#I read the entire thing without any real trouble

[goodqueenaly]

Does it seem odd that when Robert Arryn brings up the hope of marrying 'Alayne' the issue of them being officially stepsiblings isn't brought up? Does this indicate that it is considered acceptable in the 7K or could it just mean that it doesn't occur to Sansa as they're merely cousins or she doesn't feel that Robert is really able to understand this? After all, Lyonel Hightower had trouble with the Faith over marrying his stepmother. Though if we're looking for real-world analogues, in Islam stepsiblings is permissible but stepparents aren't.

A couple things.

Number one, when Lysa first mentioned the marriage between Robert and Sansa (when the latter was disguised as “Alayne Stone”), she did so knowing full well who “Alayne” really was:

“I … [sic] I am married, my lady.”

“Yes, but soon a widow. Be glad the Imp preferred his whores. It would not be fitting for my son to take that dwarf’s leavings, but as he never touched you … [sic] How would you like to marry your cousin, the Lord Robert?”

(It goes without saying, of course, that this proposed marriage was never so much as formally announced, much less actively planned, in the brief period between Sansa and Littlefinger’s arrival and Lysa’s murder.)

Number two, whether or not Robert ever learned from his mother that he would marry “Alayne” someday, I wouldn’t take the beliefs of young Robert as any sort of accurate reflection on Westerosi politico-religious statutes or tradition regarding marriage. Having lost essentially the only woman in his life, not to mention the only person who ever showed him anything resembling affection (a full critical review of her parenting notwithstanding), Robert has very clearly taken to Sansa-as-Alayne as a sort of surrogate mother. Being all of eight, not to mention very sheltered and infantalized by his mother, Robert does not have a real, practical idea of what marriage in a Westerosi context means; for Robert, marriage to Sansa-as-Alayne would mean “sleep[ing] in the same bed every night” while Sansa-as-Alayne would “read [him] stories”, “sleep[ing] and kiss[ing] and play[ing] games” with him - that is, essentially what Robert already did with or wanted from Sansa-as-Alayne. Robert isn’t thinking about what the Faith of the Seven or Westerosi law would say about marriage between step-siblings (or, maybe to put it more accurately, a stepson and a bastard daughter); Robert is trying to keep close to Sansa-as-Alayne as the only person giving him some modicum of comfort, stability, and love as his mother had.

Indeed, to that point, Sansa-as-Alayne underlined the impossibility of their union for Robert:

She put a finger to his lips. “I know what you want, but it cannot be. I am no fit wife for you. I am bastard born.”

“I don’t care. I love you best of anyone.”

You are such a little fool. “Your lords bannermen will care. Some call my father upjumped and ambitious. If you were to take me to wife, they would say that he made you do it, that it was no will of yours …[”]

…

Alayne stroked his fingers. “There, my Sweetrobin, be still now.” When the shaking passed, she said, “You must have a proper wife, a trueborn maid of noble birth.”

“No. I want to marry you, Alayne.”

Once your lady mother intended that very thing, but I was trueborn then, and noble. “My lord is kind to say so.” … “Any child of ours would be baseborn. Only a trueborn child of House Arryn can displace Ser Harrold as your heir. My father will find a proper wife for you, some highborn girl much prettier than me. You’ll hunt and hawk together, and she’ll give you her favor to wear in tournaments. Before long, you will have forgotten me entirely.”

Again, because none of this has ever gone beyond the imaginations of Lysa or Robert, it is impossible to say whether the aristocracy of the Vale, much less anywhere else in Westeros, would have reacted to a betrothal ostensibly between Robert and “Alayne Stone”. (And I say “ostensibly” because even in Littlefinger’s current nuptial scheme, Sansa is going to reveal herself as Sansa Stark, rather than “Alayne Stone” at her wedding to Harry Hardyng.) It is interesting to point out that Sansa-as-Alayne’s argument to Robert isn’t that they can’t marry because his stepfather is (officially) her natural father, but that they can’t marry because this marriage would be seen as too ambitious and tyrannical a move by Littlefinger - not necessarily mutually exclusive ideas, but certainly not synonymous either. That’s not to say Sansa is any more versed in the nuances of Westerosi law and/or the doctrines of the Faith to know whether or not this marriage would also be unlawful in the eyes of man or the Seven, of course, but at bare minimum we can say that Sansa-as-Alayne’s instinct with Robert regarding this marriage is to cite the gulf of rank between them, and the perceived influence of Littlefinger, rather than any idea that such unions are objectively forbidden.

(And, when it comes to Westeros legal-religious tradition, I don’t think GRRM has really put much thought into it, as indeed I’m not sure, for example, what the High Septon could or would have done about Samantha Tarly’s allegedly incestuous marriage. Generally speaking, I don’t think GRRM puts very deep thought into the religious and legal details around rules for marriage, much to my curiosity and sometimes chagrin.)

[steampoweredace]

Been learning about that weird way people have been trying to teach kids to read, and

I'm very fucking confused?

Like, yes, taking cues from surrounding text can be useful, mostly to figure out what a new word means, but taking cues from pictures?

The pictures go away

I started 1st grade in 2001. At the start of the year, everyone in my class got given a little drawer with books that were considered appropriate for our reading level, and I started out with completely different books from the rest of my class. My books had chapters and if there were any illustrations, they weren't very common. Other kids ended the year with the same type of book.

If I ran into a new word? I had to do my best to sound it out and figure out what it meant from context. And I remained one of the best readers in my classes 'til I finished high school.

Also, like, some words/names would be kinda hard to illustrate, I think? Pictures are not the best way to figure out what you're reading.

Hell, I still sound out new words/names, especially if it's a long one. I'm unsure how else you'd go around trying to learn things like para-dimethylaminobenzaldehyde (it's a chemical. do not ingest it. you can say it to the tune of the Irish Washerwoman!).

[lullabyes22-blog]

Real talk because you are THE resident Silco expert and all your headcanons are 100% correct: why does fandom think Silco would be good in bed? (Or good at sex at all?)

I've seen headcanons about him being a giver, and about his dick game being fire, and while he's a sexy, charismatic man, I feel like he's too... selfish, insecure, and just not a romantic guy. He's also a very bitter, lonely, and angry dude. Idk, it makes sense he would have some kinks but I feel like he'd be too much of a bitch to care for anyone else in bed. I guess he'd want it rough, and I've read some fics where he's a sadist, but I feel like it'd just be a quick fuck to satisfy himself, not a slow, passionate, sensual thing.

idk, do with this what you will.

I agree - with nuance 💗

Silco - at least as I write him in FNF - is principally a headfuck. If he's demonstrating an interest in you, then he wants something from you. If he's nice to you, there's a bottom line. No act of generosity comes without strings attached, and every small kindness comes at a terrible price. That aspect of cold-blooded calculus is never far away from his base nature, which splits the world into assets and liabilities, and his own actions into a transaction of cost versus reward.

With that in mind, he excels, not at sex, but at getting his partners to do what he wants them to do. For him, it's one of the many fluid ways of expressing power, and demonstrating his mastery over the subtleties of the human body and mind.

A few readers have noticed that he comes across as very detached and controlled during FnF's sex scenes - and that they read as weirdly voyeuristic. That always delights me, because it's an intentional choice. He doesn't really see his partner as anything beyond a medium to his goals, so his focus is entirely on their physical responses and his own actions. His narration is distant, observational and impersonal, because he doesn't experience sex as something that involves an emotional or empathetic connection. Rather, he's gauging how his target's responses play out on a physical plane, and he's calibrating his own actions to maximise their impact.

To give credit where credit is due, he's very intelligent, patient and observant. There is also some realistic backing to the running gag that Good D is invariably attached to Bad Men. More specifically, Bad Broke Men. Silco has not grown up in a position of privilege or wealth. He has been forced to make use of every available resource. He has survived by the skin of his teeth on a constant knife edge of deprivation, hunger and fear.

He's a scrapper. He's a survivor. He's an opportunist.

And to be any of those things, you need to know your way around people: their wants and weaknesses. That's the foundation for the idea that he's good in bed - that he can anticipate his partner's desires, and respond accordingly. The difference is, his actions have no romantic underpinning. It's a matter of pure pragmatism and self-interest.

In terms of technical skill, he's likely very good at finding his partner's pressure points, both literal and figurative, and exploiting them. But if it were up to him, he'd find a way to turn the thumbscrews with nothing more than a well-chosen word and a cold look. The sex is just a generality, and his enjoyment a function of their compliance.

When it comes to actual intimacy?

My friends, he'd be spectacularly bad.

Not just bad, but skittish, hostile and hopelessly inept. He'd feel like an accomplished stage actor who has to step out onto the boards for an improv class. He hasn't got the right lines, he isn't dressed for the part, and he isn't even sure what role he's supposed to be playing. He'd be so awkward, he'd actually have trouble looking his partner in the eyes. The sum total of his sexual ouvre would devolve into the following comedy of errors:

"What the fuck is this?"

"Why are you looking at me like that?"

"Don't touch me there."

"This is going well, right?"

"Why can't I get it up?"

"I can't do this."

"Leave me alone."

"Where are you going?"

"Don't leave me."

"They always leave me."

"Why does everyone leave me?"

And he'd only spiral deeper into self-loathing and isolation. To submit to intimacy is to open oneself up to the mortifying ordeal of being known, and the constant risk of rejection. To Silco, it is anathema. Actual emotional vulnerability during sex would be not unlike attending his own public execution.

But.

Silco is not a one-note villain, much less a one-trick pony. He has a human history riven in deprivation, bloodshed and betrayal. He's remade himself from a 'weak' man into the premier kingpin of Zaun, but that predatory bracing still hides remnants of the soft-natured idealist he once was. In fact, he's the product of a deeply embedded internal conflict between two distinct versions of himself. The one who seeks to burn his enemies, and the one who seeks to save his city. He's also, as demonstrated by his love for Jinx, capable of profound devotion, loyalty, and a deep-seated longing for companionship.

That means the potential for romance exists. It's just buried deep, deep, deep down beneath years of abuse, neglect, trauma, and self-imposed barriers. If he meets someone who can dismantle those barriers, or bypass them altogether and earn his trust, there is a ray of hope.

Sex would still be frightening and uncomfortable, and it'd involve a lot of trial and error. But it'd also have the potential to be deeply healing. Not because Silco would become a better man, but because his partner would make him want to try. He'd also bring the same intense focus, intelligence, and determination to the task that he applies to his criminal empire - which means that, once he does have his sea legs, Silco would have the potential to become a truly giving lover.

It's all about context.

And the context is always: will he take the gamble when he has nothing to lose, and everything to gain?

[camilledlc]

I think Wade Wilson is way more intelligent than people give him credit for. Or, another character essay no one asked for :

This will be based both on comics and movies. Also, spoilers for Deadpool and Wolverine.

I think it's often said that Wade doesn't know how to read situations, as he often acts inappropriately during them. He doesn't seem to sense the mood of the person he's talking to, angering them more often than not, and he doesn't really care about watching his mouth around children, etc. There are tons of examples of Wade being 'stupid', and 'immature', blah blah blah. But I don't think that's quite true.

Wade has also numerous moments where he perfectly reads a situation. He is extremely aware of how others may perceive his scars, he figured Negasonic Teenage Warhead pretty easily during the first movie (when talking about sarcastic comments or whatever, if I remember correctly). He knows how people act and think, and he definitely knows how to assess a situation. When he got Johnny Storm killed, he knew what he was doing. He was into a dangerous situations, just having been kidnapped and he couldn't fight, not even knowing how strong and what powers Cassandra Nova had. But by turning her against Johnny, not only was he able to assess her, but also prove that he wasn't here to cause her trouble. It was a cruel and ruthless action, but it was smart nonetheless.

Besides, people often forgets very important facts about his skills. Wade is an extremely good fighter, and that's partially due to the fact that he's a master at almost every martial arts. He knows a bunch of them, and he is capable of practicing them with impeccable form. He's also a master at espionage, infiltrations, cover missions, etc. He knows how to handle a lot of different weapons, and he is canonically one of the best fighters in the entire Marvel Universe. All of those skills require a certain level of intelligence. Fighting demands to remember the different styles and techniques, as well as enough practice to switch between them easily. Espionage, infiltration, and cover missions demand someone who is capable of discretion and and ability to judge a situation, notice details that no one else would and invent on the spot creative ways to do things. All in all, he has to be extremely smart to be able to do all of that. That's also without counting the fact that he knows how to speak fluently five different languages.

With all of these proofs, it's impossible to say that Wade is dumb. But why does he acts like it?

There is no official answer as to why Wade is this way. The most you can get is that he is extremely mentally unstable. This is the result of both a bad childhood and very traumatizing experiences as a superhero. It is said he was already mentally unstable during his childhood, so I'm inclined to believe that it also has something to do with his brain in general.

What I personally believe is that Wade is someone who gets bored extremely easily. He has ADHD (not really official in the movies, but canon in the comics), and he always seems to jump from one topic to the other. His mind is often considered a mess, and he himself sometimes has trouble keeping up with it. I think that someone like him has to be stimulated at all times, because boredom is definitely the worst thing that could happen to him. Even in the last movie, he seemed to hate his job because of how boring it was, not hesitating to go back into action and becoming more and more himself again as he just do exciting things. He has always been like this, even before he got his regenerating factor. When he did his job, he wasn't always careful and often loud-mouthed. It didn't interest him to just kill people, he wanted a fight. He wanted a back and forth, a sort of game. He needs to feel in danger, needs the thrill of it.

But then he gets his mutation. Suddenly, he can't die, he can't be seriously hurt, nothing has any real consequences. And so the games became boring. What is the point of putting himself in dangerous situations if he's never really in danger? How boring it is to do a job where you're perfectly safe? The only kind of thrill he can find anymore is by having the back and forth verbally. That's when it has consequences, and people actually able to surprise him, to beat him even. Attacking by talking his is one way to not feel bored. He surprises, he shocks, he annoys, but it's always different. Even during the last movie, when he was with Logan, he clearly said they didn't need to fight, yet he couldn't stop edging him verbally, always finding ways to push his buttons.

Wade is a very bored person, with a great understanding of where the limits are. And because he's so good at finding the limits, he's even better at crossing them willingly, sometimes at the expanse of the people he loves, because he can't be bored.

(I also like the interpretation of him just needing to be at the centre of attention, but I think it's a bit more classical and has already been done and re-done. So, this one is a bit trickier and way funnier for me.)

[netherfeildren]

Honey, Stomach, Mine ; 3. I Was a Child Once, I'm Not Any Longer

Series Masterlist ; Part 1. ; Part 2.

Pairing: Joel Miller x F!Reader

Rating: Explicit 18+

Content Warnings: Alpha/Beta/Omega Dynamics; Dystopian Society; Outbreak not Cordyceps AU; Slow Burn; Soft!Dom Joel; Sexual Inexperience; Small booby worship; FLUIDS — like lot’s of fluids forreal omg; Tummy Bulge; Heat Sex; Knotting; Biting; Mating; Blood Mention; Loss of Virginity; Squirting; Pussy Slapping; Breeding Kink; Size Difference; Size Kink; Power Dynamics; Creampie; Emotional Hurt/Comfort; Older and Experienced Alpha; Young and Needy Omega; Possessive Behavior; Age Gap

A/N: It's raining here right now and feels really like a perfect morning to post this, I hope you like it.

Word Count: 12.4K

Read on AO3

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3. I Was a Child Once, I'm Not Any Longer

When you make your way into the kitchen a while later – he’d left you with clear instructions of bathroom and teeth, thinking to give you some privacy to adjust to yourself once again after what you’d done together this morning – you’re nothing more than a little omegan mess. Hair a birds nest, his too big t-shirt sliding over one naked shoulder, and worst of all, almost bringing him to his goddamn knees, in the bright morning light shining in through the big bay windows, he can see the glossy mess of your slick smeared all down and along your pretty thighs, almost reaching your knees. 

Jesus fuck, but he’s in trouble. His teeth hurt, his gut aches, his cock – a mind of its own. It’s all starting, and he’s afraid and unprepared and too desperate to put into words. He wants it all now, he realizes, despite his fear, he can’t help himself but want it all. 

You step into the room primly, nose turning up in the air to sniff curiously at the smell of what he’s making you for breakfast, and when your eyes swing around the room to him, shy. Shy as if you’re remembering your modesty only after you’d let him finger your cunt and slicked his cock. The look makes him want to be gentle, a thing he often is not. And when his eyes move further down, something goes soft and shy within him as well: two of his too big socks, mismatched and sagging around your ankles. 

There’s something about you that’s impeccably vulnerable and honest, something he needs to guard fiercely. 

He blinks away, looking back at the cooking sausages he’s got sizzling in the pan. No one had ever cared for you before, not in any real and true way, and he’d received you here with nothing but promises of more uncaring gestures, threats to send you packing. The wrong foot indeed. He’s such an asshole. And he’d not seen to his responsibility properly last night, hadn’t made sure you’d had a rich and filling dinner, left you in bed alone and cold and without him, entirely unequipped for this little life that had suddenly been placed in his hands. But you’d also scared him last night, out on the cliff, more scared than he’d been at the simple notion of you, that of losing you, like with the letter, the bidding pool and the threat of you being given away, there was something wrongly terrifying about it all, the sudden possibility of you not being with him. Scared into want, into wakefulness, perhaps. 

Out of the corner of his eye he watches you tip toe into the living room, making your slow exploration around, to the big window where you pause to watch the outside world for a long moment, palm splayed against the glass as if you could reach out and touch it all, pluck the world into the cup of your hand. Then to the fireplace, bending in half to peer into the hearth and watch the flames pop, the sofa next, where he’d brought out another stack of blankets. You’d start nesting soon, and he needs to make sure you have the things you’ll want. 

He watches as you bring the corner of one of the quilts to your nose, smelling the scent of him that lingers there, rubbing it against your face, and then moving to the stack of his sweaters he’d left beside, you bend to bury your face in the soft, worn wool. His heart thumps and thumps and thumps within him. You pull one blanket first, laying it before the warm hearth in the spot of rug he’d cleared for just this. And then another and another, some pillows on either side, sweaters tucked and stuffed between, starting to build your nest. He’s hard, knot tight and hot and ready, and he has to take a few steadying breaths, force himself to look away and pull the biscuits he’d made from the oven, flipping the gas on the stove off and pulling the eggs and sausages from the heat, grabbing the bowl of oatmeal he’d readied for you as he moves towards the bar. 

“I made you some oatmeal, c’mere,” he calls, voice graveled with strangling want, but he appreciates the look of bright curiosity you swing his way. He’s coming to realize he finds everything about you, everything you do, devastatingly arousing, even just a simple look, the shift of your jaw. He pulses beneath his jeans as you approach, remembering the leak of your cunt against the throb of his cock from earlier and wanting more of it already. 

He hoists you onto the bar stool when you reach him, he’d draped a folded throw over the hard curve so you’d have something soft to sit your sore little cunt on, and turning you to face him, he slots you between his spread thighs on his own stool, close as he can get you. You stretch towards the spread of food, and give a little sniff, scrunching your nose at him in distaste. 

“Don’t gimme that face. Look, whatever you want–” He shows you the eggs and sausages and the oatmeal. He’d wanted to give you options. “I put honey and milk and cinnamon in it. Berries–” He pulls the bowl of blackberries closer. “You’re gonna be a good girl and eat all of it, and I’m gonna sit here and watch you do just that. C’mon, sweet thing, do as I say.” You look at him suspiciously, but with those words, as if your obedience were a foregone conclusion when he asks the right way, you start to eat. Slow little kitten licks and sips from the spoon of honey milked oats, and he has to force himself to turn and not burn you with the intensity of his gaze, piling his own plate high with biscuits and gravy and eggs and sausages, gut roiling with hunger not for food, he forces himself to eat, one palm still gripped at the back of your stool right up against your ass. He needs to feel you, to keep you close, it’s all starting now. 

“Do you eat meat?” He asks, taking a bite of the savory and fatty sausage. You scrunch your nose again, nothing but wide eyes and a bout of sweet timidity now that your greedy cunt had gotten what it needed. “No? You wanna try?” You shake your head no, shrug that bare and tempting shoulder, end on a nod, leaning forward to take a small nibble of the meat from his own fork. Plush blossom mouth opening to slick itself against the metal where his own mouth had just been – his cock leaks. You chew slowly, thinking, come back for more. He pulls you even closer, tugging the stool loudly against the hardwood floor, feeding you from his own plate and hand, watching the shift of your jaw, the bright of your eyes as you enjoy all the food he’s made just for you, until his plate is clear, and he’s so fucking hard he feels faint – all the blood that’s supposed to be in his brain pooling at his groin.

He could feed you forever. He will. 

Picking at the blackberries now, carefully choosing the fattest and shiniest one first, he presents it to you, watching your eyes shift from the berry to his eyes back and forth until you finally decide to humor him, plucking at his wrist with two tiny fingers, only a quarter of him in your grasp to pull him towards you, and opening your mouth so that he can place it on the dip of your tongue. Your mouth purses around it, they're sweet and tangy this time of year, and your nose scrunches again at the sour zing, and you’re so– he can’t help himself. Joel feels like a fucking animal, wholly himself. He yanks you towards him, up into his lap, head wrenched back and fucking eats at you, licking into you, tasting the fruit on your tongue, swallowing it down his own throat along with your spit. It’s disgusting only because it’s not enough, only because he wants more. And you– you respond to him immediately, little warbling song of a different sort of hunger in your throat, hitching higher in his lap, pressing closer, tugging and clawing at him. 

He feels insane. He feels insane. 

It’s a difficult thing to want so much, to be so confronted by the depth of your desire, your nature, to hold it within the palm of your hand as he is now. 

You climb over him, moving to straddle his lap, to rub that needy cunt over his lap, ravenous huffs as you push and pull him this way and that, kissing his face, his ears, his neck, smelling his hair. He has to plant his bare feet wide, steadying himself to hold the two of you upright as you lose control a little bit. It’s almost time, it’s so near. 

He lets you do as you need, grinding against him, marking him with your scent; your inexperience obvious in your desperation. For the life of him, he can’t fathom what his excuse is. 

His hands slide over your knees, “Look’t what you’ve done,” he tuts, passing a ghosting thumb over the skinned little cap, adventure wound from last night, up your thighs, beneath the hem of the t-shrit, no fucking panties, fuck, his fingers slip against your slick covered thighs to grip the meat of your ass, slippery, pulling your ass cheeks apart to feel all that glorious wet sliding everywhere. He needs to calm down, but he pulls you tight against the pulse of his cock, grinds and grinds and pants up into your own open mouth. 

You’re staring down at him now, wide eyed, and your frantic movements slow, hands on either side of his face, fingers clutching at the curls that wrap around his ears. He slides one hand lower to cup your sex, the smooth and bare little palm-full of it, the other sliding up your back, over your shoulder and down your arm to grip and squeeze your wrist tight, your eyes flash, and then he moves to cup your little tit, pinching and twisting the soft puffiness of your nipple, smiling up at your little gasp, and tucks the tip of his index finger inside of you, just a crook of the first knuckle, just to feel you tremble around him. You gasp, oh, and he wants to tie you up in strings and play with you, make you whatever he wants at that moment. Yeah? Just like that? He whispers up at you, and he wants you to give him so many things and everything, and suddenly, the possibilities of him are endless, so much potential to be born from you. He wants to fuck you full and breed you and keep you forever, and he feels insane and finally soothed. 

It’s the rut starting, he knows, and it should be considered a cruelty to want something so much, but you only feel like a gift. 

You sigh a shaky little exhale that makes his stomach clench with how sweet it sounds, lashes fluttering shut at the feel of him breaching you just this little bit. He bends his head to bite at your nipple over the worn cotton of his shirt, keeping his eyes on yours, on the shocked look you’re wearing. He gives one sharp tug with his mouth, and then shoots back up to press one more swift, hard kiss to your open mouth. When he pulls his finger from your leaking hole, he gives your pussy a gentle pat, right on the clit.

“We gotta calm down,” he says slow, can hear the sticky splash of your cunt against his patting fingers. You nod your head, but shift your hips side to side, trying to find friction. “Told you we gotta time it right – take our time. Didn’t I?” But his hand provokes you still, looking up at you with all the wonder of a man coming across something he’d searched for all his life and yet, at the final moment of discovery, is still shocked. 

“You need to eat too,” you say shyly, fingers still twined around his ears, one single tip laid flat against his right gland, applying soft pressure, pulling away, tapping twice, applying pressure again. Your shared want in a clicking language. 

You slide off his lap, back to your own stool, but keep your knees hooked over one of his own thighs, two little feet pressed against the other, fingers still shifting in his hair, petting him while he piles his plate again and digs in. You touch him everywhere you can reach, tugging on his ears, hand smoothing over the muscles in his arms, poking the soft of his belly, gripping his jaw on either side to count his chews, and then palm cupping his throat to feel his swallows.  

He feels suddenly, desperately impatient for the heat to start in full, to spread you wide on the ground and fuck into your slicked, open cunt, to pump it full of his semen and tie you to him with his knot. To own you in a way that only the thing you are and the thing he is would allow. 

You stare at him intently, focused concentration, like you’re reading his mind, brows furrowed and chin tipped. 

“Can I help you?” He crooks a brow at you. 

You shake your head, staring him down, chin to sternum. “No– You eat so much.”

“M’hungry,” he mumbles around a forkful of eggs, desperate to fill that hollow concaved feeling in his gut he knows is ravenous for something other than just food. But you nod solemnly, as if it were a thing of the utmost importance.

“I understand,” you say very seriously, still nodding. 

He swallows, tipping his head to look at you. And he realizes you’re right, in the obvious way of all such designated things, that you do understand him, and perhaps, for reasons other than just that mere designation. And on the tail end of that realization, another: he feels suddenly, starkly, like a victim. A victim in the same way you were, are, would have been, would no longer be. That same white box, that same perilous ledge, both of you trapped between precarious truth and free will. Both of you the same, and sitting here, side by side, now free, as well. Even despite your ties to each other. Of course you understand each other, you’re the same.

“How ‘bout we go down to the beach?” And your eyes go bright as that glowing comet, immediately throwing your arms around his neck and taking a bite at his ear, excited as a puppy. 

Oh, please, please, please, yes. Yes, let’s go, you squeal and strangle him, almost rip his hair out of his head, but it feels good. It makes him feel real. 

-

He’d dressed you in too many stupid, stifling layers, buttoned to the chin. Long thermals beneath your jeans, a sweater, a large puffer jacket, two pairs of socks, ridiculous, scarf wrapped around your throat you’re sure he’d use as a leash to stop you from galloping so far ahead of him across the wet sand if you gave him the chance.  

You want to run naked and reckless and free down the cold, battered shoreline. 

Everything is gray, everything is dark and cold and wet and so very unlike you. But you feel like it all allowed you to shed that blanket of shyness you’d donned at breakfast, after the kiss. All this: vast and endless and huge in a way you’ll never be. It makes you feel, for some reason, very steadfast in your smallness. Like, look how large the world is, look how unending, look how the sea crashes and prepares to strangle anything that would fall into it. What does it matter, my size in the world, my significance, when faced with all this? I might as well just be. 

You turn back to look at where he meanders slowly in the imprinted path of your bootprints, laughter in your throat you can’t help, holding the pail he’d brought down for you to collect treasures out of the sand. The sky is angry, and from this distance, lashed by the wind as he is, he looks as small as you feel. This is comforting; the two of you are the same.

You are the same. 

Standing still, you wait patiently for him to reach you, rolling the laugh like a stone over the surface of your tongue, enjoying the hurt of the saltspray, the biting wind that penetrates all the layers he’d insisted on. Soon there’ll be no part of you left unpierced. 

And when he finally reaches you, he pauses but two steps away, and God, he has eyes like mirrors, staring down at you from his great height, and silently puts the pail out for you to drop the new additions for your hoard, a sparkling shard of blue green sea glass, a two halved clamshell, the inside: a star hued lavender, cream and silver glow. Surely what the flesh of a dream must look like were it to come alive. 

Your thoughts turn suddenly, you spit the laugh out into the world and watch as it jars him, remembering how you’d read once, in all the many things you’d read in your many years of not life, that when a chest is split open during a traumatic emergency, that the procedure of splitting both halves of the sternum and ribs is called a clamshell thoracotomy. The process allows for access to both sides of the thoracic cavity – full exposure. 

And you can’t, for the life of you, explain why the thought comes into your mind now, staring at that little purple dream as you watch it fall from your sand wet fingertips into the pail he holds poised for you, but you’re sure that whatever the connection might be, it lies only with the idea that you’re prepared for him to do the same to you, that you’re ready for anything when it comes to him.  A splitting, a keeping – what more could be done to a creature used to only half measures? Half life, not life, half omega – not mated, full omega – mated. The intricacies of it all no longer matter, only the yes or no. 

“Will you still send me away?” He’d said he’d changed his mind, but you still ask anyways, voice sliding over the screaming of the sea, throwing him off kilter. You want to hear the words. It’ll storm soon, the waves tell of this by the way they throw themselves against the sea stacks. Poor things, you think, nothing but beaten. 

But you’re not like that. Let him say what he will, you feel buoyant and helpless and completely uncaring. 

And he’s very silent for a long moment, chewing on the possible rejection that you’ll spit right back at him if need be. But then: “Don’t you want your own life?” He asks, and his tone makes you pause, the look in his eyes makes you pause for the fear in it all, for the trepidation it’s made up of. You tilt your head at him this way and that, inspecting him very closely, reading him for all he’s worth. You wonder if he realizes how transparent he’s suddenly become to you. All his hurts, faults, strengths, nature, revealed to you with one question. 

Choice.

He’s asking you what you want. 

“Can’t I make a life here with you?” You counter. 

“Wouldn’t you like to see the world as only yourself?”

Further clarity – the marrow of all he is: afraid. 

You go very soft on the inside, all you are in light of all he is. “I already am myself, Joel.” The sea lashes and howls, his name off your tongue does the same. “Can’t you understand that? This is me, this is what I am.”

He frowns so darkly at that, “I do understand, but I–”

And you step to him, reaching up to cradle his face in your hands, size dwarfing you, fear not: “No. You don’t. But it’s okay, I’m going to show you,” and you turn to continue your path along the water, secure in your certainty now that he’ll follow regardless of anything else. 

Joel wants you to have choices. You’d failed to realize this before, you’d seen only his withholding. 

He moves alongside you after a while, after you’ve allowed him a moment of consideration, idling patiently while you dig through the sand, crouching down to hunt for shells and rocks and glass, fingers wriggling deep beneath the freezing cold sand to feel the burn of it. And after a distance longer, and with much bravery, you clasp two of his too big fingers in your sand crusted fist and hold his hand as you walk together, gently leading him down the path you choose, and he’s so grumpy, and you can’t help but be endeared. 

“I think that's the end of the world out there,” you say, pointing to that stopping point where your eyes won’t go any further.

 He looks out at the sea, eyes stopping as far as the world allows, swings back to your face. And you clutch at his arm, pressing your cheek against his bicep, taking in his scent which has deepened and swelled and grown a body within the last hours – the musked cardamom of him – staring out at all that immensity, personification of all you feel for him, this want that is violent and grown teeth, that exists as nature exists. This want that, yes, perhaps you did not choose, but is still what you want, is still what’s right. 

“The sea is so beautiful, and I’m so happy to be here.” No, you don’t want to go out and find another life. You want to find life here. 

You already have. 

When you turn your face up to his again, he’s staring down at you with that strange look from before, but changed now too. Devouring. No one has ever looked at you like this, and you don’t think anyone else besides him ever will. It’s only him, you see, with eyes like mirrors that reflect back your shared sameness. 

“Is that what you came out here for? To find the end of the world? To hide?” You don’t care if you shouldn't ask, you don’t care about any of the things you shouldn’t do, only about what you want in this moment here and now. 

Selfish, selfish, selfish. Yes.

“What does it matter?”

“I don’t know,” you say. “But it does.” It means everything.

He doesn’t respond, only more of that unfathomable look. You don’t care about this either, let him have his silence like a weapon or a punishment. 

“How old are you?” You ask now, realizing that no one had ever told you, that you’d never even cared to ask – bad of you. But not that it would have mattered or made a difference. 

“Too old. Old enough to be your father.” And this makes you angry, sparking angry. Your father – you’d had a father. A stranger father, but still yours. Joel is not that. So, this is anger like Leo’s. Anger at his offhandedness, anger at your own want, despite his words that sit like rust over your skin, anger at the violence of your own want. 

You fight to swallow it, roll your eyes at him. Insist: “How old?” 

“Forty eight.” And he says it like an admission of guilt, which you snort at blithely. 

You flash two held up fingers at him twice, mouthing the words, twenty two. 

His gaze is sad again, and you rub his arm gently, soothing. “I know.” 

And yes, you think, he surely knows so much, but not everything. “I’m not anything else but what I am, you know? What I want to be.”

“Too young–”

You ignore him, voice insistent, “And neither are you.” You turn to face him full on now, taking two steps away so you’re not forced to crane your neck up at him, he cants towards you as if he can’t bear the distance. Nature: he surges toward it hungrily, and just as quickly, surges away. The wind buffets his scent against you, washes you in it. “You can’t make me any of these things you’d thought I’d be. I’m only what I am, and you’re only what you are. Whatever the rest of it is you want to force, or the world wants to force, or the white box says I should be– I don't give a fig for any of that.” You swipe your hand in a cutting gesture through the salted air, and he looks like he might smile first, lands on a flinch instead. “I am not ornamental, Joel.” 

And he flinches again, jarred by his name, but then seems to remember himself, to be reminded of himself by the sound of it, and musters his strength, tightens his seams and says, “‘Nd I’m not here for you to impose yourself on. I’m going to make my own choices.”

“So will I,” you say slowly, and you suddenly want to cry. “So do I. This,” you, “Is my choice because I’m also an omega.” You suck in a tremulous breath. That truth, like a sea between the two of you. You’d thought he’d seen, understood, that he wouldn't have touched you as he had this morning, as no one else ever had, if he didn’t understand the gravity of that. “And if I’m not scared of that, you shouldn't be either.”

He swallows once, twice, devastated mask in place. He looks so forlorn, bearing a weight beyond his years on his shoulders. He turns out to face the water and asks it, “But what about what I want?” Not what he needs.

You close the two steps of distance, pressing against his side, circling his thick wrist in both of your hands, feeling the weight and strength of the bone beneath fevered skin. His sweater is thick, cable knit, soft and worn, a tiny fray at the edge of the sleeve, and a deep navy color, layered over a blue green flannel. No jacket again, he’d donned the colors of the sea instead, but you know now that he isn’t cold. It’s almost time. 

You’d felt so shy after this morning, as you’d walked out to face him in the light of day, sat in his lap and kissed him, newly made, newly minted. Now, you feel as if you know everything you could ever need to know about everything there is to know about you and him. 

“What about what you want? What do you want? Tell me,” you beg. “Say it out loud so we can both hear the truth of it no matter what it costs you.”

“Sweetheart, please,” he begs for mercy, looking down at you again, standing within the confines of your shackle, something further than devastation on his face now. Something like shedding years against your will, going back in time, stepping within a vehicle that would take you to the worst of it all, that point at the end of the world which he already stands on. 

The two of you feel, very much, like two unexploded bombs, existing with great care beside each other. 

The highs of his cheekbones and the tip of his nose are cold reddened, wind lashed, curls damp from the spray of the waves, burning with that dogged nature he fights and fights and fights. And he’s such a part of the world, standing here like this, tall and broad and vital. You want to be like that too, you think, large in a changing way. And he’s strong, strong in a way other creatures aren’t, strong in a way you aren’t. 

But weak in others. 

You release his wrist, forgo the shackle, remain in place. There’s a desperate plea coming from either of you, which though, you’re not entirely sure. 

And then suddenly, and you can’t even be sure from where it comes from because really, if you’re the most honest you can be, you know nothing of this thing. “Have you ever been in love?”

He goes so still that the sea seems to grow more violent in comparison, an offset to his freeze. “Yes. I have.”

“Will you–” swallow your fear, be the brave girl, “Will you ever love me?” You must ask. There’s no other recourse for you in this, you want all of it or nothing.

He bends to you suddenly, getting right in your face, cold nose to cold nose, teeth bared, animal. “I am selfish and jealous and cruel. And I will keep you in a strangle. Do you understand that? Can you even understand what it’ll mean to belong to me? To belong to a thing like this? Yes, I will love you.” So then there’s nothing else to care about. He spins away from you, paces, paces, “I’ve– I… fuck–” fights the dog fight – you wonder how long he’s waged it for, maybe his whole life – turns back to face you, and there’s the look of a boy now too, like Leo, lost and angry and faced with what he is in an insurmountable, unwinnable way. We are what we are, truth impossible to ignore. 

And then finally, fight lost, his face does a funny thing, a strange fracture and decision happening across the canvas of it, all at once. “I used to be a father. I used to have a daughter,” he tells you. 

Entirely unexpected. Entirely terrifying. “Used to?” You take an urgent step toward him, use an urgent tone, the memory of your aunt and of would-be parents flashes in your mind. You don’t want him to say what you know he’s about to say. “Where is she?” You aren’t so naive.

“Sarah,” and he says her name with so much love. “She died.”

You shake your head no, tears swept away with the wind, freezing salted on your lashes. “No,” you say again, louder. 

“When the outbreak happened – in the confusion. We were attacked ‘cause of what I was,” and he shakes his head once, hard and fast as if trying to jostle the confusion out of his mind, or perhaps knock it back into coherence, “Am,” voice limp at the end.

And then he’s the one coming to you, taking you up into his hold, cradling you more gently than the world could ever imagine a thing like him capable of. He finally understands what you are, you can feel it in the way he holds you. “Oh, no, Joel,” you cry into his neck, hugging him to yourself, pulling his head down to rest on your shoulder. “Oh, no. Oh, no.” Your poor alpha. Your poor alpha, he’d been so alone, so hurt and so afraid, and you realize now that you’ll have to be strong for the both of you, that you need to help him in ways only you can, that you need to be strong when he can't. And there’s only sameness here, of the most important sort. Both of you together, equal. When one could not, the other would. 

It’s obvious the way all truths are. 

“If I care for another thing…”

“I understand,” you tell him. It’s obvious the way all truths are: he’s afraid. 

You kiss his face, cup his ears to warm them, bring one of his too big, rough hands to your mouth, pressing your lips to his knuckles, letting him know you’re here now to protect him in the ways he’d never been and had always needed and would never want for again. 

-

He pulls you against himself in a hurt lock, tight enough he lifts you straight off your feet, face buried in your hair, teeth at your neck, biting hard enough you let out a bay of hurt. He can’t explain it, but there is so much care in the words you choose to wield against him, so much wisdom despite the innocent naivety, a clarity about the way you see him and all the rest of the world that sends him into such existential vertigo, makes him want to take a bite out of you so that he might swallow some of that innocence, some of that wisdom down for himself. An honesty about you that gives him no choice but to choose that which he knows he’s always wanted but has never let himself need. 

“I understand,” you’re whispering, letting him savage your throat as he needs. “But everything is going to be okay now–” a moan of pain, “–that we have each other, don’t you see that? We’ll take care of each other.”

He digs his teeth deeper at the fine tendon in your neck, and then slides his tongue up and over your gland, tasting the leak of pheromones there. It’s time now, he can feel it pulse and beat, glowing bright within you. He had been stupid and carelessly blind. He’d been a liar. “I see now – I see. It’s alright, sweetheart. Don’t cry. I’m alright now.” But you wrap your arms around his head, comfort and cradle him, and he has to have you with a desperation that brandishes teeth and boils. 

He shoves you back by your hips, keeping his grip on you steady, and turns to push you back down the beach the way in which you’d come. “Home. Now.” But you push back against him, rubbing your ass against the heft of his cock, presenting him with that cunt that belongs to him. 

“No. Here.” It’s a demand, you have an instinct for this. 

“Absolutely not,” but he’s gripping your hips hard enough to bruise anyways, grinding against you, tension vibrating his too big body, as if he were actually considering it, taking you here and now. 

Please.

“You’d let me knot you right here on the beach with the whole ocean and God watchin’?”

“Yes. Yes, I don’t care.” You try and turn in his arms, head craning back, hungry mouth seeking his own lips.

The insanity of the fever. Now, omega, he rumbles, and there’s no mistake in the burr of his tone, his nature on display, loud and clear – an alpha ordering his omega back to her nest so that he might have her there. He shoves you forward gently, setting you on your way, and picks up your pail full of treasures to stalk after his own. He takes in the sparkle of seaspray like gems in your hair as he follows, the shiver of your frame beneath the too many ridiculous layers he’d forced you into, the stumbling of your feet as you turn back to spy him hunting after you.  There’s wet on your face, and he doesn’t know if it’s the salt of your tears or the salt of the sea, and he wonders if when he drags his tongue across it he’ll be able to tell the difference. He’s sure he will. 

Your scent like a leash leads him, stronger and fuller and warm enough to burn. His gut is tight and aching, cock so hard he feels he can barely stand up straight. He’s sure he can smell the pouring of your slick from your finally readied cunt, the bloom of it obvious in the air around you, juniper berries everywhere – something warmer, spiced vanilla, earth. It’s so good he wants to swallow it down like liquid, drink from your well. 

He follows and follows, and if you weren’t already at the end of the world, he’d follow you there too. Up the stone steps etched into the cliffside, the steep incline sending you to huff and puff in strain. He’d feed you more, make you strong, feed you his cock and fill your belly with his come like honey. His breaths are bullish, bursting out in white clouds of steam, his neck hot and damp, skin boiling beneath his clothes. 

You keep turning back nervously, your left hand stretching back as if to reach for him, and then speeding up again in agitation, going as fast as your much shorter legs can take you compared to his. But he measures himself, lets you get there in your own moment, and eventually, he’s pushing open the cabin’s front door and shoving you inside, forgetting to measure his strength, lost in his delirium as he is, so that you’re stumbling, being snapped back like a rubber band with his fist wrapped in the back of your jacket. 

He rips it down your arms, uncoils the scarf, pulls the sweater over your head, hair a mess, all disoriented and malleable, and yanks you back and into his chest, heaving you up into his arms so that he can clamp his teeth at your throat again, laving his tongue over your gland, slicking you in his spit, sucking hard at the patch of skin, the burst of flavor on his tongue now, bubbling, carbonated almost, so strong his knees buckle and his cock is surely leaking a stream of precum down his leg. So fucking sweet, he’s growling, murmuring like a madman, grinding his erection into the lush of your ass, fingers sneaking under your shirt to squeeze hard and tight at your little tits. Your belly is a ball of embering fire, like you’d swallowed a comet, and he presses down on it gently, hand low on your pelvis over where your little womb is, this place he’s about to fuck full of his spend. 

“The way you smell – your scent – I’ll go fucking crazy, I swear I will.” His voice sounds not his – coming from some source outside of his body, ringing hollowly in his head empty of everything else except you. 

It’s started, it’s started, it’s started. 

You’re full of glorious heat, and he soothes at the soft swell of your belly with gentle circles, hand sliding down to cup the little palm-full of your cunt, rubbing back and forth over your jeans, and then goes to his knees behind you, pawing at the button, ripping them down your legs along with the leggings he’d forced you into beneath them, panties and all; the popping of seams – his or the clothes he can’t be sure. He traps you in the tangle, leaving them around your ankles, boots still on and takes a too sharp, too aggressive bite of your ass cheek, leaving teeth marks, leaving Joel marks, enjoys the sound of your baying that ends on a shocked little squeak, a little ah, ah, ah. He grips your asscheeks too tightly and spreads them wide, watching the delicious little wink of your holes provoking him, and licks the broad flat of his tongue from cunt to asshole, finally, fucking finally tasting you. 

He’s entirely lost to his madness from that moment forward.

He licks your ass again, again, pushes you forward to deepen the arch of your spine to eat at you better, and you mewl, whine, Joel, I’ll fall, but he can’t find it in himself to care. “Fall,” he tells you, “I’ll catch you.” But he spins you in his hands, fast and stumbling, trapped as you are, to face him on his knees before you as he is, as he should be, and you’re so small, morsel sized, perfect for swallowing whole, and open mouthed, he inhales at the mound of your cunt, tongue swiping out to find your clit swollen already. 

You smell like nothing he can describe, too delicious to allow him the choice of clear thought. He pulls you down to the ground, rips your boots and pants the rest of the way off, and right there on the floor by the front door, he spreads your legs wide and eats your cunt. 

Eats it. 

Nothing gentle or restrained about it as he probably should, this being your first time a man licks your pussy, small and innocent as it is, he fucks his tongue inside your shaky hole, sucks hard and sharp on yor clit, your first orgasm, sensitive as you are, trembling through you already. More, more, more, he wants more. He hunches over you like the beast he is, tiny thing, pulls you up, palm cupping your bottom, one knee knocking against his ear, the other leg splayed wide, sliding down his arm, so he can suck, suck, lick at your clit, a gentle kiss as a prize for taking it so well, and then his tongue is back into your cunt to taste the river of slick you’re spilling just for him. Your flavor, so musk heavy, sweet and thick like honey; he feels full and set to burst, no more hollow pit. And he wants more, to gorge and gorge like a glutton. You come again, a splash against his tongue, so wet you’re slipping and sliding in his grip. He can hear your high pitched cries and whines, your Joel, Joel, Joel’s he shushes, soothes with his tongue, little kiss to your little clit that pulses against his mouth. 

“Y’taste so fuckin’ good, baby.” He lets you down, crawling over you, pushing your shirt up to get at your tits, sucking and biting hard enough to hurt. He wants you to feel it all for days after the heat’s over, to leave marks, to make sure he’s left in your skin forever. Forcing your jaw wide, he slicks his tongue along yours, feeds you the taste of your own cunt, salty, sweet, his, and you take it so well, half limp and yet still clinging to him weakly, two orgasms forced on your virgin pussy back to back. 

He scoops you up, belly to belly, spider limbs around his neck and waist, grabby hands yanking at his hair like you’re angry he’s not put you on his knot yet. His knees pop, his back aches something fierce as he heaves the two of you up, muscles in his thighs bulging to support you – he’s fucking old – and walks you over to your nest, setting you down on your back, spreading your knees wide, cunt ripe and blooming, so red, a wound of all the world says you’re meant to be.

Slicking his thumb over the soaked curve of it there’s a sticky string of omega drool that leaves him connected to you when he pulls back. He presses again at your swollen clit, thinks he can almost see the pulse of your rushing blood beat here at your spread cunt, slides down to the tiny winking hole and circles his finger there, giving you the slightest pressure, pressing in a tiny bit, up again to tease your clit. 

“I’m gonna fuck this soft little hole until it’s so full of my come I don’t fit inside no more. Would you like that, sweet baby?” He asks so gently, don’t spook the fawn, don’t spook the beast. 

Your eyes are fevered, face covered in a shine of sweat, your belly glows with heat, and you nod slowly, little smile playing tricks with him whispering across your face. His hands slide up, circle your waist, squeeze and squeeze and squeeze as if he could watch you burst, witness all that heat explode like a comet, then further up to your chest, two big hands covering two little tits.

“You’re so pretty, little omega.” And you preen, you glow, suffused with such vulnerable, honest pleasure. Joel has to be so careful, he has to be so good for you. He will be. You circle one of his wrists, tender little hand, fingers of vapor, he has to be so good for you, he has to be so careful. Again, remember, remember. He bends to press a soft kiss to the pretty tip of each nipple. 

“They’re too small,” you whisper in an even smaller voice. 

“No. No, baby, no.” He presses another kiss, drags his teeth over a peak, sucks on the other, switching back and forth. “They’re fucking perfect, so pretty and so soft. I love them– I’m fuckin’ obsessed with you.” He opens his jaw wide and takes the whole soft mound of it into his mouth, sucking on the whole thing of it. He probably shouldn’t say such things, he doesn’t give a fuck. “Look–” he says around the little globe, “Whole thing fits in my mouth.” He bites some more, kisses some more, sucks on them until you’re whining and pushing him away, until they’re sore and stinging and still he doesn't stop. He shows you just how obsessed he is.

He kisses you all over, your belly, your waist, the soft spot beneath your ribs, your thighs, and the pulse between your collarbones. Slow, slow. He has to be slow and gentle and patient for as long as his looming rut allows, he needs to ease you into this. Taking an ankle first in one hand, he presses a kiss to the gland just there on the inside of it, suckles a little, then the other, and watches as your cunt becomes more and more needy and swollen, red as a bloom, until you’re so desperate for it you’re writhing around wantonly in the nest of blankets, almost entirely lost to your fevered delirium, but not just yet, not just yet. 

“Will you– will you put your big thing inside me now?” You slur innocently.

And he laughs gently, a tenderness pinching his heart which if he was less lost to himself, he might cry for. “My big thing?”

Oh, please. “Please, I– I think– please, I think I really need it now.” You twist this way and that, pulling the blankets up to your face to hide yourself away. 

“Almost, sweetheart. Almost.” But he feeds you two of his fingers then, playing in your slick, the sticky wound of softness, and crooks his fingers to wedge them just inside of you. “Like that– oh, isn’t that nice?” He croons, pressing a little further in, feeling the stretch of you around him. Your eyes go wide and shocked, your back arching in a taught curve, hips opening for him to sink deeper until he’s palm to cunt. He leans over you, watching the place where his hand disappears inside and hooks his fingers, petting at the textured little place at the front of you, so, so sensitive. You keen loudly, a warbled sound that’s all fucking his. His control is so close to snapping. 

He pulls his fingers from your cunt suddenly, watches how it shudders while you screech at the loss, looking up to search for him with bleary eyes as he rips his shirt and sweater up over his head, and then he’s pressing his two fingers back inside, thrusting into you a little harder, the splash and slap of your cunt as he fucks in and out of your tight hole. “Perfect little thing that's all mine.” He has nothing but praise for you, his good girl, taking him so well. 

He pets and pets at that soft spot, molten heat pouring from your cunt, and when he starts to shake his hand, a little jiggle to knock your next orgasm loose inside of you, you give it up so, so nicely. Pussy going tight as a fucking fist, strangling his fingers, and then spilling loose and soaked, flooding his hand. When the contractions of your little womb have abated he stuffs a third finger in, forgoes some of that gentleness, and pressing a hand low on your pelvis, he shakes his hand hard and fast inside of you. “Want’cha to fuckin’ soak me,” he grits through clenched teeth, head slightly dizzy, slightly faint with want. And with pressure both from the inside and out, you do. Gush of come following your high pitched moan, tears soaking your hairline as much as your pussy just soaked the lap of his jeans. He pulls his fingers from your gaping hole, bends to lick through all that glorious omega slick and swipes his fingers through it from side to side, tapping on your clit harshly, slapping it a little, sucking on it again, fast, fast his fingers from side to side, forcing you into just one more little climax before he lets you rest. 

You’re all twisted in the blankets, face turned and buried in the pillows. He crawls up over you, contorted as you are, cunt splayed wide and pulsing, and unbuttons his jeans as he goes, finally, fucking finally letting his raging cock free. It hurts, it needs you so fucking badly, leaving a sloppy trail of drool slicked along the already wet curve of your belly as it drags heavily against you, bobbing obscenely from his open zipper. He buries his face in your neck, kissing and licking up the taste of you, sucking on your gland. 

“Please, please now. Please, now,” you keep mumbling into the blankets where you’re hiding. Please, now. Begging for his cock and his knot, so ready to take your first fucking like the perfect omega you are. 

“Not yet,” he soothes, petting your hair back from your steaming face, pressing a kiss to your sweaty hairline. Please, you whine high, and he lets his cock rest heavily against the curve of your red cunt, slicking it there, dragging it back and forth, giving you both the weight of what you’ll have so soon. You kick one leg out weakly. “Not yet, it’s okay. It’s okay, sweetheart,” he pitches his voice low, soothing, gathers you to himself. “Let’s rest a little. No, no – just for a little bit,” he says over your whines and cries. You cling to him weakly, hips rocking against him. “I know, baby. I know,” he hums, letting you rub your sticky, sore cunt against the wide head of his cock, nothing but a boneless little mass of omega, stuck to him with tears and slick and sweat. 

He rolls over with you on top of him, the brand of your cunt enveloping his erection between swollen lips, and his knot is ready to pop, it fucking hurts, his rut is near too. But he can tell you just need a little more time – a few more hours to soften and ripen just that little bit more, to lose yourself a little bit more so that he might fit himself inside of you, his too big body in your too little one. 

He gets up eventually, shucking his jeans, and getting a glass of water to force you to take, and leaves the large, cold glass near for when you’ll need it again with all the slick you’re producing. So much that it runs down your thighs, slides up your back and all over him and the blankets and everywhere; everything sticky and heady with your scent. This is, he thinks, right before he succumbs to sleep too, head and balls throbbing from not having come yet, the most singular way an omega claims ownership over an alpha. That scent like a shackle that would keep them together at all times, that scent that after long enough, is impossible to be without. He buries his face in your hair and breathes deep, letting your smell move through him like a tangible thing, a kaleidoscope through his mind until he finally falls asleep. 

-

Your hips move in a slow rocking swing over his belly, slicking the curve of it, making the hair covering him here clump sticky and soaked in this stuff that will not stop coming out of you. There’s so much, and you feel so empty, your head, your head is full of nothing but heat and bubbles and a throb that glows, and you don’t know why, but– oh, finally, he’s waking up. Yes, yes, alpha, wake up now. 

He shifts and rumbles deep in his chest, and you feel his big thing poke you in the butt; it’s so heavy and so thick and it smells so good. You’d sniffed it, and you’d tasted it a little too when you’d first woken up, but you need to make sure to remember to taste it more later again because it had been so yummy, and long too. You can’t understand how it’ll fit, but you’re sure you’ll make it somehow. And it has a funny soft bit of skin at the end, and thick veins that pulse under the warm, incredible softness that covers it. 

His left arm stretches out and over his head, he’s thick here too, big muscles under his skin that’s so burning hot it hurts to touch and feels good all at the same time. He has a dark vein that runs from his shoulder over the bulging muscle, and you’d tasted that too, then pressed your face into his hairy armpit to sniff him there also; gone all drunk and light headed at the scent.  You rock harder; the little nub at the front of your cunt – it belongs to him – it hurts and it’s swollen and when you press your fingers to it, it has a little tiny heartbeat that you’re sure beats to the sound of his name, Joel, alpha, Joel, alpha, and everything is so, so hot. 

You whine that sound you know he likes, the one that you know provokes him, rubbing your slippery cunt all over his stomach, grinding and sliding against him, trying to make the throb go deep and hard again like he’d made you do with his mouth. And oh, he’s so– he makes you so upset, and you feel big and little all at once, and that stretched soreness of your cunt, it’s all his fault, and the bruising around your nipples too, and he needs to put it inside. 

He stretches again, blinks open slowly, long lashes, dimple beside the corner of his mouth, and you dig your nails into the hard muscles of his chest, dragging your blunt edged fingernails down his skin as you slide lower, over his big cock – that’s what it’s called, and you love the sound of the word, think it sounds how you imagine it’ll feel, cock – and try to put it inside, shifting and rolling over it, trying to impale yourself on it. It’s so heavy, and you know the heaviness will make the hurt inside you, the bruised feeling inside you, go away, if only he’d just do it. 

You huff at him, cry a little, whine a lot, try and make it go inside again, slipping and sliding in all the slick that won’t stop coming out of you all while he blinks slow and patient at you, a little smile on his face, and he’s so pretty he makes you so, so upset. You bend forward suddenly and bite his nipple hard, yank on the hairs on his chest and thighs. Hard enough to hurt. He grunts, but lets you, only twinning his fingers in your hair tightly, letting you chew on him until you’ve released his skin on your own. 

“You upset with me ‘cause I haven’t fucked you yet? You gettin’ impatient with me?” You huff at him. “Think you’re ready, sweet thing?” Oh, please, please, please. 

You know that you’ve never been more ready for anything in your entire life. 

He rolls you over, spreading you wide to play with your cunt again, and you start crying for real. “It hurts, alpha, please. It hurts, and I glow.'' It's so hot everywhere. 

“You’re full in your heat now, baby. Don’t worry – knot’s gonna make you feel all better. You’re gonna be so full.” And his voice is so soft and deep and hard too, all at once. It floats away and it comes back, and he sounds like all the things and all the sounds that can have ever existed in the whole world, and also, just right enough to let you remember, only for a second, very calmly and in a moment of bright clarity, that you’d always known he’d come to fix it all. This is only the last part of that at last. 

“My brave girl,” and he pauses a beat above you, between your spread thighs, his cock hanging heavy, tip-slicked between his thighs, giving you a sticky kiss every time it bobs against your tummy. He drags the pad of his thumb at the hollow beneath your eye, catching fallen salt water there, only of desire, not the sad sort, you know the difference so very well by now. And his own eyes, they’re so dark, so full of all that heat that’s so chock full inside you too, but also different, something like cool and serene and full of knowing, full of patience. Eyes like mirrors. The two of you are the same. 

He wraps his big hand around his ever bigger cock, and smears the tip against your swollen, needy sex, pressing hard at the aching nub, sliding down and pressing hard at the bruised little hole. You growl an impatient quipping noise at him, but he returns it in kind, deeper, scarier, full of an order to settle. 

“We have to go slow,” he says, “It won’t fit just like that.”

But you rock your hips in hitching jerks anyways. “No, I’ll make it fit,” you promise, clawing at his chest to achor yourself, find the right angle, find relief. 

He shakes his head, continues to smear and press against you, and then oh, oh, oh, he’s just there, first a big stretch like from the morning, and it hurts, it burns, but not as bad as being without, and you make a sound like you’ve never made before, feeling a feeling you’ve never felt before and had waited your whole life and a year for. Inside, please, please, inside, alpha. He feeds you himself, makes the heat brighter, fans the flames and soothes them all at once, and oh, it really does hurt and feel so good. 

He’s panting like a bull above you, sweating and groaning, and the sounds he makes, the sounds he makes, rough and wounded, like you’re wounding him, like you have the power to wound a great thing like him. “Ain’t that so fucking good?” He coos and croons and pets at you, feeds you and feeds you and feeds you. It’s so big and it splits you, cleaves you wide and forces you into the place and thing you’d lived your whole life waiting to be. “Look at my girl,” he’s saying, “Look how well my little girl takes my big cock in her tiny cunt.”

He pushes a little more, touches a thing inside of you that is swollen and bruised and so sensitive, and, “Oh, you’re in my belly,” you gasp when he finally stops pushing in. You cup your hand over your tummy, pressing down. “I can feel you,” there are tears slipping form the corners of your eyes, and your cunt feels so full it’ll burst or swallow him whole or a little of both, “I can feel you from outside.” You press down harder, rub over the bulge of him inside you; a cock in your belly under your palm. 

So good, just like that, he’s murmuring and you close your eyes to better listen to the dip and hum of his voice. “I am. I am – gonna fill your little womb. And we’re gonna do it just like this for now,” he starts to move, “Just half so you’ll let me in all the way.”

“There’s so much,” you hitch, breath quivering, chin trembling, tears leaking, cunt leaking even more. 

I know, I know, he rubs your belly, soothes you so well, rocks and rocks and rocks, a cock rocking inside of you. He kisses your jaw and your shoulder and your breast, and then changes something, and you finally open your eyes. He touches something so raw inside of you, something that screams and sings and throbs, and there’s something going swollen inside. He’s so beautiful, silver streaked, creased, lines over his forehead, alongside his eyes, his whole life painted in roadmaps and metallic patterns across him. Other places slicked and wet, red and flushed and sun touched, and you make him look like this, and then he presses the swollen thing again, and it bursts. Your cunt flutters, goes so tight it hurts, forces more tears out of your eyes, you claw at him, your body feels not your own, only his. Oh, fuck yes. Good girl. Fucking come for me. For him, for him, for him. 

You shiver and shiver, there’s only hot air and the rocking cock in your belly, the heartbeat inside of you everywhere, and when he finally presses once more, finds the end of the world inside you, he’s all the way in, making a sound that you’ll have to force out of him for the rest of forever; a perfect sound. He tugs you up onto his thighs, sits up, belly to belly and heart to heart and glow to glow, and he fucks you like he said he would. Hard. You finally understand what it means. His cock punches the bruised thing that lives inside, that has you keening a wounded sort of noise, clawing at him, mouth searching for his gland, sliding across his clavicle, up his neck until it’s there, swollen and throbbing and it tastes so, so good you can’t help it when you sink your teeth into the softness of it, the salted rust of his blood sliding over your tongue, down your throat and into your belly like a promise. He makes that glorious sound again, and he fucks you so rough it hurts in only the way fucking a man so much larger than you can hurt. He splits your cunt wide and ruts into you like a beast, and you take it because you want it, because you were made for it, because it’s so right. And you suck on the pierced gland, swallow the taste of him and when a pressure worse than what you could have ever imagined starts to swell within your battered and bruised opening, he pulses and pulses and spills inside of you, filling your womb like he’d said he was going to also. 

Then there is his knot, finally, within you. “Again, baby. Come on my knot, sweetheart. You’ll feel so much better if you do.” And he’s right, as you shiver into it once more with only his command to prompt you, his knot swollen like a lock, connecting you together, it soothes the bruise and the heat from the inside out. He rips your teeth from his neck by your hair, swallows your protests, tasting his own blood on your tongue as he comes inside of you, fills you with a heat more potent than anything the glow had ever made you feel. 

When you fall together like felled weeds, knot tugging gently, mewl falling from your lips, he soothes you so patiently while he continues to spill inside of you, all plugged up as you are, belly set to burst full of semen. He suckles at your nipples, bites and pinches and makes them hurt, and you can do nothing but let him do as he pleases. And you don’t sleep this time, for the throbbing is so strong inside of you, his soft groans sometimes turned to whimpers so wonderful you need to be awake to listen to them forever.

 There’s nothing of the not life anymore, there’s only him here with you. 

He does sleep though, after a while, or he goes very still and very quiet. His lashes quiver and his eyes move beneath their lids as if he were watching a dream, and his body steams and shudders, but eventually, the knot softens enough that you can shift and wiggle over him, and his eyes flash open, predator gaze zeroing on the little omega trying to leave her trap, he presses a big hand down on your tailbone, grinding your cunt that feels raw and full and bruised and right against his pelvic bone. “Where do you think you’re goin’?” Voice a deep burr. 

You give him a shy, appeasing look, nuzzling his belly, his thick pectoral and shift and shimmy up towards his face, feeling the heavy weight of him fall wetly from your bruised sex. It stings and flutters madly, clenching around the too large space he’d made inside you. Shuffling up on your knees, you peck at his chin, his mouth, suck on his lip. And when you look down between the two of you, there’s a puddle of thick white semen slowly drooling from between your legs onto his belly. 

You shuffle down now, licking up the mixture of slick and sweat and come, tasting the crease between his thigh and pelvis. You move lower, and resting your head on his thigh, you mouth at his cock, wet and slobbering, pressing a kiss, tasting the flavor of your cunt. 

“I feel so lovely,” you sigh dreamily, pressing another kiss.

He groans low, “A little more tongue– there you go. Oh, fuck– omega, that’s so good.” He threads his fingers through your hair. “It’s because you’re full of everything I just gave you. You’ll need more soon.”

You open your mouth wider, try to swallow him down, enjoying how his come slips out of you, making the tops of your thighs, your ankles you’re sitting on, all sticky wet. All mine, you mumble around his thick length, and his answering laugh is so vital, oh, everything really is so wonderful. He tugs you up by the roots of your hair, jaw hanging wide and spit slick so he can stick two big fingers in there and rub at the slimy surface of your tongue, grunts a hungry sound. 

-

He pushes you back, hand still fisted in your hair to spread you wide and inspect the wreckage he’d left between your thighs. “Lemme see–” he murmurs. “Look at how red and swollen you are, baby. Little cunt’s all fucked open.” He gently scoops his come back inside, smearing it along your cunt. 

Ah– Ah– You protest when he presses his fingers inside to feel the slip of his semen along your walls. Poor, baby, he coos. His cock stirs at your little sounds of hurt, soaked as it is, streaked with come and slick and a little pink tinge of blood. The sight makes him fully hard again. “You did so well, first time taking a knot. It’ll be easier next one.” You writhe and arch as he pets your cunt, spreading your legs wider despite your limp sounds of protest. Head rolling back against the blankets, you grip your tits in both hands and squeeze, whimpering at that too. 

When you lift your head to look down at them, lifting the two little handfuls in your palms to take in the sight of your chafed, swollen nipples your eyes go wide. “Look’t what you did to them – they hurt now.” And although he’s sure you intend to sound like you’re cross, the moan you end on, the way you’ve begun to rock your hips, tells of different things. 

“My poor girl, lemme kiss ‘em.” He stretches over you, taking your hands away to press a barely there kiss to the tip of each breast. “Poor little tits – poor little pussy too, all split open.” And he bends to kiss your blood tinged cunt, the flavor of lost innocence and come on his lips. 

He kisses you again, nibbles on your thighs, and your eyes are hazy, fever full, and you sigh a fluttering sound of oh, “Everything’s so lovely,” you say again. “And you’re so beautiful, alpha. We should eat green apples. I love green apples so much.” Delirious, a little nonsensical. 

“We will. We will– whatever you want,” he says, but he’s already mounting you again, wedging his fat cock into your tiny, battered hole, enjoying the sound of your half pleasure, half pained keen. And he doesn’t give you the grace of going slow, the rut is full on now – he fucks you into your nest hard, fucks against your womb until he’s filling it again. Only gentles once when you mumble into his ear, slurred and almost drooling, I want to watch it go in and out of me.

And despite his ferocity, the way he uses and abuses your cunt, he knows you need it from the way you open that little blossom mouth and try to swallow him whole, hungry thing. You yank at his beard and pull on his hair and scratch at his skin, bite his gland again and again, and he shocks himself by being nothing like afraid, nothing like uncertain. No, he only feels settled now. Joel only feels himself. 

He realizes that he had always needed this, but now, he wants it too. The distinction is stark and important beyond measure like some sort of primordial state of consciousness. He is only himself, dog fight lost and left victorious for it. 

You pass the days of your heat and his rut locked on his swollen knot, a steady stream of his come being pumped into you constantly. There’s no way he hasn’t bred you by now, and it makes something pleased and terrifyingly savage swell within him. 

He’s forced to shove an ice pack between your legs on the third day, between bouts on his knot, during a moment of clarity for the both of you while he feeds and waters you. But then later, after he’s given you one of the strawberry cream popsicles he’d made and frozen for you the day before you’d arrived, you sit, swollen cock buried deep, slowly rocking back and forth while he watches with an almost sick sort of rapt fascination as you eat the popsicle in little kitten licks, leaning back on his lap ever so often to bare your cunt to his gaze, slick and split wide, red as the strawberries in your sweet treat. 

“How is it?” He doesn’t specify which, the popsicle or the cock rocking inside of you, but you peer at him with the brightest and keenest sort of gaze, a look that tells him all he needs to know about himself, all that you see within him which is everything. You flash him a huge, cheesy grin, all the answer he’s getting, and you’ve got a tiny gap between your two front teeth that he finds so, so endearing, and his answering laugh is so vital, so alive, it’s like he steps into himself again after twelve years of vacancy. 

And with that bright light of clarity, a blink, blink, you seem to come fully awake for a moment. “Tell me of the things you like,” you order, taking a large bite of the iced treat and pressing your cold mouth to his, passing the flavor of strawberries onto his tongue.

He takes the moment and tastes it, pulls you close, “I like how the fire plays over your skin,” a palm ghosting down the slope of your naked back to the place where you’re connected. “How it makes shadows and shows me that glow inside.”

And as the fever fades, he switches to handling you with carefulness, gently stroking at your sensitive, come-filled pussy, careful of the stretched soreness of your little hole and the bruising around your nipples. With more awareness you remind him that he’s a big, stupid alpha with a big, stupid knot and that you hurt and want more.

But there’s still time and heat to take advantage of, and on the day he knows will be the last day of this animal lust, he stretches you out flat on your belly, his weight completely over your back, and he fucks you prone and immobilized, caged in by his bulging arms, telling you of how you own him now, how he belongs to you, how he’s going to keep you full and happy forever. “Make me come. Clench – good girl. Again,” he orders, and when his knot swells for what he knows will be the last time of this rut, relishing in the last whispers of your heat filled belly, he sniffs through the curtain of your hair and finding the still swollen gland at the nape of your neck, he slowly sinks his teeth into the vulnerable patch, binding your mating. 

-

Dawn peeks over the horizon like a faint suggestion, and you’re married on the cliffside one bitingly cold winter morning, the sea as your witness. Ellie and Dina are there, and they’re your friends now. You have friends, real friends, no more half life, no more half friend.You have friends, and you are important and significant and as vital and alive as Joel is. You’re real, and he helped make you so, yes, but really, you always had been. 

You wear flowers in your hair and a dress the color of the sky, and he has mirrors in his eyes, and the two of you are the same. Equal and only yourselves, and you love each other more than anything in only a very true way, nothing soft about it. 

When you know you’ll have a baby, he swallows your fear and your worry, marks your gland again as a reminder of all he is, all you are. And when you ask, for you can’t not share with him, “Will they come one day, to check if we did what we were supposed to? To see if we had a baby?”

He tells you, “Yes, they might,” very solemnly.

“What if–” a difficult thing to say out loud, now that you understand the thing you are and the way of the world so well, now that he’s shown you all there is to be shown, “What if they’re an omega like me – will they take them?” Give them their own white box and a not life to be nurtured by instead of a mother. 

But like all obvious things, he shares with you, always, only truths. “Never.” And the look in his eyes is so serious, eyes like mirrors, that you know his words are fact. “I’d never let that happen, I swear to you.” 

And the glow still comes, and the heat still takes you, but he’s always there now and nature is still an inescapable thing, but the perilous edge is no longer such a danger when you’re protecting each other. 

Netherfeildren's Masterlist

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[mari-lair]

Shit I might want to read this, it looks cute. What is this?

I am assuming you're talking about the manga with a cute art style, the one with this trio, which I love dearly

If so, I am very sorry Anon, my blog is misleading propaganda. None of these three are the protagonists, or even sidekicks to the protagonist, they are either stuck as a gag character for half of the manga, pushed to the side, given an antagonistic role/a role that have a diferent belief from the mcs, or all of the above simultaneously.

This is not their story.

They do eventually get focus, there is a reason I have grown attached to their arcs more than the protagonist's stories, but I am aware most people do not vibe with them. Many actually hate these three. They aren't the heart of this story. If you read this manga, rest assured it won't be for them.

So let me try to give you a more accurate idea of what the story is about without any major spoilers/details.

The manga is called "Toilet Bond Hanako-kun" which is a strange mainstream translation considering "suicide boy Hanako-kun" is the more accurate one. Very different vibes between those two translations, right? That's how the manga feels too, it is a mix of strange and goofy and 'oh, shit got dark'.

The story takes place in a fantasy world where supernaturals and ghosts exist and the trio in the spotlight are these three goofballs!

The red eyed girl is our main protagonist, Yashiro Nene, she is in love with the idea of love, a true hopeless romantic!

She attracts trouble and have a wild imagination, easily getting stuck inside her own fantasies as a form to both find strength and avoid tragedies. She is an insecure but very kind soul with a lot of hope in her heart, but she is not that smart. While she does have her moments, if you dig strategy stories and logical characters this story isn't for you, it's more about whimsy and vibes.

The boy with the cap is the main lead and our titular boy "Hanako." He is a ghost, more specifically a supernatural, which are ghost whose soul got corrupted for staying in our world instead of moving on once they died. He is also the main love interest. A mischievous morally grey spirit with no self-love, no hope, and a lovely mix of being apathetic and caring too much. He is dangerous, selfish, awkward, and possessive and he hates it.

The blond one is Minamoto Kou, an exorcist who never exorcised anything, he is a kind and insecure guy, not very smart logic-wise but his emotional intelligence is surprisingly good (bad habits aside). He is selfless to the point of concern, and starts out determined to be Hanako's eternal enemy but they become besties by accident. He is desperate to help, very determined, very impulsive, very easy to trust. Horrible at being an exorcist.

The friendship between these three is very sweet. You feel like it will be a generic love triangle on their intro but no, they all care about each other. Romance may be a big thing in this manga but this trio are besties.

The humor can be hit or miss, sometimes it's so silly or dry that I love it, but sometimes it's passes my bar and becomes overly exaggerated. Some of the gags just don't land (at least to me), and if you think about the story too much, is not hard to find inconsistencies, but the main sell of this manga is character comflict, which is usually real good, and the supernaturals elements/stories which are the main events of the manga. All the supernatural stories are amazing.

I don't want to spoil the powers and rumors and tragedies but here are some 'vibes' of the supernatural elements.

It is a rollercoaster of cool ideas and vibes and creative ways to explore the wishes and fears of the characters.

A lot changes through the story, this trio won't be the main dynamic forever but it is the heart at the start, and the supernatural stuff is strong during the entire manga! So if the pros sound better than the cons, go check it out!

You can read it: here

[flaetsbnortoriginals]

I've just had a dream that was so steeped in Magic: The Gathering lore that I need to post it to tumblr on the off-chance that people who know enough to understand it will be able to read it, because if I tell it to the people I usually tell my dreams to they won't understand a dang thing. Sorry @one-time-i-dreamt

So. The dream was in Ravnica, and was about this planeswalker lady. She was white, with long straight blonde hair, and a fancy blue dress. I have the feeling that I was dreaming I was her before my dream remembered I'm a boring cis man without any amazing powers so as far as I can recall I'm just following her, like the main character of a story. I'm not sure I should call her my OC since she was created without any prompting of my conscious mind but none of the characters in the dream have names so I'll call her that.

OC was walking down a boulevard in Ravnica with this dude. They were pretending to be a couple, but the dude was actually a Dimir spy she had bested and was kind of her prisoner. Dimir guy wasn't very happy about it but wasn't too angry either, he saw his "custodianship" as a work thing and kind of respected OC, so they were chill.

OC saw a woman who she realized wasn't from this plane, although she was pretending to be a local. She challenged Dimir guy to point out what made them realize this. Now I expected this to go like a Sherlock sequence, with each one pointing out a detail in the woman's outfit or some very precise behaviour. Instead, OC starts by pointing out that this woman is wearing

A FRIGGING BRIGHT BLUE SOCCER JERSEY

and not only are soccer jerseys not usual clothes in Ravnica, (at least not until Hooligans at Rakdos Stadium is released), but it also has a giant number on it (77 if you're curious), except that Ravnica uses a different writing system, so any planeswalker would immediately clock her as an outsider. (I think that it's only sort of implied that each plane uses a different writing system, but in the dream that was settled truth.)

OC is so apalled at how poorly this woman - who needs a name, so I'll call her BadKellan for reasons that will soon become apparent - is at hiding herself, she decides to have a word with her. BadKellan realizes she's being followed and hoofs it - but OC and Dimir guy immediately use their Dimir crap to become invisible. BadKellan thinks he's shaken them off, but she's quite rattled, so she goes to her safehouse, which happens to be just around the corner. OC and Dimir sneak in behind her, then make themselves visible.

Now I should tell you that Dimir Guy does nothing else in this story. I was going to say that he's just Ken, he's just there, but it's actually worse - his presence makes the story make no sense, since OC is about to reveal some secrets to some random lady. But the dream didn't forget him: I vividly recall that he was still around all throughout this part of the dream, even though he does nothing else.

So. OC reveals herself and tells BadKellan that what she's doing is very dangerous. She tells her about the Dimir (the guild, not the random guy) and says that if they see her poorly sneaking around and think she's going to be trouble, or even can't figure out what her deal is, they're just going to kill her. Which means it's incredibly dangerous for her to go around like that.

BadKellan reveals a few things about herself. She's from Earth - yes, our real world. She's not a planeswalker. She was brought to Ravnica against her will and told to blend in and pretend to be a local. She doesn't feel comfortable revealing who told her to do that.

OC decides to give BadKellan a few pointers on how to lay low on Ravnica. She explains that she would dress mostly in gray, since colours are strongly associated with the guilds and she should stay away from them to stop making waves. She asks her to change her outift and she'll say if it draws attention.

BadKellan changes clothes. She's now dressed entirely in gray, which is good, except that her shirt

HAS A LARGE, GLITTERING PRINT ACROSS THE FRONT READING

girl

IT'S THE EXACT SAME THING AS BEFORE. IT'S A LARGE PRINT USING OFF-PLANE SCRIPT. It's not as large as the jersey number, sure, but I'd like to remind you that it's glittering!

OC is apparently as taken aback by this as I am, because she turns her into a squirrel.

In fact, she specifically turns her into the squirrel from Bloomburrow key art.

OC's logic is that BadKellan is so bad at blending in that this is the only way she can be safe. OC intends to release "squirrel girl" in a park while she tries to look into exactly whose plans she just ruined and how bad of an idea it was.

There was more to this dream, but my memories are fuzzy and it's (even more) uninteresting. I think it involves the Boros having a special currency that they gain when they help people but the Dimir also use it in a kind of ironic way? I don't remember.

[sevensinswithin]

Okay so to everyone who was here for the original post, here’s basically how Alicent and Laenor get married in my lavender marriage au:

The entire thing starts because Alicent catches Laenor and Joffrey fucking in a secluded part of the castle a few weeks before Aemma dies. The boys only realize they’ve been caught because Alicent runs away from them like her ass is on fire. That girl had no idea gay male sex was an option in life and now needs to reevaluate everything in her life after catching them.

Laenor then spends the next few weeks trying to find a way to get her alone because guess what. Fucking in a secluded but also public area is not a good strategy if you want to keep your gay love affair a secret. So now Laenor is hoping to convince Alicent to stay quiet about what she saw because his dad seems to think he'll grow out of it (do not attack me, this literally happens in canon) and he doesn’t want anyone to know yet since it might impact who he’ll get married to eventually. Meanwhile Alicent is desperately trying to forget that she ever saw anything and doesn’t tell Otto about seeing Laenor and Joffrey because let's be real. This man said “childhood companions” like it was a slur in that one scene, so she knows that her father would do something with this information. Alicent does not want to be the reason Joffrey and Laenor are in trouble for their relationship. Nevermind that she’s suddenly having the realization that women liking women isn’t that far of a stretch after all.

Unfortunately, to everyone else in the world, it looks like Laenor is trying to court her and that Alicent is just trying to be very polite about his interest in her since she never wants to be alone in a room with him unless they’re around other people. Which is something that is totally normal and not weird at all. Why would you say otherwise?

Then Aemma dies and Otto sends her to see Viserys in his room and Alicent is now very stressed about something else in her life because she wants to do what her father says, but she also doesn’t want to betray Rhaenyra.

So during those six months after Aemma dies - which is apparently how much times passes between Aemma’s death and when Viserys decides to marry Alicent according to a HOTD article I read - Alicent, like in canon, is sent by her father to Viserys’ chambers and desperately hopes that her father’s ambitions won’t happen and that Viserys will simply see her as person that is supporting him in his grief.

(Life Hack: If you ever want to read an article and it says you have to make an account to read the rest of it, just go back to the google page you found it on, right click the link, and save the link as an HTML document. That lets you read the article without having to make an account. I found this out from someone on the internet and damn did it help when I wanted to access any account restricted article. Anyways, back to the plot.)

So to counteract that and make it so she’s less appealing to Viserys, Alicent always mentions Laenor and how fond of him she is during their talks. She also mentions how worried she is about Rhaenyra and her position as heir because there seems to be so many people that seem to be under the impression that they can replace her by having Viserys marry one of their daughters and convince him change his heir to one of the possible children he might have with those daughters.

Meanwhile, Laenor is absolutely losing his mind because all of a sudden Alicent is always around him and receptive to interacting with him, even though literally weeks before she avoided being around him like the plague. During this she also manages to wring out of him the fact that his parents (mainly Corlys, let's be real) are talking about potentially marrying Laena to Viserys and that he hates that idea as she’s way too young in his eyes for that. Eventually Alicent manages to find a way to be alone with Laenor and make him swear to secrecy about what she'll tell him because telling anyone might mean that his sister will actually have to marry Viserys. He does and she fills him in on what her father wants and what she’s attempting to do, and that she needs his cooperation to get him to at least appear like they’re courting.

So Alicent and Laenor put up the appearance that they’re at least attracted to each other to get people talking, which totally doesn’t ignite jealousy in Rhaenyra at the idea of Alicent being in love with her cousin. Cue Rhaenyra absolutely doing everything in her power to make Laenor appear like a loser to Alicent and the rest of the court. Alicent makes sure to get her to stop that shit real quick and tells Rhaenyra that she and Laenor are only pretending to be in love in order to avoid having to marry someone that would disrespect Laenor’s preference for men and disregard Alicent’s autonomy. Alicent also mentions that possibly marrying Laenor means that Alicent and Rhaenyra will be allowed to see each other very frequently as she will be Laenor’s wife and the Velaryons are often at court since they are related to the royal family. So now they have Rhaenyra on board.

Eventually the night before that one small council meeting where in canon Viserys announces that he’ll marry Alicent, Alicent “confesses” to Viserys that she’s in love with Laenor and that she wants to marry him, but that her father would never allow Alicent to marry Laenor because he and Lord Corlys dislike each other. She also lets it “slip” that Otto is very adamant that Viserys must have a male heir despite the fact that Rhaenyra has already been made heir, and that he sees Alicent as a potential bride for Viserys despite her unwillingness to marry her best friend’s father. She also sprinkles in the fact that Rhaenyra would be devastated at the idea of her father remarrying, especially if the bride in question were her best friend or even her little cousin (Yeah fuck you Corlys, you’re on thin ice for that and the grow out of it comment), and the fact that surely his wife would want him to defend his daughter’s claim to the Iron Throne from potential usurpers, which is something that would definitely happen if he had a son.

This causes Viserys to absolutely lose his shit, but Alicent calms him down and he sends her away from his chambers. However, not before Viserys hints that he would not dissolve a marriage between a highborn lady and lord if they eloped and consummated the marriage. So instead of heading straight to her rooms, Alicent instead books it to Laenor’s chambers. The two of them run off to a sept and convince a septon to marry them with a few commoners as their witnesses because they can’t take any nobles in fear of being stopped (and to also have the commoners spread the fact that Alicent and Laenor eloped). Then she and Laenor head off to Laenor’s chambers to consummate the marriage with the help of Joffrey, who they had stay in Laenor’s chambers so that no one would get him in trouble or notice that he was in the room with them during the consummation, and to have Alicent stay over so that people could catch them together in the morning and spread the news of her “ruined reputation”.

The next morning Laena bursts into Laenor’s chambers like she always does and “catches” them before running off to tell Rhaenys the way all little siblings do. So then Rhaenys and Corlys show up, as does Otto; he caught wind of the situation through a servant he paid off to spy on the Velaryons. Once there Otto starts shaming Alicent about her ruined reputation and Laenor retorts that she didn’t ruin anything as he married her before he bedded her. Otto then explodes at the pair when Laenor says that and Corlys rushes to defend his son against all the stuff Otto is saying and threatening him with.

Eventually their argument gets so loud that a servant rushes to get Viserys and a few guards since they’re afraid that the two lords will resort to violence. Trailing after them is Rhaenyra and the Small Council, as the meeting was supposed to start half an hour ago but certain people were missing and needed to be found. So now the entire Small Council, Rhaneyra, and Viserys are at the doorway of Laenor’s room while a furious Otto and Corlys trade insults. Meanwhile Rhaenys sees how afraid Alicent and Laenor are and rushes to the pair’s defense (because they need someone in their corner that isn’t shaming the other party), saying that perhaps the two wouldn’t have resorted to eloping if Otto and Corlys weren't always at odds. Seeing the King, Otto rushes to demand that he have the septon reverse the marriage, but Viserys reveals that he knows about Otto’s plan to make Alicent marry him and how he knows that she wished to marry Laenor instead. He then fires Otto from being Hand and sends him packing to Oldtown, approving of Laenor and Alicent’s marriage as a final insult to Otto. He also firmly informs the small council that he will not be getting remarried, that Rhaenyra will remain his heir, and that anyone who objects otherwise is speaking of treason.

So there you go, the outline for a story that I’m most likely going to write in non-linear bits. In this world Alicent is Lady of Driftmark, Laenor and Joffrey get to be happy, and Viserys prioritizes making sure that Rhaenyra’s claim to the throne is secure. Also somewhere down the line in this universe Rhaenyra and Alicent get their shit together and realize they’re in love with each other, and Rhaenyra gets to marry Harwin because Daemon never takes her to the brothel and so she gets to pick her husband and be the polyamorous bi queen we all love.

[coraniaid]

#19 for person of interest and #2 for willow rosenberg

#19 ... one behind-the-scenes trivia fact I've learned somewhere and my thoughts on it.

I honestly don't really know that much trivia about Person of Interest. One thing I think I remember reading somewhere once is that the writers originally cast Amy Acker to play [a version of] Caroline Turing and only quite late in production decided on the twist that Caroline Turing was actually an alias for Root [at which point, presumably, they renamed her character, because she probably wasn't called 'Turing' before that].

Which is kind of amazing to me, if it's true: Amy Acker as Root is such a huge part of the show that's it's strange to think it almost didn't happen [and, presumably, the show itself would have gone off in an entirely different direction in Season 2 without Root: we'd have seen a lot more of Alicia Corwin for a start].

But, well, I can't find the original claim now and even if I did it probably didn't have any particularly solid proof to back it up. So maybe it's not true at all. (I think it's obvious that the writers hadn't yet cast Amy Acker as Root in Season 1's Root Cause, but that's a much less interesting claim to me).

#2 ... ...how I would have chosen to change their story from canon

Not an original take, I suppose, but to me the big problem with Willow's arc is the way that everything the show has been building up to since (at least) Becoming gets utterly derailed by the Willow-as-a-metaphorical-drug-addict subplot in Season 6. And, yeah, I can see arguments for this subplot: magic had been used as a metaphor for drug abuse before, and it does fit with Season 6's wider theme of exposing the characters to more bleakly quotidian problems like bills and dead-end jobs and (metaphorical) battles with social workers. But it just doesn't work for Willow or her arc. Willow's descent into villainy ends up being almost something that happens to her [because of bad actors like Amy or Rack or Warren] rather than something that evolves naturally from her own flaws.

And that's frustrating, because the show's already spent a lot of time setting up Willow's character flaws and how they will surely lead to tension between her and Tara and her and Buffy. We know Willow has self-image problems ["I'm not your sidekick!" she snaps at Buffy in Fear Itself], that she's afraid that people won't like her if they see the real version of her [see her dream in Restless for example], that she compensates for this by trying to help everyone and make herself useful ["I want to help", she tells Buffy in The Harvest, "I need to"].

We know Willow is prone to being jealous when other people get attention despite (in her eyes) not working as hard for it as she's had to or when they threaten to come between her and the people she loves [see: Faith in Season 3, Anya in Season 5]. We know Willow is very often unsympathetic to other people's problems if she can't personally relate to them [see ... well, many examples, but in particular Buffy in Dead Man's Party].

We know that Willow's been getting into magic to an extent that worries all the other sympathetic magically-aware people we know. We know that Willow has a strong sense of herself as a 'good person' despite the fact she often does things that are illegal or dangerous or unwise. We know that Willow is proud of her intelligence and her accomplishments and that she often ignores advice she doesn't like or lashes out at people she thinks are talking down to her [see, for example, the way she talks to Tara in their fight in Tough Love]. We know Willow has had trouble respecting other people's wishes and that her first reaction to relationships going wrong is to try to work out how she can "make" people forgive her [how she reacts to Oz discovering her with Xander in Season 3, for example].

None of this has anything to do with Willow being tricked into being a magical drug addict by a girl who used to be her pet rat. It just doesn't.

In my ideal version of Season 6, Tara still leaves Willow (for much the same reason she does in canon: Willow not respecting her boundaries, using magic to mess with her memories to 'resolve' arguments they have) and Willow still reacts terribly (and manages to de-rattify Amy). But Rack doesn't exist and more generally Amy is not at all the person she is in canon who pushes Willow to use magic more and more because she's some sort of self-destructive hedonist.

Amy should be more or less the same person she was halfway through Season 3. She shouldn't be luring Willow into drug dens [drug dens which she shouldn't even know about!]. She shouldn't suddenly be recast as a Bad Influence. She should be more or less the person she was in Gingerbread. She should be (honestly) amazed by how much better at magic Willow's gotten since high school. She should think of Willow as her friend and try to 'stand up for her' because she (thinks she) knows that Willow lets people push her around too easily. She should (unintentioally) feed Willow's ego: tell her that she's perfectly in the right and it's everyone else who's over-reacting to her growing magical strength.

And yes, maybe eventually she should start directly encouraging Willow to misuse magic (to help her 'fix' her relationship with her Dad, for example, or to get back into college despite technically not finishing high school). But it should be a gradual process. It shouldn't be something that starts fan theories about Catherine Madison somehow posessing her again. And the narrative should [and I can't stress how much it doesn't do this] care the slightest bit about Amy herself as a person, and recognize that she has gone through something awful and traumatic.

Amy's role in the plot of Season 6 should be to encourage Willow to keep telling herself she can use magic all the time whatever anyone else says because she's a good person. She should enable Willow, sure, but not intentionally. She's been a rat since she was 17; she shouldn't know things about the world she didn't know three years ago (except rat things, I guess). She shouldn't force Willow to do magic or trick her into it, because then what happens to Willow is no longer a consequence of who Willow is as a person.

You can make Amy a catalyst for Willow's continued bad behaviour without making her deliberately evil. You just need to make Willow the more active partner in their relationship. Wilow should be the one to decide to keep using magic but just keep it hidden; the one who keeps finding excuses for why she can treat people like objects and still be a good person; the one who keeps redefining where the line is everytime she steps over it. Until eventually Willow goes too far even for Amy, and she has to reckon with what she's been doing all this time.

And that makes Season 7 Willow works better too, because she's actually got something real to feel guilty about. She's not just sorry that after Tara died she reacted by temporarily going a bit crazy and having a relapse into her former addiction [and then being persuaded by some bad magical energy she absorbed into wanting to end the world]. She should be sorry about what she deliberately did to Tara (and to Amy, and to Buffy, and to Dawn, and to everyone else), not what she almost did to the world when she wasn't in her right mind.

I mean, sure, you can keep Warren killing Tara if you want [I'm not sure I would, but...]. Play up the parallels between Warren and Willow, even. Keep Willow killing him and trying to kill Jonathan and Andrew. Keep her trying to end the world, too. But the fundamental moral agency should be Willow's.

Her arc shouldn't be a temporary drug habit she's tricked into by her Bad Friend followed by going cold turkey for a bit and then relapsing after a random horrible event. She shouldn't decide to end the world because a coven of witches we've never met use Giles as a proxy for some elaborate and almost self-defeating 11-dimensional chess game (I quite like Grave, all in all, but that particular twist is infuriatingly stupid). Willow should drive her Season 6 arc by being Willow, only worse. By being the same "callous and deeply strange" Willow we know from the high school seasons, just more so, one who ignores Buffy's advice from Ted to "use [her] powers for good".

The writers shouldn't be afraid to acknowledge that Willow Rosenberg (who, to be clear, is one of my favorite characters in fiction) actually does have the capacity to be a bad person without external factors forcing her into it.

[orkbutch]

So, I'm not really in the weeds of Transgender Discourse on the internet (I have a life and also care about my mental health) but I've seen something discussed here about trans masculinity and I wanna talk about it.

I'm very masculine. I'm butch, I'm trans masc, I've always wanted to be masculine and I feel most comfortable when I'm presenting as such. Without much effort or any intention on my part I am read as a cis man day to day. Because I don't present more fem, in queer spaces I am read and recieved as a man, maybe trans, probably into other men. People do not even consider if I'm a butch lesbian unless there's Significant context indicating it. Because of this I'm viewed through 'Man Lens'; It feels a different if I say 'bitch', if I talk about my attraction to women. I don't get smiled at, people put physical distance between me and them as much as possible.

This is familiar for a lot of trans masculine people and trans men that aren't androgynous/fem leaning in their style, and it is an upsetting change to happen. It makes us feel judged or misunderstood to suddenly be causing this wariness in others; it feels prejudiced. I've seen people putting words to this like transmisandry. This is something they want to lessen in their communities, so they don't have to experience this anymore.

Now, here's my opinion part: That's not going to happen. You cannot tackle the "problem" of people responding to your masculinity with wariness. They aren't controlling the wariness, they can't. More importantly, their wariness toward masculinity and what registers in their brain as "man-like" is well founded. It's based in lifetimes of experiences and trauma that has told them men can be very unsafe to be around, and that is true. Most men are cis, and cis men are the most threatening thing in this world to non-cis men. They are usually* socially privileged above others, more likely to inflict violence, more likely to abuse and murder others, are typically physically more powerful than others. Everyone thats not a cis man DEEPLY internalises a very rational wariness of men, and masculine presentation as an extension. Especially men that are strangers. (*This is of course different when we consider intersections of race, colonialism, classism, ect. But globally this generalisation is still pretty accurate.)

Honestly, I don't think this wariness towards masculine presentation is something thats useful or realistic to challenge. Like many internalised processes it's probably a good idea to examine it and consider its usefulness, but I think it'd be easy to conclude that it is a useful wariness for people to have. Women have lots of reasons to be wary around men, including the unique threats of transmisogyny. Queer and gender deviant men have lots of reasons to be wary around men. This is The Reality of patriarchy.

Personally, the place I've come to with how women and queer people react to my masculinity (which is not entirely negative btw, the wariness is just one aspect) is that... I understand their wariness. I have it too, toward those my brain assumes are cis men. I cannot control how they feel or what they think about me. I can only be respectful to others and to myself and live my life. I flag my butchness where I can, I make my gender clear to those it matters to, and the rest I accept as largely beyond my influence. All of us have to do this in some places in our lives.

Even though my masculinity makes other queers wary, I have lots of friends! I've had no real trouble dating or finding intimacy. Initial wariness is just that. Once you understand each other, break the barrier, its usually settled. For anyone who finds my masculinity so offputting that we can't break the barrier, I'm glad neither of us put each other through that discomfort. I understand where a fear like that comes from. I will still hold community with them because that's what solidarity entails.

Anyway thats my ramble about masculinity in queer community, good bye until another. who knows how long

[evans23]

RICKMAS 2024 - DAY 22 - SHIVERING CERTAINTY [E2]

Pairing : Colonel Brandon x OC (Marie)

Summary : And if, finally, love could blossoms in the most unusual way ? And if, finally, Christopher didn’t really sacrifice himself ? And if, finally, both of them get exactly what they deserve ?

Tag(s)/Warning(s) : Sadness. Loneliness. Abandon. Rumours. Harsh mother. Unwanted pregnancy.

WRONGFUL PERCEPTION : Part I

Also read on AO3 - Wattpad

At breakfast, Marie stared at her plate without much appetite. Brandon watched her furtively. Her round belly left no doubt: in a few months, they would be parents.

"Marie, is everything okay ?" Christopher asked, worried.

"I... I don't really know," she said without looking up.

"Are you scared ?"

"A little bit," she said, gripping her spoon a little tighter.

He reached out a cautious hand to place it on hers. She looked up at his big green eyes and found only tenderness.

"What if I'm not ready for it ?"

"You won't be alone. I'll be there. And we'll hire a governess," he tried to reassure her.

"But I don't want my baby to be raised by servants," she said softly, "I... I want to be a good mother," she confessed, looking down again.

"And you will be," Christopher affirmed, squeezing her hand a little tighter.

Marie gave him a small smile. She still wasn't entirely convinced that everything would be okay, but Christopher had this gift of making her feel calmer, safer. She still felt bad about imposing an illegitimate child on the Colonel, but he seemed sincerely invested. He never made her feel like a burden and if at first she had regretted their union, she accepted it more and more now.

Maybe, yes maybe if she gave him a chance, she could have a good life and even know love, the real one, the one that is born of deep feeling and not of a fleeting passion.

After breakfast, Marie went to get a shawl to go for a walk in the gardens. Christopher, who was busy in his greenhouse preparing the soil for the future roses that would bloom again in the spring, saw her pass by and decided to follow her discreetly.

As she arrived near an old oak tree, she stopped for a moment, her hand placed on her belly.

"Marie, is everything okay ?" Christopher asked as he approached slowly.

She turned around, a big smile on her lips. Without a word, she approached him and, to the Colonel's great surprise, she took his hand to place it on her belly.

Christopher's eyes widened when he felt small knocks against his hand. The baby was moving.

"Hello, little one," he whispered with emotion.

"Do you think it will be a little boy or a little girl ?" Marie asked as she placed her hand against Christopher's which was still resting on her round belly.

"It doesn't matter. It'll be a darling child," Christopher replied, fascinated by the movements he still felt under her large, firm hand.

Marie closed her eyes, a strong emotion pressing on her heart. She was torn, torn between what she had done, between what she was imposing on Christopher, and the feelings she had for him and the future that could be bright, if only she would agree to let him love her and her baby.

"Do you want to know ?" she asked suddenly.

"Know what ?" Christopher asked surprised.

"What happened. Who is the father."

"No, it's your story, it belongs to you."

"But I want to tell you," Marie whispered.

A gust of wind came to sweep the leaves all around, lifting Marie's dress slightly and revealing her ankles that were not covered by her woollen stockings. They were so swollen that she could no longer tolerate any fabric on her sensitive skin. That little glimpse of skin troubled Christopher more than he would have thought. He remembered his brother once telling him about one of his one-night stands when he was not yet engaged to Eliza that a woman's ankles were the most wonderful thing and Christopher, who had laughed at the time, was beginning to believe him.

"Let's go inside and take shelter. This wind could make you sick and now is not the time with the baby on the way," he said, holding out his arm to her.

She followed him into the living room where they sat down by the fire. A maid came to bring them tea and biscuits.

"At the end of February, I went to London, I..."

"Marie, you don't owe me an explanation. I already know that you met a man, that he cheated on you and left you," Christopher interrupted, "I don't need to know more."

"But I feel like I have to tell you everything," Marie said, struggling to hold back her tears.

"You don't owe me anything, Marie. I know what there is to know, I also know that you are strong and you are not alone. You are not anymore. I am here."

"I am sorry that I didn't love you right away, Christopher," she said in a breath, "I agreed to marry you for my father, to spare him after what I did to him, to spare him the shame of having a slut for a daughter."

"Don't you ever talk about yourself like that," Christopher scolded her, "you're not a slut! You're a young woman who was abused by a man without honour. I didn't love you right away either, Marie. I wanted to protect you, save your honour, but for me, this marriage has become much more than a formality," Christopher declared without taking his eyes off her.

"I think it's more than a formality for me too," Marie whispered, her eyes shining, "but I feel guilty."

"Don't be. Never. Forget all that, Marie. This child is a chance, a chance for true love for you and me. And it will be loved, darling. This child is my child, Marie. And you, you must free yourself from this guilt, from these memories that have broken you. Free yourself from the past that you can't erase and focus on our future together."

"Christopher," Marie whispered as she moved closer to him.

"If you had asked me to walk away, I would have, but not now, not now that you have confided all this to me. I know you were betrayed, but we're not all like that, Marie. Try to trust me."

She nodded softly, sitting down next to him. Christopher placed a hand against her cheek. Marie leaned against his palm, more serene than she had been since she'd discovered she was pregnant.

"You're so patient with me," she said, placing her hand against his, "so good."

"I'm yours, Marie. You have my loyalty, my protection, and my love. Unconditionally."

"And if we ever have a fight, will you blame me ?"

"Never ! I'm not like that, Marie. I would never blame you for making me fall in love with you. And I would never use our child against you. This is my baby, it is mine, mine and it will never have to know the truth, because the only truth is that I am the father," Christopher said firmly in a voice that left no room for contradiction.

Marie nodded with emotion, overwhelmed. She had not chosen this marriage, but this union that she had seen as a punishment could well be a blessing if she agreed to forgive herself.

Christopher took her gently in his arms and she let him do it, resting her head against his chest. He offered her stability, security and she felt happy.

Both were aware that there would be efforts to make, trials to overcome, but together, they would be stronger. Christopher was her new beginning, it was a shivering certainty.

"Let's be a family, a real family," she said, raising her head to look into the Colonel's hazel eyes.

"I would be more than happy."

That night, Marie asked Christopher for her permission to sleep with him, which he gladly accepted. That night was the first of many. She felt safe by his side and she loved that he would lay his head against her belly every night to tell their future baby about his adventures in India as their relationship slowly blossomed into respect and love.

"Christopher !"

Christopher woke with a start at the sound of Marie's voice.

"What's going on?" he asked, getting up to light a candle.

"The baby, it's coming," she said with a grimace.

Christopher noticed that the bed was wet. Her water had broken. He immediately called for the doctor and the housekeeper. The doctor arrived quickly with a midwife who told the Colonel to wait outside.

Christopher paced up and down the hallway, clenching his fists every time he heard Marie scream. Inside the room, the governess was wiping his forehead while the doctor, with the help of the midwife, worked to contain a slight haemorrhage.

"Christopher, I want Christopher," she gasped, her fingers clenched on the blood-stained sheets.

The governess went to get him. The poor man, his hands shaking, silently prayed that everything would be okay. He could not bear the loss, neither her nor the child. When the governess told him she was asking for him, he did not hesitate for a second to go back into the room.

"Christopher," Mary whispered when he saw him enter, "stay close to me. Stay."

He came to sit next to her and took her hand in his, squeezing it delicately.

"I'm here, Mary. I'm staying close to you."

He ran a damp cloth over her forehead before placing a kiss on it. In that moment of extraordinary intensity, he offered her the strength and calm she needed, a rock in the storm.

"The baby is coming," the midwife said, pressing a little on Marie's belly.

It took another two hours for the baby to decide to leave the comfort and security of her mother's womb. Marie was exhausted and had lost consciousness once, woken by Christopher who had patted her cheeks to bring her back to her while trying to control his own fear.

When a shrill cry rang out, Marie sighed with relief, a tired smile on her face. The doctor came to place the child in her arms and congratulated her. A little boy. He was tiny, fragile and so innocent. He didn't look premature either, but the doctor and midwife had seen other things and they knew it was not their place to judge or to tell anyone.

"Christopher, do you want to take your son ?" she asked without even realizing that she was crying with happiness.

Christopher took the child with an exaggerated bow, afraid of hurting him.

"Hello my little boy. My son," he said, looking at this little being so pure that he held in his arms.

"He is so beautiful," he said, smiling, "he is a true blessing."

"What do you want to name him ?" Marie asked, placing a hand on her son's head.

"It's up to you," he answered without looking away of the baby's face.

"No. You're his father, it's up to you to choose your son's name."

"What do you think of Thomas ? Thomas William Brandon ?"

"Thomas William Brandon," she repeated, "yes, I like it."

She looked at her husband tenderly, filled with an inner peace that seemed to erase the pain of her past. There was only love in her once-bruised heart and the shivering certainty that this family he was building, everything she had lived, lost, suffered, had led her to this man who was healing her.

"I love you, Christopher," she said as the midwife took their son away to be washed.

Christopher stared at her, his throat tight. He had believed for so long that he was unworthy of being loved, and now he had a family.

"I love you too Marie," he replied, stroking her damp hair, "and Merry Christmas," he added with a smile.

Two years later

Thomas walked awkwardly in the library, following his father who was putting away books. Thomas was a child full of energy who loved to be behind his father, his hero that he tried to imitate from the height of his two years.

Marie entered the room as Christopher who had just picked him up showed her a book containing pictures of exotic animals that he had seen in India. She walked forward, looking at them tenderly, to Brandon whom she hugged from behind, resting her head on his back.

"Don't give him the wrong idea," she said, caressing Thomas' cheek.

"Believe me my dear, as long as I live, our son will never enter the army."

He turned to place a light kiss on her forehead.

"How are you ?" he asked, placing a hand on her belly.

"I'm happy. But exhausted. I wish your child would let me sleep at night," she said, laughing softly.

"I hope it's a little girl," Christopher said, gently caressing the slightly rounded curve that already hinted at the arrival of a future baby in their home.

"A winter baby and a summer baby," Marie said, looking at Thomas who was fidgeting a little in Christopher's arms, demanding her attention.

"And it's all thanks to you, my son," Christopher said in a soft voice, "you're the one who made us a family."

Marie snuggled a little closer to him. On this Christmas Eve, she couldn't be happier. She had everything she had ever wanted and more. Christopher looked so beautiful with their son in his arms. Together, they had overcome so many obstacles and their love was only stronger, growing a little more each day. He was her strength and she was his.

Marie and Christopher had the shivering certainty that they had always been meant to be together and both thanked the heavens for having pushed destiny to bring them together. Neither of them had understood it right away, but they were soulmates. That was a certainty.

[saintsenara]

How are you able to enjoy toxic/unhealthy/“problematic” ships/characters without feeling weird (for lack of a better word) about it?

I ask this because I want to be able to do this myself as it seems like a much more enjoyable way of engaging with fiction to me. I can get over some ships just being toxic and the characters not being good together and still enjoy their dynamic but I have trouble with the other ships that feel morally wrong. I know it’s just fiction but I can’t seem to get over the ick feeling I have when I think about those ships/characters. I feel like I’m being too puritanical about these things but I don’t know how to stop feeling like something is gross when I feel it’s gross…

Do you have any tips to stop jumping to moralizing ships/characters?

thank you very much for the ask, anon!

i'm going to be upfront that this reflexive gross feeling isn't something i've ever really struggled with - both in fic and more broadly. this is due to various personal idiosyncrasies, above all the fact that i've got disengaged boomer parents who didn't police our media consumption [my favourite book when i was eleven? lolita...] and that i'm a doctor, which is a profession which requires you to develop a very high threshold for what you find disgusting. the human body - at all stages of its life-cycle and its cycle of decomposition - produces a lot of different fluids... and it's also the case that [just as if you can think of it, there's porn for it] if an inanimate object exists, somebody somewhere has got it stuck inside them...

and so the situation that i find myself in is that i consider it infinitely less weird that i enjoy the odd bit of hot tomarrymort action than that i actively enjoy cutting through bone with a saw...

but, obviously, "get a medical degree" isn't particularly helpful advice...

i am a ride-or-die fan of the concept of stepping outside of your comfort zone. this is why i'm such an avowed multishipper - i think it's good for us as fandom citizens to examine the potential of our faves in relationships [romantic or otherwise] which are either not their canon endgames or which aren't our preferred pairings, and in situations which don't align with their canon experiences [whether that means making them suffer or giving them full-on fluff]. it draws out the multiple aspects of a character to consider them from these different angles - and it prevents us from getting so stuck in one interpretation of a character or configuration of a ship which means that it puts our backs up to stumble across stories which approach things differently.

but stepping outside of your comfort zone doesn't mean that you have to go enormously far. it may be that a reader decides - having only ever read teen-rated fics where characters' sex lives don't extend beyond hand-holding and forehead kisses - to take the plunge into an explicit piece filled to the brim with watersports and age play. it may be that a reader decides - having only ever read teen-rated fics for one canon pairing - to read a teen-rated fic for a non-canon alternative. both of these are entirely valid approaches.

by which i mean, our comfort levels and our thresholds for discomfort are subjective, they're personal. if there are ships or themes or characters you don't want to read about because they don't feel good... you're not doing something wrong if you avoid them. exposing yourself to fics you expect to make you uncomfortable can be useful - and fiction is certainly a way to explore discomfort which gives you much more control over the experience than encountering it in real life - but it's not something you're obliged to do to be active in fandom.

the thing you are obliged to do to be active in fandom is to be nice to other people, no matter what their tastes in fiction. this means, at its fundamental level, that when you see people who ship pairings or like themes which make you think "ew"... you keep it to yourself/the group chat rather than putting it on the timeline.

but, once this is something you've got the hang of [which takes a bit of time! but practice makes perfect!], something i feel can be a really useful way of overcoming a tendency towards knee-jerk moralising reactions is to just vibe in the vicinity of people you know like the content you instinctively feel is gross.

this doesn't mean you have to read any of this content - but you'll learn just by hanging out near them that the people who do are just... normal. one minute they might reblog a rec for a pairing you think "absolutely not" about, the next they might reblog a cat picture which makes you squeal with delight. you'll like some of their content, but not all. you'll agree with some of it, but not all. you might like progressively more of it as you spend time in their orbit - maybe they'll explain why they like the pairing or character in question and you'll think "huh, i've never looked at it like that" - or you might not. this is absolutely fine.

all of us - at one time or other - have made a black-and-white moralising pronouncement: people who think x are gross; people who like y are fucked-up, you'd never catch me doing z. and these pronouncements are different from our wider, societally-influenced moral codes - which are good things, otherwise we'd live in the purge - in that they're fundamentally ways for us to feel good about ourselves and our families and our friends by defining ourselves as better than a faceless other. we say "you'd never catch me reading that, it's foul" when we know [or think we know] that the friend we're talking to would agree with the statement. we are far less likely to say it if we know that the friend - whom we see as a human being who is beautiful in their imperfection and inherently worthy of love simply by virtue of being alive - was reading and enjoying that just the other day.

and so the best way to train yourself out of reflexively moralising ships or characters or tropes is to put a face to the faceless other who likes them. be intentional in sharing a space with fans of the stuff you feel uncomfortable with and, eventually, it just becomes background noise. you'll scroll on tumblr, say "well there we are, jane's written some more of her sirius/harry piss kink fic - although i'm not interested in clicking on it" and go on with your day.

because the other thing i think it's really useful to do is to train yourself into reframing your disgust as disinterest. there are plenty of things which i don't seek out to read - and some of these topics are completely benign and some are darker [i don't enjoy reading explicit non-con, for example] - but this is because i try to frame it as that i don't think these things would interest me.

this is still the maintenance of a personal comfort zone, but thinking of the content outside this zone as something you are disinterested in turns it into something neutral. when you think of it as something to be disgusted or grossed out by, it naturally provokes a visceral response which makes you look through a moral lens. thinking in terms of disinterest, instead, gives you sufficient detachment from this visceral response to recognise, interrogate, contextualise, and control it.

and - in time - this neutral reframing may result in you feeling more interested in taking the plunge into the ships and characters and stories you currently don't vibe with, once you don't have an instinctive disgust response as a barrier.

or it may not. and this is absolutely fine.

[thesovereignsring-if]

Family members and RO'S reaction to MC on their death bed. Bring out the angst.

5 am agnst let’s goooooooo! I’ve been thinking about this long and hard. I didn’t know how to answer this for a while, but I think I know how now. Hahaha 😝

Finny: Crazy crying mess. He’d be in denial. He’d lash out and think there were be a way to fix things- until he can’t. Then he’d cry and curse the gods and then try to do everything he can for the MC, just so that he could spend as much time as he can with them. Instead of dying in bed, Finny would take the MC outside somewhere petty and meaningful to both of them. Probably a flower field if some sort and then he’d hold the MC and quietly cry as they pass on.

Thea: Would sit down and bring the box of letters she exchanged with the MC as children. She’d read them out loud and explain her thoughts at the time and what was going on in her life. When she’s done, she then pull out all the letter’s she never sent. The ones where all her real feelings are written. She’ll promise to write more even after the MC passes on because the love she has for them is timeless.

Linnet: She’d put up a front. She’s try her hardest to keep it together so that the MC can pass on without troubles or regrets. She’d put a front right until it’s time to say goodbye, then she’d be a mess. She’d confess all her affections, all her worries and regrets…but also how much she admires and appreciates the MC. She start talking about all the things she’s grateful for and she’d thank the MC for being alive and loving her. She promise to look after Alberich and Sieg for them and asks them to wait for her in the afterlife with a pinkyswear.

Medea: She’d cook the MC’s last meal and make sure it’s all their favorite things. She’d make sure they’re comfortable and have everything and anything they wanted. Then when it’s time to go, she’ll be honest with her feelings for the first and last time. She’d talk about her hopes and dreams-the ones she wanted to share with the MC and then say goodbye. But, if the MC was in any kind of pain, I’d think she’d be the one to ‘let them go’ peacefully. She’d want to do it with her own hands. Afterwards, I don’t think the MC would be alone for long.

Helios: Nobody would be able to find Helios. They’d think Helios dipped and abandoned the MC, but in truth, Helios would sneak in once the MC is alone and simply lie in bed with them. They’d want to try and imprint the feeling of the MC in their arms, remember every little detail, every little imperfection, the warmth and the smell. Afterwards, they’d have a tattoo of a little swan (the family sigil) right on their heart. A momento of their lover.

Eirik would be in denial. He’d try fighting the reality of the situation, he’d yell for a doctor or anyone to help the MC. But when he realizes there’s nothing he can do- he’ll break. The facade falls and Eirik becomes honest with this feelings for the first time. He’d be pathetic and beg the MC not to die and leave him alone. He’d finally say something along the lines of ‘I love you’. he’ll even be honest and say he might not be able to move on from this loss. Afterwards, he’d buildt a whole ship in memory of the MC.

Alberich: If Al had his way, I think he’d want to have some alone time with the MC. He’d pull up a chair and get their favorite book out and read, just like he would when they were children. He’ll hold off the tears and read the entire book until the MC ‘falls asleep’. Before breaking down and crying.

Sieghardt: I don’t think h’d show up, not unless someone forces him to. The idea of out living his youngest sibling and not being there for a majority of their live would eat at him to the point where he thinks he doesn’t deserve that spot on the bedside. Once the MC passes, he’d visit the their tombstone every single chance he gets. I don’t think he’d ever recover from the grief.

[the-virgoperspective]

Part 1

Hello all! I just wanted to share what I have been learning while reading up on composite charts. The composite chart is a very interesting and helpful tool to show one what a relationship looks like with themselves and another person. The composite chart is casted by using the midpoint of each planet from each individual natal chart and creating a completely new chart for the individuals as one. This method can apply for just two people or multiple people. For a better understanding of midpoints in astrology, please click here.

In this post, I will be using the writings of Robert Hand, from his novel “Planets in Composite: Analyzing Human Relations” to explain the meaning and significance of each house in the composite chart. Please always keep in mind that this is only one vital step to reading an entire composite chart and should not be seriously considered without viewing everything as a whole. This is just one piece. Enjoy!

The Composite 1H

The first house of the composite chart is one of the angular houses, which gives greater significance to any planet that is in it. Beyond that, however, the first house is the persona of a relationship and indicates the kind of impression it will make on its surroundings and how it will be viewed by others. It tells to what extent a couple will be regarded as a unit in their own right rather than as two separate individuals. The first house resembles the tenth somewhat, but there is an important difference, in that the tenth represents the reality of what the relationship is to the outer world. The first house describes the impression the relationship gives rather than what it really is. A strong first house can be an indication of a relationship that is all show and no substance. The tenth more clearly indicates substance, at least from the standpoint of social significance. Nevertheless, a strong first house is usually a sign of a significant relationship that will have a great impact on the lives of those involved.

The Composite 2H

The second house of the composite chart refers to values-what the two people value, and their relationship to what is valued. This can operate on two different planes. The second house can indicate the role that value-systems play in forming the relationship, that is, to what extent people come together because they value similar things or ideas. If the second house contains difficult aspects, particularly ones involving Pluto and Mars, disagreements over values may be a major source of conflict within the relationship. Similarly, positive aspects indicate that the couple has compatible values, which helps to bind the relationship together.

On another plane, clearly related to the first, the composite second house refers to whatever finances and property there may be in the relationship.

The Composite 3H

The composite third house has essentially the same meanings as the third house in a conventional birth chart: communication, mind, routine day-to-day environment, and relatives. In the composite chart the communications aspect is especially important. If the people in a relationship cannot communicate, they are in real trouble. Very often in a close personal relationship, each partner expects the other to understand them on some deep, intuitive level that does not involve words. When the couple discovers that this deep understanding does not exist, they are most upset and hurt. An afflicted third house usually indicates lack of communication in some way. This should be watched for.

A relationship with a strong third house usually comes about because of mental affinity. The two people are fond of talking with each other and exchanging ideas. Their only real problem arises in a close personal relationship, for mental exchange may become a substitute for a much-needed deep emotional exchange. Otherwise, a third-house relationship is perfectly fine.

The Composite 4H

The fourth house represents more than the home, especially in the composite chart. Many relationships have nothing that could be called a home, and yet the fourth house remains important.

First of all, it is one of the angular houses, which gives it added significance. But more fundamentally, the fourth house indicates the basic roots of a relationship-both literally, in geographic terms, and figuratively, in terms of mental and emotional background. The fourth house signifies the innermost depths of a relationship, which may be so far within as to be invisible at the surface.

The fourth house should be checked to see if there is an underlying compatibility between two people. Do they have compatible backgrounds in the senses just described, and are their basic emotional and psychological characteristics compatible?

A composite chart with a strong fourth house usually indicates that the two people share their innermost lives and that they probably share their actual place of residence.

The Composite 5H

The fifth house in the composite chart has many of the same meanings that it has in a conventional chart-love affairs, children (where this is appropriate), creativity, self-expression, and so forth. The interpretation of self-expression, however, is especially critical in a composite chart.

The composite fifth house represents, first of all, to what extent the relationship provides a setting for the individuals to be themselves in the most genuine and honest way possible. The fifth house signifies the ability of the individuals to be real in each other’s presence, which is not always easy. And being real should not be an effort. An ideal relationship allows each person to be real and to feel that it is easy to do so. When the fifth house operates smoothly, it is easy to enjoy oneself with the other without feeling that something unnatural is expected. A badly aspected fifth house, on the other hand, indicates the opposite.

In a fifth house relationship a couple is not together to form a team or partnership, but because they enjoy being themselves in each other’s company and because they enjoy each other. For this reason, this is the house of love affairs and of friendships (which are also ruled by the eleventh house). The staying power needed for a marriage or other long-term partnership may not be provided by a purely fifth-house relationship.

The Composite 6H

The composite sixth house can signify real obstacles to a satisfactory personal relationship. Somewhat like the sixth house of a conventional horoscope, it refers to the duties and responsibilities that the relationship must fulfill. Of course, all relationships have obligations, and in most cases they are not likely to be harmful. Duties become a problem only when they are the major element of a relationship, with no room for necessary self-expression as ruled by the fifth house. In a business relationship this is not a great problem; there are tasks to be done and obligations to be met. Only if the circumstances call for work to be done does a strong sixth house become an advantage. To make good use of these energies requires that the two people approach even a personal relationship from a strong sense of personal duty.

Health, the other traditional meaning of the sixth house, seems to have little relevance to a composite chart, except as it may indicate a business or professional relationship relating to health.

part 2

 red divider by @cafekitsune   image + support banner by @roseschoices 

[ryuichirou]

I really love the lengthy analysis you wrote about Vil and Jamil in the past! Do you have anything similar to say about Riddle, if you haven't already? Or maybe about Riddle and Trey, if you're more comfortable with talking about relationships between characters.

Dear Anon, I am very happy you liked my analysis of these two! It’s been a while, I even forgot that I wrote it, so it’s insanely nice to hear that someone still reads these posts and enjoys them. As you might have already noticed (it seems to be my mission to keep repeating it to make sure no one ever forgets about it), I am not as speedy with my replies as I used to be, so this reply is long overdue. But I always have stuff to say about these boys, and Riddle very interesting and very dear to me as the boy who introduced us to how broken these boys are and how interestingly TWST plays with the theme of trauma.

We don’t post about him very often, but I like Riddle a lot. I think out of all of the housewardens he has the biggest vibe of a broken kid hidden behind his strong facade. I guess this is my way of saying that Riddle is the most childish out of all of them lol It shows not only in his tantrums (Ace compared him to a baby for a reason), but also in how obviously excited he gets when he sees anything that is fun; it’s like his inner kid reacts before Riddle composes himself and acts like he isn’t interested. We’ve seen a bunch of moments like this, I think. In a way, all of the overblot boys didn’t get to live through their childhood in a “normal” way, but Riddle expresses it in a very obvious way.

But it’s not only about cakes and games: Riddle is very immature emotionally too, and it’s hard to blame him for that, because let’s be honest: this is the first time Riddle deals with people. Isolation is a difficult thing to come back from, and if you shove a heavily sheltered boy into an high school/college and put him in a position of housewarden, of course he’s going to act like a little dictator: this is the only way to assert authority he’s ever seen. And since Riddle himself is a good kid (i.e. a kid who is terribly afraid of making his mother angry) and doesn’t misbehave, he is completely unequipped of dealing with a whole dorm of teenagers who aren’t very good or excited to live by the Queen’s Rules. Even those who don’t want to cause trouble can’t remember all of them, they’re basically written in a way that are meant to sabotage you, but Riddle would never acknowledge that: if he learned them, others must too, otherwise they just didn’t try enough. But they just won’t listen, and Riddle gets frustrated instantly: it’s them who are unreasonable, not him!

Of course it is a metaphor and an exaggeration, but I think Riddle portrays a very real thing that a lot of us have either seen or experienced. His standards for himself aren’t just high, they’re absolutely unreasonable, but this is his entire reality and he can’t even see that this isn’t how things are for the rest of the world. He’s like a little goldfish (lol) who lived in a tiny aquarium for its entire life and then got transferred into an ocean without any kind of adaptation or even a quarantine. Riddle is already a second year, but I think the shock of everything around him still hasn’t gone away completely, partially because Riddle spends a lot of time stubbornly ignoring the feeling that he is the one in the wrong. If he is wrong, than mother is also wrong, and that can’t be – this is the only thing he is sure of.

You know, there are some people who really enjoy having a system of rules in their head, or rather principles, and it gives them a very valuable and helpful structure (even if that system of rules/principles isn’t perfect and backfires sometimes). Vil is that kind of person, Sebek is that kind of person... Riddle isn’t. I genuinely think Riddle is the type of person who would enjoy living without a set of rules, but with basic logic to help him navigate the world; does that make sense? Anyways, unfortunately, Riddle can’t live without a manual: he never learned how to. We see it both in his book and in book 6, when he shocks Azul over and over again by just how rigid he is.

Speaking of which, I love that Riddle didn’t have a 180 degree turn after his book. Of course, it’s partially because we have to keep the status quo intact a little bit, and he wouldn’t be the personification of the Queen if he didn’t have his rules; but I also think this is very true to life. Just like the boys said at the end of the book 1, you don’t have to change everything at ones, taking baby steps is okay.

But taking baby steps also means that you will keep bumping into issues and conflicts, which is crucial for growth, but also could make Azul fucking Ashengrotto say that he will beat the shit out of you if you won’t shut up lol

Their entire dynamic in book 6 was very good. Both Azul and Riddle are horribly stubborn, obsessive freaks, but for entirely different reasons and in very different ways. And both of them have their guard up, but interestingly? I think Riddle is better at trusting people and being genuine about his feelings or thoughts about them than Azul. Maybe he’s made a better progress than Azul in that sense, maybe he’s always been better, but this is what I mean: Riddle doesn’t mind genuinely complimenting Azul for his achievements, and a lot of time he didn’t even mean to offend Azul with his remarks. To Azul, however, every compliment is given with a reason and every snarky comment is given to metaphorically push someone down the stairs. Both of them have a lot to learn though lol but it’s fun to see them working through this misunderstanding and actually working together.

You asked about Trey; and honestly, even though we kind of liked him from the beginning, we didn’t think much about him (mostly because we met the rest of the characters whom we were very excited about). But the more I think about Trey, the more I get amused by how much of a dark horse he is. I feel like Trey’s forced neutrality and desire to stay “hidden” from any kind of event or conflict or attention at all is interesting: it’s subtle, but it’s definitely there. He has this inoffensive image of a good and caring older brother type, and it’s true that he is caring and supportive, but it’s also isn’t entirely out of his desire to do good things. I’m not saying that he is an asshole, but he isn’t like Silver or Kalim, if that makes sense, he doesn’t have this hero-like desire for everyone to be happy or to protect the weak no matter what and to help out everyone: whether Trey wants to admit it or not, he has his priorities. And I feel like Trey doesn’t even want to necessarily be “the good guy”, he really just wants to be “the normal guy”, and sometimes “the normal guy people could rely on”.

What I wanted to say by that is that Riddle is Trey’s main priority no matter what. I’m stating the obvious, but this is why he didn’t protect Ace and Deuce (who were in Heartslabyul for less than a week) from him, this is why he kept asking everyone to just be patient with Riddle and to tolerate the way he treats everyone. Because it was more important for him to protect Riddle and to avoid him feeling like he does the wrong thing.

And while it’s partially due to Trey’s personality and his relationship with Riddle, I feel like Trey is also kind of traumatised by what happened back then. Not to the degree that Riddle is traumatised of course, but it’s probably tough for someone who’s always been a good kid to get yelled at by someone else’s mother for hours for doing something that you believe wasn’t even bad. I think Trey feels extremely guilty because he knows that whatever he felt, Riddle had it even worse. So it’s not surprising that he is terrified of hurting Riddle even more: every time he looks at the way he acts, he knows that it’s a result of him being abused. I’m stating the obvious here lol but I like that Trey is stuck in this “sorry, but I will keep hurting all of you because not hurting him is more important”.

We watched Ghost Marriage Event recently (haven’t seen the vignettes and voice lines yet) and I think it’s very interesting that it was kind of tied to the Trey/Riddle situation, which Ace even directly addressed. We even got Trey (and Cater too, to be fair) going yikes because he felt called out by what Ace was saying to Chubby about the way he treated Eliza. Even if you love someone, you can’t just let that person get away with hurting others. Even if you think it will keep them happy, it will never help them in a way you think it will. Riddle gets hurt by staying a tyrant that everyone despises, and Trey knows that he does, but doing that important step of stopping him and having a talk with him is too scary to even consider. This is why he needed that wakeup call from Ace of all people.

I guess that makes Ace more emotionally mature than Trey and Riddle both in a way lol

Anyways, I love their relationship a lot, and even though I’ve mostly been talking about the very basis of their relationship, I think there is a lot to explore with these two.

[lazaefair]

Stitch lays it out thoroughly, as usual, so there's no commentary I could add that would be better than just quoting what she says. I definitely recommend reading the whole thing, but here are a couple excerpts to give you an idea of the gist.

Excerpt 1:

Let’s return to the myth of preference. In fandom, as with online dating, folks think “preference” is a neutral word that shields them from the mere potential of having to interrogate why they seem to “prefer” white people as their faves. The thing is that this “preference” for white dudes isn’t all that neutral. A “preference” for white men is tied into centuries of racist propaganda that portrays whiteness as an ideal to the point where even people of color have trouble finding themselves or other people of color attractive.

[...]

Of course, that translates to fandom because fandom isn’t born in a vacuum. We don’t leave our ingrained prejudices in “the real world” when we log on to Tumblr or go for a scroll on the AO3. In fact, because many people in fandom curate their timelines to only show them their like-minded faves, they’re more likely to surround themselves with fans who think like they do and fanworks that reinforce the validity of their interests.

Excerpt 2:

Fantasies are just that – fantasies. On their own and in our heads, they can’t directly hurt people, and they provide the pleasure of partaking in the forbidden or the denied. For many people – especially marginalized people in unsafe or unhealthy positions in their daily lives – fantasies are all they have, and that’s important. However, in fandom spaces, fantasies don’t stay in people’s head, and they’re never on their own no matter what nonsense we fed about fandom and fiction not influencing/being influenced by reality. These fantasies come loaded with expectations, prior knowledge, stereotypes, trauma, politics, and a whole bunch of other stuff from the person fantasizing as well as other people who are aware of the fantasy. They get turned into fanworks that get thousands of views and hundreds of readers. After all, nothing we do or like or create is formed in a vacuum. In fandom spaces, fantasies that either exclude people of color entirely or reformat them as stereotypes for easy consumption (erotic and otherwise), are harmful because they are put forward without any awareness to a potential audience of thousands.