#a lot of the things I own are representative of how much I'm holding together with scotch tape huh?

[infamouslydorky]

Tagged by @ardate :3

I tag

@squadron-of-damned @theyellowotter @mooplethemarsh @radiosaturday

[chiiroptereh]

[Please zoom in, there's a lot of detail! And a massive file size...ouch]

Hi guys, long time no post! Been working on Art Fight and life stuff, but I've got something kinda fun for you.

This is a compilation exploring how a mortal Bill may interact with our world if there were still some kinda Euclidean instincts buried in there. Y'know, before the Book of Bill ruins all my headcanons >:P (EDIT: IT HAS BEEN READ. YAHOOOOOO)

Also quite an experimental piece as you can probably tell. Lots of details on both said headcanons and the art stuff under the cut, but I invite you to study the colorful texture yourself beforehand and think about what it might be representative of, just for fun because I got some really cool answers from my friends when asked :]c

TL;DR: the headcanon is that Euclideans have exceptional eyes for geometry. They find things like symmetry, tessellating patterns, graphs and fractals very aesthetically pleasing. If pushed into our 3D world, they feel comforted by the familiarity flat objects/spaces bring, as well as high-contrast patterns. Shadows especially are a familiar dimensional reduction that may bring them much comfort.

Bill would surely not be happy about these inclinations, constant reminders of a past long gone, but I'm not sure he's even aware of them here :P I think his ego gets in the way to the point where he just views these interests as common sense, which, of course, us lame humans just don't understand because we aren't nearly as cool as him. Of course he likes perfectly symmetrical leaves and staring at the kitchen floor, it's called taste, look it up!

And yet, he can't seem to shake the strange sense of melancholy he gets from viewing his own shadow.

~ End of TL;DR, long version below! ~

🔺 Headcanon Development

So, the catalyst of this idea was in relation to my friend and I's AU ( @love-triangles-au ). TL;DR, Bill's brought back mortal, meets another triangle named Y.V. (it's his hand holding the paper in the piece, actually), at some point they fall in yaois together, you know how it is. And, in writing a pair of triangles (or, more broadly, writing from the perspective of a different species), something I've had to consider was that you really can't get much further removed from a human being than sentient geometry.

The anatomical aspect was mostly figured out (see my piece on Bill's eye-mouth), but I wanted to consider what psychological differences might be at play. I wanted them to be weirder, more alien, double-so for Bill. At first I explored these possibilities through the lens of Bill and Y.V.'s relationship, specifically the question "what might a triangle find appealing about another triangle?"

Well, really the only things that came to mind were straight lines and symmetry, anything related to the geometric form of such a creature. That's more-or-less where that ended until the thought struck me that there's no reason this aesthetic appreciation couldn't extend to the rest of the environment, and then further when I realized, "wait, this is a species that is designed to live in a 2D environment. Like, they should seriously be really weird. I need to push this like 200% more."

So...yeah! I did some thinking and brainstorming with others and came up with a pretty long list of things a Euclidean in our world may be inclined to enjoy or find some level of comfort in. It's worth noting again that in this piece specifically this is a mortal/powerless Bill, so he can't really escape this Earthly environment. IF he's aware of these instincts at all (and that's a big "if"; when have you last been cognizant of your own instincts let alone known where they were stemming from?) I think he'd have snuffed them out in immortality and/or purposefully gone against them; he doesn't take kindly to being told what to do.

In order from left-to-right, top-to-bottom, here's an explanation for each!:

Flat objects such as paper are something he may find particularly engaging. It's basically 2D!

Tessellations are especially fascinating, and our world has them everywhere in the form of tile floors. Symmetry and such a predictable pattern...as the infinity of the starry sky might for us, the infinite potential of tessellations might invoke a similar sense of awe in him. Add on the maximum contrast of black on white kitchen tiles and the forms are only even better defined! A sensitivity to contrast would be very helpful for a 2D being navigating their environment.

Fields are flat and open, much like Euclydia itself. Laying flat may make him feel a little more at home.

More tessellation in the honeycomb of hymenopterans (bees, wasps and friends)! It helps that pain is hilarious.

The city is an absolute treasure trove. Rectangular buildings, precise architecture, square sidewalks and straight lines abound...he may as well be looking at a rainbow or an art gallery! I think a Euclidean's brain is very fine-tuned to mathematics, especially in regards to trigonometry. What may appear to be a straight painting might appear obnoxiously crooked to him.

Zebras are high-contrast :]

Another flat surface, another relaxing space <3

I think graphs are about as high as high art gets to most Euclideans.

I've touched on shadows before, and for good reason; truly they must be something borderline magical to the Euclidean and perhaps bitterly nostalgic.

This one kinda speaks for itself. Dweeb.

🎨 The Artsy Stuff

Lately I've been trying to find ways to fit more color into my work, as color is perhaps one of my favorite things in the world. My wardrobe is rather garish; my dad jokes that you could see me from space. My fursona is obnoxiously bright for a reason -- I feel my soul is a very colorful one!

I also realized recently that I don't actually know the exact style that speaks to me. I could talk about the phenomenon of the "style crisis" that many artists have all day, but in my mind the best cure for this feeling is to go against it entirely and begin stealing as much as possible.

So, I've tried to keep an eye out for more sources of inspiration everywhere I go, physical and digital. I've tried to train my mind into making a habit of considering, "can I do anything with this?" everywhere I go, and it recently paid off!

The glittery rainbowy texture you see plastered all over Billiam is this one, a photo-manipulated set of fruit stickers. I must confess I've been obsessed with this image for the past 72 hours, and this seemed like a good excuse to try it out!

I worried throughout the process if it might be so abstract that it loops back around to being horribly deliberate, if that makes sense -- like each sparkle was not a piece of a whole but rather an object in itself -- but it seems like that hasn't been a problem, so I'm grateful for that :Dc

I hope it can dazzle and delight you as it does me, but as long as you find it fascinating at the very least then I consider it a success! I really enjoyed hearing my friends' interpretations while workshopping it, and got tons of amazing answers from opal to kaleidoscope to fossilized bone marrow! I truly believe that the best art has some room for interpretation and it really excites me to be surrounded by that kind of creative energy that follows said pieces. That definitely adds to my pride in this work. It's weird, it's colorful, it's detailed and yet ambiguous. I'm feeling pretty autistic about it

Alright, I think that's about it. Thanks for listening!

[annabelle--cane]

I guess the thing that makes me not so fond of Jon's addiction allegory is that it's only coherent to a certain extent? Like I think people sometimes forget that he's actively violating these people

anon, through no fault of your own you have accidentally hit upon my sleeper agent trigger phrase. I have layers of answers to this.

so first off, yeah, it's not a 1:1 direct metaphor, it's a soupy dream logic fantasy plot device with flavors of a lot of different things. there's quite a lot of addiction in there, there's some abuse of power, there's some cyclical nature of trauma, there's a dash of disability, there's a few notes of gendered violence, there's a good bit of just. violence violence and being kind of a motherfucker because goddammit it feels good to be an active agent about something in your life, even if it's just choosing to be a worse version of yourself than you strictly need to be. a lot of tma's worldbuilding is very allegorical, but apart from aspects of individual statements nothing really matches up quite 1:1 with a real world counterpart, and if more things did then it probably wouldn't be a fantasy show anymore.

secondly. okay to contextualize this answer a little bit I have a kind of hypothetical video essay project about vampirism and addiction that I like to spend a few hours thinking about every so often but am almost certainly never going to make because the full research burden required is a lot higher than I actually have the time to properly do. but because of that I've spent a lot of time sorting through why framing vampires as addicts really works for me in a way that it doesn't seem to for everyone, and I think a lot of my thoughts on that also apply to jon. there's going to be a bit of a detour here before we get back to talking about tma, but we'll get there, I prommy.

I've seen a lot of people take issue with various paranormal addiction allegories because, a lot of the time, the act that is meant to metaphorically represent the act of use itself is something that is directly and inherently harmful to others, e.g. drinking human blood, handing over power to your hedonistic Evil alter ego, holding the cursed amulet and going crazy going stupid, slurping trauma out of the head of some guy you ran into on a boat to norway, etc., and yeah, I do get that. substance use is not inherently harmful like that to anyone except sometimes the user themself, and addicts are not inherently fucked up and destructive people; those are dangerous stereotypes that often lead to the demonizing of a whole group of sick people.

here's the thing for me, though: those are definitely truths I want explored and represented when it comes to portrayals of non-allegorical actual addicts, but fantasy fiction isn't for showing the world as it is, it's for showing a subjective fun house mirror version of reality where certain aspects are minimized and magnified depending on how it feels to live through it. and yes, absolutely in real life drug use is not an inherently evil act and it does not make you an inherently evil person, but... doesn't it kind of feel like that? sort of? absolutely no one is living their best life nor on their best behavior while experiencing any kind of major mental illness episode, and when it comes to addiction you've got a very clear tangible symbol of when The Episode is happening that it feels like you have much more control over than when it comes to other illnesses. it's also a thing where people are a lot more likely to be openly angry and distrustful of you if they find out it's happening. so you mix together the ideas of "I know I get worse as a result of doing this one specific thing" + "I act less like myself when I'm using, it rearranges my priorities and I care less about hurting people because that's what happens when you're experiencing The Horrors" + "society at large/people directly around me are pretty quick to say that doing this is evil," and you get the subjective emotional result of "I hurt people by using and it makes me monstrous." I tend to respond to those kinds of paranormal allegories like they're just cutting out the middle man of those subjective fears. "using makes me monstrous" -> "using is monstrous."

anyway. jon archivist.

don't get me wrong, I totally understand if this aspect of metaphor doesn't gel for some people and they only like taking it exactly as far as the text explicitly makes them, but I really get a lot out of reading jon's connection to the fears as addiction precisely because he does genuinely awful things to people as a result of it. he's a person in a very bad physical and mental place with little to no support who is constantly being told by both allies and enemies that he's already a monster just by being alive, and he copes with that by secretly falling further and further into an compulsive act of consumption that skews his priorities and makes him care less about hurting people because at least sometimes getting to be the cause of pain makes him feel a little bit less powerless when he has to be the subject of pain the rest of the time. then he's found out and is made to stop, and he has to grapple not just with the physical toll of withdrawal but with knowing there is a not insignificant part of him that will excuse any act of malice if he knows he'll feel better afterwards.

the end of tma is very explicit in the fact that the rules of its world are shaped by the subjective worst fears of those who live in it, it's "an exercise in unreliably reality" as jonny sims put it once, and I think that principle extends backwards in some ways to apply to the rest of the show. I don't think the fact that there are only entities of fear and not hope or love is meant to be a full commentary on the total nature of the real world, it's a reflection of what fear and suffering can make the world feel like. eric and melanie both go to really harsh extremes to extricate themselves from the fears and live peaceful lives, and in both cases something happens that foils their plans (getting murdered + the apocalypse, respectively), but I don't think the intended message is to say that is definitively how real life works, they are metaphors for the limits of individual agency in larger systems and represent two types of worst-case-scenarios. similarly, I don't think reading jon as an addict implies that addiction inherently involves violence or that the reactions of those around him were completely unjustified, it's just a subjective exploration of the kinds of fears that can come with addiction dialed up to 100.

[atamascolily]

A few more observations on the second Walpurgis no Kaiten trailer, building on my earlier post. This trailer is so detailed and so intricate, I can really only watch it shot by shot in slow motion, otherwise I miss too much, otherwise it all goes by too fast.

The scallop shells on the handbag look similar to the scallop shell hand mirror that Homura is holding.

I can't decide if teapot on the table has the same pattern/design as the cup in this other shot. There are at least 2 tea parties in this trailer, and possibly more that we haven't seen yet.

Speaking of which, the angle on the stabbing shot suggests that the person is stabbing themselves in the arm--it looks like the salamander, representing Devil Homura's power, is trying to get to them, only to get stabbed by what appears to be a box cutter blade (??) and then it morphs into a cuff to try and control the person anyway. So I think perhaps Devil Homura will have a tea party of her own, though it's not clear to me yet if she's meeting with the green-haired girl in the glass dome or not. Or maybe someone else is meeting for tea and the salamander tries to sneak up on them when Devil Homura is not present. TBD.

Before the salamander becomes a cuff, though, it forms this lattice network first:

Oh, and you know where else the box cutter turns up? The box fan shot, of course. There is something sticking out of the middle left side of the box that looks suspiciously like a handle. And given that the box is all cut up enough to be taped together... well, that certainly seems like some kind of sabotage, doesn't it?

(SHAFT, are you giving us a magical girl whose weapon is a box cutter?? Or is this the Doppelganger Homura's answer to the salamander/dark orb? Either way, I'm here for it.)

The "fragile, handle with care logo" looks an awful lot like the cracked glass in this shot, too. Things are holding together, what is damaged is being repaired, but for how long??

Sayaka in the theater is literally experiencing a flash of insight, likely heralding a return of the memories Homura took from her at the end of Rebellion.

It seems like Sayaka is going to be in a unique position in this movie, since she is both magical girl and witch, and it sure looks like the witches are coming back (along with Walpurgisnacht!) It begs the question of whose side is she going to be on, and I suspect she'll be conflicted about that.

This other shot also suggests some kind of soul-searching, given that mirrors/portraits/stained glass on the walls were used to symbolize Homura regaining her memory in Rebellion. However, the books that are frozen specifically appear to be associated with the "book of witches" in another shot and the books piled up in the background behind Kyubey:

You can see one of the Anthonies (Gertrud's puffballs) in this shot along with other witches. Each page looks like an illuminated manuscript and/or possibly a card (?). You can tell Inu Curry had a lot of fun with this one!

There are madeleines in one of the jars behind Mami, which are associated with memory (cf. Proust's A la recherche du temps perdu) but the jar is closed and they are out of reach.

I'm really leaning towards this girl being an alternate Nagisa given the similarities between this shot and an early character design from Rebellion. (Either that or they just recycled the design, lol.) I can see the resemblance to the bear girl from episode 12, but somehow I think SHAFT is gonna stick to established characters/witches, especially given the witch book shot.

I think the exploding white feathers are from the same scene as Madoka-Doppelganger Homura waltz, and either represent Madoka regaining her memories or something going out of control and/or an interruption. TBD.

Anyway, that's all I got for the moment.

[merakiui]

i agree with the assignments but hmmm... i think malleus should be gluttony and idia lust! I feel like the same reasons we can confuse idia for pride can be the reasons why he fits lust. Whereas the reasons malleus can fit greed, is why he's gluttony if that makes sense? Also when it boils down to it, i feel like malleus can be in a sexless relationship based on pure love but i can see idia blowing his lid if he gets continually denied. I also feel like malleus has more self control and even with biological ruts, he can hold back and not "make a mistake" where i feel like idia would downright demand darling to take care of his lust. I know we always joke abt shy subby uwu idia, but ppl forget who he represents and just how depraved he can be. It can get rlly dark w him and lust >_<. But malleus, i see more of like gluttony for life and experiences. I think nothing would make him happier than to be at the center of the table, surrounded by food and drink and company and having a ball of a time. Even as the night weighs on and people are exhausted, malleus wont dismiss them as yet because HE is enjoying himself and having a good time, to the point where he is the only one smiling at the table anymore and everyone else is tortured to be there because of his gluttony for companionship. Mal is a spoiled prince and if he lacked any less, he would be envy, but he has everything. He has a lot of pride too, but not infront of player, and when it boils down to it, Idia has desire, but Malleus really just has a hunger to be accepted and loved.

AAAA ANON, THESE ARE WONDERFUL POINTS!!!!! Very thought-provoking!!! I wanted to separate sex and lust for what I have in mind for the fic (and if I wasn't writing about the seven Overblots then Rollo would immediately take the sin of lust for very obvious reasons and symbolisms. <3). I definitely agree that Malleus and Idia fit lots of different sins and so it can be difficult to assign just one to them (as well as the rest of the cast, but it's a little easier for some of them,,, i.e. Riddle's infamous temper grants him wrath by default. Azul's insatiable avarice (when it comes to his contracts) grants him greed. Etc etc.)

I do think there is a solid difference between desiring something and hungering for it, but then they also pair well together from time to time. Perhaps desire gives way to hunger. To hunger for something is to do so out of desperation (in some cases), and since Malleus is such a lonely soul and has never truly had a connection in which someone looks past the lofty title of heir apparent and future ruler of Briar Valley it makes sense for him to hunger so desperately for that sort of connection. It's why he's unable to simply let Lilia go and why he doesn't want to lose him. He can't accept the finality of an ending or parting, which is why he puts everyone to sleep in hopes that they can all find happiness in their dreams.

I think you can also argue that Idia hungers a little in book six. He desperately doesn't want the job he's set to inherit, and even when he was little he wanted to find a way to escape with Ortho. But due to the circumstances and the curse of his lineage there's only so much that can be done, or so he views it as such.

Perhaps these sins are interchangeable with Malleus and Idia depending on how you frame it. They both desire and hunger for things in their own ways. Idia's guilt and stress overwhelms him and his idea of getting what he's always desired is to reset the world alongside Ortho. Malleus's loneliness and desperation to hold onto the bonds he currently has (his unwillingness to let these go, to accept the fact that everyone will inevitably grow old and that life goes on, his desire and/or hunger to be seen and accepted for himself)......... aaaaa it's great!!!!

Rambling aside, I do love the thought of Idia embodying lust and Malleus embodying gluttony. I'm still debating between the two, but now I'm inclined to lean more towards these assignments after reading your thoughts and dissecting my own. They're very fitting from your perspective!!! >w< also,,,, I like a very dark, messed up Idia, so perhaps pairing him with lust will make for very yummy concepts.

[flowerandblood]

The Pearl and the Sapphire (3)

[ modern! • Aemond x Baratheon! • female ]

[ warnings: sex content, oral sex, fingering, smut, angst, sexual tension, obsession ]

[ description: As a representative of a large family-owned gemstone business, Aemond is attending a major jewellery event where jewellery makers from all over the world are exhibiting. One of them is the Baratheon family. Aemond is tasked with focusing on attracting new customers, but his attention is diverted by the youngest daughter of the eminent maker Borros Baratheon. Slow burn, bitchy, possessive and obsessive Aemond, lots of dark angst and sexual tension. ]

A story which is an alternative universe of The Impossbile Choice taking place in modern times. The characters are all the same as in the main series, however, for obvious reasons they will behave differently and experience things differently from medieval times. You can read this without having to delve into the main series.

Series moodboard: Aemond & Miss Baratheon

* English is not my first language. Please, do not repost. Enjoy! *

Previous and next chapters: Masterlist

______

He had no idea what had popped into his head to suggest meeting her in this kind of place in such a direct way, embarrassment and shame got to him as soon as he entered his hotel room. He figured she surely thought he was desperate.

He decided that he would try to be professional and not to show what was hidden in his head.

He turned up at the restaurant ahead of time, informing Alys beforehand that he was going to have a meeting with Borros. He didn't want her meddling in affairs that weren't her own, and he knew that if she found out about the meeting with his daughter, she would surely pester him with messages and check when he would be back.

He sat down at a table tucked as far back as possible so as not to draw attention to himself. He waited all tense, feeling his heart pounding.

Why was he stressing so much about this meeting?

He shuddered when he heard someone's footsteps beside him and saw her above him. He swallowed loudly, seeing her black dress with a white collar, feeling with shame how his cock throbbed greedily at the sight. He stood up, not knowing how to act, how to greet her.

He felt relieved when she extended her hand to him and he shook it. He swallowed loudly feeling how soft, warm and small her hand was. They ordered wine and he started a conversation, wanting to understand why he was actually seeing her and not her father.

"My father values freedom of action. Also the choice of materials to work with. He now works with who he wants and decides for himself what is best for him. He fears that your company, with lawyers deliberating over every comma in the contract, will arrange it so as to influence his decisions as much as possible." She said, and he furrowed his brow at her words, tense.

What was she implying?

"You think we're going to try to trick your father?" He asked annoyed, and she looked at him, something in her gaze that confused him.

"Can I trust you?" She asked suddenly, and he opened his mouth and closed it, surprised and flustered.

What was he supposed to say to her?

"No." He said in accordance with what he himself thought. Seeing her hurt, shocked face he continued, wanting to explain what he meant.

"You can't trust me, just as I can't trust you. You will protect your father's interests and I will protect mine. There is no friendship in business or holding hands in the sunset light." He said with a tinge of mockery, which he immediately regretted seeing a grimace of pain and some kind of disappointment cross her face.

"I didn't know that to trust someone you had to be able to be friends and hold hands. I thought it was enough to be a decent human being." She said in a trembling voice and he pressed his lips together, feeling both rage and shame, his hand clenched into a fist.

"I'm not a decent person." He explained, not wanting to leave her with any illusions.

"Nevertheless, I have with me the terms and conditions of our company written down on paper, without paragraphs written in small print. You can look them over and determine whether you want to pass them on to your father or not." He said a little softer, sensing that something was happening to her, that his answers had broken her for some reason.

Why was she approaching this so emotionally?

His lips parted as he saw tears run down her cheeks. His heart was pounding like crazy and he had no idea what he should do.

They both flinched when her phone began to vibrate in her clutch bag. She wiped her tears quickly and pulled it out, but when she looked at the display she turned pale and shuddered, he felt like she was about to faint.

What was happening to her?

She hid the phone quickly back in her purse, looking at her hands on the table as if she had completely forgotten his presence.

"… are you all right?" He choked out finally, horrified by her condition.

She drew in a loud breath and laughed despairingly at his words through her tears, pouring herself a full glass of wine.

"No."

She wiped her nose, swallowing quietly, trying to calm herself down.

"I'm sorry. Thank you for your honesty. Can I have these documents?" She asked in a slightly hoarse voice.

He swallowed loudly and nodded, grabbing the folder he had placed on the windowsill earlier and handed it to her.

"Go over it calmly. You don't have to rush. My grandfather really cares about this and is willing to wait and read your version of the agreement if you want to present us with one." He said in a slightly softer, calmer tone.

"All right. Thank you." She said softly. They both shuddered as her phone began to vibrate again in her handbag. She took it out, muted it and tucked it back in, her lips tightened into a thin line.

"Someone doesn't understand the word 'no'?" He asked suddenly and swallowed loudly, surprised and embarrassed by his own directness.

What right did he have to ask such things?

He saw her puzzled and confused look, and for a moment she thought strenuously about what she should answer to such a question.

"In a way." She said, grasping her glass in her trembling fingers and taking a deep sip of wine from it.

He pressed his lips together at her words and thought they both needed it.

A relaxation.

It wasn't about quick, rough sex.

He wanted something else from her, but he wasn't sure what.

"Let's move to my room." He said after a moment and pressed his lips together watching her reaction, she threw him a surprised, horrified look. "We can think together about what to answer to a man who won't let you alone."

Say yes, he thought.

I'll give you everything.

He felt a wonderful heat of satisfaction surge through his body as she nodded her head.

They drank what they had in their glasses to the end, then rose from their chairs. He took the half-full bottle in his hand, recognising that they might still need it. They headed for the lift without looking at each other, as if they were both ashamed of what they were doing.

They rode in silence to his floor and started down the corridor. He prayed that Alys wouldn't come out of her room, he didn't feel like explaining himself to her. He quickly put his card to his door and opened it, letting her in, looking around and finding to his relief that no one had seen them.

He walked in behind her and closed the door, turning on the hall light, pulling off his leather jacket and boots. She also pulled off her shoes and put them next to him, then stepped deeper uncertainly, looking around.

His room was actually an apartment with a view of the city, couches in the middle and a huge TV, a large double bed to his left. He saw her glance at it out of the corner of her eye and swallowed quietly, he felt his cock pulsate painfully hard in his trousers.

There was no way this was going to end well, he thought.

Still, he never felt better.

He moved to the kitchenette and reached two glasses from the shelves, feeling a pleasant heat in his stomach. He knew it wasn't just the effects of the alcohol.

He turned, walking to the small table opposite the sofa, placing the glass on it, seeing that she was still standing in the same place, terrified.

She was afraid he was going to do something to her.

That he would add something to her drink.

"What does he want from you?" He asked, wanting to relax her, to distract her from her worrying thoughts.

She blinked and lowered her gaze, embarrassed, coming shyly closer, her scent reaching his nose again. She sat down on the sofa and he sat beside her at the other end of it, keeping his distance, wanting to give her the feeling that he would not do anything against her will.

He saw that with a trembling hand she had taken her phone out of her clutch bag and unlocked her phone. She began to read the messages she had apparently received and pressed her lips together, tucking her mobile into her bag again.

He saw that she had shut herself in and was breathing anxiously. She swallowed loudly and looked at him finally. He felt a shudder pass through him at her words.

"Question for question."

He tapped the inside of his cheek with the tip of his tongue, wondering whether to agree. She could end up asking him something he didn't want to talk about at all. He decided, however, that it might be interesting and he would have a chance to learn more about her.

He nodded, leaning over and pouring them the rest of the wine from the bottle. He heard her sigh quietly.

"My ex-boyfriend wanted to be my friend. Months later, when I finally got myself together, he now decided he had made a mistake. That maybe we should get back together after all." She said with resignation, reaching for her glass.

He felt discomfort and a tightening in his stomach at the thought that she had been with someone before, at the thought of some men before him touching her.

That this men, this idiot, who left her wanted to take her for himself again.

"You and the woman you were with at the banquet. Are you two together?" She asked uncertainly, taking a sip of wine, leaning against the sofa, settling herself comfortably, looking at him expectantly. He pressed his lips together, looking ahead, raising his glass to his lips.

"No."

It wasn't a lie.

"Why did you break up?" He asked immediately and felt her move next to him uneasily. She swallowed loudly, pulling her legs up to her thighs, changing position.

"He wanted to have some more fun." She said quietly, as if in shame, and he cast her an anxious glance, feeling a strange tightness in his throat. He wanted to say something, but she pre-empted him with another question, from which he froze.

"Are you sleeping with her?" She asked without even looking at him, her gaze directed to her glass, which she held in her hands.

He felt his heart start pounding hard. Her question felt like a realisation of what he was doing, a realisation of who he really was. He thought there was no point in deceiving her, that she deserved at least to be completely honest with her.

"Yes." He said, immediately taking a deep sip of wine, unsure if he could bear her reaction.

He glanced at her out of the corner of his eye, and saw that she had swallowed with difficulty, sleepiness and fatigue on her face. She finally lifted her gaze to his, despite the fact that what he had said had clearly struck her, he could see no condemnation or disgust in her eyes. She parted her lips slightly as if struggling with what she was trying to say.

"Why did you want us to come here?"

Silence.

He stared at her feeling the artery in his neck pulsing hard, his heart pounding like mad, his member throbbing in his trousers. He was ashamed of how obvious his desire was and didn't know what to answer. The longer they looked at each other, the more uncomfortable and vulnerable he felt.

"You can say it. It's okay." She said softly, gently, and he felt heat spilling over his lower abdomen, his throat tightening as if in pain. There was something tender, reassuring in her voice, as if she understood him.

She was not judging.

"I want it." He whispered almost silently, his lower lip trembling as he spoke the words.

She pressed her lips together and lowered her gaze, as if his words intimidated her, though he didn't believe she hadn't expected them. He thought she would tell him that she couldn't, that she had just ended a relationship and didn't want to spend the night with a stranger whose private life was one big mess.

He twisted in his seat as she set her glass down on the table and moved closer to him, sitting in front of him on her lap. She took his hand in hers, and he shuddered when he felt her thumb run over his skin.

For a moment he didn't know if he should move or do anything, his gaze fixed on their hands, her touch gentle, safe, respectful. He set his glass down on the table and looked at her. He took her soft cheeks in his trembling hands.

For a moment they both just looked at each other breathing unevenly, asking each other wordlessly for permission. They leaned towards each other and their lips touched tentatively, her lips puffy and moist, sweet from the wine and her scent.

They both sighed quietly, gently sucking and licking their lips with a wet click, he purred contentedly as she wrapped her arms around his neck. He wandered his nose over her soft face, his one hand tentatively sliding down to her thigh, his fingertips trailing over her skin.

He felt shivers run through her, her hands holding him tightly.

He wasn't sure if this was really happening or if it was just his imagination.

His face slid up to her ear, surrounding her cheek and neck with his hot, aroused, erratic breath.

"– I want to taste you –" He whispered. She drew in a loud breath and trembled all over, clasping her hands in his hair.

He looked at her, her cheeks were flushed, her parted lips red from alcohol and lust, she stared at him with a warmth from which he felt hot in his chest.

"– will you let me? –" He asked softly and she nodded shyly, embarrassed by what they were both doing, what they both wanted.

He murmured contentedly feeling his heart pounding, his hands involuntarily sliding down to the thin material of her panties. Wanting to help him, she lay on her back, looking at him with her lips slightly parted, her whole body quivering with emotion.

He couldn't believe that this was really happening.

He slid them slowly down her thighs, watching her face the whole time, wanting to be sure she hadn't changed her mind. She swallowed loudly and pressed her lips together, placing her hands on either side of her head, looking at him pleadingly.

She pleaded him not to hurt her.

He leaned over her, grasping one of her thighs in his hand and pressed his lips to her skin in a gesture of devotion, of desire, of tenderness. He had never treated Alys like this, never felt the need to do so, knew that she just wanted him to fuck her.

But he knew that she now placed her trust in him, and even though she knew he was not a good person, all she wanted was for him not to take advantage of her weakness, not to make her regret it.

His lips with sticky, loud kisses slid lower and lower leaving wet marks on her skin, he felt her breathing quicken, her body trembling in his hands. With a soft, sure movement, he pulled her down so that he had her in the perfect position, lifting her dress up slightly, looking at what was underneath.

"− fuck −" He exhaled, involuntarily running his finger over her entrance, seeing the state she was in, already soaking wet. He heard her squirm softly, surprised by this sudden gesture, her whole body tensed and breathless.

"− you're leaking −" He said delightedly, feeling that from the mere sight of her juices running down her buttocks onto his couch he had become completely hard.

She really wanted it.

She moaned helplessly, sweetly, trembling all over under his touch, as if she was trying to escape from him and at the same time wanted to feel him harder. He ran his thumb over her clit, massaging it in circular, slow motions, spreading her wetness, holding her thigh with his other hand so that she could not move away.

She mewled, tilting her head and he licked his lips involuntarily, seeing how sensitive she was, how his slightest touch drew out reactions from her that made him hot, even though he hadn't done anything to her yet.

"− what made you so wet? − hm? − messages from your ex? −" He asked teasing her, breathing loudly, the tip of his middle finger slipped inside her hot insides and her body arched backwards, she sobbed quietly at his words.

"− answer me −" He said coolly, looking down at her, watching her beautiful, gentle face, all red with exertion and arousal, her lips parted and swollen, her chest rising and falling restlessly, her gaze hot, thirsty, fixed only on him.

"− no −" She mumbled with difficulty, trembling all over, her hands clenched into fists. He hummed with satisfaction at her words, his finger slid in and out of her with a wet click of her juices.

"− maybe we can find the answer to that question together − what do you think? −" He cooed, putting out his finger, gripping her thighs in his hands, spreading them wider, leaning over her. He heard her drew in air loudly feeling his hot breath on her womanhood.

She arched her back and whimpered when the tip of his tongue ran over her sticky entrance.

"− I fucking knew it −" He growled out, pressing his nose against her clit, his tongue slipped deeper, involuntarily wanting to taste her more, her moisture spreading over his palate like the sweetest juice. "− I knew you would taste wonderful −"

He felt her hands clench in his hair, pressing him closer, her thighs trembling in his arms, sweet moans of pleasure erupting from her lips after each of his slightest touches.

Never before in his life had he been so aroused, so thirsty, filled with such tenderness and desire.

His tongue slid in and out of her with a loud, wet click, licking her more and more boldly, concentrating on the hidden point just at her entrance from which spasms passed through her. He groaned throatily when he felt her hips involuntarily begin to respond to his movements, seeking fulfilment.

He heard her sigh of surprise when he abruptly stopped, trailing his lips between her folds and her clit, teasing her only with his hot breath.

"− so − what made you so wet? −" He asked teasingly, waiting for her answer, once in a while tip of his tongue run over her entrance, driving her insane. He heard her swallow loudly, her hands stroking his hair, holding him close.

"− you −" She whispered in a trembling voice so quietly that he barely heard it. A dangerous grin full of satisfaction spread across his face.

"− I can't hear −" He murmured, teasing her, trailing his moist lips over her hot flesh.

"− you − please − ah! −" She moaned loudly, parting her lips wide and clenching her eyes shut, her body arching as his tongue suddenly slid between her folds again, moving quickly and intensely inside her, rubbing her where she needed it.

"− that's fucking right −" He hissed out between caresses, sinking his face deep between her thighs, eating her like a starved man, the only sounds in the room were her loud moans and the sticky, perverted clicks of his saliva mixed with her moisture. He felt her walls begin to pulsate around him and he knew what that meant.

"− Aemond − oh god −" She mewled, and then suddenly her whole body went breathless and tense, a loud, helpless sob escaped her lips.

She tried to push him away from her as the orgasm violently shook her body, but he held her thighs in his hands, not letting her move away one bit, licking devotedly everything that flowed out of her.

He rose at last, wiping his chin and mouth with his hand, looking at her with satisfaction. Her eyes were closed, her lips parted slightly, her cheeks and lips red. Her face had an expression of bliss and serenity, her hands placed idly on either side of her head.

She looked so innocent.

He looked down at her, slowly undoing the button of his trousers and unzipping his fly; she heard it and threw him a quick, uncertain look.

"You still want this?" He asked lowly, looking her straight in the eye, leaning over her, placing his hands on either side of her head. She swallowed loudly, looking at him uncertainly, and then nodded.

"Are you taking pills?" He asked, brushing his lips gently over the skin of her cheeks, wanting to remember this feeling, her hands stroking his face so tenderly, the touch of her fingers so gentle that he felt himself melting.

She shook her head, looking at him with shame. He hummed under his breath and kissed her forehead.

"It's okay. Come here." He murmured, grabbing her in his arms and getting up from the couch with her. Only then did he feel the wine humming pleasantly in his head, she seemed surprisingly light.

He set her down on his bed and reached his hand to the bedside table, pulling a packed condom from one drawer. He saw the look on her face, her eyes big, her lips parted in an accelerated breath.

She swallowed loudly as he lay back between her thighs sliding his trousers and his boxers down a little. She looked away seeing his throbbing, swollen manhood.

With a sure, light movement he put the condom on and grasped her cheek with his hand directing her gaze back to himself.

"– look at me – at what you've been doing to me since I saw you –" He said spreading her thighs, her breathing sped up suddenly at his words. He leaned over her, licking his lips, feeling his heart pounding like crazy with arousal, directing the tip of his member to her entrance.

He had never wanted so much to be inside any woman before.

"– already during the show I was wondering how to get you into my bed – how tight and hot you must be inside –" He murmured, hearing her breathing get quicker and quicker. They both moaned loudly as he slid into her a little, her walls clenching against him greedily.

"− fuck −" He breathed out, with another intense thrust entering her fully, feeling how warm she was, her body leaning back, tasting how much he was filling her tight insides.

He couldn't stop himself, her core was too pleasurable, too warm. Involuntarily he began to move his hips, sliding into her with ease thanks to the wetness from her earlier orgasm.

"− oh, baby −" He exhaled, speeding up, entering her with a loud, wet slap of flesh against flesh, looking at her gentle face on which dreamy delight was painted.

He was surprised to find that they both began to pant loudly, looking at each other with a kind of helplessness, feeling that they needed each other, her hand drew him close and their foreheads touched, her hips tentatively beginning to respond to his movements.

They kissed once, then again and again, uncertainly, slowly, as if they were unsure whether it was too intimate gesture. There was a tenderness and care in their soft, swollen lips that he wouldn't have suspected himself of, he'd never done it this way with Alys, never enjoyed a woman's body in this way.

"− my sweet girl −" He breathed out, moving faster and faster inside her, thrusting into her with all his strength, a whimper escaping her lips, her walls tightening on him steadily.

"− you like it when someone takes care of you, don't you? − when someone fucks you properly −" He gasped in a trembling voice, and she sobbed loudly, struggling to get the confirmation out of her throat.

He tightened his hands on her hips, her fingers entwined in his hair holding him close. He was looking down at her with parted lips, moaning and panting with her, feeling that he wouldn't last much longer, her legs entwined around his waist.

"− I'm gonna cum now, okay? − I'm gonna cum inside my sweet little girl −" He exhaled, and she nodded, shuddering beneath him all over.

"− oh, yes, please −" She mewled and moaned loudly as he slid his tongue into her lips, his hand sliding down to her swollen clit teasing her with his thumb, his cock rubbing against the point hidden inside her with each brutal thrust.

They both moaned low into each other's mouths feeling the orgasm shake their bodies, their hot, loud breaths surrounding their faces, their hands clenched painfully tight on each other in fulfilment.

"− yes − god, yes −" She whispered sweetly, writhing beneath him, giving herself over to the pleasure she was experiencing with him.

He kissed her feeling a wave of pleasure shake him, he felt an immense, overflowing relief, he purred and panted into her throat holding her to him tightly, her walls clenched against him greedily.

Never before had he felt so fulfilled, so at peace.

They both shuddered and looked at each other horrified when they heard a loud knock on his door. He felt his heart pounding at the thought that Alys had heard what they were doing while she was looking for him.

"Aemond? What the fuck? Who the fuck are you in there with?" She asked in a raised, angry and broken tone. His lover looked at him with terrified eyes, her lips quivering with despair. He shook his head wordlessly telling her to be quiet.

"Aemond!" She shouted, slamming her fists against the door, pulling on the handle, however without his card there was nothing she could do.

He lay on top of her feeling her trembling and embraced her, kissing her neck, stroking her head, closing his eye.

"You fucking bastard! Are you fucking this little girl? This little slut? God fucking damn you! How could you do this to me!" She whined and he heard her loud sobs.

He felt how she began to sob quietly in his arms, terrified and shaken, and he embraced her tighter, kissing her temple, letting her snuggle into him, wanting to protect her from what was happening. He heard her quiet, broken whisper.

"What have we done?"

____

Taglist 1

@its-actually-minicika @notnormalthings-blog @nikstrange @zenka69 @bellaisasleep @k-y-r-a-1 @g-cf2020 @melsunshine @opheliaas-stuff @chainsawsangel @iiamthehybrid @tinykryptonitewerewolf @namoreno @malfoytargaryen @qyburnsghost @aemondsdelight @persephonerinyes @fan-goddess @sweethoneyblossom1 @watercolorskyy @astral-blossoms @randomdragonfires @apollonshootafar @padfooteyes @darylandbethfanforever9 @fudge13 @snh96 @rwdkarla @echos-muses @ipostwhtifeel @letmeloveyouuuu @yentroucnagol @valeskafics @tempt-ress @ahristata @menaosama @queenofshinigamis @dark-night-sky-99

[meanbossart]

omg i loved that insight into some of drow's most important relationships it was so juicy...now...i gotta know what orin thought of this guy. we get some idea based off the game and other asks but what did orin really think of drow? especially when he first arrived at the temple it must have been something to be told this feral bastard is another of Bhaal's chosen. when do you think she decided to betray him?

GLAD YOU ENJOYED THE READING I love love Love getting into the nitty gritty of personal relationships so thank god some of you guys also like hearing about it LOL

But boy! That's a difficult one. Orin is a very mysterious character to me, we get a fair bit about her life and a vague idea of her relationship with you, but it's always from a second-hand source - the woman herself seems so stripped of humanity that it's difficult to imagine her doing trivial things like going to sleep at night or eating lunch - let alone how she felt about the people around her.

And there's an allure to that that I'm hesitant to try and demystify; not to mention how it itself was a source of frustration to DU drow. While its not like he ever desired to have a sit down and talk about their feelings together as a bhaalspawn, he did want to be let in, whatever that meant - and Orin never ever allowed that, though she did let him get close enough to keep trying.

I do like to believe they were both much less brazen when they met as young adults, DU drow being the shellshocked looking freak who barely knew how to carry out human interaction that he was, and Orin being a lot more explicitly reliant on Sarevok's approval and guidance to exist in the temple. With this, I think there would have been room to some insecurity - if there's another bhaalspawn, her need and effectiveness would come into far more scrutiny than it already did, after all. She would have probably disliked and avoided DU drow not on the basis of his appearance or past, but just because of this threat that he represented to her alone.

And while they inevitably grew close in a very weird way, that very first impression would have planted this seed of resentment in her which would eventually result in the betrayal; but it definitely wasn't the only thing that led to it.

Orin would have been all too aware that DU drow wanted her as more than a sister or a cohort; he was INCREDIBLY unsubtle and would have made attempts to escalate their relationship at least a few times. Because of my theory that Sarevok wanted them to breed together, this behavior was never discouraged, and while I highly doubt it was ever explicitly and openly discussed, I do think Sarevok would have found ways to imply to her that he would like to see the line continue through them.

Obviously Orin never reciprocated DU drow's feelings or desires, but she did enjoy toying with him - while she probably did love him as family, I don't have to spell out to you how weird a situation this is and how it might lead to a lot of bitterness on her end. I don't know if she "led him on" out of malice, out of a desire to feel in control of the situation, or just because she enjoyed the mind games, but these instances of teasing and holding things over DU drow's head only came after many blunt attempts at shooting him down, and looked very different from any sincere displays of affection they may have had as "siblings". Whenever DU drow wanted to push her boundaries, it would be as if a switch flipped and their dynamic ever so slightly changed - and she met in kind. This would usually reach a peak where it broke out in violence, and always ended with them beaten, bleeding, but laughing. And then it would never be spoken about again.

So, with this growing resentment, plus Sarevok's growing favoritism towards DU drow and his seeming desire to see them mate, PLUS Orin's very real ambition to pursue Bhaal's plan and gain some recognition of her own, she would have eventually decided that she didn't want want DU drow around anymore. What feelings precisely led to this decision I do not know, but whatever they were they had been festering for a very long time.

[am-i-the-asshole-official]

WIBTA for seeking out my ex to apologise to them?

For context, I had a long term (over 6 years) relationship with someone when I was younger (i was 21 and they were 20 at the time of our breakup, both nonbinary). They asked me out when we were both barely even teenagers, and in a way we grew up together. They were a great partner, and we were both very dedicated to each other. However I went through a lot of mental health struggles while we were together including a lot of suicidal ideation and some attempts, and eventually they asked to break up as they felt our relationship was becoming stressful for them and that I was relying on them too much/being too codependent.

At the time I was a little confused and upset, but I had always clearly made it a condition of our relationship that either of us could leave if we wanted to and had no obligation to stay. So in the end our breakup was pretty amiable, just sad, and we went our separate ways. In hindsight, our relationship was definitely unhealthy for both of us, and my mental health has ironically improved a huge amount since we broke up. So they were 100% right about it not being healthy, and I have nothing but respect for them.

In the years since, I have often felt guilty about how I treated them and wished I could make up for it/take back how I behaved. I never tried to hurt them on purpose but I would vent to them constantly without considering how they felt, and in general I think I took them for granted and would treat them more like a therapist than a partner, when they had their own issues too and I should have never made them feel responsible for mine like that. Neither of us were perfect, but I feel I definitely hold a lot of the blame for how things ended up. I don't think I had the emotional maturity at the time to realise how unhealthy our dynamic had become, whereas they did, and I think both of our lives have become better as a result of us breaking up.

It's been a couple of years since we broke up. They haven't changed any of their social media usernames or blocked me etc, so I could still reach out to them if I wanted to without having to block evade or anything weird like that. Part of me really wants to send them some kind of apology or something, so that they know they're a good person who did the right thing and that I'm sorry for my past behaviour.

However, part of me also recognises that I probably represent a dark period in their life, and that they likely just want to move on and forget about me. For this reason, I worry that apologising would be a selfish move on my part to just assuage my own feelings of guilt, but would only serve to stress/creep them out or hurt them further, which is the last thing I would want to do.

So, would I be the asshole for reaching out to them to apologise? Is it better to leave things alone, or would it be helpful for them/give them closure to hear an apology from me? It would be really helpful to hear people's perspectives on this, especially people who have been on the "other side" of a situation like this.

[fawnforevergone]

Quick List of References to Dante's Inferno in "Unreal Unearth" (Part One)

HELLO !!! there is now an updated list since we have now heard the old album so please go check that out instead: [ the ultimate "unreal unearth" reference list" ]

[ PART TWO ]

If I miss anything or get anything wrong, let me know! I'm so interested to know what everyone else thinks, too :]

Another long post, but I simply have too much to say.

THIS WAS MADE BEFORE THE ALBUM RELEASE !!!!

"DE SELBY (PART ONE)" "You take in the blackness of air, the likes of a darkness so deep that God, at the start, couldn't bear." The theme of darkness is a repetitive one in Dante's Inferno, representing sin and it's deceiving behaviour. Particularly in the opening of Inferno, Dante and Virgil have to treck through a thick blackness after entering the gates of Hell.

"DE SELBY (PART TWO)" "Let all time slow, let all light go, I don't need to know where we begin again." DS(P2) is another song that references the absence of light, and would make sense being a continuation of DS(P1). "Let all time slow" references the eternal and infinite nature of a punishment in Hell, and "let all light go", again, show the darkness of Inferno. "I don't need to know where we begin again" is more a repetition of Hozier's own work with his multiple references of death not being the end - "Francesca", "Work Song", "All Things End", "Wasteland, Baby", etc. - but still references the idea of entering a new life after entering Inferno.

"FIRST TIME" "And the soul, if that's what you'd call it, uneasy ally of the body, felt as nameless as a river, undiscovered underground." It appears, in the track list, that we are now moving beyond the threshold of Hell. The mention of "a river, undiscovered underground", is a reference to the river Acheron that runs through Inferno. The river contains a ferry, ran by the Greek Psychopomp, Charon, who escorts the souls of the underworld. Dante is known for mixing different mythologies together in Inferno, so the mentions of "soul" and "river" and "undiscovered underground" all seem to be a reference to Charon and his role in Inferno.

"FRANCESCA" The whole song of Francesca is a reference to the story of Francesca da Rimini, who was sentenced to the second circle of Hell, 'Lust', after caught in an affair with her husband's brother, Paolo. Francesca claims that love has seized her so tightly that she can't stop loving Paolo, not even in Hell. The entire song references this story so I won't pinpoint these lyrics. "My life was a storm, since I was born. How could I fear any hurricane?" The second circle of Hell is plagued by violent winds meant to reflect the passions of reckless love. The winds are so strong that the inhabitants of 'Lust' find themselves thrown around and unable to stay in one spot. Hozier claims to not be afraid of these winds, saying that love has always felt this reckless, even in mortality, and death will not phase him. Whether he is saying this from the perspective of himself or Francesca is up for debate.

"I, CARRION (ICARIAN)" The whole song is very clearly about the tale of Icarus, and even has some mentions to the titan Atlas, "You have held your hands beneath. Once I had wondered what was holding up the ground. I can see that all along, love, it was you all the way down." Icarus and Titans are mentioned throughout Inferno, Hozier again hinting at the mosaic of mythology Dante created. In Inferno, Dante compares his own dread to the plummeting of Icarus, and Hozier now compares his love to the dreaming and hope of Icarus as he flew, making it a fitting song for the 'Lust' circle as well.

"EAT YOUR YOUNG" We now enter the third circle, 'Gluttony', and the song is very overt in its imagery of hunger. As far as I'm aware, the song has more political references than it does direct references to Inferno, but the song is very obviously about Gluttony.

"DAMAGE GETS DONE" The minimal lyrics we have for this song don't give me a lot, but I would say they definitely don't reflect hunger, so I think we have entered the fourth circle, 'Greed'. 'Greed' is categorised as one of the sins committed out of a lack of self-control, like 'Lust' and 'Gluttony'. However, Hozier seems to be fighting this idea in the lyrics, claiming, "But I know being reckless and young is not how the damage gets done." The idea of "damage" also reflects the circle of 'Greed', as the punishment for this sin is that the inhabitants are grouped into halves, and each half are forced to engage in an eternal battle that leaves them so injured, they are impossible to recognise.

"WHO WE ARE" I'll be honest, in terms of references, we don't have a lot for this song, although, as mentioned in the next paragraph, "Son Of Nyx" has to be about the fifth circle, 'Anger', so "Who We Are" is either another 'Greed' song or it's a second 'Anger' song. Although, we do have the lyric, "But it sharpens like a knife", which throws me back to the knife imagery of "Take Me To Church", a very biblical song in terms of imagery, and in the fourth circle, 'Greed', Dante sees varying members of the Clergy, so perhaps "Who We Are" is a similar song to "Take Me To Church", and takes place in 'Greed'. TMTC: "You can sharpen your knife", "My lover's the sunlight", "She demands a sacrifice", "Only then, I am human." WWA: "It sharpens like a knife", "We're born at night", "Darling, we sacrificed", "It's who we are." The biblical similarities could present this as a 'Greed' song, referencing the various clergymen who reside there. "SON OF NYX" Though we have no lyrics, we know the song after this is "All Things End", which is about the sixth circle, 'Heresy', so this song has to be about the fifth circle, 'Anger'. Nyx was a Greek Goddess who was the personification of night, once again referencing darkness in this album. Nyx has many offspring, all presenting various different things. Nyx, however, did inhabit the dark recesses of the underworld, respected and feared by even Zeus. We have no lyrics ( although, perhaps it is just this song renamed ? who knows ), so I can't say for certain how this relates, but a Goddess that resides in the underworld seems very fitting for Inferno.

---

Again, if I missed anything, please tell me! I'm already so obsessed with this album, I need to know if there is content I am missing, thank you soldiers. (ง’̀-‘́)ง

[patchwork-crow-writes]

Hi!! Second question here!!

I see you talking about Kralsei a lot and I honestly LOVE reading about it!! I'm really curious to know what you think about their symbolisms of light and dark, and how this would reflect on their characters and relationship in the game itself!

...oh boy, do I have Thoughts about this topic. I could talk about this for DAYS, but I shall refrain and just offer you some of my most recent musings on the subject.

So yeah, I'm pretty much in the same camp as you when it comes to looking at Kris and Ralsei as representing their respective worlds - obviously Kris is our protagonist and the character we literally control, and they're a lightner, so they represent the light world, while Ralsei is the first (actually second because of Lancer) darkner we meet and get to know, and he calls himself the prince of the dark, so naturally he stands in for the dark world. The two characters have some kind of connection that hasn't really been explored too deeply in-canon, and there's all the talk about the balance between light and dark and how disaster will befall the world if the two were to fall out of alignment, and it does make you wonder what role exactly they will play in redressing that balance... but more on that later.

What complicates this view is the fact that there's three entities you have to consider: Kris, Ralsei, and Us. And then you have to ask a new question, which is that if Kris represents light and Ralsei represents dark, then what exactly are we supposed to represent? Are we the force that works to keep them in harmony? Or could we be the wedge that drives them apart, by forcing them to interact in ways that neither of them really want to? Obviously our involvement is non-negotiable at this stage, as there wouldn't be much of a game if we weren't present to exert our influence upon Kris, and by extension Ralsei. But it is possible that, in our eagerness to force them together/apart, depending on your viewpoint, we could perhaps be sowing the seeds for disaster further down the line.

Another thing I think about with regards to Kris and Ralsei, both in terms of their developing relationship and the debate surrounding them, is how important communication - or rather miscommunication - is when discussing them. In-game time, these characters met yesterday, so they don't really know each other all that well. Kris isn't exactly able to represent themself properly due to our influence, but even putting that to one side their proclivity for pranks might make it difficult for Ralsei (who we must remember doesn't really understand the concept of sarcasm) to properly understand them on the rare occasions they are permitted to speak. And for his part Ralsei is a textbook people-pleaser who seems to default to whatever he thinks would make Kris and/or the player happy over his own preferences, and we also know he has a bad habit of not telling people things he doesn't think they need to know, perhaps until it's too late. Put the two of them in a room together and there's a good chance that neither of them will have a clearer understanding of who the other actually is, but rather hold false representations of each other that all but guarantees further misunderstandings down the line.

And if these two characters WERE to end up in a relationship of some kind, whatever form that might end up taking, those misunderstadings could end up causing the very thing they were trying to avoid in the first place... but I shall park that thought there for right now :P

Meanwhile, there's also the point that WE do not really know Kris or Ralsei that well, or their respective opinions on each other. We have clues, of course, such as the teas and the ways these characters behave around each other, but there is the danger of extrapolating from these meager pieces of information, such as when people thought Ralsei might be "evil", or that Kris despises him because his tea doesn't heal for 120HP while Susie's does. And that can lead to assertions such as "Ralsei is essentially identical to Asriel so shipping him with Kris is essentially incest", which... I don't have enough time in the day to go over what is wrong with that right now, but trust me that is coming down the pipeline.

The crux of what I'm trying to say about all this is: we just don't know enough about the situation right now. We can't read Kris's or Ralsei's mind, and what scraps of knowledge we can glean from their conversations and narrative details isn't enough to base any sort of decisive statement on how their relationship might develop in the future. All we can say for sure is that something connects Kris and Ralsei, the game is pushing them together in these situations for some narrative or thematic purpose, and thus wants to say something about the nature of RPG romance, destiny, love, identity, agency, et cetera, through them.

But yeah... I've kind of rambled for like two hours at this point, so I think that's a good place to stop. Thank you for the second ask! :D

[hazbinbrainrotimnotokay2]

Kay so crack theory #2

In episode 7, someone (I forget who lmao) mentions "how will we defeat them, just the 7 of us" as in the number seven. 7 years, 7 deadly sins, 7 episodes until that point, 7 rings of hell, 7 of them.

The number 7 clearly holds significance, but I won't get into any of this right now (or ever, i'm too lazy)

But the main point I want to make is, 7 deadly sins, 7 characters in the main/secondary-ish-main cast, and obviously the Seven Deadly Sins are characters in the show/Helluva Boss already but I mean each one probably like REPRESENTS one

Based on this picture I tentatively put together a list of who I think represents which sin and an explanation of why;

Lust: Angel (Pretty self explanatory but to expand on it, the quote for Lust, "Wanting it all, way too soon.", has so much to do with his character it's hard to get into, the whole reason he ended up firstly in hell and secondly with his soul signed away is because he wanted everything he'd never gotten the chance to have, the "way too soon" being his immediate jump to get what he thought would be freedom but turned out being the opposite, not thinking about the consequence of getting it as soon as possible rather than waiting)

Gluttony: Niffty (Her obsessiveness towards cleanliness and "bad boys", her thirsting for these obsessions to be met and fulfilled, she is gluttonous for the result of her compulsions, "Being excessive with your thirst for words." she wants to find the way to express herself and chose this masochistic way of taking orders and enjoying being forced to do things, along with forcing herself or feeling compelled to do things like kill bugs obsessively, like a hunger)

Wrath: Husk (His gambling issues, the attitude he has towards being free of his deal to Alastor, "Wanting to win so bad, you get ruthless in your endeavours." it's why he sold his soul off to Alastor in the first place, his longing to win as an overlord and involved in gambling caused him to find other solutions, to grow ruthless in his pursuit of success. Then, after making the deal, the way he challenges Alastor shows his ruthless attitude towards freeing himself eventually, to get out of their deal at last)

Sloth: Pentious (He doesn't ever try to change any way he does things until he's forced, he was very slow to change his attack strategy, slow to confess to Cherri, slow to actually redeem himself, though he agreed to do so rather quickly, "Being too slow to publish." he is almost lazy and most certainly cowardly in the way he goes about life, he may not be the epitome of Sloth, but still quite similar)

Envy: Vaggie (She tries so hard to be the perfect partner for Charlie, and you can see her getting upset/jealous of Emily when she and Charlie hold hands in episode 6, she's also trying to pretend she's not a fallen angel, "Trying too hard to be like someone else." the someone else being the perfect person that she was supposed to be before she was cast down to hell and for Charlie)

Pride: Charlie (Because her father is king of the pride ring for one, secondly because she puts herself and what she believes is good for her people ahead of rational thinking any consequences her actions may cause towards the safety of hell as a whole, "Focusing on you, when there's a lot more territory to cover.")

Greed: Alastor (He certainly cares more about his own personal gain than for anyone else, his *audience*, as we see in Ep.8 with his piece in Finale, "Caring more about personal gains than your audience." encapsulates his need to be all powerful and discard his attachments in order to do so, to leave his audience behind in the hope of doing so)

This probably made no sense and sounds like me rambling but uhh yeah. @costco-poutine Thanks for cursing me with this idea for a theory and helping me write these out.

[wowifinallywatched]

Wow I finally watched Monsters at Work (S2)

**Minor Spoilers**

This show is Joy. This show is happiness.

This show is pure enjoyment, forget-about-the-world-around-you fun and indulging in a world full of adventures, Jokes and references to an original movie we hold dear to our hearts, While paving the way for a beautiful new story about a dynamic duo changing the colour of their world and the human world one child at a time.

I think there was a lot of risk, As with any sequel / spin off, of repetitiveness and overall the continuation of the story just not doing well.

But Monsters at Work was perfect.

(In my eyes - You do not have to agree with me, I just want to show my appreciation and love for this show and Story)

This show provided more of the future we've all been so curious about since the end of Monsters Inc (We all knew things worked out with Laugh Power - But did it really?) (Yes, Yes it did.) and the changes it made to the city and their communities as a whole - The politics, The power company's rivalry's, How people feel about laugh power, All of our favourite characters, All of our most disliked characters and so so much more.

They balanced giving a nod to the past, Making references to those original movies between og characters as if they're inside jokes (Which I guess, they are), Seeing characters we love and adore, Seeing scenery that is comforting and familiar, Even items (BOO'S DRAWING ON SULLEY'S DESK - I'M NOT OKAY-) without it being in your face and making it the whole show. Mike and Sulley being a part of the future of this company and caring for their little misfits, without overbearing and letting these new characters shine and share their own stories - It was perfectly balanced.

I love what this show represented as well - Different cultures and races in the human world and monster world, Different couples / sexualities without making it a big fuss (They're just in a happy relationship - That's what matters!), Healthy relationships and really great traits like embracing who you are, Always stand up for what you believe in, Never hesitate to show your Love for the things and people you care about and so much more!

Something I also loved is the representation of the real and healthy relationship between Val and Tylor - And the fact this didn't turn into a romantic relationship.

The first season was about building the foundations of their friendship and really getting to know each other - The second season really tested their friendship and saw to how they would get through these rocky times together.

While there were some moments of heartbreak, sadness and even anger - With communication, Responsibility and ackowledging what they had done, They got through it and came out the other side of it with their bond even stronger than ever! Which I think is something super healthy and important to represent.

And while I see there are a few hints here and there that could definitely lead to a Third season, Which halfway through episode 10 I literally said I would sell my soul for a third season, Once I had finished that final episode, My mind had changed.

The ending of Season 2 was perfect.

It was happy. It was fulfilling. And while I'd be one of the first to hop on Disney plus if a Third season did come out - I feel like they could stop the show here if they wanted to.

I could watch this show forever and ever and ever if I could, But we've all seen what happens when a show continues simply for profit etc. and it loses what that original story is about.

But on the other hand, they have a whole world of Monsters stories and cities to explore that we've only scratched the surface of.

And you never know what might be coming in the future.

All in all, I absolutely adored this show with all my heart and soul and I will forever talk about how perfect (in my personal opinion) it is.

Also there will forever be some references that will never get old.

Example A: Mike getting covered by logo / barcode etc

Example B: Roz (Period. She has so many good ones)

Example C: Boo. (Anything really, I just love their relationship)

100000000000000000000000000000000000000 x infinity / 10

I love you Monsters Inc world. Thank you for making me feel protected and Loved, Even if I couldn't be apart of your world.

And don't forget, This show wasn't made just for kids.

Oh no.

It was made for those Monsters Inc kids, now all grown up.

(And for everyone and anyone!)

[kyokutsu-sama]

Hello it's me again with another super specific idea

Headcanons and a small scenario if that's fine for the squad captain's reaction to finding a some with the exact opposite problem to Asta where instead of having no magic they have too much magic to the point they need to wear a special Seal that blocks most of their that magic because it's overwhelming and hurtful for the people around them

You'll probably getting lots more requests from me I just love your work

Hi @weebwith-problems!! OMG THE PIC IS SO CUTE I LOVE THEM❤️ They look so smoll and cute🤏🤭

I'm glad you like my work it motivates me a lot. Thank you😊

A/n: Well, I preferred to write some headcanons for the captains. I didn't write about everyone and I'm sorry if I delay with your request but this week was a bit difficult for me🥹

_____________________________

Yami :

He would easily accept this person into his squad since he always looks for people to bringto his squad. He would still find it interesting since it's the opposite of one of his magic knights.

He would like to test their skills and train them, he will ask them to push past their limits even if it means breaking the seal that blocks their Mana.

He will constantly be telling them not to hold back against him, he would kill them if they did (the typical Captain Sukehiro threats). If it's a woman, he will be impressed since he likes strong women.

He will brag to other captains about having someone so powerful in his squad, especially to his rival Jack.

He is proud of his squad and the way they always work together so having another person working alongside them is something he admires.

Fuegoleon :

If there's one thing this captain admires, it's strength and determination.

After seeing their magic, he knows that "staying weak" doesn't apply to them, much less "being weak".

Their surreal amount of mana is also tiring for them even though it is sealed. He will make a point of following their training so that they gain more resistance and become strong so they can handle it better.

He will be very present and very proud of this person and the results of the efforts they make every day.

Bonus: Mereoleona will take them to train because she loves strong people and she wants to help them control that power.

Nozel :

Even though he is a serious and cold captain most of the time, he admires knights who are strong and who know how to represent the silver eagle's uniform.

Someone who has an excess of mana and is naturally strong is something he will be interested in and will definitely want to have in his squad.

He doesn't train them directly but he will want that person to train a lot to be able to deal with the amount of mana they carry.

After knowing that there is a seal holding all this power so that it is not exhausting for them and others, they will want that person to continue evolving until there is no need for a seal and they are able to control this power unconsciously.

Just like Yami, he will brag a little about having someone like that in his division and will mention it to his rival Vermillion just to see his reaction (plot twist: this one is canon🤭)

William :

William undoubtedly admires all the members of his squad without making distinctions and he is sure that someone with that power would arouse his interest and desire to meet that person.

He would quickly wish he could see this power of them and would be very proud if they showed him on the battlefield as they fought to defend the Clover kingdom.

He trusted them a lot and likes to see them trying hard to control their own mana.

He would be happy if one day he could see that they can already fight, controlling their power without restrictions.

William would also be willing to train with them to witness their progress and since he is a captain, breaking the seal would not have much of an effect on him.

[utilitycaster]

One of my least favorite types of post in fandom, particularly for actual play, is the "why isn't everyone dropping everything to focus on my blorbo's mental state," and I wanted to talk about why.

The most obvious surface reason, of course, is that unless you are watching something with a very clear single protagonist and that is the character you're talking about, and the story is explicitly about people helping them heal, this is simply not a thing that's likely to happen in most works. It doesn't mean you can't want it; but that want is best explored and expressed through transformative works rather than trying to get the "let's watch blorbo carefully work through every trauma they have" blood from of the narrative stone. (I'll admit my own interest in such works is very limited, but that shouldn't stop you.)

But even when that is the stated purpose, that's just not the sort of story I'm drawn to. It feels too artificial and dishonest to the human experience, and leaves a strange taste in my mouth. I think it derives from a set of intertwined fantasies this represents, and they are admittedly a very seductive pair of lies.

One is the idea that there will come a time, amid seemingly insurmountable external challenges, when everything can pause and during that magical lull all will be resolved. It's the "this weekend I'll get my life together" fallacy. The truth is that this stoppage almost never happens, and in the cases when it does it is rarely a gentle hold, but rather a screeching involuntary halt. The fix is often not enough to truly fix, but rather just enough to get one moving again before being thrust back into the unceasing world. It's magical thinking, of a magic that even fantasy worlds (perhaps especially heroic fantasy worlds, where all the stakes are impossibly heightened) cannot provide: that the world will stop turning long enough for a complete fix, and that a complete fix is even possible or attainable, and that it will not require any ongoing work to maintain once the world has started up again.

The second is the fantasy of being understood without effort: that this quiet period will come without you needing to speak up and say "stop". That your walls will be broken with no contribution from within; that someone else will do all the work and love you despite that. And why not? As anyone who has dealt with any sort of mental health issue knows, it is exhausting. Wouldn't it be nice if someone else just...knew exactly where to place the leverage to pop you out of that rut as you sat unmoving?

It would be! It's also not going to happen.

I am, despite what I say, not against projecting on characters. That's what characters are for. I'm just not particularly interested in seeing characters who get what I sometimes want and know pretty much no one can have. I want to watch characters experience what I might, and succeed, but I do need the struggle to be as real for them as it is for me. I want the character to be in the same hole and know how to get out because they've been here before, not turn to me and shrug and say "honestly, everything went great for me - you're on your own, pal" and levitate out.

There's much more to it too - I love character dynamics, and so the idea of everyone else fading to flat grayscale tools to help one character is uniquely unappetizing. I also find a lot of the discussions surrounding this sort of premise believe that this magical fixing also occurs without anyone ever saying anything even remotely challenging to the person being helped. It really is just essentially reduced to a flavorless hand waving a magic wand over the character in question, which makes for a very short and bad story.

There are other fantasies too, all tied up in this, and all both understandable to have and tedious to watch, most notably the ideas that suffering is purification and that the blorbo who needs help is eternally blameless and never complicit in either their own pain and their actions towards others; and that give and take (and on a meta level, focus within a story) are easily and meaningfully quantifiable and are required to be kept in some cosmic balance (usually one rather heavily tilted towards a fan's favorite character) for a story to be good.

The question ultimately needs to not be "when will everything stop and center and therapize and fix the character I most relate to" but rather "will this character's traumas and issues and past be explored in any meaningful way during the narrative, or, if they are not, will the fact that they are not explored carry its own weight." Ironically, the stop/fix/magic wand wave away fantasy does away with any possibility of meaningful exploration, and that's really why I can't fucking stand it.

[literaticat]

I sincerely hope this question doesn't come across as self-centered & apologize if it is. I'm a marginalized author & disappointed that neither my agent nor editor have reached out to check on me or to reiterate support for my poc & queer books under contract. I understand the week has been hard for them too, but the silence makes me feel... I just really wish they had reached out. Is that an unrealistic expectation to have?

Big hugs (if you want them!) -- I hope you are taking good care of yourself, it's been a very rough week for a lot of folks. (For future generations reading this: yes the 2024 election in the US just happened, yes a lot of people are feeling very *shattered* rn).

I gotta be totally honest: I have not reached out to my clients about this specifically either. If there was something I would have been emailing them about anyway, I acknowledged the tumultuous week and gave them love if they wanted it (sort of exactly how I did at the beginning of this ask!), and then moved on to the business at hand. If they have reached out to me, same. If they have said something on socials and I've seen it (which I don't see everything, or even MOST things), I've given them love about it; if they've said something to ME about it, same. But boundaries are a good thing, and I'm trying not to overstep.

This is for a couple of reasons. First, I don't trust myself not to have a breakdown, I'm barely holding myself together. (I had a panic attack and cried at the bookstore yesterday! Hot mess express here!)

More importantly, though, I just don't think it's my place to inject myself into people's personal or political lives. I'm pretty open about my politics, and if somebody wants to process something with me, I will absolutely hold space for that, but I don't want to get my crisis of faith in democracy vibes all over anyone randomly.

Basically -- everyone will process what happened this week in a different way -- some people are in a state of shock, or grief. Some are angry at Republicans, but lots are angry at Democrats, too, and hey, while I may not like that, I do acknowledge that it's a fact. As far as I know (!!!) nobody I rep is celebrating right now. But . . . I am fairly certain that some people I know didn't vote at all, or voted in some other way (third party?) due to their own moral convictions, and while again, that wouldn't have been MY choice, I can't begrudge somebody else making that choice for themselves.

It's simply not my business.

We represent people from all walks of life, who have many kinds of experiences. As is probably clear, I consider myself very much a Democrat and pretty on the left of much of the party, but I am certain that there are clients of mine who are much more leftist than I am, and probably some who are more centrist or even (perhaps) more conservative than I am. What we all, hopefully, have in common regardless of anything else is respect for one another and our shared work, and I really don't want to damage that.

[antianakin]

@theneutralmime

I mean, by "writers" you mean George Lucas himself because Palpatine is primarily a character created by Lucas.

The short answer is no, I don't, I think Palpatine is exactly what he needs to be.

The long answer is that I don't tend to see Palpatine as a CHARACTER very often and more as a symbolic representation of a lot of the themes in this story. One of the major themes in Star Wars is the choice between selfishness and selflessness and we see this through Anakin's story, Luke's story, and the story of the Republic as a whole. Temptation towards selfishness IS powerful, that's sort-of the whole point in many ways. It's powerful because it's easy, it's instant gratification, it feels good right up until it doesn't. So Palpatine is powerful more because of what he represents than anything more practical.

But if I'm going to TAKE a more practical look at it, then I'd say that the reason the Jedi beat the Sith Empire back in the day is because the Sith are all selfish people who don't know how to work together even against a common enemy and they constantly undermined and betrayed each other in a way the Jedi just did not. So there's just never enough of them combined to truly hold back the Jedi's forces. But Palpatine doesn't ever face them head on, he is the result of a thousand years of planning and laying low and so instead of trying to use real force to take out the Jedi, he uses a more poisonous method that removes a lot of their support from the inside. He learns politics, he gets himself into a position of power, he gets himself all the right allies, he starts corrupting the galaxy itself by encouraging the selfishness in the Senate (which causes most of the "clouding" of the Force, it is never Sidious alone, it's the galaxy becoming darker AS A WHOLE because of his machinations but also because of the choices people are making everywhere), and he is able to then start a war that he can use his power to shove the Jedi in the front of which starts causing a lot of them to die and scatters them across the galaxy inside the trap that is the clone army. Palpatine sees the mistakes made by his predecessors and very intentionally DOESN'T MAKE THE SAME ONES. He gets smarter and uses different methods to take the Jedi out from within the system they created to FIX the galaxy.

So if we go back to the thematic thing, Palpatine is powerful because the choices of a lot of people around him BOLSTER him enough to make him powerful. He is powerful because a lot of people are choosing to be selfish and cruel and greedy. He's not powerful all on his own, we see that when he goes up against Mace. He CAN be beaten by the Jedi, and fairly easily, if he has to rely on force alone. But he knows better than to rely on that and so he never does. Palpatine is a poison in the galaxy just by EXISTING, that's what causes the Force to be more clouded and unbalanced, and it's why Mace recognizes that he's too dangerous to be left alive. This is what the Sith ARE, by their very nature. It's why the Jedi dedicate themselves to eradicating the Sith and everything the Sith represent. There can be no fixing the galaxy or finding balance so long as the Sith remain.

Now, if we look at what the SEQUELS did with Palpatine, then yeah, sure, Palpatine is too powerful because now he's surviving getting thrown down a reactor hatch in a space station that got blown up somehow (which isn't like... UNUSUAL in Star Wars, Maul does something very similar and I hate it just as much as I do this variety of it) and then manages to like suck Force energy out of a Force dyad in order to make himself more... corporeal? I have no idea. But he also then makes the big "I am all the Sith" claim which was HILARIOUS to me when I rewatched the film recently because this might be the first time in galactic history that the Sith have all collectively worked together like that at all. Like HOW is he "all the Sith", what does that MEAN, how does it give him more power, and why does he even NEED IT? It's weird, it's stupid, he should be dead and we all know it, so by the time of the Sequels yes, he's too powerful, but in the Prequels and Original trilogies? No, he's fine, he's exactly as powerful as he needs to be to get across the narrative themes he helps represent.