#Its known he will be blessed

[patheticblorbloscholar]

I want a scene that parellels the moment Jake is saved by Eywa. Neytiri doesn't shoot her bow because the seeds are following Jake. Just follow me here, what if she finds out Quaritch is still alive because Spider confesses he saved him from the wreckage. He couldn't let the man die even after everything and she reacts terribly. Horrified he runs, seeking safety through the forest he knows so well and Eywa[in all her mysterious glory] sends a storm of seeds and covers Spider. For the only force Neytiri has ever listened to is her.

[writer-room]

You ever just see people talk about the Percy Jackson books and know somewhere, deep in your heart, that none of these people have understood that this is a series made for middle schoolers. And that fandom will very frequently lie to them like, all the time. No, that character probably isn’t ooc, you’re just thinking of what the fandom turned them into. No, this book isn’t a horrible stain next to the others before it, literally all of them were like this. It’s Percy Jackson. It’s cheesy and occasionally makes a very questionable writing decision.

You gotta be in this for the long haul or jump ship my guys. Be cringe and free or be gone

[nyan-bynary]

Do you ever think about how serious young satoru looks and acts and talks and how even in his teenage years he holds himself like how he thinks an adult would, and then you see him as an adult being silly and filling every awkward silence with his voice and sprawling in exaggerated ways and you realize, this isn't what he's like normally,,, he does it so the kids don't feel like they have to act all serious and grown up, so they can have at least some of their childhood in comfort, so they can feel safe being themselves around him even if it means them calling him an idiot sometimes, he ALLOWS himself to be perceived like that for their sake

[zooweemama143]

last rb had me thinking of how lame bif would actually be as a person

[ettawritesnstudies]

.

[hexados-on-a-string]

okay ik that they needed to do like character redemption on gus by making him go from "power >>>>>> friendship" to "okay actually friendship is power or something" and ik gus isnt a good person, however did they have to make nv episode 39 so brutal. christ alive that episode fucks me up every time i watch it.

[itsalwaysdark]

basically connor is me but connor is also me when i dont remember doing whatever i did for a period of time and im annoyed about it. and connor is also just when i do something and then later am mad about it. tht one i just call her a seperate girl out of probably embarassment

[kashverse]

things people should know:

do not mess with your cat.

do not mess with your sukuna.

you thought this was common sense. apparently, it wasn’t.

it started when you left sukuna in the waiting area of the vet clinic, because you needed to pick up some medication for your cat—bless his furry little soul, the bravest warrior you know, who had just survived a vet visit with minimal casualties. sukuna, being the grumpy menace he is, had grumbled about waiting but ultimately sat down with your cat carrier beside him, arms crossed, looking like a bouncer for a very exclusive club. and that’s when they appeared.

the poodle posse.

a group of women with perfectly manicured nails, dressed like they were about to star in a reality tv show called luxury lives of lapdog owners. their poodles were equally pampered—fluffy, primped, wearing tiny designer jackets that probably cost more than your rent. you weren’t there to witness it, but based on sukuna’s expression when you came back, things had escalated.

“oh, wow, such a strong, brooding man,” one of them had probably purred, leaning into sukuna’s personal space. “is this your cat? he’s so cute!”

bad move.

your cat is not "cute"—your cat is a warrior. a veteran of the battlefield (otherwise known as your apartment). he has fought many enemies (the vacuum, a particularly aggressive curtain, and one unfortunate houseplant that did not survive). and most importantly, he is loyal to you. so, when a stranger’s hand reached out to pet him?

he hissed. and not just any hiss—this was a legendary hiss. a hiss that spoke of betrayal, of fury, of how dare you touch me, peasant. and sukuna? sukuna looked at them like they were the scum of the earth.

"ya deaf?" he had grunted, because subtlety has never been his strong suit. "he doesn’t like strangers."

but did that stop them? oh no. if anything, it made them more interested.

“aww, he’s just shy! maybe he just needs to warm up to us!”

and that’s when your cat, your beautiful, petty little creature, smacked their poodle in the face.

gasp. horror. scandal.

the poodle recoiled like it had just been personally insulted. its owner gasped, clutching her dog like a victorian maiden about to faint. "your cat just hit my precious baby!" she shrieked.

sukuna? sukuna had the audacity to laugh. “good. he had it coming.”

the poodle posse was outraged. they tried to guilt-trip sukuna, fluttering their lashes, attempting to appeal to his (nonexistent) softer side.

“you know, a guy like you shouldn’t be wasting time with a cat person. dog lovers are way more fun.”

mistake.

because that’s when sukuna turned to them, his usual mean grin stretching across his face, and said, “you think i like cats? nah. i like my girl. the cat’s just part of the package.”

devastation. utter defeat.

when you finally came back, you were greeted with the sight of the poodle posse storming out, their spoiled dogs in tow, throwing death glares at sukuna—who looked smug as hell. you raised a brow at him. "what did you do?"

"nothin'," he said, draping an arm over your shoulders. "your little monster defended his honor. i just enjoyed the show." meanwhile, your cat, still sitting in his carrier like a king on his throne, looked very pleased with himself.

moral of the story?

don’t mess with your cat. don’t mess with your sukuna. and definitely don’t mess with both at the same time.

[bluegiragi]

left on read.

--

last year i finally read "all that's said in the low light" by headlocket which i feel like has developed its own reputation by now, but just in case you don't know - it's kind of known in the fandom as a massive tearjerker. As promised, I cried buckets over it and it left an enormous impact on me.

I drew this comic (after getting permission from headlocket) as a what if on a situation in chapter 12, where Simon goes through a period of radio silence from Johnny after essentially giving him his blessing to date other people, the utter clown. We only see it from Johnny's side, who is really going through it, but the mental image of Simon staring at a slew of his own unread messages really stuck with me...did he think this was it? That that shitshow of a conversation he had with Johnny might've been the last they ever had? What if Johnny just never responded to him again? Did he regret giving him permission?

bonus - simon's forlorn and temporarily one-sided conversation:

[noisemachinedotcom]

ppl with operatic vocal talents being sequestered 2 novelty acts im tearing my own head off

[sun-kissy]

bucky barnes who doesn’t trust unless it comes to you. whose eyes soften at the sight of you, because his heart knows that it’s okay to let his guard down. he believed the world always had its claws out to get him, until he fell straight into your gentle arms. he tells you the word love meant nothing to him until you came along.

bucky barnes who would live for you. the winter soldier would kill for anyone, the white wolf would die for anyone, but bucky would live for you. he’s never believed in fate, but if it wasn't destiny that brought you to him, he doesn’t know what it was. he thinks maybe it was all worth it, the trauma and the scars and the pain, if it all lead up to the moment when you told him i love you.

bucky barnes who searches for you even in nightmares, screams your name till his lungs burn with self-hatred. you’re his safe space, his home. he’s drawn back to wakefulness as soon as he feels your touch, the gentleness of your breath on his skin like an aching balm to his wounds. he’ll never stop apologising for the burden that comes with his affection, yet he won’t ever stop loving you.

bucky barnes who thinks of hurting you as no less than a sin. who believes even pulling out a single strand of your hair is a hundred times worse than every murder committed as the winter soldier. because what’s a few dozen people in comparison to his whole universe?

bucky barnes who wakes up a little earlier in the morning; not to see the sun rise, but to watch the soft rays dapple your face. he thinks you look angelic, the golden hue painting you in so much beauty that he feels blessed; wonders if he ought to start praying to gods he never once believed in.

bucky barnes who tells you he loves you more times than he can count. whose voice is hardened from years of tortured, ragged cries; but the word doll tumbles out of his lips like soft petals when he looks at you. he knows seven different tongues, and is fluent in every single one. he claims that none of them have the words to describe how you make him feel.

bucky barnes who kisses like a hungry dog, like there’s an ache in his soul that can only be filled by the feeling of your lips on his, skin to skin. he believes the sole purpose of his metal arm is to pin you to the wall. roughness is the only form of love he’s ever known.

bucky barnes who buys you everything you talk about in passing, who takes you out wherever your heart yearns to go, who kisses your knuckles with the softest touch of his lips. he inhales when you exhale at night to make space for the rise of your chest. he only ever holds your hand with his non-metal one so as to not hurt you. he traces your features while you sleep. he loves you with the full force of the word, because you’re his girl.

bucky barnes who could never unlove you, would never want to. even if the strings of his soul were tied to another, he would cut them off and run straight to you.

[bloodyshadow1]

I feel like something that really works for Dungeon Meshi is that all the characters are good at their jobs from the beginning. At the start of the show/manga the Touden party is one of the best parties in the business.

They got wiped in the first episode/chapter, but they got wiped on the 6th floor where we don't see another party on a floor lower than the 5th, castle town, even then the only group we meet is Shiro's who was part of the original party and super skilled. Shiro is an expert swordsman who went to the dungeon to test himself, he was the best fighter in the party and the ace to deal killing blows to dragons. Namari is a dwarf who is likely a better fighter than Senshi and takes better care of her equipment. Laios is a good fighter, maybe not the best, but he is good an super knowledgeable. Falin and Marcille are two top class mages, Marcille might be inexperienced as a practical caster, but by the time the series starts she is very powerful. Chilchuck is the leader/creator of the half-foot union, he is good at his job and has survived since he was a wide eyed kid to a grizzled old man who looks like a kid to other races. they were stacked at the start of the series and it makes sense why they are well known in adventurers circles.

They aren't newbies who are blessed with plot armor and being the main characters of the story. They are very powerful and experienced adventurers who just happen to meet the most powerful monster in the dungeon on empty stomachs. Even once the series starts, they're at a disadvantage not because they're lacking skills, just they lose two of the parties best fighters. Marcille, the parties mage, is easily able to knock out/kill a running mushroom that was giving a party of noobs a thrashing.

I get why a lot of stories start with young inexperienced kids, but sometimes its nice to read stories that star older heroes who are good at their jobs instead of something like a rookie red ranger situation. Especially now that I'm older

[overexciteddragon]

I need to fucking talk about this scene BADLY

The fact that DunMeshi actually depicts starving dwarves as ripped muscular anime boys is, to me, absolutely incredible. I can't stress how often fat people starving are depicted as either skin and bones or ✨️beautiful and healthy✨️ (the latter being a body shape that they are encouraged to maintain), it's straight up a trope in so much media for skinny people to be depicted as fat in the past as if it's some "dirty secret", or for fat people to be depicted as unhealthy/ugly until they starve themselves enough to become "attractive", and on top of that the depiction of the Dehydrated Adonis Protagonist has become more and more present in our day-to-day media

Meanwhile, it's becoming more widely known that this isn't how bodies work at all; that fat isn't inherently unhealthy and that ripped bodies aren't just impossible to maintain but often quite dangerous. All of that put together, the depiction of more actors and characters that are fat, chubby, large, etc and not used as comedic relief has been so, so important to really hammer home that lean, dehydrated muscular bodies aren't necessarily something to aim for

But especially, dwarves being shown to have the same physical features as these ripped muscly characters (lean, bulging muscles, sharp cheekbones, defined pecs and neck muscles, etc) when they're starved, and that being depicted negatively is such a huge deal. This is also coming from the same anime in which one of its male protagonists is the epitome of the hero-- an athletic tall man in a shining knight's armour with a big shiny sword-- and he isn't shredded, he's got a tummy, he's got soft arms, he's clearly strong and muscular but it's all protected by a healthy layer of body fat

I'm never gonna shut up about how Dungeon Meshi has been such an incredible vehicle of body diversity with neither insidious fatphobia/queerphobia/racism nor performative (and frankly harmful) allyship behind it. I'm excited for how many young people (and older too!) will be made to slowly but surely question their internalized and ingrained fatphobia or general medical misunderstandings about weight as they watch/read this series. These are such important details and not enough media addresses them in such subtle but clear ways.

Bless Ryoko Kui but also bless Trigger for not doing what a lot of studios do (thinning characters and lightening their skin colours)

[gotta-winwin]

nana tour seungcheol x reader

a/n: this was a request asking for seungcheol during nana tour - it deviates slightly but i hope it'll still satisfy the itch! we love ourselves a loyal man who knows what's up.

(1)

You supposed Seungcheol not being able to follow his group mates to Italy was a blessing in disguise. Of course, you knew how disappointed he was, watching as he bid farewell to them as they boarded the bus, waving goodbye with a melancholic look on his face. 

“I’m sorry you can’t go.” You mumbled against his shoulder as you leaned against him, looping your arms around his waist, careful not to knock against the crutches on either side of him. “Italy sounds fun.”

Seungcheol had always been the sacrificing type. “It’s okay.” He assured you, pressing his lips against the top of your head as he spoke. “It means I get to spend two weeks concentrated solely on you.” 

(2)

You could tell Seungcheol was taking full advantage of his two week break, trying to do anything and everything he couldn’t with his busy schedule. Lounging on the bed as you watched him game, you couldn’t help but snap a few photos to commemorate the moment. It was rare to see Seungcheol this relaxed, with nowhere to be and nothing pressing to do. He was purely just Seungcheol, your gentle giant of a lover and protector of your heart. 

(3)

Seungcheol makes it his own personal mission to complete your checklist of places you’ve never been with your boyfriend. It doesn’t matter if the two of you will be recognized in public, he’ll rent the damn museum if he has to. The two of you spend the two weeks doing every cringey couple activity Seoul has to offer, as he tries to make up for all the times he’s had to choose work over you.

(4)

You find it hilarious when Na PD calls you instead of Seungcheol for one of his quiz games, quietly shushing the boys on the other line as you flip the camera, Seungcheol asleep with his arms draped over your stomach. He’s snoring away without a care in the world as his members laugh through the screen. You answer whatever silly question they had been given to guess, thanking Na PD for bringing the boys on their first real vacation since debut. 

(5)

You’ve always said that your boyfriend also had a boyfriend. Since you had ever known him, Seungcheol and Jeonghan had always come as a pair. One could not exist or function without the other, this being evident as you would often walk into Seungcheol facetiming his other other half. Jeonghan had also cheekily given you the job of sending him what he deemed as a ‘Cheol selfie’ per day, claiming that it wasn’t fair you get him all to yourself and that he deserves compensation. 

(6)

The night before his members were due to return to Korea, Seungcheol had pulled you aside, distracting you from your book as the two of you laid in bed, the sky outside already a dark shade of blue. 

“You know I love you, right?” He whispered, snaking his arms around your waist like second nature. 

Of course you knew. He never once gave you even a moment to forget. 

“You know I love you more than anything, right?” Seungcheol nosed against your stomach, his face pressed against the bare skin of your waist. “And that I’d quit this job in a heartbeat if you ever asked.”

He knew you’d never ask that of him though. “I started loving you knowing that your job and its odd hours came with you.” You reminded him. “I know what I signed up for.”

“These past two weeks made me realize I want more.” He mumbled. “I don’t want to never be home when we start a family.” 

Your lips curled into a smile, looping your fingers through his hair. “You’ve thought of that?”

Seungcheol nodded against you, tugging you closer. The vows you had made each other, even silently, echoed soundlessly around the two of you. 

Seungcheol would choose you over anything in the world. 

[princesssarisa]

In the past I've shared other people's musings about the different interpretations of the myth of Orpheus and Eurydice. Namely, why Orpheus looks back at Eurydice, even though he knows it means he'll lose her forever. So many people seem to think they've found the one true explanation of the myth. But to me, the beauty of myths is that they have many possible meanings.

So I thought I would share a list of every interpretation I know, from every serious adaptation of the story and every analysis I've ever heard or read, of why Orpheus looks back.

One interpretation – advocated by Monteverdi's opera, for example – is that the backward glance represents excessive passion and a fatal lack of self-control. Orpheus loves Eurydice to such excess that he tries to defy the laws of nature by bringing her back from the dead, yet that very same passion dooms his quest fo fail, because he can't resist the temptation to look back at her.

He can also be seen as succumbing to that classic "tragic flaw" of hubris, excessive pride. Because his music and his love conquer the Underworld, it might be that he makes the mistake of thinking he's entirely above divine law, and fatally allows himself to break the one rule that Hades and Persephone set for him.

Then there are the versions where his flaw is his lack of faith, because he looks back out of doubt that Eurydice is really there. I think there are three possible interpretations of this scenario, which can each work alone or else co-exist with each other. From what I've read about Hadestown, it sounds as if it combines all three.

In one interpretation, he doubts Hades and Persephone's promise. Will they really give Eurydice back to him, or is it all a cruel trick? In this case, the message seems to be a warning to trust in the gods; if you doubt their blessings, you might lose them.

Another perspective is that he doubts Eurydice. Does she love him enough to follow him? In this case, the warning is that romantic love can't survive unless the lovers trust each other. I'm thinking of Moulin Rouge!, which is ostensibly based on the Orpheus myth, and which uses Christian's jealousy as its equivalent of Orpheus's fatal doubt and explicitly states "Where there is no trust, there is no love."

The third variation is that he doubts himself. Could his music really have the power to sway the Underworld? The message in this version would be that self-doubt can sabotage all our best efforts.

But all of the above interpretations revolve around the concept that Orpheus looks back because of a tragic flaw, which wasn't necessarily the view of Virgil, the earliest known recorder of the myth. Virgil wrote that Orpheus's backward glance was "A pardonable offense, if the spirits knew how to pardon."

In some versions, when the upper world comes into Orpheus's view, he thinks his journey is over. In this moment, he's so ecstatic and so eager to finally see Eurydice that he unthinkingly turns around an instant too soon, either just before he reaches the threshold or when he's already crossed it but Eurydice is still a few steps behind him. In this scenario, it isn't a personal flaw that makes him look back, but just a moment of passion-fueled carelessness, and the fact that it costs him Eurydice shows the pitilessness of the Underworld.

In other versions, concern for Eurydice makes him look back. Sometimes he looks back because the upward path is steep and rocky, and Eurydice is still limping from her snakebite, so he knows she must be struggling, in some versions he even hears her stumble, and he finally can't resist turning around to help her. Or more cruelly, in other versions – for example, in Gluck's opera – Eurydice doesn't know that Orpheus is forbidden to look back at her, and Orpheus is also forbidden to tell her. So she's distraught that her husband seems to be coldly ignoring her and begs him to look at her until he can't bear her anguish anymore.

These versions highlight the harshness of the Underworld's law, and Orpheus's failure to comply with it seems natural and even inevitable. The message here seems to be that death is pitiless and irreversible: a demigod hero might come close to conquering it, but through little or no fault of his own, he's bound to fail in the end.

Another interpretation I've read is that Orpheus's backward glance represents the nature of grief. We can't help but look back on our memories of our dead loved ones, even though it means feeling the pain of loss all over again.

Then there's the interpretation that Orpheus chooses his memory of Eurydice, represented by the backward glance, rather than a future with a living Eurydice. "The poet's choice," as Portrait of a Lady on Fire puts it. In this reading, Orpheus looks back because he realizes he would rather preserve his memory of their youthful, blissful love, just as it was when she died, than face a future of growing older, the difficulties of married life, and the possibility that their love will fade. That's the slightly more sympathetic version. In the version that makes Orpheus more egotistical, he prefers the idealized memory to the real woman because the memory is entirely his possession, in a way that a living wife with her own will could never be, and will never distract him from his music, but can only inspire it.

Then there are the modern feminist interpretations, also alluded to in Portrait of a Lady on Fire but seen in several female-authored adaptations of the myth too, where Eurydice provokes Orpheus into looking back because she wants to stay in the Underworld. The viewpoint kinder to Orpheus is that Eurydice also wants to preserve their love just as it was, youthful, passionate, and blissful, rather than subject it to the ravages of time and the hardships of life. The variation less sympathetic to Orpheus is that Euyridice was at peace in death, in some versions she drank from the river Lethe and doesn't even remember Orpheus, his attempt to take her back is selfish, and she prefers to be her own free woman than be bound to him forever and literally only live for his sake.

With that interpretation in mind, I'm surprised I've never read yet another variation. I can imagine a version where, as Orpheus walks up the path toward the living world, he realizes he's being selfish: Eurydice was happy and at peace in the Elysian Fields, she doesn't even remember him because she drank from Lethe, and she's only following him now because Hades and Persephone have forced her to do so. So he finally looks back out of selfless love, to let her go. Maybe I should write this retelling myself.

Are any of these interpretations – or any others – the "true" or "definitive" reason why Orpheus looks back? I don't think so at all. The fact that they all exist and can all ring true says something valuable about the nature of mythology.

[yinyuedijun]

translation

Aventurine doesn't like being understood, but he does like understanding other people. It is essential for manipulation, for scheming, for control. And he likes controlling you especially—for keeping you close but your heart a comfortable distance away, for opening your legs when he wants the pleasure of your body, for playing your emotions however he needs. And the day will come when that skill will be invaluable—the day when he must die without shattering you. (Or: You are the only person in the universe who understands Aventurine in his mother tongue. He often regrets teaching it to you.)

5k words. gender neutral reader, established relationship, angst, non-graphic sex (reader bottoms, anatomy neutral), themes of cultural loss, references to slavery, aventurine’s canonically implied desire to die. MDNI.

Aventurine cannot lie in Avgin.

Deception does not come easily to him in his mother tongue. His command of it is too weak—and too kind. The universe was a different place in the days when his life was coloured by the warble of Avgin dialect. It felt simpler, partly because he was a child and partly because Sigonia was yet untouched by outsiders. There were no corporations, no casinos, no commodity codes. His entire world was sand, desert, mother, sister, father (or more often—ghost), goddess, tent, wagon, luck, sin, rain, blessing, Avgin.

Katican.

Aventurine is sure that he knew more than just those words. He was fluent as a child. He had conversations with his sister that were complex enough to make his heart hurt, though perhaps his heart was just constantly aching anyway. But the rest of his early words escapes him. He could maybe dredge them up if he thinks long enough, but he also isn't sure if his tongue and lips could form the shape of them anymore. Sometimes he still counts in Avgin, memorises phone numbers in it, but he doesn’t remember the last time he actually strung together a full sentence in the language.

When Aventurine was first stolen into slavery (a word that he had not known as a child, and still doesn't know in Avgin), he wasn’t given a Synesthesia Beacon. He had to rely on his ears and his wits, deciphering the harsh edges of the Katican dialect and then the strange garble of Interastral Standard Language. By the time he had a Beacon installed, it was already translating all speech into Standard—his dominant language.

Sometimes he feels a little aggrieved by it, but at least it wasn't Katican. He'd have blown out his brains if it were.

But it is easy to console himself: Avgin is not a useful language anyway. Dead languages have no value, and the Avgin dialect was killed along with its people. You can’t perform commerce in a dead language, can't negotiate contracts, can't enter a gambling den and use your silver tongue to rob people blind. You can't use a dead language to fell governments and extract resources; you can't use a dead language to bring an entire planet to its knees. You can’t use a dead language to gamble your life; you can't use it to save yourself from the gallows.

You cannot deceive people in a language that is defined by sand, sister, goddess, ghost.

Aventurine cannot lie in Avgin. His command of it is too weak, and there is no one left to which he can lie, anyway.

When you ask Aventurine to teach you his first language, he gives you an amused look.

“Why Avgin?” he asks. “No one speaks it anymore. I can teach you Common Sigonian if you’d like. Or we could learn Xianzhounese together. Maybe Intellitron code? I know a little.”

“You speak Avgin,” you argue.

“Not often,” he says. “And badly when I do.”

“But it's still your language. And I want to understand you.”

Aventurine has to stop himself from laughing. Understand him? He hates being understood. When people understand him, it makes him predictable. And unlikeable. Hardly a position from which he can manipulate people in.

You understand him well enough to know that.

“You'll have to give me a better reason than that,” he says neatly. “Make it worth my while. Reward me.”

You look at him as you ponder, your eyes lingering on his. Perhaps trying to read him, though he prefers to think you're just enjoying the sight of them.

“I’ll teach you my language as well?”

“You mean—you'll reward my hard labour with more work?” he says, lighthearted.

You frown at him despite the joke. “You don't want to understand me better than what a Synesthesia Beacon would allow?” He blinks, pausing. “It’ll be convenient too. We can talk shit about other people in public and no one will understand us.”

Aventurine considers you. He doesn't like being understood, but he does like understanding other people. It is essential for manipulation, for scheming, for control. And he likes controlling you especially—for keeping you close but your heart a comfortable distance away, for opening your legs when he wants the pleasure of your body, for playing your emotions however he needs. And the day will come when that skill will be invaluable—the day when he must die without shattering you.

He also likes the idea of talking shit in public.

“I'm listening,” he says, voice lilting. You lean in, smiling. Sweet. It makes his heart feel something he isn't used to. Something addictive. Something disgusting. He scrambles to cover it with one of the usual tools: humour or distraction or maybe just plain old lying—his most reliable weapon.

“I'll throw in a kiss?” you try.

He hums. “Just one?”

“One per day.”

“Three.”

“You drive a hard bargain.”

“Well, I am a businessman.”

You snort, but he knows you're endeared. You have very noticeable tells when you’re flustered.

“Okay,” you say. “Three kisses on days you teach me.”

“Deal.”

Aventurine remembers more Avgin than he thought he would.

It comes to him slowly, painstakingly. You aren't interested in structured lessons, and he wouldn't be able to provide them anyway. He has a nonexistent grasp of grammar aside from this sounds right and that sounds strange, and Avgin dialect is both so niche and so dead that no textbooks are available. The scholars have abandoned the language as much as the politicians abandoned its people. Aventurine only has you, his fragmented memory, and whatever questions come to mind as you live out your days with him.

Mostly, you ask him about basic vocabulary. Sometimes you ask him to repeat sentences from your conversations in Avgin, like he’s some kind of multilingual parrot. Each prompt forces him to wade through the fog in his mind, the one that’s been shrouding his childhood memories until now. He's startled at how naturally the old words roll off his tongue: One, two, three, four. Good morning. Good evening. Good night. Sweet dreams. Five, six, seven, eight. You're lying to me. Why do you always lie to me? I don't know what you're talking about. Nine, ten, eleven, twelve. Welcome home. Have you eaten? Have some bread. I made you stew. Twenty, thirty, forty, fifty. That was dangerous. I thought you wouldn't make it back to me. Sometimes I think you want to die. One hundred, one thousand, one million, one billion. I'm sorry. Come here. Let me kiss you. Don't cry. Don't cry. Don't cry.

When you say, How do I ask you to let me hold you, he answers easily. He'd heard the words so often as a child: Let me hold you, Kakavasha. Let Mama hold you. His mouth forms the sounds without conscious thought.

He regrets it almost immediately.

When Aventurine hears it from you—stilted, halting, but no less gentle—he stops breathing. Let me hold you. You say it all the time in Standard, but it feels different in Avgin. More painful. A strange sense of panic closes in on him when he's wrapped up in you, thinking in Avgin, thinking sand, sister, goddess, ghost. He holds you tightly, like the rags cut from his father’s shirt, or his mother’s locket won back from the shell-slashers, or a bag of poker chips beneath a card table, clutched within his trembling grip.

“Aventurine, is something wrong?” you ask in Avgin, and he replies in Standard with his usual smile.

“Hm? No. What could be wrong if I have you here?”

Lying is one of his greatest tools. Sex is another one. So he says, “I think I'd like my reward now,” and he runs his lips along your jaw, your pulse, the spot over your heart (there's a word for that in Avgin but not Standard, he tells you), until you're laughing. I thought you wanted three kisses, you tease, and he replies, Who said I wanted to kiss you on the mouth?

But he coaxes open your thighs, and once he's inside you, he collects his payment properly. He kisses you, and kisses you, and kisses you—and you swallow his lies whole.

There are some things that Aventurine doesn't teach you. Mostly, they’re things that he can’t teach you.

There are countless gaps in his Avgin. His speech is painfully childish—probably more childish than it was when he actually stopped speaking it. He doesn't know how to swear (something that disappoints you) and he doesn't know how to flirt (something that devastates you). He doesn’t know any words that would be useful for work either: commercialization, governance, stakes, winnings, profit. When you ask him what his job title is in Avgin (“Was senior management even a thing in Avgin society?”), he laughs and gives you the word for gambler.

Then there are the words that he remembers—has remembered his whole life—but never says. Not to you, and not to himself. He doesn't teach you any prayers. He doesn't teach you any blessings. He doesn't teach you about Mama Fenge, or the Kakava Festival, or how the rain fell when he was born. When you ask him, What holidays did you celebrate when you were little? he shrugs and says, We didn't have any. Sigonia’s too bleak to do any partying.

Then you ask him one day, while your bodies are spent in the afterglow of sex, sticky with sweat and sweetness, how to say I love you. And he goes quiet.

Love is a cheap word in Interastral Standard. In the language of globalisation and trade, love has been commercialised, commodified, capitalised for power. You say it to him in many contexts: I love this, I love that, I love you. He hardly ever reacts, and he's never said it back. It would feel unnecessary and also cruel if he did: Aventurine has only ever said the words himself as either a joke or a manipulation.

But love feels different in Avgin than in Interastral Standard, doesn't sound like a thing that can be traded or bought. Kakavasha only ever said the word love to his mother, to his sister, to his father's grave. Love in his mother tongue feels priceless.

When Aventurine thinks about you saying it—I love you, Kakavasha, in clumsy, earnest Avgin—something so painful swells in his throat that he can hardly breathe.

“There is no word for love in my language,” he tells you.

You blink. “Okay, then what's an idiom for it?”

“There is none. There’s no word or phrase expressing love.”

You raise a brow. “That’s hard to believe.”

“Is it?” He smiles. “There’s no Avgin in the known universe who cares about love. Only scheming, thieving, and treachery—and you can't do those things when love is involved.”

You look at him in alarm. “Why are you saying that?” You're practically squirming in your discomfort. “I don't know why you think I'd believe such a racist stereotype.”

“It’s not a stereotype,” he says. “I'm not talking about the Avgin culture. I'm talking about myself.”

After all, he is the only Avgin left.

It is an unfair thing to say. A cruel thing to say. After all the laughing and kissing and crying and fucking, after all the tender eyes and gentle words from you—it is probably the worst pain imaginable: I don't give a shit about you. He waits for you to cry.

But you only stare at him calmly, studying him. You brush the hair out of his eyes, seeing them clearly.

“If you lie to me all the time,” you say in Avgin, “eventually I'll stop believing anything you say.”

Aventurine is speechless. His heart does that addictive, disgusting thing again. He thinks about leaving, but then you say, Let me hold you, and he can't do anything other than obey.

Avgin dialect was once included in the Synesthesia Beacon list of functions. The Intelligentsia Guild added it before the Second Katica-Avgin Extinction Event, when the IPC was trying to get a political foothold on Sigonia via the Avgin people. The language was alive then, with enough value to be included into the Synesthesia LLM by the linguists.

But since the Extinction Event—since Kakavasha ran away from home—the Synesthesia data on Avgin has been stagnant, a fossil. Aventurine knows because he's subscribed to software updates for certain languages (Avgin Sigonian, Common Sigonian, Interastral Standard, and now your mother tongue). He gets pinged every time there's a new addition for slang, for neologisms—but there hasn't been a ping for the Avgin dialect since he had the Beacon installed. The live translation function hasn't even been available since the previous Amber Era. When he checks its page on his Synesthesia app, it's very clear why—

SIGONIAN, AVGIN DIALECT SPEAKERS: 0 STATUS: Extinct END OF SERVICE: 2156 AE

The complete death of the language has led to an irritating dilemma for you and Aventurine. You keep running into words that he doesn't know—this time not because of his childlike speech, but because they never existed in his language to begin with. Ocean, tropical, rainforest. Starskiff, accelerator, space fleet. Stock market, shortselling, mutual funds. Black hole, event horizon, spaghettification. All things that never came up for Kakavasha, but now come up for Aventurine, and the language has not evolved to include it.

He always wants to switch to Standard to discuss these things, but you're insistent on speaking in Avgin as much as possible. He doesn't know why, but he doesn't mind humouring you—partly because he likes to indulge you, and partly because he’s grown used to hearing the honeyed timbre of Avgin dialect in your household. The place would feel strange without it.

So you start filling the gaps with other languages, filtering them through the lyricism of Avgin. Loanwords, he thinks they’re called. You take ocean, tropical, rainforest from Amazian; starskiff, accelerator, space fleet from Xianzhounese; stock market, shortselling, mutual funds from Interastral Standard. For the astrophysics terms, you try directly translating them—with limited success.

“Can't I literally just say ‘black hole’?” you ask in Avgin, and he nearly spits out his coffee.

“Please don't. That's a dirty word.” He can't bring himself to say what it means, but from the way you’re laughing, you can clearly guess.

“I thought you said you didn't know how to swear.”

“You've just reminded me how.”

“You're welcome.” You look on the verge of cackling. Aventurine finishes his coffee and wonders when you're going to surprise him with your newfound vulgarity.

“Let's just do the space terms based on Standard,” he says. Begs.

“No, that's so boring.”

“Then let's do your language.”

You open your mouth. Close it. Give him a blank look.

“You don't know how to say those words in your mother tongue either, do you,” he intuits.

“Well, ‘spaghettification’ doesn't really come up in everyday conversation, does it?”

“Then maybe we don't need it.” He smiles, senses an opportunity. Smells blood. “How about ‘love’? I'd much rather know how you say that. I bet it sounds beautiful.”

You give him a long look. Your eyes are vulnerable when you share it: Love. I love you. He’s fascinated by the sound of it. Your voice is never that fragile when you say it in Standard. It's never so earnest. He repeats it, staring at you, and your gaze falls to the ground. His mouth curls.

“I like it,” he says. “Let's use that. It'll sound nice in Avgin.”

You try to recover. “Sure. That works. But back to ‘black hole’—”

And the two of you continue like that for days, weeks, months. It feels like a complete bastardization of his mother tongue on some days, in some conversations. Almost unrecognisable. But it doesn't feel bad. It’s all he has, it's all you have, and when he walks into your home, he starts speaking it without thinking: your bastard, patchwork language. The Avgin dialect that exists only in your house. A tongue that can only be understood by a liar.

And then, one lazy Sunday morning, he gets a familiar ping. He expects it to be Interastral Standard, as usual. The language balloons with each planet that the IPC colonises.

But instead, he opens his screen and freezes.

SIGONIAN, AVGIN DIALECT SPEAKERS: 2 STATUS: Endangered. SERVICE RESUMED: 2157 AE NEW UPDATES: 103 loanwords and 5 neologisms added.

He can't stop looking at the status. Endangered. Endangered, which means dying, but alive. The Avgin dialect is alive again. The Intelligentsia Guild determined it, so it must be true. But Aventurine can't agree: there are no Avgin speakers in the known universe other than the two of you, and what you speak isn't real Avgin. The Avgin spoken by his mother and father and sister is dead; the Avgin spoken by Kakavasha is dead. The festivals are gone; the deserts have been terraformed. There are no wagons; there are no dances; there are no prayers. There are no blessings, and he has no home—

As long as you are alive, the blood of the Avgin will never run dry.

His throat locks up.

“Aventurine?” you ask. Your voice is drowsy, but concerned. “Is something wrong?”

He looks at you from his phone, a polished smile on his face.

“No.” His syllables are plain and efficient in the noise of Interastral Standard: “Just looking at details for a new assignment. It’ll be a long one.”

“Oh.” You frown. “Will you be away from home for a long time, then?”

He stops himself from swallowing. “Yes, I'll be away from the house. For several months, probably.”

“Okay.” Your voice is small. “Take care of yourself, okay? I'll miss you.”

Each word you speak resonates with heartbreak. It always does in these conversations, even in Standard—but the sorrow is amplified in Avgin. His mother tongue has an inherently sad quality to it, he's noticed. His people have lost so much over their history—their language is one of loss. It's his language of loss. Kakavasha did all his grieving in Avgin; Aventurine has never felt sorrow in Standard. When the language died, so did Kakavasha—and all his regrets with it.

“You'll come home to me, right?” you ask. It's a beautiful sentence in Avgin. A heartrending one. He feels something that he hasn't known since he was a child.

It's a feeling he has to kill.

“Yes,” he says in Standard. “Of course I'll come back.”

This is not the first time that Aventurine has been mistaken for dead, but this is the longest time.

The latest world to join the IPC network was a tough acquisition. It had been ruled by a despot who wreaked havoc on both the people and the planet, and who was too stupid and reckless to resolve conflicts with his trade partners. He probably would have blown up the whole star system had he been left to his own devices. Aventurine had no qualms about bringing him to ruin, nor did he have qualms about nearly dying in the process.

If things had gone his way, he'd either be dead or missing. This would have been the perfect opportunity to do the latter, actually—to be freed from the IPC. Free to drift alone, speaking with strangers in strange, unfamiliar tongues. No connection to his past, to the cruel history of his luck, to his commodity code. No tether to his inherently unjust destiny. But instead he's back in your house, pockets heavy with his borrowed wealth, speaking to you in his bastardised, childish Avgin. I'm sorry. Come here. Let me kiss you. Don't cry. Don't cry. Don't cry.

Your Avgin is—shockingly fluent. He doesn't know how. He can't think about it right now. All he can process is the wounded animal noise of your speech as you yell at him, as you cry. Like an injured songbird, or a weeping child. Why did you leave, why did you lie, why do you always lie to me, why don't you give a shit about me, you spit. Why do you want to die, why do you want to die, why do you want to die, you keep saying. Sand, sister, goddess, ghost, he keeps hearing. Sand, sister, goddess, ghost. Don't leave me, big sister. People will die. Why do you have to go?

“I’m sorry,” he tries again, this time in your language. “I'm so sorry. Come here. Let me hold you.”

You collapse into your mother tongue. Aventurine is both relieved and horrified. Relieved that he doesn't need to hear the language of his grief—horrified that he needs to hear yours. He's never heard you cry like this. He's never heard you break like this. These must have been the words you used when the soldiers found you hiding in your closet, when they dragged you out of your home. You were just a child.

Aventurine doesn't know the words you are using—you've never taught them—but he still understands them.

You're very malleable when you’re sad; even more so when you're hysterical. Aventurine understands this about you, and he understands how to calm you—this time in your native tongue—and he understands how to kiss you. He understands that you need to feel close to him. He understands that there are ways to accomplish this other than sex. A normal person would talk it out, have an honest conversation, come to a mutual understanding, and maybe even stop trying to kill himself. They wouldn't fuck you into the mattress while your face is still wet with tears.

But Aventurine is not a normal person. He doesn't know how to have an honest conversation, and he doesn't want to be understood. Lying is his greatest weapon, and sex is a close second. So he kisses you until you’re too breathless to cry, fucks you until you can't think, and makes you come so hard that you’re in too much bliss to grieve. And maybe it's horrible of him, but he enjoys it. He enjoys the way your body takes him in so easily, the way your nails dig into his back, the way you tighten around him when you climax, so wet and needy for him. The way you beg for him in your language for liars as he spends himself inside you: I love you, Aventurine, I love you, I love you, I love you—

Only because it feels good. This is all only because he enjoys fucking you. This is all only because you enjoy fucking him. This is all it'll ever be, and it'll be this way until he gets to meet his end.

(Some months ago, Aventurine started dreaming in Avgin.

It surprised him when he first noticed it. The last time he remembers having a dream in his native tongue, he was twelve years old and still in chains. And even then, it had become a sporadic, strange thing. Awful to wake up from. One minute he was with his mother and sister on a cool, rainy day, speaking fluently in Avgin as he laughed and played—and the next minute, he was being shaken awake in his cage, hearing the cruel lash of Katican.

But ever since he's started speaking Avgin with you, he's been dreaming in it. Vividly. Sometimes he's a child in these dreams, and sometimes he's grown. He's always back in the Sigonian desert, among the tents and the campfires and his family wagons. His mother and sister are alive. Sometimes his father is too. The skies roar with thunder and the stellar winds are always harsh, but they always keep him cocooned up in their arms. He's always warm.

Sometimes Aventurine dreams of nicer days. Clear skies, warm sun, cool breeze—all blessings from the Mother Goddess. On these days, he tends to be an adult, and you tend to be there with him. Your Avgin is fluent but strange, filled with funny loanwords and peculiar slang. His father likes the neologisms and starts using them—but only in wrong ways. His sister finds it embarrassing and keeps apologising to you.

His mother loves you. She loves you so much it hurts. This is how I know you're blessed, Kakavasha, she says, glowing. You’re so lucky to have found such a kind person.

Kakavasha knows this. He knows he's lucky, and in his dreams, that isn't a bad thing. In his dreams, his luck means that his home is not violently excised from his heart: his father never dies; his mother never dies; his sister never dies. The tents are not burned; the wagons are not destroyed. He is never forced to forget his people's dishes, their songs, their language, their joy. And in his dreams, his luck means that he meets you anyway, without all the loss and the chains and the lying.

In his dreams, he is able to bring you to the desert. He is able to teach you the Avgin he spoke as a child, to cook all the meals his mother used to make, to share with you their coffee and their tea. He teaches you prayers. He teaches you blessings. He tells you about Mama Fenge, about how the rain fell when he was born. He takes you to the Kakava Festival, shows you how to dance, sings to you all the Avgin songs until you're singing back. He presses his palm to yours in prayer; he kisses you in devotion, not avoidance.

Sometimes the two of you still fight, the same fights that you have in real life, but he handles them with honesty. He listens to you. He apologises to you. He tells you that he’ll change, and he means it—because this world is a kind one, and he has no need to be so cruel to you.

In this kind world, when you lay in bed with his arms tight around you, you smile at him and say, I love you, Kakavasha. You say it in Avgin—real Avgin, not the dialect born from genocide and deceit—and when he responds, there's not even a little bit of insincerity in his voice. Because Kakavasha never became Aventurine in these dreams, so he has no Interastral Standard in which he can lie to you, no silver tongue with which he can manipulate you, no commodity code that inspires his fear of being controlled by you. Kakavasha only knows Avgin, and he only has his sand, his family, his goddess, his home.

And he has you. Finally, he has you.

He kisses you, and kisses you, and kisses you—and then he tells you the truth.)

.

.

.

Aventurine cannot lie in Avgin.

You noticed this very early on: whenever he lies to you, he always switches to Interastral Standard. Probably he wouldn't be able to do it in his mother tongue. His command of it is too weak, and the words he knows are all too kind. He speaks with the innocence of a child, and children cannot deceive people in the way that adults can. Children cannot perform commerce or negotiate contracts. They cannot use a silver tongue to rob people blind. They cannot save themselves from the gallows.

So Aventurine’s Avgin is defenceless. Vulnerable. So vulnerable it hurts. You are not so vulnerable in your first language because your captors spoke it on occasion, and you learned to lie in it to gain their pity. You told Aventurine that knowing it would help him understand you, but this was a deception. Aventurine’s mother tongue was a language of trust, but yours is a dialect of abuse.

The Avgin language died before Aventurine could be gutted by it; this is why it disarms him so completely. This is why he’s so indulgent and so warm when you use it with him, why he yields to all your requests. Not requests for money or gifts—you’re certain those are meaningless to him—but for affection. Let me hold you. Let me touch you. Let me kiss you. He can never say no.

This is also why he loves hearing you speak his mother tongue, you think—it makes him feel at home, it makes him feel safe. Maybe it even makes him feel loved. He never seems so at peace speaking any other language, so you try to use Avgin as much as possible. You like seeing him happy. You like it even if it means you need to teach him your own native language in exchange, even when it means you need to hear him say all the things your captors used to say. You don't mind it if it's him. You never mind the harm he inflicts on you, especially not when it brings you closer to him.

It is convenient that he cannot lie in Avgin. You only wanted to learn it in the first place because he talks in his sleep—mostly in Standard, but sometimes in his native tongue. And now that you know he cannot lie in Avgin, you also know he's always being honest in his dreams. Honest when he throws his arms around you in his sleep. Honest when he grabs you so tightly that you bruise. Honest when he buries his face into your neck and whispers prayers into your skin.

Most of the words he says are common ones, the earliest vocabulary that he taught you. But there are some things he's withheld from you—and to learn those things, you had to track down linguists from the Intelligentsia Guild, bribe them with your dirty money, have them give you all their deprecated, extinct data. It felt two-faced, and it was violating, but it was the only way. You already know that Aventurine would rather die than translate his feelings for you, would never want this part of himself understood.

I'm sorry for always leaving you.

I'm sorry for making you cry.

I can't bear the thought of losing you.

Freedom would be too lonely without you.

I don't want to hurt you anymore.

I don't want to lie to you anymore.

I missed you.

I want you.

I need you.

I love you.

end

afterword