#CW Murder

[howlsofbloodhounds]

Sometimes I just randomly remember that one panel i think at the end of the Steven Universe comic where killer just straight up asked swap to just kill him.

[quarterlifekitty]

cw: death, murder, severe grief induced depression, alcoholism

Undead!Husband!Ghost who stalks his way home just as soon as he claws his way from the damp, heavy soil on top of his coffin.

Pain in the ass. Doesn’t have his damned phone and he has no idea where this cemetery is.

Doesn’t have his keys, either, and it’s the middle of the fucking night. Finds a window open just a crack— his absence in your life shows. He would’ve never left you vulnerable like this. Kitchen is a mess of takeout containers. You haven’t been taking things well. Answering machine flashes a bright red number— 38.

He takes off his shoes and his jacket— like he’d only stepped out for the day, rather than having been dead and buried for months. Hates the fucking formalwear they buried him in. Ambles his way upstairs.

Sees some fucking stranger in his house. Sleeping in his bed. Right next to his wife. Bruises on your neck.

It was yet another self-destructive attempt at distracting yourself from what happened. The shitheel you picked up at the bar doesn’t even fully wake up before his skull is cracked against the hardwood of the headboard. You barely stir. Simon leans close and smells the liquor on your breath. He tilts your head gently so your cheek is to the pillow.

He digs through the dresser drawers for nearly half an hour before he finds the obscure little corner where you’ve hidden your wedding ring. You tell yourself it’s to make yourself seem available, but really you just couldn’t stand the sight of it. Whose gaze reflected back from the polished gemstone.

It’s slipped delicately back onto your finger. It’s looser than it used to be.

The body is dragged from the bed and deposited on the floor, blood already soaked down past the sheets and into the mattress. He doesn’t care. He’s still covered in dirt and rot and he doesn’t care about that either. He’s so fucking tired.

Crawls in the bed next to you, an arm loosely thrown over your waist.

When you wake up, he’ll cook you some real food.

[sunnymainecoonx]

Dust had difficulties killing Papyrus smh..

[intheholler]

the appalachian murder ballad <3 one of the most interesting elements of americana and american folk, imo!

my wife recently gave me A Look when i had one playing in the car and she was like, "why do all of these old folk songs talk about killing people lmao" and i realized i wanted to Talk About It at length.

nerd shit under the cut, and it's long. y'all been warned

so, as y'all probably know, a lot of appalachian folk music grew its roots in scottish folk (and then was heavily influenced by Black folks once it arrived here, but that's a post for another time).

they existed, as most folk music does, to deliver a narrative--to pass on a story orally, especially in communities where literacy was not widespread. their whole purpose was to get the news out there about current events, and everyone loves a good murder mystery!

as an aside, i saw someone liken the murder ballad to a ye olde true crime podcast and tbh, yeah lol.

the "original" murder ballads started back across the pond as news stories printed on broadsheets and penned in such a way that it was easy to put to melody.

they were meant to be passed on and keep the people informed about the goings-on in town. i imagine that because these songs were left up to their original orators to get them going, this would be why we have sooo many variations of old folk songs.

naturally then, almost always, they were based on real events, either sung from an outside perspective, from the killer's perspective and in some cases, from the victim's. of course, like most things from days of yore, they reek of social dogshit. the particular flavor of dogshit of the OG murder ballad was misogyny.

so, the murder ballad came over when the english and scots-irish settlers did. in fact, a lot of the current murder ballads are still telling stories from centuries ago, and, as is the way of folk, getting rewritten and given new names and melodies and evolving into the modern recordings we hear today.

305 such scottish and english ballads were noted and collected into what is famously known as the Child Ballads collected by a professor named francis james child in the 19th century. they have been reshaped and covered and recorded a million and one times, as is the folk way.

while newer ones continued to largely fit the formula of retelling real events and murder trials (such as one of my favorite ones, little sadie, about a murderer getting chased through the carolinas to have justice handed down), they also evolved into sometimes fictional, (often unfortunately misogynistic) cautionary tales.

perhaps the most famous examples of these are omie wise and pretty polly where the woman's death almost feels justified as if it's her fault (big shocker).

but i digress. in this way, the evolution of the murder ballad came to serve a similar purpose as the spooky legends of appalachia did/do now.

(why do we have those urban legends and oral traditions warning yall out of the woods? to keep babies from gettin lost n dying in them. i know it's a fun tiktok trend rn to tell tale of spooky scary woods like there's really more haints out here than there are anywhere else, but that's a rant for another time too ain't it)

so, the aforementioned little sadie (also known as "bad lee brown" in some cases) was first recorded in the 1920s. i'm also plugging my favorite female-vocaist cover of it there because it's superior when a woman does it, sorry.

it is a pretty straightforward murder ballad in its content--in the original version, the guy kills a woman, a stranger or his girlfriend sometimes depending on who is covering it.

but instead of it being a cautionary 'be careful and don't get pregnant or it's your fault' tale like omie wise and pretty polly, the guy doesn't get away with it, and he's not portrayed as sympathetic like the murderer is in so many ballads.

a few decades after, women started saying fuck you and writing their own murder ballads.

in the 40s, the femme fatale trope was in full swing with women flipping the script and killing their male lovers for slights against them instead.

men began to enter the "find out" phase in these songs and paid up for being abusive partners. women regained their agency and humanity by actually giving themselves an active voice instead of just being essentially 'fridged in the ballads of old.

her majesty dolly parton even covered plenty of old ballads herself but then went on to write the bridge, telling the pregnant-woman-in-the-murder-ballad's side of things for once. love her.

as a listener, i realized that i personally prefer these modern covers of appalachian murder ballads sung by women-led acts like dolly and gillian welch and even the super-recent crooked still especially, because there is a sense of reclamation, subverting its roots by giving it a woman's voice instead.

meaning that, like a lot else from the problematic past, the appalachian murder ballad is something to be enjoyed with critical ears. violence against women is an evergreen issue, of course, and you're going to encounter a lot of that in this branch of historical music.

but with folk songs, and especially the murder ballad, being such a foundational element of appalachian history and culture and fitting squarely into the appalachian gothic, i still find them important and so, so interesting

i do feel it's worth mentioning that there are "tamer" ones. with traditional and modern murder ballads alike, some of them are just for "fun," like a murder mystery novel is enjoyable to read; not all have a message or retell a historical trial.

(for instance, i'd even argue ultra-modern, popular americana songs like hell's comin' with me is a contemporary americana murder ballad--being sung by a male vocalist and having evolved from being at the expense of a woman to instead being directed at a harmful and corrupt church. that kind of thing)

in short: it continues to evolve, and i continue to eat that shit up.

anyway, to leave off, lemme share with yall my personal favorite murder ballad which fits squarely into murder mystery/horror novel territory imo.

it's the 10th child ballad and was originally known as "the twa sisters." it's been covered to hell n back and named and renamed.

but! if you listen to any flavor of americana, chances are high you already know it; popular names are "the dreadful wind and rain" and sometimes just "wind and rain."

in it, a jealous older sister pushes her other sister into a river (or stream, or sea, depending on who's covering it) over a dumbass man. the little sister's body floats away and a fiddle maker come upon her and took parts of her body to make a fiddle of his own. the only song the new fiddle plays is the tale about how it came to be, and it is the same song you have been listening to until then.

how's that for genuinely spooky-scary appalachia, y'all?

[vive-le-roi-au]

Prologue

(This post contains both images and text.)

(You’d been looping back to just the third floor for… you don’t know how many loops. Hundreds?)

(Maybe that was the problem. You didn’t do it all in one go. You just have to do it all, from start to finish, and kill the King.)

(From the top.)

(…Again.)

(You went back. Again.)

(Maybe you took too long. Just need to go faster.)

(…No. Still not enough.)

(It feels good though. Killing the one who killed you, thousands of times. It’s cathartic.)

(You’re even strong enough that you don’t need the Housemaid—MIRABELLE. HER NAME IS MIRABELLE, MIRABELLE, MIRABELLE!!!)

(…You don’t need Mirabelle’s help anymore.)

(…)

(You wouldn’t mind doing this a few more times.)

(…)

(Back to the stage, Siffrin.)

(…)

(…)

(…)

(It’s just another part of the loops now.)

(Go through the House. Kill the King. Talk to the Head Housemaiden. Something’s broken, failing, rotting. Loop back to Dormont.)

(The worst part?)

(Murdering the King has stopped bringing you joy.)

(It used to make you smile, seeing him crumble, blood spilling from his mouth, pooling on the ground.)

(Sometimes, you reduce his body to dust, cutting it up more and more and more until there’s nothing left. You’ve killed him slowly, draining him of his strength and bleeding him from a million places all over, watching the light slowly leave his eyes.)

(And you can’t even enjoy it anymore.)

(…)

(So why are you still here?)

(Whose fault is it that you’re trapped here?)

[2jihiir0]

To The Ground

A steddie murder comic 🖤 by @2jihiir0

The steddie comic I’ve been working on is finally complete and I can finally post it here! 🖤✨🖤 I told myself I’d only post it on tumblr once it was finished, as an incentive to keep going. And it worked!!! It’s finished, and I’m so happy with it !!! 🥰

Making this comic was a journey. This was the first time I’ve worked on something this big and I learned a lot. I’m no comic expert by any means. The page flow is messy, there’s almost zero paneling, and no consistency on the speech bubbles. But you know what - I had fun ✨✨✨✨

I hope you like it 🖤 enjoy these dark and twisted murder boyfriends! 🔪🔥

[bramblebeau]

Alright I told myself I wouldn't interact with fandom when s2 came out, and I haven't and don't plan to except to say this about people deciding Caitlyn is the Worst or that the writing is OOC.

As someone who has had a family member violently killed, I cannot stress how much it shakes up everything you thought you were and stood for. My beliefs in proportionate compassionate justice and the rights of all human beings are some of the strongest I have (stronger now because of the way that experience affected me personally), but they were pushed to the absolute limit when it came to an individual who had killed my loved one, showed no remorse, and laughed in our faces outside court, among other things.

People generally like to believe it wouldn't be them or their peace-loving family members being talked down from seriously considering violent revenge, consequences be damned. People like to believe they wouldn't lash out at people closest to them under that pressure, that they wouldn't build walls around the kindest and most sensitive parts of themselves because those parts are the ones feeling pain you never thought possible, that they wouldn't stalk the killer, make notes on all their family and friends, and fuck up their hands punching walls in anger wishing so badly it was flesh and bone because they can't handle the fact that there's no way to turn back time to stop it all from happening. People like to think they're "better" than that. But the reality is messy and painful as hell.

With Caitlyn, she has the added guilt of having actually had the opportunity to stop Jinx before she fired the rocket, but she hesitated just long enough for it to result in the deaths of her mother and other councillors and in the cities being plunged into chaos. Not only that, but the person close to her she's lashing out at is the person who caused her to hesitate, and just so happens to be the sister of the killer.

Furthermore, her behaviour is entirely in character. We have seen her set up as someone who becomes obsessed with achieving a goal and will do pretty much anything she wants to get there. In S1, we agreed with her methods because her goal was exposing and taking down Silco, and because it led to Vi being released. In S2, she's doing a similar thing but it's fuelled by fear and a type of pain she doesn't know how to deal with, rather than being fuelled by a need to prove herself and solve a case, and it leads to her making morally questionable decisions and to hurting Vi. She admits herself, albeit privately to Vi, that she does not know what she's doing and doesn't know how to fill this hole in her chest (and the hole in the city leadership). She has been sheltered from the real world for almost all her life, and as a result she has no experience of functioning or making decisions under this kind of pressure. The real world blew up in her face in the worst way and she was given power and a loaded rifle, and then shoved into an even more elevated position by a very experienced warlord who is manipulating the shit out of the whole situation.

I'm not saying that you have free rein to hurt people when you're grieving and facing extreme stress. (If you think that's what I'm saying then idk I'm not sure there's much hope for you in terms of critical thinking skills). What I'm saying is that Caitlyn is exhibiting pretty normal human behaviour that most people would be susceptible to in those circumstances, not the behaviour of someone who is some kind of heartless abusive bastard.

TLDR: Caitlyn is being written in a way that completely makes sense and is also not OOC, and if someone told me there would be no chance of them reacting in similar ways I simply would not believe them.

[teruuu]

CW: This comic tackles dark themes such as murder, gore, cannibalism, and obsessive/unhealthy relationships. PLEASE tread with caution.

This is specifically inspired by @onethirdofimpossible ‘s ask about Narinder talking more about the Lamb. I didn’t want to post this as an answer & wanted it to be its own post because I loved the ask so much.

I was initially gonna color the whole thing but I cringed at how much work I had to do so I might just do that next time

KEEP THEM ASKS COMING!! ((P.S. if my responses r slow I’m making my sweet ol time on them lol))

Part 1

[drgnflyteabox]

the lusty cabin-dweller

pairing: ghost / Simon riley x fem reader summary: your life gets wider when you find an injured man outside of your cabin. tags/warnings: Skyrim!ghost, secrets, graphic injuries, some angst, facial injuries, nursing Simon back to health one stew at a time <3, listen to this for the vibes, vaginal + anal sex, oral (f), animal attacks, blood, processing an animal for meat and fur, violence, death (non-major), mention of Skyrim racism, softdom!Simon, some backstory, please hmu if i forgot anything, one bed trope, simon backstory adapted to skyrim lol (so past abuse, murder, theft, domstic violence) but nothing graphic w.c: 5k

Honey-nut is squealing again. Some days you think she might not be worth the milk and cheese she gives you for all the trouble she causes. A high, strange bleating cuts through the chilled night air like a knife, sharp and terrifying only for a moment.

She's been at this since Frostfall. Maybe it was the weather causing Honey-nut distress - she was getting old, after all. For a goat.

In the time it takes you to trudge out of bed, pull on a wool shift and a fur, two things happen: one, Honey-nut stops bleating, and the woods surrounding your cottage becomes deathly silent.

Two, a crunch.

Just one, but it's enough. Someone is outside.

For a brief, hysterical moment, you worry for Honey-nuts safety. Have they hurt her to be quiet? No, you'd have heard that at least. Your breath comes fast, chest squeezing. Bandits? Probably not. It's a decent hike up to your wooden cottage. But it is nearing winter, and soon it will be Sun's Dusk. It's not unheard of that they'd be looking for a place to take over for the colder months.

Your hand goes to your heart, fingertips touching your throat. Be calm, you tell yourself. You aren't helpless, look. The axe, leaning by your front door. You can see in the dark well enough, and you're more familiar with your homestead than they are.

The axe feels right in your hands. Too-familiar, weighty, deadly. You touch your ear to the door, trying to reign in your fear. Nothing. Then, a wheeze, strangled and restrained like whoever it is can't afford to be heard. But you have heard it, and you push the door open.

"Show yourself!" You shout, voice surer than you feel. Your knees quake a little, but your grip on the axe is strong.

The animal pen is a mere few steps away from your front door. Past the front garden, it's wide open aside from the little shelter you built the past Mid Year. A foot sticks out, clad in armor.

"I'm armed," you add. "You're not getting anything from me!" The world is dark, the woods quiet. Adrenaline burns in you, bright enough to guide your steps.

"You gonna kill me with that, girl?"

Gruff voice, like scraping rocks. Coming into view, you see that this man poses no threat. He's half dead, slumped and pale, clutching his side.

"Who are you? What's your business here?" The axe is a deterrent, now. Just for show. You hold it above him, but nearly drop it when you see his face. It's sliced right through the middle, from his forehead to his jaw. "Oh, gods-"

"Mind yourself with that," his eyes flit to the axe. "Or put me out of my misery now."

Your shoulders dip down, lowering your weapon. Guilt crawls into your belly and settles there when you notice that yes- his feet are armored, but the rest of him is dressed in miners attire. White, coal-dusted shirt. Workman's pants, tucked into woolen calf wraps. God, he must be freezing. Maybe that's saved his life, staunched the bloodflow. It's tacky on him, not shining wet like you expected.

"What's happened to you?" You cringe at the sound of your voice. It's gone from fierce defensiveness to cloying concern, staring only at the blood staining his skin.

He breathes hard, staring at you a moment. It's hard to tell what he's thinking, what he's feeling. Outside of obvious pain. Leaves around you shiver in the breeze, a light snow beginning to fall when he finally speaks.

"Bandits," he grunts. "An ambush." Every word is a fight, a wheeze. Empathy drives away caution and you drop your weapon in favour of kneeling beside him.

"Come on, then. Let me help you," lifting him is a monumental task, even with him helping. He's as big as horse, thick as one too. Legs like tree trucks that hold him up just barely, feet sliding weakly on the uneven ground.

Looking back, Honey-nut watches you bring him through the doorway with a judgmental twinkle in her eye. Maybe it's time for goatherd pie.

///

Your bed is too small. His feet hang off comically, and the wood creaks under his weight. It'll have to do. Your mother would have beaten you black and blue for this - for inviting a stranger in, for settling him in your bed without so much as a what’s your name? But you know how to stitch and turning away someone in as bad a shape as he is would weigh on your conscience.

You light the sconces along the wall, and then a lantern to keep by his bedside. Warm, orange light fills the cottage, flickering every so often, inspiring calm.

"I'm no healer," you warn him. "Nor an alchemist." It’s not necessarily a lie. You had done a brief stint as a volunteer for the temple of Kynareth, lending your hands and your time to help nurse wounded soldiers. There had been supervision then, though. Guidance.

"I’m shit out of luck for choices, sweetheart,” his facial wound leaks a little when he speaks, blood running down the side of his face in thin rivulets. The wound at his side, however, is what worries you the most.

“Let me,” you murmur. Your fingers find the edge of his shirt, pulling them out of his pants, and up, up, gently. Looking him in the eye, watching his pain win over his weariness.

Another gash, swaddled in cloth wrapped sloppily around his middle. Without moving him you have to cut them off, slicing off his shirt at the same time. This one bleeds sluggishly, skin shredded, like he’d been dragged over coarse rock.

He words slur, energy leaving him. Mumbles under his breath things you can’t make out, and don’t try to. You’re busy rinsing, cleaning, and patting his ribs dry. Tensing every so often, he breathes hard through his nose to offset the pain. Mumbles some more, hands making fists.

It’s bad, but he’ll live. Exhaustion might trump over all, anyhow, what with how his eyelids have begun closing. Through the slit of them his eyes are pale, like sunlight through deep blue ice. Blonde lashes, stark against the dirt and coal smearing his skin.

You work in silence, letting him sleep through this one so he’ll hopefully be unconscious for the work you have yet to do on his face.

“Who did this?” You whisper to no one. You’re a breeze in the night, alone, hunched over this man and wiping his face with a cloth.

Clear of blood and grime, you gather a sewing needle and dip it into the lantern flame. Stitching is easy, but on his face? You falter a moment, worried, until you think of how proud men often are of their scars. Boasting battles won and creatures slain.

It’s that thought that pushes you through to the end, weaving the needle through until he's sewn and clean of blood.

///

Sweat and iron. The smell of it, sharp and salty, sea foam and earth, is the first thing you're aware of.

Then, the light of morning. Pale, almost white, invading through the windows in rays. A chill. Your eyes open with a not insignificant amount of effort, back twinging in different places as you become aware of the world again.

"Awake?" You startle, jerking up. It's the man from the night before, laying as he was, a little curled against the pain and big as an ox. "W's startin' t'think you'd sleep all day."

"It's morning, is it not?" You're not used to talking this early - or at all. "How's the- how are you feeling?"

He grunts, shuffling. His wrapped side has some blood peeking through, little spots of leakage, not enough to lose your head over. His face has swelled some overnight though, and you're awake enough now to hear the muffled quality to his voice. Part of the cut pulls his upper lip tightly. You wince.

"Just wait. I have something for the," you pause, crossing your space on stiff legs to find the bookshelf. Clay pots, glass bottles, books. Ah, here it is. "For the pain." It's some elixir. Purchased the last time you'd made the trek to Markarth from Muiri, the alchemists apprentice. It brings forth a distant memory of pain, of twisting your ankle running after Honey-nut.

Your ankle hadn't quite healed right, but this was good for when winter came and stiffness made the pain worse again.

He eyes you wearily as you approach. Suspiciously. As if you haven't been helping him out of the kindness of your heart…

"This will help," a promise.

"Don't need'it." He slurs, then cringes as it pulls his lip again.

"You'll recover faster if you're in less pain."

In the end he acquiesces, if not just to take the edge of the purpling that's beginning to show on the edges of his bandage. Broken ribs, maybe?

///

Chores need to be done whether or not there's an obstinate patient in your bed. Honey-nut needs to be milked, and she fights you every step of the way. You discover her pen open from last night and sigh with relief that she's still there.

The chickens have laid eggs for you, and you collect them diligently in your apron. Then, the garden. And finally a sweep of your traps in the woods.

Just one rabbit, but it's enough. You hope the man likes stew, and that his swelling goes down enough for him to tell you his name.

///

He tells you his name is Ghost. Strange, but you've heard stranger. Maybe he's a follower of Namira, you wonder not without an inkling of apprehension. Ghost is quiet, even as he heals. After you'd made yourself a straw bed on the other side of the cabin, you'd wake to him sitting up and stretching. Testing himself. Always silent.

The exhaustion was the worst of it. One nearly empty bottle of elixir later, the swelling on his face has gone down significantly. His ribs sore but on the mend. It was sleep that he needed, and lots of it.

Days passed like this. Switching bandages, wiping and cleaning, cooking enough stew for two. Nearly a week until he was up and about insisting to help around the cottage.

"No need," you tried to gently push him back into the warmth of the open door. He was too big, and having none of it. "You'll be better in no time."

He was just so tall. Were he to stand still at your doorway, half his face would be covered by the top of it. Despite his condition, you could tell that your initial comparison to a horse was completely on the nose. Stocky as a boar, arms thick as mammoth tusks. Hairy like blonde wheat shining in the sun. You'd noticed as much, watching him rest, watching his eyelashes flutter on his cheeks as he dreamt.

///

Ghost works like you're paying him in gold. He sweats, arms swinging down over and over again above the chopping block. There's enough wood to last three winters now - maybe four. Every job he takes is finished to excess. Your roof has never looked better, re-thatched in rotting places and swept clear of mildew. The old wood fence in your garden? Replaced.

Honey-nut finds her new favourite person when he dismantles what he calls shoddy work, and rebuilds her a shelter twice as big. The chickens are still weary, but enjoy receiving the kitchen scraps he tosses.

"There's really no need for all this," you insist again, because he's come back this afternoon with an elk on his back.

"Didn't need to fix me up, either, did'ya?"

You break it down together. Ghost does the harder part, while you take cuts of meat to dry for jerky. The rest will go into a venison casserole, with juniper berries.

"Hey- Ghost?" You call. He's skinning the rest of it for furs. "I'm off to gather some berries for dinner."

A nod, and you're off.

Your basket is old, woven, carried once by your mother and now you. Silly, but special all the same. It's stained with many years of berry collecting, many years of winter nights spent tucking into fruity crostatas or summers full of juniper mead.

The hills are rife with the low, rough trees. They grow like weeds here in the Reach, mountain pocked with patches of light green and little blue berries. Once, as a child, you'd made the mistake of eating one straight off the branch. Bitter as burnt coffee, it was lesson you'd learned through tears of laughter with your mother. A happy memory.

Does Ghost have a family? You wonder again about him, about why a man like that is wasting his time mining. He could've climbed the ranks as an imperial and been a General or - divines forbid - a stormcloak. You prayed he wasn't so craven as to follow Ulfric and his band of Nord supremacists.

It's this distraction that leads you right into the waiting jaws of a sabre cat. Quick and silent, it reminds you of your patient for an absurd moment before you're tripping backwards, basket full of berries scattered and forgotten. Your hip makes contact with the ground hard, pain lancing through your joint like a spear.

Fuck, how could you be so stupid? This was a mountain, leagues away from the nearest town. Sabres, bears, wolves. You'd always, always used awareness as a first precaution. Sight, sounds, keeping your ears tuned to the slightest crack in a twig. If not, there was the bow and arrow stowed away under your bed.

Now, you were caught unawares. Muscles under it's fur rippled, a low growl in it's barrel chest, creeping toward you. Adrenaline burned through you like a fever, hot and electric all at once, freezing you in place by the weight of your heart in your stomach.

Stendarr's mercy, dying from an animal attack after living years on the craggy peaks of the mountains, avoiding ambushes and robberies. Living on goats cheese and chicken eggs, nothing yet achieved. What a waste. Miserable, hopeless tears prick at your eyes. Your breath leaves you in quick, desperate puffs. Running wasn't an option - it would only encourage the sabre. Sovngarde, here you come-

"Aaarghgh aaaaa!" A roar. Loud, ringing in your ears, as fierce as a cave bear. It's Ghost, jumping through the brush towards you with his arms above his head. "Bugger off!" He's screaming loud, voice cracking a little, the stitches at his lip tearing just enough for droplets of blood to fall.

"I'll put you down!" It's nonsense, but it's loud, and he's massive. Taller than the sabre even if it stood on two legs. When he reaches you, he steps in front of you. Shields you.

The face-off is likely less than a few minutes, but it feels like time moves as slow as honey. Ghost faces of the sabre, screaming like a madman, beating his chest and waving his arms. It creeps backward, hissing and fighting, but is cowed by his stance and size.

When it's disappeared through the maze of juniper trees, he turns to you. Extends a palm rough like bark.

"How long have you lived here, again?" His voice grates as usual, made worse by his shouting.

Your face heats in embarrassment. "A few years. I'm not usually so distracted," you dust your dress, patting yourself. Twigs and dirt fall from the wool. "I swear. I got lost picking berries."

He snorts, like you're stupid. You feel stupid.

The basket is half empty when you call it quits, tired from fear. Ghost is hunched beside you, holding his ribs again, rubbing his lip almost compulsively.

"Stop that, you'll get a thicker scar," you reach for his elbow.

"Don't care much about that, love," he shrugs your hand away.

Dinner is made in silence. It's a miracle you have the energy, but while you're physically drained your mind is running in circles. You watch with concern as he sits gingerly back on the bed. The pain in your hip pulses with sympathy, pulsing heat travelling down your leg and up your back.

"Need me to take a look at anything?" Besides his obvious discomfort, you'll have to fix his face back up. You'd prefer for him to be in a welcoming mood.

"I can handle it," Mr Stoic over here. "Did'ya take a fall?"

You drop dried frost mirriam into chopped, boiled potatoes. Then a pad of butter.

"Yes, but I'm alright," the cream sauce comes together, ladled over the venison. You're out of eidar cheese, but Honey-nuts goat cheese crumbled over everything is perfectly fine. Ghost eats like a furnace taking coal, anyhow.

"Let me see," he's up close. Again, you've been taken unawares. A sharp inhale like a gasp, heart beat picking up, breathing in the smell of him. It's gone from bloody to pine, to earth, to fresh wood. His hands find your hip and you hiss, trying to jerk away. In doing so you press your side into his chest, curled close, warm not just from the fire. "It's alright, sweet girl." He murmurs into the top of your head.

This tenderness is new. His fingers are as gentle as you've seen them in the last few weeks, pulling up the thick skirts of your dress and assessing the tender skin. It's a little hot to the touch, painful. The rough pad of his thumb brushes against you softly, making you whine.

His lips brush your hair, not quite kissing you, but affectionate nonetheless. You're close enough to see his throat bob when he swallows.

"Just a bump, huh, sweet girl?" He takes over, mashing the potatoes, setting out plates at your little wooden table, guiding you by your lower back.

You eat in relative silence, thighs brushing, a tension bubbling to the surface like stew on the fire. He spares you a few glances between bites, still wincing whenever he has to bend down.

"I'll take a look at that again before bed," you speak through a mouthful of creamy venison.

Sure enough, he's reopened some of his stitches. Not worst case scenario, but you spend a few minutes hunched over and bandaging him up again. He stares at you intently, eyes so clear and focused you wish he wouldn't. It makes your hand shake.

Moving to get up and back to your straw bed, his arm shoots out as quick as an arrow and takes your wrist in his hand. His stare is the same, squinting at you like he's waiting for you to confess something. Like he's waiting for you to give in.

"You're not sleeping on the floor," he says, sure, chest puffed. "Not with your hip. Come on now, come lay down." Gently, he tugs you down. Protests make it to the tip of your tongue and nowhere else, not with the promise of a mattress on your sore muscles and screaming hip.

It's too small though, much too small. Already he was hanging off, shoulders taking up the entire width. You curl forward, on your good side, facing away from him and into the dark. The cabin is still warm from cooking dinner.

His breath puffs on the back of your neck, hand finding your arm and stroking up and down. Soothing you. He curls around you, following the natural bend of your body.

"Simon," he whispers.

Your brow almost touches your hairline. "That's not my name."

"No," his reply is half spoken, half physical. He wraps an arm around your shoulders, bicep under you, cradling you, his big bear paw hugging your shoulder. A stray pinky ventures dangerously close to your nipple, fingers spread. "It's mine."

The world widens. "Yours?" You breathe in, out. It's trust, is what it is. He's giving you a piece of himself, this stranger, for you to hold. "Simon," you taste it in your mouth. "Simon."

He laughs against your hair. "Was watching you," he confesses. "After we got- after the ambush. Walked for days, till I found you."

"How long did you watch?" You're curious, if not a little suspicious. "You weren't casing it, were you?"

"No, nothing like that. Couldn't keep walking," he sighs loud like a dog. "Hadn't eaten, hadn't drank. Needed to know if you were somewhere I could stay."

"That's why Honey-nut was losing her mind," the realization is half funny, half scary. By the eight, you really hadn't noticed someone living so close-by for so long?

"Honey-nut?"

"You've met her, Simon. She's the goat."

"Ah," he snorts. "I've been calling her Molag-Bal, for how she's got us in the palm of her hand."

"Simon!" You shriek with laughter, shaking until he squeezes you from behind. So close his heartbeat taps against your back.

///

A week goes by, and each night is the same. You wake together, sleep together, eat together. Simon regains his strength and his wounds turn into scars. His face is deeply marked, but you've never known him another way. Truthfully, it adds to his handsomeness. There's a ruggedness there that one can only develop living in the rough.

The air gets colder, frigid in the mornings and nights. Light snows have begun falling, and Honey-nut begins her bleating until you put up the winter wall of her shelter, boxing her in. The chickens slowly cease laying eggs, bundling together, clucking at Simon when he checks for the seasons last bounty.

The time to make a trek to Markarth is creeping. You need dried goods, grain, seeds for spring, dried meats, elixirs - everything. It'll be your last trip before you're stuck in the freezing mountains with nobody but Honey-nut to talk to.

Books are your salvation during the cold months.

"I have to get supplies soon," you break the news to Simon early in the morning, when the light just barely creeps over the craggy peaks of the mountains. "In Markarth."

There. It's over with - telling him. You know you're being a coward by not asking directly, but you need to know. What is he going to do now that he's healed? Spend a few more months with you? You're still mostly strangers, practicing domesticity together, but strangers nonetheless.

"Can't go to Markarth," he says.

"Why's that?"

Simon looks at you then, eyes hard and tender at the same time. He grimaces a little, scar twisting wit his expression.

"Used to work there," A pause. "Used to… mine there."

"What?" Cidhna mine is for prisoners. You take a small step back, shaking your head. "What?" You repeat. Cidhna mine? Is that how- oh. His injuries, his waiting to see who you were before approaching. By the gods, you've been tricked!

"You tricked me-" you start, upset. Was he a killer, a robber? Images dredged from the recesses of your mind float to the surface. Men, fire, your mother cut down before you.

"No, no," he interrupts. He's shaking his head, not quite stepping forward but leaning toward you. Eyebrows drawn up, palms facing you in supplication. "Sweet girl, I," he looks around then, as if the words will appear written in smoke from the hearthfire. "Listen to me please," he pleads.

"Tell me what you did!" It's a near-shout, but you're upset. He's been cozying up to you while running from the law. Not that you're a total stickler for rules, but the men at Cidhna mine aren't there without reason.

The most secure prison in Skyrim.

"I will, I'll tell you. Just sit down please, sit with me." He pats a chair, sitting in the one beside it. Beseeching you. "Cm'ere, sweet girl. M'sorry."

///

You sit quietly while he tells you, choking a little on the rising tide of emotions. The biggest question is should you believe him? This story of his past, his father, a childhood spent learning to steal and bully to survive. Elixirs for a brother hooked on skooma, food for a mother grown sickly from her husbands abuse. Eventually getting rid of his father altogether, and wining up in Cidhna.

"If what you say is true," your voice wavers, throat tight with emotion. "Why not tell me?"

He shrugs his shoulders, looking up for a moment as if asking the divines for guidance.

"You never asked."

For a moment, you want to be indignant. You laid with him, cooked for him, wiped blood and sweat off his brow.

But he's right. You never asked, never thought to - just wondered, minded your business, content to help someone in need of it. The feeling of betrayal loosens in your chest, releasing it's vice grip on your heart, a calmer acceptance taking place.

The position it leaves you in is awkward, even if you're content to believe him. You've been too yielding since you met him. Accepted him into your home, accepted his story. Ambushed by bandits? A silly lie, now that you think of it. Vague, believable. Easier than explaining that guards had slashed him as he escaped imprisonment. That he couldn't go back because he was so recognizable.

You don't speak as you get ready. It's not an angry silence, but one brought by embarrassment. How stupid he must think you are, cozying up up to him like that.

The question of where he'll go burns still in your mind, in your gut. You're nervous, fingers shaking a little as you wrap long strips of warm wool on your calves, forearms, and between your fingers. Your dress is double-layered, boots sturdy.

It's a trip and half, lugging everything. You're on foot until you reach the nearest inn, and from there you rent a horse and cargo carriage. Easier from there, with Jazbay the white mare to pull you along.

"I know someone in Cidhna," Simon interrupts your thoughts. He's always tall, imposing, a little intimidating. Now he looks as sheepish as a man like him can look. "Could you…" He extends his hand, a letter clasped in it.

You grimace, but nod curtly.

"Thank you, honey," he breathes a sigh of relief. Honey. That ones new. It fills you with warmth.

"You're welcome to stay with me," you blurt. Impulsive, stupid. Brought on by the familiarity of his affection. "For the winter, I mean."

He's across the cabin in two steps. He presses his front to yours, hands cupping your cheeks, thumbs gently rubbing your cheekbones.

He kisses you, then, and everything slides into place. Your stomach tightens, hands coming up to grasp his shoulders, gasping into his mouth. It's wet, lips smacking noisily, the only sound in the near-frozen forest. Acceptance, sweet and buttery. This is a man whose never had a home.

"I can't stall any longer-" you try. He interrupts you with his mouth again, long kisses like it's reviving him, revitalizing him. "I gotta-"

"Shh, sweetheart," he hums lowly. Gods, you've never been this wet. It soaks into your cotton underwear, clit pulsing in time with your heart. "Let me take care of you, yeah?"

///

He's so solid, firm muscle and hard cock. It leaks between his legs, bobbing with his abdomen where he's kneeled on the floor, face in your cunt.

"Simon!" You're shouting, unabashed. Years have passed since anyone's touched you last, and you're sensitive as a maid, gripping his too-long hair almost meanly. Simon licks you like a starving man, slurping, letting you drip and then sucking it off your skin. His fingers find the entrance of your pussy, fitting himself in two at a time.

Once you've begun, you can't stop. He fucks you on the bed, letting it creak dangerously. Bends you over the table, cock dragging in and out of you deliciously. You shake and shiver in his arms, wrung out and insatiable all at once.

"Can I have you here, sweet girl?" He thumbs at your other hole, dipping in, kissing your inner thighs.

"Yes, gods yes, Simon," you drag his name out. Si-i-mon. It sounds good that way, breathy, not spoken but moaned and screamed. It's late evening, dark, colder now that you haven't lit the fire.

No need, when his cock is as hot as coals and slides between your arsecheeks like a divining rod. Your pussy is aching and hot, too-sensitive. You're belly down on the bed again, hands gripped in the sheets.

When you deliberately relax your muscles, he fits his fingers in your ass using come as lubricant. Spits down onto you, watches you start to rub yourself into the bedding desperately.

"None of that," he pants, pulling you up by your hips. A whine builds in your throat, which he shushes by pushing his other two fingers in your cunt. You yelp, moving toward him and away from him. He keeps you still, firmly holding your hips.

You come, tears beginning to leak into your sheets, when he presses his cock against the notch of your hole and pushes in.

A long, deep groan from the pit of his stomach starts and doesn't stop until he's sheathed. You're frozen, stuck in a gasp that doesn't end, filled to the brim.

Simon begins to rock, shallowly, stealing your breath and breathing it back into you with every thrust. It's then that you begin to make sound, crying out and fisting the sheets, rocking your hips with him. He reaches around, leaning down to kiss your shoulders and play with your clit at the same time.

"Not gonna last," he says into your skin. "Gonna come inside you again."

You're easy - so sensitive that if he breathed on you long enough you're sure you'd peak. His fingers twisting and pinching your clit is pure madness, and you tighten like a vice around him as you yowl your last orgasm of the night.

His hips snap into yours roughly, abandoning your clit for the flesh of your hips, pounding, dragging, grunting into you as he finds his own release.

Half-asleep, you fell him roll over onto his side and turn your head to face him. He's smiling lazily, stroking your skin, still sweating from exertion.

"I'll come with you tomorrow," he whispers.

"I thought you couldn't come to Markarth?" Confusion prickles at you, brows coming together. He finds the furrow with his thumb and smooths it away.

"I can't, honey. But I can come down and wait for you."

"You will?" Hope rises in you, in tandem with affection.

"Always," his voice is a soft murmur.

"Tomorrow, then."

"Tomorrow. Goodnight, sweet girl."

<3

[starlightshore]

artwork I drew for my fanfic: Place Your Bets on Winning Hats, my "Loop won/Bad Ending" AU!

[bananadramaaa]

Since I buried myself with other comic projects for my murder besties Au why not share some early 'figure out' sketches of the blorbos :D

[ayeforscotland]

I’m really loathe to criticise a grieving mother here, but Brianna was not murdered because of her own vulnerability.

The hostile environment created by the British media, hate groups and politicians led to her murder.

Brianna shouldn’t be made out to be a phone-addicted teen. Social media was a place where she had a community of online friends who supported her.

[greggsbenedicttt]

cottoncandy chucklefuck would do numbers on the complicated women’s podcast

id in alt text !!

[chrollohearttags]

this na’ziyah harris case has been tearing me up so bad and I just can’t get over it. it’s so heartbreaking but not surprising how older black women will coddle predators but villify young black girls for things they have no control over. even if it’s never been to the extent of full SA, I feel like a majority of us in the community at some point has experienced predatory behavior from an older man or being called ‘fast’ or ‘grown’ simply because we developed faster. and the moms, aunties, grannies, etc blamed us for what a grown adult has done or said. not to mention this sick bastard gave a 4 y/o VD and hurt his own daughter (I couldn’t specify if it was the same child but either way it’s disgusting) ik they’re turning his nasty ass every way but loose in that fucking cell but it still doesn’t change the fact that he stole all of these poor babies’ innocence and na’ziyah’s life. I really hate how our ppl move sometimes man…that whole family failed her and I pray one day she can be found and laid to rest 💔

[pincushionx]

Been drawing to much cute stuff, here’s some Hunter execution trauma

Been thinking of writing something that relates to the hexsquad and other characters (Darius, Lilith, Eda, Camila, ect) finding out what being Golden Guard actually meant. In the show, Hunter is pretty isolated as the Golden guard, primarily acting out independently in missions and even then those missions were decently brutal. (Slaying a selkidomous and kidnapping palismen for slaughter). So it figures no one actually really knew what he did. So they question, and he answers.

It’s tough hearing someone you know as a victim also victimizing others. How many owners of palismen did he leave heartbroken? Any children he orphaned? Witches and demons left without their partners? Had sigils forced upon? Made into statues because of him?

I think of the Golden Guard being an icon to the boiling isles , someone who’s known widely yet no one quite knew what he actually did since it was stuff to carry out Belos dirty work.

[soarinsugar-homerblog]

“Slaughter In The Hall”

Odysseus had an accident with the cherry Kool-Aid

I always said I’d never draw this scene as I didn’t want to draw all the bodies, but I had a cool composition idea and so I went with it! It’s been a long time since I’ve drawn something really gory, so this was fun to do! (that sounds wrong lmao).

(PSA: Don’t flirt with Penelope unless you have a death wish)