#Cliff scene

[everwhovian]

Omg i love the way you write the hwang brothers :) if you’re willing can you write inho's pov of junho pew-pewing himself on the cliff

Absolutely, my dear anon! This scene from In-ho’s pov!

(trigger warnings: guns, violence, suicide)

❛ ━━━━━━･❪ ○△□ ❫ ･━━━━━━ ❜

The wind howled between them. Same cliff. Same sea crashing below.

But this time, it was Jun-ho holding the gun.

And In-ho –

In-ho could only watch.

His mask lay in the dirt between them, cracked down the center like a broken spine. A fitting end to the man he used to be. Or maybe to the brother he’d once tried to be. He didn’t know anymore.

Across from him stood Jun-ho, shoulders stiff, chest rising and falling too fast. The pistol shook in his hands. Not enough to drop it – just enough to make In-ho’s heart lurch every time it shifted even slightly.

How had they gotten here?

How had he let it get this far?

“You’re not going to do it,” In-ho said. Quiet. Careful. Not a threat, not a plea – just the last shred of certainty he had left.

Jun-ho’s voice was tight. “You don’t get to decide what I’ll do.”

No. He didn’t. He hadn’t had a say in anything for a long time.

“But you won’t,” he said anyway. Because the alternative was unthinkable. Because if he believed Jun-ho would do it, that meant accepting the unbearable truth that he’d already lost him.

Jun-ho’s jaw clenched. In-ho could see the tremble in it. Could feel the weight of all those years between them – silent, heavy, and now sharpened into this moment.

“Why didn’t you stop?”

The words hit harder than the wind ever could.

In-ho’s throat tightened, but he said nothing. Because what could he say?

That he tried?

That he was too far in by the time he realized he’d gone too far?

That he didn’t know how to come back from being the Front Man?

He had tried.

In his own broken, backwards way, he’d tried.

“Why didn’t you come back?” Jun-ho asked.

God.

If only he knew how many times In-ho stood outside their apartment building at 3 a.m., just watching the light under the front door. How many times he picked up his phone, typed a message, and deleted it.

How many nights he lay awake with his mask on and his eyes closed, pretending the sea of faces he oversaw weren’t just other people’s brothers.

He should have answered. Should have spoken. Should have begged.

But he stayed silent. Because shame choked out the words. Because regret was easier to carry in silence.

Jun-ho’s arms dropped slightly. He looked so small then. So young. So heartbreakingly tired. Just as a boy who never stopped reaching.

“I come to save you,” he whispered. “Even after everything.”

And that –

That almost did it. That almost broke him.

The gun shook in Jun-ho’s hands. Not from indecision now.

But from acceptance.

He was letting go.

And then –

Jun-ho’s voice came out small. Broken. “You’re not him.”

In-ho flinched. His chest caved inward. He couldn’t breathe.

“You died a long time ago,” Jun-ho breathed. “Didn’t you?”

In-ho didn’t deny it.

Because he couldn’t.

Because maybe he had.

He just said, “You shouldn’t have come back.”

Because it was easier than ‘I’m sorry.’

Because it hurt less than ‘I miss you too.’

Because he didn’t know how to say ‘I never stopped loving you’, not without it crumbling inside his chest.

And that was when he saw it. The shift. The change in Jun-ho’s eyes.

In-ho knew it before the gun even moved.

He saw the decision before Jun-ho made it.

Saw it in the stillness of his posture. The calm in his expression. The kind of quiet that only comes when someone is done fighting.

“No,” In-ho breathed.

But it was already happening.

Jun-ho lifted the gun.

Not at him.

At himself.

The muzzle touched his temple.

“Jun-ho!”

In-ho moved. Instinct took over – muscles straining, boots scrambling over gravel and dirt as he lunged forward, hands outstretched –

But he was too far.

Too late.

“I came back to bring you home,” Jun-ho said, voice soft. “But there’s no home left to bring you to, is there?”

And then that smile.

God, that smile.

Worn. Heartbroken.

Like he’d already said goodbye long before he pulled the trigger.

“You left me a long time ago.”

And the sound that followed –

The shot –

It tore through In-ho like a bullet of his own.

[your-stranger-halfblood-things]

Will doesn't know what happened to Mike on the cliff. All he heard was that El saved him from bullies. He probably thinks this means that El likes Mike, and he beats himself up over it

Really, El just wanted more Eggos and found Mike being forced off a cliff, so she saved him. For the Eggos. Nothing else

And Mike was just like, "hmmm, I didn't die."

And Will never actually knew what happened on the cliff, but he thinks that Mike likes El because of it. But really the whole time, Mike was looking for Will because he's his best friend and he loves him

[helpmeimblorboing]

I will wait...

[mydnyteraven]

So I have this theory that I haven’t told anybody because I haven’t find the right time for this

But I theorize that she knows these words because he says them in his sleep, and possibly maybe unconscious Ody is comforted by these phrases, because in his dreams (nightmares) his friends and mom are saying them to him.

Calypso is using what he has said in his sleep to attempt to talk him down.

"Ody, get away from the ledge" - Eurylochus called Odysseus "Ody" too

"I'll stay in your heart" - Same thing Anticlea sang to Odysseus

"Stay in my open arms" - And Polites too

Calypso I know you're trying to calm Odysseus but are you realizing you're literally pushing him further to jump 🙃

[skipppppy]

I made a matching piece for Dipper 💫🌲

[bizarrelittlemew]

they were gonna get stitched hitched 😭

(source)

[needanaccount2readarcaneposts]

listen to me. every time i see these images i simply start laughing.

i have never been able to take anything less seriously in my entire life.

what do you mean they took jinx's morality pet scrappy-doo child sidekick and went, "yes, let's give this practically-still-a-toddler a dramatic slow motion run and action movie jump-slide into a tragi-heroic suicide."

did one of the writers get absolutely eyeball-meltingly high and watch that avengers movie where one of them melodramatically suicides off a cliff to save the other one and then wake up the next morning with no memory of the movie but going, "GUYS you're not gonna believe what an AMAZING idea came to me in a dream."

[everyones-least-favorite-bard]

(based on the Fool from the Rider-Waite tarot deck)

[gayofthefae]

"You mean when you pissed your pants?" - Mike to someone who has corned him to the edge of a cliff with a knife

"You don't understand, Lucas, he's crazy, he's lost his mind" - Mike describing someone who said there was something wrong about his straight relationship

Why is that scarier, Mike?

[wasabi-gumdrop]

oh

i am. unwell.

[the-crooked-library]

I don’t think it’s a coincidence that Ellen’s sex scene with Thomas is weird, unsexy, frantic, fully clothed and disturbing, while Ellen’s sex scene with Orlok, literal corpse, is slow, detailed, sensual, and they are both naked. The juxtaposition.

exaaactlyyyy!! it's about the INTIMACY

regardless of how desperate both Ellen and Thomas may be to conform to their socially acceptable marriage (they're both distinctly queercoded, Ellen wants passion, Thomas cannot give it, both of them see each other as a duty), they still do not and cannot understand each other. Ellen, who comes from a wealthy but abusive home, cannot imagine prioritizing material success over love and connection; Thomas, who self-deprecatingly refers to himself as a "pauper," cannot imagine ostracizing himself so completely from the society that very easily jeopardizes the livelihood of anyone non-conforming. There is a distinct lack of intimacy between them, only partially breached by anger and confrontation; which is, indeed, illustrated by their fully clothed, aggressive scene. It is more of an argument than sex.

Ellen's death-wedding with Orlok is entirely different - as you said, slow, sensual, reverent; it centers their closeness above all. They cling to one another, both overcome with emotion (self-professed inability to love be damned), perfect living skin against rotting flesh; the visual implication here is that there is, quite literally, nothing between them. They know each other entirely, the flaws, the beauty, and that understanding is more important than their own life or death.

One is a sex scene that is actually a fight, the other is a lovemaking disguised as murder, and I am obsessed

[rottingraisins]

reality doesn’t stay still, when the winds blow from the south

[bayetea]

jason and hazel's beef in hoo was always way more interesting than whatever percy and jason had going on sorry. the differences in gravity and intrigue in the jason/hazel relationship vs jason/percy are only further compounded by the ways they're connected and the ways that their stories are similar

because 1. they have a HISTORY they knew each other before he went missing!!!!! they were in the fifth cohort together!!!! hazel is the ONLY person in the prophecy 7 that was in jason's life before he disappeared and had his memories stolen. yes they didn't know each other well but if you ask me that was just a bad writing choice rick made. can you imagine if they used to be friends/if jason had grown to be a big brother figure to hazel only to go missing for months and then they have a very awkward reunion on the argo because he barely remembers her and then she's even more betrayed because he doesn't wanna save nico initially. the drama. we could have had it all man

2. beef between a son of poseidon and a child of zeus/jupiter from the grace family? yeah been there done that why are we doing this again (and it was way more engaging the first time). god I wish we had gotten a big fight between a child of jupiter and a child of pluto instead

3. their issues regarding nico were way more high stakes than the silly alpha male posturing rick was trying to force between jason and percy especially considering how mega nerfed jason is written in hoo because no one's allowed to be on equal footing with percy

4. the tacit layer of betrayal in jason being hazel's ex-centurion/praetor only to end up preferring chb (to be clear this particular conflict belongs to jason and reyna and is more impactful between them - but since hazel is actually on the argo and reyna isn't she can still be an opportunity for this camp jupiter/camp half-blood conflict to be explored with jason)

5. I'm just gonna say it - I think hazel ought to have complicated feelings about white authority figures in a military camp as a black girl from the freaking jim crow era (not that this would have ever been explored satisfactorily in the books because as far as rick is concerned hazel is colorblind and hardly ever thinks about race despite growing up segregated. which is crazy unrealistic but whatever)

6. something something about the parallels that jason and hazel have about making hard choices about their pasts in order to have a more fulfilling future

7. this isn't necessarily interesting in and of itself but I just think it's neat that they're both big three roman kids with greek siblings that they didn't grow up with. what could have been interesting is jason seeing how close hazel and nico are and feeling some type of way about everything he never got to have with thalia and some exploration into how that impacts his feelings about the rescue mission. I'm starving for more grace sibling content by the way

8. they both have really awkward romantic conflicts in their pasts that intrude upon the present (whether he and reyna were ever even slightly romantically involved or not) because the jason/reyna thing is written as a initial source of conflict/uncertainty for jiper in the same way that hazel/leo (sammy) was a conflict for frazel to grapple with. this is interesting to me because like... hazel is connected to reyna and jason is connected to leo. like there could have been a moment of connection over letting go of pasts loves to wholeheartedly pursue new ones in the way that both of them are (were) with piper and frank

9. they both died. this bullet is a joke but I just thought I should put it here

10. percy is a well-established character and hazel and jason are new in hoo. percy has 50 povs in hoo and hazel has 28. economically speaking it would just be a more effective use of your limited pages to spend more time developing important interactions and conflicts between two new characters (esp new big three kids) who already have a more interesting foundation than the one involving our previous protagonist of 5 entire books

11. beryl grace and marie levesque. think about this for a second. ok that's all

imo hazel and jason are the most weirdly written new additions to the main cast but I strongly feel that rick severely underutilized the way that characters like those two could play off of each other. hazel isn't just a sweet little cinnamon roll she is passionate and contemplative and morose and guilt-ridden and jason isn't just a bland rule-follower he is kind and committed and loyal and conflicted and they're both painfully self-sacrificing and I just think it's such a shame that these two characters with great concepts on paper and so many obvious threads to connect them didn't get as much as attention as.... whatever happened in kansas did

and I mean if you like the jason/percy conflict that's fine, but I think it's worthwhile to compare the merit of them because rick chose to centralize and build up to one more than the other when he had such perfect material to expand on the other instead and I think that says something about his biases. and I think part of the issue is that rick struggles with strengthening tension and applying complexity to conflicts between male/female characters that aren't romantic or onesidedly antagonistic like clarisse/percy. we have several noteworthy conflicts between male characters but when women are involved it's like rick doesn't know how to put them on equal footing and apply platonic depth. imo this is just another reason why big three girls (hazel/thalia/bianca) don't get to be as powerful and transformative in the overall narrative as big three guys (percy/jason/nico). all this world-changing narrative weight is afforded to big three kids but hazel in particular is weirdly excluded from all of that and doesn't get to have much impactful interconnectedness with the prophecy or with other big three kids. what happened to big three kids being super dangerous when put together or when they're on opposing sides of conflicts!!!!!!!! we had impactful percy/thalia and percy/nico and jason/percy and jason/nico conflict where is the fleshed out jason/hazel beef!!!!!!

anyways tldr all I'm saying is that jason and hazel complement each other well and rick was too hung up on the Colliding Of Alpha Male Strong Dudes (that he didn't even write well) to see everything that hazel and jason could have had instead

[clairesbeauchamp]

giftober 2024 • day 5: angelic

would an angel... do this?

[letsplaythermalnuclearwar]

tbh I think Calypso views herself as Odysseus's rest and reward. like, she's the comfort in a hurt/comfort fic. she's the therapy saga. and honestly, a lot of her actions make sense when you look at it like that.

Odysseus is traumatised and scared and hurting. and she understands that. she's so understanding that she doesn't take it personally when he yells or screams or begs -- trauma makes it hard to regulate emotions, after all. he'll calm down in a little bit.

she's so understanding that she's not even hurt when he rejects her advances. he's been alone for so long that he's scared of intimacy now. but she doesn't let that discourage her. he'll get used to the idea eventually.

she's so understanding that she doesn't give up on him, even when he talks and talks and talks about his wife and son. obviously he wants to go back to them, but what he wants isn't what's good for him. that's fine, he doesn't need to know what's good for him yet. that's what she's for.

she's so understanding that she doesn't even let it upset her too much when Ody stands too close to the edge and stares out at sea below like its calling to him. it's okay. she can catch him if he falls.

sure, they're relationship isn't what she's dreamed about for centuries -- real relationships never are that perfect. her Ody has a lot of healing to do. and she'll make sure she's with him through it all.

[ivegotthewholeworldussy]

i will never understand anyone who watches this scene and not think that caitlyn definitely wanted to fuck vi right then and there