somehow you know ‘him’ isn’t about the men on either side of him. It’s about Lorenzano, still behind Jay, now staring at you as his finger rests against the trigger of his handgun. But before you can respond to Jay, something soft pushes firmly against your leg, followed by the low warning growl of your wolf cub.

You can feel the bindings around the cub before you even look down. It’s like they’re chaining you too, the pressure thin and sharp around your chest and legs, feeling both impossibly delicate and permanent in how strong they are. For a second it shifts your focus of pain away from the blade that’s still lodged into your throat and mouth, but as the wolf cub looks up at you, you can tell that you’re not going to be able to help him with these bindings - and it feels like the biggest failure.

The cub isn’t deterred though, his eyes locked on Jay as he grows loudly at him, and you wince when you feel the wolf’s claws scrape over your leg - you know it doesn’t intend to hurt you, it just wants to protect and be close to you. 

Jay furiously yells at you, the expression on his face asinine and enraged, and Lorenzano suddenly no longer standing behind him. So you don’t think - you just reach out for the hand Ezra is offering you, clutching on to him for dear life as you also swoop up the wolf pup in your other arm. 

The screams of your brother turn into the roaring sound of the ocean, overtaking all the other sounds around you, and you watch in horror as water starts pouring from his mouth in excessive amounts, in the same way you feel blood pouring from yours.

Jay’s fingers wrap themselves around each side of the serpent, scraping over its scales as he pulls and pulls and pulls with all his might. It doesn’t work initially, nor the second time - but the third time proves to be a charm at last. He forcefully rips the snake’s tail out of its mouth, releasing a loud hissing sound from the creature as it contorts and starts to grow bigger.

Several claps of thunder sound in the air at the same time, and as Ezra’s hand closes around yours and pulls you over to him, you see the assault weapon in Tovar’s hand has turned into a massive hammer.

When the hammer hits Jay, the flash of lightning on impact is almost blinding, cracking his skull, and Jay screams as he throws the serpent at his attacker. The creature immediately wraps itself around his calves, and when its teeth sink deep into Tovar’s leg, it pulls a scream from him that rivals all the other deafening sounds around you. 

Tovar stumbles away from Jay and the snake - four, five, six steps, and when his eyes meet yours, you feel another wave of nausea rolling through you.The rage in his eyes when he sees you with Ezra is terrifying, and his path abruptly changes and he moves towards you, one step followed by another. But as he takes one more step, he suddenly pales, grabbing at his leg where the serpent bit him moments earlier. 

The creature still has its fangs sunk into Tovar’s leg, acidic looking venom now dripping out of the wound, and it seems like all of a sudden Tovar realizes that this is not something he can beat. 

He is a tall, broad man, his right hand still gripping tight onto the large hammer - but when he falls, you can tell there is no way that man is getting up again. The massive hammer hits the ground, making everything shake as a crack forms into the ground, zipping from left to right as more additional cracks happen faster than you can even count.

Then, the tip of the cliff just… breaks off. A moment of complete destruction, happening much faster than seems possible, because within seconds it just plummets all the way down, dragging Tovar and Jay along with it. So fast that you don’t even hear them scream; the only sound you hear is the massive thud as everything crashes down into the ocean, being swallowed up whole by roaring waves that pull it down into its depths to never be seen again.

━━━━━━━━━━━━━━━━━━━━━━

This time you're not sure that you are even fully conscious when the room around you comes into focus for a moment. The air smells metallic, like blood and burnt things, and the floor around you is red.

"Little Beast," you hear Ezra gasp, and you want to look at him, but the darkness pulls you under again.

━━━━━━━━━━━━━━━━━━━━━━

Everything around you turns red. Dripping with blood, which then turns into bright orange flames, leaping up to the sky like it was their only purpose in life. But the wolf cub is now taller than you, wrapping its tail around you and Ezra as he tosses you onto his back.

You scramble to hold onto his fur as you grab Ezra’s shirt, making sure he won’t slide off. But then you see his right arm is missing, he’s bleeding out all over the three of you - and you don’t know what to do.

“It’s the consequences, Little Beast.” Ezra is calm as ever as he looks at you, the blond streak barely visible in his hair as it’s also covered in blood. “The choice was mine to make. Certain actions ferment the threat of appropriate reactions.”

━━━━━━━━━━━━━━━━━━━━━━ 

Somewhere there’s the sound of guns. There’s screaming, and then you hear a voice that you’d recognize anywhere. 

Francisco.

“Is that…” Ezra’s voice is shaking, unable to talk without wincing and gasping from pain. “Fuck. Frankie?”

More gunshots sound and just when the door is slammed open, you once again lose consciousness, your head hurting so much that you wonder if this is the end of it all.

━━━━━━━━━━━━━━━━━━━━━━

You’re cold.

Everything is white, but you can still smell the flames.

You know the fire is finally gone when the white begins to weigh heavy on you like snow.

━━━━━━━━━━━━━━━━━━━━━━

When you open your eyes, brought back to consciousness by the sound of the wolf cub whimpering against you, there’s a large wolf standing across from you two. Not black, like your cub - brown, like the color of trees, and Frankie’s eyes and hair.

Francisco.

You black out again. 

When you finally come to your senses again and open your eyes, there’s a small arctic fox standing next to the brown wolf in the snow. It raises its head when it sees you move, then looks at something behind it in the distance.

It’s only when you see the bloody knife in the crisp snow in front of you that you realize it’s no longer lodged into your throat, and that there’s no blood pooling in your mouth anymore.

Heaven for the climate, hell for the company. 

“Frankie.” His name slips from your lips as you start to cry, and the wolf cub whines softly, now  curled up against your chest. His paws are bloody, and you’re not sure if it’s his blood or yours, nor where the large piece of bloody meat came from that’s staining the snow between you and the brown wolf who is still standing in front of you.

Brown fur.

Brown curls.

The tall woman in front of you is covered in brown furs, keeping her warm against the snow. She kneels down in front of you as she picks up the piece of bloody meat and puts it in her pocket. Then she reaches out of you, and as you feel the wet brush of her hand on your forehead, pushing back your hair, you feel yourself starting to lose consciousness again.

“Oh.” Her voice is light, tingles like icicles, and she laughs softly, sounding surprised. “Yes. You really are his.”

There’s even more blood than before. Your hands, all the way up your forearms. In your mouth. Hair.

Frankie’s face. His legs. So much blood, and he’s crying.

Someone’s dismembered arm lays on the floor, not too far away from you. You try to figure out if it’s yours, but everything hurts too much - you’re just not sure.

━━━━━━━━━━━━━━━━━━━━━━

You’re not sure how you make it to the truck, delirious from blood loss - you just know that somehow you do, Francisco’s hands on you almost the entire time. Once you’re in the vehicle, you promptly black out, coming to your senses later while Frankie drives the truck like he is possessed, several guns in the passenger seat next to him.

You want to ask him what happened - how he found you, and where Ezra is, but every time you think you’ve found the words to ask him that out loud, you black out again, and again, and again. Sometimes you wake up screaming, other times the pain throughout your entire body and head is almost too much to stand - but each and every time, there’s Frankie’s reassuring hand on you.

Somewhere between reality and dreams, or maybe even a worse place than that, you’re drowning in a river of foaming blood. The current is rough, making it incredibly hard to hold on anything  as you try to hold onto rocks, a tree trunk, and anything else that’s near you. 

The pain in your head is stabbing, overwhelming, and you can’t tell if the blood around you tastes the same as the blood in your mouth - whether it’s both yours, or if some of it is Frankie’s, or maybe even Ezra's.

After what seems like hours it starts to rain, while you’re still trying to stay afloat. At first you’re convinced it’s going to be the final push that’ll make you drown, but somehow as the rain mingles with the bloody river, it starts to dilute the thick red blood little by little, until eventually the blood has disappeared and there’s only water surrounding you, while the sun breaks through the clouds, warming your skin at last. You grit your teeth as you try to make it to the shore once again, and this time you’re successful, finally getting your body out of the water as you lay down into a wheat field, the wolf pup suddenly by your side.

You lurch up when the truck Frankie is driving comes to an abrupt stop, gasping for air as you’re jostled into consciousness for a moment. The wolf cub whines softly, licking your face, and you can’t figure out if you’re actually in the car or in that field next to the river. You hear voices somewhere nearby, and when somebody talks who is clearly not Frankie, the pup bolts up with his teeth bared.

That’s when you see the horse in front of you, just a few steps away, his dark brown coat looking almost black as it shines in the sun. You don’t understand how it’s possible, but you can swear that the horse smells like freshly baked bread and some grain alcohol - maybe it’s whiskey. The horse slowly starts to change shape, and eventually looks like a man wearing yellow aviators and tight jeans, standing there with a cocked hip and an expression somewhere in between annoyance and concern.

“Peña,” you hear Frankie say, but some part of your brain struggles to accept that name for the man. 

“Freyr,” you mutter as you close your eyes again, burying your face against the soft fur of the wolf cub curled up against you. You’ve seen that man before, you just don’t remember where. Bogota? Medellin? Maybe talking to Ezra? Fuck - Ezra. Where is he? Is he still alive? “Esdr-...Tyr.” Your head hurts so much that it feels like it’s going to explode.

“Santiago. You’re going to be okay.” 

Your eyes fly open when you recognize Joel’s voice, so nearby that for a moment it feels like he is right next to you. Until everything goes black again.

━━━━━━━━━━━━━━━━━━━━━━

Every time you dream of Joel, you ask him.

Every time you ask him, he has no answer for you.

“He’s not here, Santiago.”

“Please. You must be able to find out somehow.”

“I don’t know where Esdras is, hermano.”

━━━━━━━━━━━━━━━━━━━━━━

The medication that Javier and Frankie got for you makes it hard to focus on anything, but at least it keeps the pain away. It makes the nightmares worse though, so you find yourself desperately trying to stay awake. 

This is what you understand: 

You’re at the El Dorado airport in Bogota, with Francisco and Javier Peña, who is a DEA agent. The three of you are getting on a small plane that’s headed to the United States, but you’re not quite sure where. At some point, you’ll be testifying anonymously about Lorenzano, Tovar and the rest of the syndicate.

“Ezra set this up a year ago,” Javier tells the two of you as he hands you each a passport and some paperwork. “Residency and work permits. The rest will come.” 

Francisco is staring at him, looking just as confused as you are feeling. “I don’t understand.”

“Ezra is an American citizen. Was.” Javier hesitates, and you can tell by his expression that the man genuinely doesn’t seem to know whether Ezra is still alive as he looks at you. “When Frankie found you two… well. He should tell you about that some time. But Ezra sent him to me, so I got things moving. Most of this was already set up.” 

“Why?”, you manage to ask, and Javier sighs as he takes his yellow aviators off.

“Insurance policy. I know Ezra wanted out, but he didn’t quite seem to think that he would survive that,” he then says. “He figured that if shit hit the fan, at least you two could get out and start over.”

You close your eyes, trying to process the words, but it’s impossible to understand. The idea that Ezra is probably dead is just as unbearable as the thought of what state he might be in if he is still alive. 

“Did he lose his arm?”, you ask, and you don’t recognize your own voice - but you can tell the words sound slightly hysterical. “Frankie, where…”

“You should rest. Both of you,” Javier gently but firmly interrupts you, then gives you some pills and a bottle of water. “These will help. You’re safe for now.”

The woman, Lydia, apologizes for the small apartment, saying that’s all she was able to arrange on such short notice. Javier and Francisco assure her it’s perfectly fine, and you can only nod, your tongue and brain still heavy from the medications.

Once Javier had checked all the entrances and exits, feeling good about how secure it is, he leaves you and Frankie alone, saying something about Lydia picking up groceries and clothes for you soon. Only when he’s gone, you’re able to take in the apartment. Lydia may have apologized for its size, but to you it feels like a palace - and you can tell by the expression on Frankie’s face that he feels the same way.

Somehow it reminds you of your childhood home, and when you two sit down at the small kitchen table, you suddenly don’t feel twenty-two anymore but only ten years old at the most. You’ve never had someone give you a place to call home, even if it would be temporary. Hell, you’re never even been in a place that had locks and was intended for only you and Frankie, with exception of that one motel night a long time ago. 

You watch Frankie get up from the table and grab two glasses, filling them from a bottle of water in the fridge - the only thing that’s in there. As you drink from it, you take in his appearance. He looks as exhausted as you feel, some cuts and bruises on him, but not as many as you have fortunately.

He lets you look at him, the soft smile on his face indicating he understands you’re still loopy from the drugs, then touches your hand softly as he gets up. “This looks nice,” he says, gesturing around him, and you laugh without meaning to - because if there’s one thing Frankie normally doesn’t do, it’s small talk.

“Shut up, pendejo,” he says as he rolls his eyes at you, but you can tell that he doesn’t mean it. “I just mean - well, this is fucking huge.”

You shower together, mostly because you can’t stand up straight without swaying, but you realize that you quite like it. The water is hot and plentiful, neither of you having soap or anything, but just washing the dirt off your skin already feels like a blessing.

“I can walk,” you object when he seems inclined to help you to the bedroom, and you do so, ignoring when you almost fall twice. The sheets seem old but are so soft against your bare skin, and you drift off so fast while you hear Frankie moving around and letting someone inside the apartment. When he returns, it’s with a small pile of clothes and a bag with deliciously smelling food.

You’re both starving and eat mostly in silence, still trying to understand what happened in the past forty eight hours. When your eyes become too heavy, you curl up under the sheets and breathe a sigh of relief when Frankie does so as well. His naked body is so warm against yours as he wraps an arm around you, laying against your back, and you both fall asleep this way.

━━━━━━━━━━━━━━━━━━━━━━

“America.” A smile tugs at Joel’s lips, and for a moment you’re not sure if you are actually dreaming. Everything indicates that you are, except for the way Joel looks. There is no decaying half to his face, or his body - he’s all in one piece, standing in front of you. Even looking relaxed, which is not exactly a characteristic you associate with him. 

There are no dead bodies anywhere near the two of you. 

Nobody is bleeding out on the ground, or screaming. 

It should be comforting, a relief, but after so many years of always having dreamt of Joel one way, your brain is struggling to understand what’s happening.

“Are you okay?”, you ask Joel, feeling stupid asking the question when he’s clearly looking better than he has before. “I mean…”

“You don’t have to worry about me, Santiago.” The expression on Joel’s face softens further, looking almost wistful, and suddenly you know with alarming clarity that this is the last time you’re going to be dreaming about him like this. “You got out.”

━━━━━━━━━━━━━━━━━━━━━━

The footsteps down the hallway are firm and moving closer to the room where you and Frankie are seated. He gives you a short nod as you both get up from the chairs, standing straight as you wait for the door to swing open.

A tall blond man dressed in uniform enters the room, and you can tell that it takes him just a second to size up the two of you - make a quick judgment about what he sees too, probably. 

He closes the door behind him, then walks over to shake your hands briefly. He gestures at the chairs you were seated earlier as he takes a seat of his own, behind the desk.

“Mr. Garcia, Mr. Morales. My name is Captain William Miller. What can I do for you?”

A/N II: I need to give a nod to @oliveksmoked’s incredible 'Nothing That We Need' (Narcos x Supernatural with Javi x OFC) and @ohforficsake’s The Margay' (Frankie x Audrey, POC OFC) which ended up influencing this fic a lot, and are both absolute must reads. Finally, thank you to @sin-djarin @lotusbxtch @qveerthe0ry @mountainsandmayhem and @magpiepills for all the support and feedback (and letting me cry when I needed to for many reasons). Dividers by @saradika!

Here’s a little overview of Santi + the PPCU characters in this fic, plus and the Norse Gods that Erin assigned to them. Click on their names to go read the other Frith stories written by some amazing writers! @perotovar, thank you so much once again for organizing this incredible event, love you so much!

Santiago Garcia → Fenrir. Most famous of all the wolves in Norse Mythology, bringer of Ragnarok a.k.a. the end of the world. Joel Miller/Santi’s brother → Hel. Goddess of death and guide to the underworld.  Jay/Santi’s (oldest) brother -> Jormungand. The serpent banished to the ocean, will rise at the end of the world. 

Francisco Morales → Skadi. Goddess of winter, skiing, bow-hunting, and mountains. Ezra / Esrads → Týr. God of victory, law, and justice.

Maxwell Lord/Lorenzano → Odin. The All-Father. God of wisdom, magic, war, death and trickery. Pero Tovar → Thor. God of thunder, lightning and the protection of humankind. Max Phillips/Santi’s father → Loki. The Trickster God of mischief and chaos. Javier Peña → Freyr. God of fertility, harvests, and peace. Rules over weather.

main masterlist | follow @longlongtime-updates for updates

[aroaceleovaldez]

i honestly wish rr would just write for something that has nothing to do with pjo not the same characters not the universe just go and write something new bc i really liked daughter of the deep and i think he's wrung everything out of the pjoverse yk? he's a good writer but he needs to go do something different

I agree - the problem with Rick's writing is he's heavily reliant on his writing being derivative. He struggles to write original stuff. PJO, HoO, ToA, etc are all derivative from Greco-Roman mythology/history. MCGA is Norse mythology/history, TKC is Egyptian mythology/history. Daughter of the Deep is Twenty Thousand Leagues Under The Sea. And he's not terrible at it! The problem is that can't go on forever. He runs out of material to work from over time and suddenly the quality of the franchise tanks dramatically. Especially as he loses overarching connecting threads to tie the plots together, so it just becomes this soup of throwing references at the wall with no cohesion to see what sticks. And it's bad!

We started seeing it in HoO, also in part due to Rick trying to combine too many disparate inspirations to the main plot to begin with and didn't know how to make them mesh well (Seven Against Thebes, Gigantomachy, Argonauts, Odyssey). TKC and MCGA were okay because they're only three book series, so that's plenty of mythology to draw from with stuff left over, and the majority of their companion novel stuff is ghostwritten anyways. The shorter series span means less filler required so less mythology is used up and there ya go. In the longer series, Rick has to spend those five books filling in the gaps of that overarching plot and he runs out of material fast - that's why by the end of HoO it was just turning into blatant Marvel references. Now that we're getting into a fourth installment in the main series collection, even though it's only a three-book series, Rick has basically written himself into a corner because he doesn't write anything else. He ran out of places to go with the franchise like two series ago! So now he's just throwing literally anything he can think of at things (literally just plucking random mythological figures and pop culture references or tropes), or if he can't think of anything, apparently just blatantly lifting stuff from the community.

At this point the only possible Greco-Roman series I think he'd be able to do without it being total garbage would be a 3-book Roman series set during SoM-TLO/The Second Titan War. I don't think he should do that and I don't want him to, but based on everything that's probably just what would have the best likelihood of success. It just seems like the only place he can go. Anything else he'd have to do something actually original, and he's shown time and time again that he's not interested in doing that and isn't very good at it anymore.

[theyhavetakenovermylife]

What Would They Name Their Children? (Headcanons)

2012!Turtles

A/N: Fun fact, my great grandmother was named after Olga of Kyiv. And another fun fact, my grandparents met each other at Niels Bohr institut in Copenhagen.

Warnings: None💚

Leonardo:

Leo would want to honor his Japanese heritage, in the memory of his father. With a great knowledge of not just Japanese culture and language, but mythology and history, Leo would have more than just a few name ideas for his future children. His future partner may very well have to keep him in check, helping him sort through the all.

For Boys:

Kenji, meaning either “strong and vigorous” or “intelligent second son” in Japanese.

Asahi, meaning “morning sun”, “rising sun” or “sunrise” in Japanese.

Kangiten, the Japanese god of bliss.

For Girls:

Haru, meaning “springtime” in Japanese.

Sanyu, meaning “happiness” in Japanese.

Amaterasu, the name of the Shinto goddess of the sun.

Raphael:

Raph likes strong names. Names that make people think of strong warriors and brave leaders. For that to happen, it needs to be names that most people would know, and be able to recognize with at least a little ease. It won’t work if Raph chose a name no one had heard of before.

For Boys:

Thor, after the Norse god of thunder.

Zeus, after the Greek god of lightning and king of the gods.

Anu, also known as the Sky Father and the King of Gods in ancient Mesopotamia.

For Girls:

Boudicca, after the queen of the Iceni tribe, who led the rebellion against the Roman forces that invaded Britain.

Olga, after Olga of Kyiv, who avenged the murder of her husband at the hands of the Drevlians, while protecting her son.

Lagertha, after the Norse shieldmaiden from Norway.

Donatello:

It would be no surprise to anyone, that Donnie would name his children after some of the great minds that he found himself looking up to. Just like Leo, Donnie would have so many names lined up and ready to go, that his future partner would have to help him sort them all through, before setting on the ones that they would find fitting.

For Boys:

Charles, after Charles Darwin.

Deodatta, after Deodatta V. Shenai-Khatkhate.

Niels, after Niels Bohr.

For Girls:

Rosalind, after Rosalind Franklin.

Barbara, after Barbara McClintock.

Emilie, after Emilie du Chatelet.

Michelangelo:

The names Mikey has lined up for his future children, changes quite a bit in reasoning. Some of them mean something to him, in the sense that he finds the meaning of the name very important. Others are important to him, due to pop culture or, well, food. A simple man with simple thoughts I guess.

For Boys:

Keanu, because of Keanu Reeves of course. Duh.

Ace, from Latin, meaning “one”, “someone who excels” or someone of a high rank.

Bodhi, a Sanskrit name meaning “enlightenment” or “awakening”.

For Girls:

Cherry, which both could be referring to a meaning of “dear one”, but also the fruit.

Clementine, meaning everything from “merciful”, “gentle” and “mild” to the small citrus fruit.

Éowyn, because of Lord Of The Rings, of course.

[setzeri]

Hello! Wanted to say I absolutely love your characters, be it the Lotta Girls but also your depictions of the norse gods. Wanted to try my hand in some norse gods and wanted to ask if you ever did any reference of them. (totally not wanting to draw one of them)

Thanks! Glad to hear that you like them. While I don't have any clear reference sheets of the characters, as their designs differ a bit from each drawing, browsing my Norse Mythology-tag gives some results. But since you asked I felt like drawing Jord and Angrboda again, two of my favorites because while they are similar in a way, in design they are quite the opposites.

[agatharkn3ss]

Alice clues

If you didn't think this show has put an amazing amount of detail into their storytelling methods, may I offer you exhibit A.

This is a scene from episode 2 where we first meet Alice - doing her security gig at Hot Topic. Knowing what we know now... have a look!

Besides the obvious red aesthetic, there are so many little details packed into this one shot! First of all... Have you spotted the ouija planchette yet? (in the upper right corner)

They are telling us her story here!

There are also phases of the moon right by her knee (might be too tiny to see here). The shirt on the left has red skulls all over it and there is a poster of a red skull made out of cobweb - suggestions of death (especially as Aubrey Plaza's end credits have spider as a background). It looks like there is red firey dragon poster behind her too, maybe referring to her being the protection witch.

The image of a man behind her reminds me of Mac Fleetwood, but don't quote me on that. Does anyone recognise it? At first I thought it looked a bit like Jesus (resurrection?) but it's not quite the same.

There is also a sign that says "Time to cash in"... Any ideas of what this could mean other than another death prediction?

Things that make a bit less sense is the shirt to the right - it has mushrooms and fairies on them (and the fairy lights?). The only mention of fairies in the show so far has been when Jen questioned Sharon about the poison effects. "Do you hear the sound of fairies crying?" but I have no idea what that could mean.

There are soooo many different stories and interpretations as to what fairies could symbolise here (e.g. games, growth, deceit, illusions). But I wonder if this is maybe a reference to Fairy realm, or Otherworld, thought to be a parallel dimension ruled by Queen of the Fairies. Historically, there have been women accused of being witches for conversing with the fairies.

I say this because it could work with this next element. There is an image of a raven surrounded by red flowers (towards middle left). You can't quite see it in full here, but when Alice exits the shop, they show it to you again.

Ravens can again symbolise different things. For some they are thought to be harbingers of death. For others they are symbols of transformation. In general though, they are thought to bridge the "chasm between light and shadow" and e.g. in Norse mythology they were messengers between the human world and the divine.

This is even more interesting, because Ali Ahn's end credits have a background of a pentacle with candles around them. AND in a very brief moment, as the pentacle moves into the screen, we can also see the writing "Can you talk to the Dead?"

Now, I know this is a stretch, and more likely than not this is all just a simple reference to the fact that Alice dies in the episode where they try to talk to the dead.

But what if there is a bit more to it and Alice will act as some sort of a messenger for the witches? We know we will see her again according to the promos, but it looks like it will simply be a scene where Rio "wakes her up" to take her body? What will happen to her soul though? (seeing that Rio seems more interested in the bodies) So what if there is more to it?

Even Jac Schaeffer in her latest ep.5 interview, when she confirmed that Alice really is dead, she followed it up with these exact words:

"What I will say is that, it’s not the end of the conversation, is what I would say."

Oh and bonus photo - there even is a red pentacle drawn on the floor of the Hot Topic shop - we see it as Alice gets up to trip Teen when he runs.