#a question mark for the “time loop” because I can see the time here but am not sure about the loop TT

[writemeverything]

Doksoo week DAY 3: time loop(?)

[jolalibrary]

1. butterscotch orange

frankie morales x f!reader | chapter one of do me yourself

summary: a meet-cute in a hardware store? impossible, out of the question. except, that's exactly what happens. a need for screws leads you to a broad-shouldered, brown-eyed man who you're sure is about to change your day, never mind your life.

wordcount: 3.3k chapter warnings: [see masterlist for series warnings] meet cute, flirting. fluff. flirting in person and over <redacted>. frankie being a single!dad to a son. coffee date. an: it is finally here! this little thing has rotted me from the inside out and nothing brings me more joy than a romcom. so here we go. buckle in. all hail @secretelephanttattoo for the wondrous idea and support (seriously thank you, i know you know ily, but i don't think I've been this happy writing something in so long). a thank you to @thetriumphantpanda who i forced to read this when we had our sleepover, ily.

key: frankie is in bold, you are in italics [winks]

IF I CAN DO IT, ANYONE CAN DO IT. ALL YOU NEED—

It rings, echoes through your skull.

Has been doing so the whole ride over—your groan doing nothing to dilute it, even as you kill the engine of your car and are welcomed with silence.

There’s an element of regret you feel thrumming in you since discovering that perky voice, her high-pitched excitement becoming the bane of your existence. Forever replaying in your head. Regardless of whether it is actually playing. It remains on a loop in your mind—all light and sweet—grating on you from the amount you’ve had to watch it, just to get to this stage.

Realistically, you know you shouldn’t hate the voice, because it has been helpful—in that effortlessly playful way that’s kind of begun to fuck you off.

But then, you’re not even sure if any voice would fare much better. Because you just don’t feel like it’s just that easy—so possible, all simple and quick to do.

Because DIY apparently isn't that trouble-free for you. The bandaids on your palm, fingers, and forearm are proof of it.

Yet, somehow you’re outside of a hardware store.

One that Google promises will have all you need and more. Not that you know what that is.

The only thing you do know is that it at least gives you another reason to focus on something other than the mountain of boxes that never end. The ones not unpacked. In the home that’s now only slowly beginning to feel more like yours, and not the people you purchased it from.

Eyes flicking over the front of the store, the clutter of things all left outside—in judging various shades of buckets and plastic garden chairs—before your eyes land on the door to Harold’s Hardware.

There’s no breeze, but the door moves ever so slightly. Sitting, slightly ajar, as though once—a long time ago—it fit in the frame perfectly, but now remained warped and unwilling to even try. Then there’s the glass, all smeared and sitting inside (what you assume) would have been a bright-white frame that’s slightly yellowed and has been adorned in scuffs, swinging in its layered overuse.

But, at least it’s visited, you think. Shoving open the door, a bell sounds in some distant corner, ringing, it almost muffled by the voice from the video continuing to play in the space between your ears—a to-do list, a handful of items required, listing themselves on a never-ending loop, the billionth play through since you’d woken up.

It’s so much bigger inside than you banked on. Jaw-ticking to the side, eyes marvelling at the floor-to-ceiling display and the array of things all living and existing under hanging signs that appear worn and peeling.

With each second, more and more of the charm comes to you.

That there’s a radio, crackling away, a song from decades gone by playing with difficulty, as an array of scents swirl, fighting themselves for your attention. But, two stand out, fresh-cut wood and lemon disinfectant. The latter you assume kills dirt but doesn’t make the floor tiles gleam in the way they once did. Scuff marks adorning well-walked paths. But the former, you gravitate more to, wish for it to fill your nose and remain with you long after your visit.

Adjusting the strap of your bag, you glance about again, almost fidgeting your feet in your shoes, before it dawns on you. Slams into you as you flick your gaze from sign to sign—

You haven’t got a clue about where to start.

Listing the things from memory—suddenly distant and difficult to find amongst the dooming overwhelm—as your feet begin moving of their own accord. Choosing an aisle, selecting it—all eeny-meeny-miny-mo.

Because better that, than standing aimless, lost. Watched on some flickering CCTV in the back where you assume the person who works here is.

Dragging your eyes, scanning them up and down, taking in the varying types of paint brushes, different thicknesses, different intentions. Moving from single purchase to grouped, to multi-packs, and landing finally on rollers before you’re turning, heading down an entirely different aisle.

The next isn’t any less overwhelming.

If anything, it’s more, because it’s at least more of what you needed.

Screws, bolts, fixings.

Your brain assessing, attempting to assemble whether a bolt is what you need, a screw or—

“You need a hand?”

It throws you off, the voice.

Cuts through your processing, through the low replays of the video (the ones only in your head) and the cracking radio which has moved into an advert for migraines.

It’s low, a slight gravel that he rids with a clear of his throat as you look over your shoulder, eyes sweeping over the owner of the voice, eventually turning to face him.

And fuck.

He’s broad, dressed in a deep green t-shirt under a tan apron—name badge scratched over, only leaving the lingering marks of a “here to help” and the fading logo you’d seen outside.

You don’t mean to gawk, but yet you do all the same.

Practically swallowing, attempting to whir your brain into gear as you take in the rest of him. The thick loose curls atop his head, the strong nose and the round-brown eyes. His moustache, the wiry facial hair across his chin he slowly begins to scrape at, as he remains waiting for a response.

“Screws.”

“You… you need screws?”

Nodding, you will your brain to work, to function. But, he’s just so—

Lifting his chin, he runs his thumb up and down the underside of his chin, waiting, waiting, until he smiles. “Do you know the kind?”

Think. Think. Fucking think.

And then you do. Somehow able to unspool some thoughts, find sentences. Beginning to explain, in barely-there pauses and animated hand gestures about your move, and your new lease of life, and this video you found and how you felt inspired by it to the point it had led you to order wood cut to size and tools from the internet, but screws, screws and this and that are all that you’d forgotten.

And, he listens. Sliding a hand over the sleeve of his sun-scorched tee as he does. Just nodding on occasion. Thin lines appear along his forehead at certain parts of the story, but nonetheless listening.

“Show me.”

“Show… you?”

Then he smiles. Soft, it slides up in a slow, almost cautious way, but then it’s at his eyes, touching, brushing itself there and sending sparks up into the darker brown flecks.

Licking his lips, he gestures, “The video.”

You do.

A quick shuffle in your pocket, a slide to unlock your phone and then your fingers are brushing his. They’re warm, his. That you can tell.

Heat radiating from them, slowly blanketing yours as his hand and yours cradle the phone like a newborn in an announcement photo.

From there, your chest tightens, more so when you meet his eyes, finding them watching you as intently as you wish to look at him, and it makes your heart stammer, skip—a full chaos of beats following before he’s holding your phone independently.

That’s when a new crisis calls. A new thought is all set to erode your mind.

Because your phone looks tiny in his hand.

The plastic case is almost dwarfed by him as he tips his chin, watching the video, occasionally tapping at the screen to skip ahead before he nods to himself, you all but busy trying not to choke on your own drool.

“I know what you need.”

“You do?”

A foolish question, all escaping without thought or rationale.

He just smiles, in a way that seems to settle your incoming anxiousness.

“I do.”

And he does.

A tilt of his head, his back turned to you, a brief thought crossing your brain at the sight but you quickly rid, and you’re following. Listening as he explains, as he points out things with his long, thick finger, as you nod, as though nothing lives in the space between both of your ears.

It isn’t until you’re back in your car that it hits you. Do you suddenly wish as your engine ignites and your car roars to life, that you had asked for his number—or better yet, his name.

It’s been days, and you’re still wondering if some part of you’d concocted him, made him up—thrown up an illusion of a man and exaggerated how good he looked.

The more you thought about him, the more insane it got. Even hearing yourself explain it to a friend made you question if you'd been dreaming. That maybe you’d let days mould him, shaping perfection in your consciousness.

It has more weight when you walk past the older man at the till, all white hair in a slick-back style and who tips his head and looks more what you’d expect from the decor of the place.

But a part, one fighting, scrapping for a moment to exist, still believes. Hopes.

Forcing your legs to wander down aisles you don’t need, pausing at each corner, desiring to be proven wrong. Hovering, hoping—half-wondering if it was essential that to make him appear, you had to look lost and hopeless—or whether that had just been a coincidence that first time.

With each up and down, you almost give up. Hope almost gone, erasing itself with each step, all but fading.

But there, in the centre of the paint aisle, speckled in dried flecks, it clinging in varying shades—a kaleidoscope dream on his jeans and worn t-shirt—is him. The man you haven't stopped thinking about.

"It's you."

"It's me," you grin, heat flooding your cheeks, growing up into your neck.

Arm lifting, hand brushing the back of his curls not housed in a cap, as he matches your grin. "New project?"

"Something like that."

His gaze doesn't waver, doesn't lessen, not as his grin slopes into a shy smile, before he wipes his hand on his jeans, offering it out. "Realised... I never... I'm Frankie, by the way."

You hand him your name, dropping an octave as you do—all unmeaning, entirely accidental—fingers sliding past his as you shake his hand.

“I don’t… you’ve not got your apron on.”

Glancing down, you find him grinning when he looks up, “Not my day today. Here on personal business.”

“Oh is…” squinting at the paint can in his hand, “Butterscotch Orange on a hit list or something?”

His lips slide into his cheek, a tooth-filled smirk. “Should be, it’s a right bitc—pain in the ass to sell.”

Rolling your lips, you trace your tongue across your teeth as you grin. “It’s no…” eyes squinting. “Mt Rainier Grey.”

His brow arches. “That your shade of choice?”

“I like it—don’t hate the orange though. So, maybe it’s not the paint, but the seller.”

Something twinkles in his eye, lips still cocked to one side, smirk still ever-present.

And it’s a challenge to drag your eyes to look at the floor, you shift your weight. Trying, and failing, to think of an excuse, to leave before it gets weird—before you become too much and ruin this nondescript thing. But, his throat clearing stops you. It forces your chin up. Barely just able to catch it, the whisper, how it’s almost said to the can in his hand than to you.

“You… doing anything right now?”

Shaking your head slowly, you bite your cheek as you grin. “Just talking to a man holding a paint can.”

Tapping his fingers along the top, lips rolling, “You fancy getting a coffee? With me?”

You have to bite your smile, out of fear you’ll show how practically beaming you are. Mouth opening, but he adds an addition of I don’t usually do this that makes your lips curl into a smirk.

“What? Invite random customers for coffee or accost them with paint you can’t sell?”

Biting his upper lip, he shakes his head, tucking a curl behind his ear as your eyes glance over at them. How they glisten under the yellow-fluorescent light.

Letting your heart dance like leaves in the wind. “I’d love to get coffee with you, Frankie.”

It’s nice, the coffee place.

Not a far walk, a few doors down. The charm of it coaxes you in with sounds of crunching beans and strong scents of varying levels of caffeine sliding over and relaxing your shoulders from your ears.

Because suddenly you’re nervous.

A slight shake to your bones, a twitch of your fingers.

“Let me get this.”

Smiling, you find him watching you, not caring to drag his eyes away when you catch him.

“Because you never do this or because you’re hoping to persuade me to buy your unsellable paint?”

Smirking, he traces his eyes over you, “Both.”

The corner of his mouth slides back into his cheek, a dimple appearing, deepening—one you want to brush over with your thumb the longer he keeps looking at you the way he does.

All dark eyes, beedy, but sparkling.

'Who's next?' breaks the spell. Shatters the magic. It forces you both to blink, to focus on the task at hand. Both orders said, whirring and crunching sounding as you admire the place, glaze over the menu until he’s nudging you.

With your order in hand and tucked away in the corner—the large window letting in light and warmth from the sun on your back—you try not to moan at the taste of your drink once it hits your tongue.

Because it’s good. Brilliant, practically everything.

To the point you have to bite back a thank you, one that you feel would be never-ending, a constant swirl of words landing on the circular table between the two of you. Nothing napkins and good conversation could soak up.

Because good coffee is always great, but knowing where to find it in an unknown place is something else.

Distantly, you hear him say your name, chin dipped, eyes focused, realising—in a flood of embarrassment—he’s been talking to you.

“Sorry?”

“I said, I’ve not seen you in the store before…”

Swallowing, you take a steadying breath.

“You don’t have to…”

But, you do all the same. You pour open small bits of truth, words falling, tumbling half-strung together as your history rolls out in a timeline in front of you both. How you’d bought a new place, that it’s a bit run down, seen better days—a determination to prove friends wrong by doing it yourself.

Foolish, you comment with a shake of your head, I know fuck all about decorating.

And he listens—to the fact you’re alone, not even a pet; he listens even as you talk about your work, all boring, not entirely interesting. The two of you simply lost in one another, surrounded by coffee mug swirls and the sounds of sizzling food, coffee shop noises and mumbling daytime talk as you ask him about work, about his love for orange shades.

And your eyes glance down at his phone, how it’s turned over—his all undivided attention given to you—yet your eyes linger on the phone case. The one with a drawing, likely in pencil, a man in a hat on a hill, a child next to him and a sun with a smile on its face.

“I… I have a kid. Luca—shared custody,” he says, nodding, tongue peeking out between his teeth, hands leaving the table and wiping back on his jeans in slow slides up and down. “He… he made it me.”

It’s the grin that makes your heart swell.

Makes your hand cup your mug a little tighter so you don’t offer it out to him to hold, a thing which feels so natural, no thought required. Except you don’t know his last name—barely know a thing about him.

Yet, your body practically leans forward as you mirror the smile—all soft, as another piece of a missing puzzle sliding into place.

“Does he like drawing?”

Laughing, his palm slides along his jaw. “Loves it.”

“How old?”

“Five—does that… does that bother you?”

“That you’re a dad?” He nods, and you lick your lips, you make sure to hold his gaze. “Not in the slightest.”

You smile, watching him mirror you this time. It rushes out, kissing across every bit of his face—a shyness soon fluttering over him before he clears his throat.

“So, you freelance? You like being your own boss?”

“Not especially, but it does mean I can work at night.”

Nodding, he slides his hand around the white porcelain, hand practically dwarfing the mug. It makes you want to ask him to hold things, to see if IKEA pencils or children’s eating utensils look more ridiculous than your iPhone and a regular coffee mug.

“Prefer the night?”

“I prefer the quiet of it... to think. It’s why… why I began trying to do something in the day, needed to still be busy.”

“Sitting still not an option, Rainier Grey?”

Shrugging, you smile. “Says you Butterscotch and your three tins of unsellable paint in the bed of your truck.”

“You got me there.”

“I just… like to be busy, and with the new house, no partner—commitments, I thought why not try a bit of DIY.”

Nodding, he lifts his mug, and takes a sip—eyes remaining fixed on you as he does, as though it buys him time, lets him think up an opinion, an assessment. It makes your skin warm, but for all the uncomfortable reasons, the panicking ones—parts of you beginning to catastrophise that you’ve said the wrong thing.

“Open up your Instagram.”

You stare, blinking.

“Trust me.”

And you do. With another fumble, another slide of your phone screen open, and you follow his instructions as you type in the spelling he gives you. When you click the page, it’s hard not to grin, to not have your face explode into a smile so large it cuts into your cheeks.

“I don’t like to sit still either,” Frankie adds, as though the thousand photos and videos, the tutorials and follower count don’t say that on their own.

You’ve fallen down a hole—willingly.

It cracked open the moment you’d sat on your couch, drink in hand, blanket half over your body.

The moment you’d begun your scroll, you discovered you couldn’t stop. Starting with the latest and moving back, until you realise you’d rather see the story in the way it happened.

Choosing a moment, almost nine months ago, before you work your way forward to the present.

You were cautious, more careful than needed, to not like anything too late—to not give away how deep into his page you’d gone. Even if you were in awe, a little proud—your cheeks a little warm and lips turned up into your cheek—as you saw in real-time his confidence grow. The way he’d look at the camera, began experimenting with angles, all in all being smoother, more happy.

You suppose that’s why you type a comment under one picture:

Is that butterscotch orange in the flesh? 🟠

Stalking me are you?

Getting some tips from Mr DIY himself.

I know you went back some months, Rainy.

How do you know that?

Because as soon as you commented that’s what I did. You looked nice at the beach.

Now who’s the stalker, Butterscotch.

Me. Clearly. I’m being very upfront about it.

Out of interest, do you tutor at all? Give hands on help to beginner DIYers?

You genuinely asking or flirting?

Big-headed much?

I can help you with something if you need it.

I think I do.

Then I’m yours. Don’t worry, I promise to only snoop in your drawers when left alone.

Think we should get food first, show you what I’m thinking—make sure you’re up to the task.

You asking me on a date?

No. But if you keep showing off tools topless I’ll be tempted to ask you.

Knew you’d gone back further than a month.

FRANKIE’S INSTAGRAM 🌝

NEXT CHAPTER

an: you do not understand how giddy i am about this series. the chapters have flown out of me. i hope you enjoy it half as much as i'm enjoying writing it. see you soon xx

[buckymorelikefuckme]

sweet, sugar, handyman

steve rogers x bimbo reader

words: 3.9k

warnings: **18 + ONLY** smut, light daddy dom steve, unprotected sex (don’t do that), creampie. if i missed anything pls let me know!!!

a/n: any and all mistakes are mine. feedback is encouraged & welcomed <3

part 1 ❀

It's been a few days since Steve took you out on a date. Even though he got the clear and undeniable message that you would one hundred percent be down to fuck afterward, he felt that he still wanted to wine & dine you more first. He wanted to work for it; earn it, so to speak. So when the date was done and he opened the door to the cab he hailed for you, he only kissed you goodnight. Admittedly, it did turn into a little bit of a make-out session, which only stopped because the cabbie cleared his throat pointedly.

You were absolutely not making it easy for him though. In the span of four days, you’ve made every possible innuendo when given the chance, and sometimes even said outright explicit things to him. Steve is losing his goddamn mind. He's beginning to question why he’s so hellbent on being a gentleman.

Even at work he’s not able to concentrate. He's had to restock the same shelves three times now because he keeps putting the wrong items in the wrong places.

He’s grumbling under his breath about how fucking pathetic he is when he gets a whiff of your perfume and immediately stiffens.

“Hey there, big boy.”

He has to shut his eyes at the sound of your voice. It’s just so…

“What’s a girl gotta do to get some good hardware around here, huh?”

Teasing. Your voice is sexy, no doubt, and cute in the worst way, but above all it’s teasing. Steve can hear your smile as you speak. He takes a calming breath before slowly turning to meet your siren stare. He doesn't feel any calmer when he gets a look at you.

Your hair is pulled up in a high ponytail, the ends curling upward adorably. Unsurprisingly, your makeup is beautiful, highlighting your features perfectly, and your outfit is nothing short of incredible. You’ve got a cute, little strapless sundress on—pink, of course—with tiny flowers all over, leaving your collarbones and shoulders on display. Steve’s mouth waters, his desire to bite and mark the skin rushing to the forefront of his mind.

A sweet grin spreads across your glossed lips the longer he stares at you like an idiot.

“Steve?”

He blinks, coming back to the present. “Hi,” he finally says.

You giggle. “Hi.”

He clears his throat. “What, um… What brings you here?”

“I’m looking for some tools,” you reply, putting emphasis on the last word in a way that puts Steve on guard right away.

“Well,” he starts, clinging to his sanity, “you’re certainly in the right place.”

You smirk. “Do you think I could get my hands on your tools then?”

Steve curses under his breath and you're giggling again, making him feel a confusing mix of endeared and aroused.

“Why do you do that?”

Steve does not whine. And he didn't whine just now. Nobody can prove it and nobody would believe it.

“Because you make it so easy and it's fun to see you get all flushed,” you answer honestly.

He tries to glare, but even he can tell it's weak. You step into his space, curling your fingers in the belt loops at the front of his jeans, right above his groin, peering up at him through your fluttery lashes. Suddenly, his palms are sweating.

“Steve?” you start softly. He hums in reply, not trusting his voice. “Will you come over tonight?”

“Tonight? To–for what?”

You smile innocently. “I’m not allowed to want to spend time with you?”

He swallows roughly. “N-No, you are, I just… Do I—Should I bring anything?”

You tilt your head as you pretend to think. “You're a handyman, yes?” At his hesitant nod, you grin. “Then all I need is you and your big hands.”

Ah, shit. Steve is in for some trouble, isn't he?

You lean up on your tiptoes to press a kiss to the corner of his mouth. He barely resists letting out a groan when your breasts brush his chest. Now he knows you're not wearing a bra because he can feel your nipples through your dress.

“See you later.”

“Uh huh,” he replies dazedly.

Yeah… He’s in deep shit.

~

Steve fiddles with the sleeves of his black henley, the cellophane encasing the bouquet of daffodils in his clammy grip crinkling noisily as he shuffles awkwardly on your doorstep. Inhale for three, exhale for three.

He knocks and waits. It only takes a moment for you to open the door. And then Steve’s stomach promptly attempts to fall out of his ass.

You're wearing a skintight, blood red mini dress, sleeveless and low cut enough to show off your ample cleavage. Your legs, toned and perfect, look positively sinful. You've got on a matching pair of strappy heels, and there, on one of your cute toes, sits a gold toe ring. Why that detail makes his heart race faster is beyond him. Your hair falls in soft waves around your face.

You're glowing as you lean your hand against the doorframe. Steve's never seen you in red before, but damn you wear it well.

“Wow,” he whispers.

You bite your lip to tamp down on your smile. “Thanks. You're pretty wow yourself.” You step aside. “Come on in, handsome.”

There's just enough space for him to squeeze past you. He gets a whiff of your perfume and, fuck, you smell divine. It's not your usual soft perfume that he's gotten used to already; it's something slightly darker, spicier. It makes his cock twitch in his jeans.

“Are those for me?” you wonder as you shut the door, gesturing at the bouquet.

“Oh,” he says, thrusting them towards you, “Um, yes. For you.”

You take them with a small smile. “Thank you. They're beautiful.”

“So are you,” Steve mumbles shyly.

He's pretty sure he notes the tiniest, pleased curl of your lips and counts it as a win.

You go about putting them in a vase, arranging them just so before placing them on the kitchen counter. Steve watches you flit about your home and something warm spreads throughout his body. When you're not flustering him and making him stumble over his words and feet, you're pretty fucking cute.

“Would you like something to drink? Wine? Water?”

“Water would be great,” he replies

He accepts the glass with a nod of thanks after you hand it to him, taking a sip then sitting it on the table beside him. You stare at each other, Steve assessing while you're happy to just look.

“Why did you invite me over?” he questions.

You shrug. “I wanted to spend time with you.”

Slowly, Steve shakes his head, walking over to you with his hands in his pockets.

“Bullshit,” he accuses. “That's not the whole reason.”

“I'm not sure what you mean,” you respond defiantly.

He backs you into the counter, hearing your light gasp and feels his lips twitch. “Don't act coy,” he admonishes. “You didn't wear this dress to sit on your couch and watch a movie.”

He trails a finger along your side, down the fabric of your dress, then toys with the hem of it. He's not sure where this burst of confidence is coming from, but he's going to go with the flow and see where it takes him.

“No, you chose to wear this to drive me crazy. You couldn't just wait a little bit longer.” Your breathing picks up, eyes becoming heavy-lidded as he speaks. “Do I need to teach you how to be patient?”

You remain silent as you hold his gaze, seemingly at a loss.

“What, no smartass remarks? That's a first. This is what you wanted, isn't it? You want me to give in and fuck you like the needy little slut you are, yeah?”

A short, choked off noise escapes you, your expression shocked, and Steve smirks in satisfaction.

“Not so fun on that side of it, huh?” he teases.

You clear your throat and try to gather yourself. “It's not that bad. Maybe you're just a pussy.”

Steve raises an eyebrow. “You're really testing me. I’m starting to think you want more than just a quick fuck. I think you might need to be bent over my knee and taught a lesson.”

“Fuck, Steve…”

You grab his hand and hurriedly walk out of the kitchen, leading him down the hall. You open a door at the end of it without stopping. Steve finds himself in your bedroom, which is just as frilly and pink as he imagined. You whirl around after you reach your bed, facing him with determination and lust in your eyes.

“I wonder if it's all talk, or if you can actually deliver,” you goad, though your voice does waver.

It's clear you're trying to get a rise out of him, and he would absolutely hate to disappoint you.

“Careful what you wish for.”

In a blink, he's got you wrapped in his arms, lips lightly grazing your neck and shoulder. Your hands fly up to squeeze his biceps as you begin squirming. He presses a whisper of a kiss to your collarbone, smiling at the way you try to push into it more. His lips trail up to your ear where he briefly tugs on your earlobe with his teeth. You whine, tilting your head back to give him more access, but he only lets his breath fan out across your skin for a moment, watching goosebumps appear before pulling back entirely.

“What—” you start, frowning, trying to pull him back to where he was.

“Do you have a safeword?”

You swallow thickly. “I like the color system.”

He nods. “What's your color now?”

“So fucking green, Steve, please just fuck me—”

“You need to learn patience,” he decides. “I'm gonna take my time, gonna explore every inch of your beautiful, sacred body, and you're going to lie there and take it like a good girl. Understood?”

You nod, but that's not what Steve wants. He grips your chin, his fingers and thumb pressing into your cheeks.

“I need to hear you say it, sweetheart. Use your words.”

You exhale shakily. “Understood.”

Steve grins, letting go. “That's a good girl.” You let out a quiet moan. “Now. Where should I begin, hm? Part of me wants to rip this dress right off of you, but another part of me doesn't want to ruin something so stunning.”

You fidget under his observation. He's sure your cheeks are warm beneath your beloved pink blush you always wear. His eyes finally settle on your collarbones, remembering earlier that day and how he wanted to mark them. Without a word, he pushes the straps of your dress down your arms. Then he runs his thumb along the jut of bone, reverent, wondering how and why he got so lucky.

He leans down and attaches his mouth to your skin, sucking and licking and biting until he's positive blood has rushed to the surface under his ministrations. Your small hands are clutching at the sides of his shirt as you moan. And damn, that's a sound he's already growing fond of.

He switches to the other side, biting a matching mark on that collarbone, then decides it's not enough and moves up to the point where your shoulder meets your neck and sucks a mark there too. By the time he's done you're panting and wriggling in a way that tells him you're searching for relief.

“Take the straps off all the way, but don't take the dress off,” he instructs. You're quick to obey and he hums, pleased, when you wait for further direction. “Such a good girl.”

You nod. “Yes.”

As a reward, he pulls down the cups of the dress, exposing your tits to the cool air of your room and watching in delight as your nipples harden. He brushes his thumbs over them, smirking when you twitch and whimper.

“Does my little slut want my mouth on her tits?” he asks as he continues playing with them.

“Yes, please,” you rush to say, “Please, daddy.”

Your mouth snaps shut with an audible click. It's clear you hadn't meant to let that slip.

He pauses, raising his eyebrows. “Daddy? Oh baby, I should've known.” You whine at his mocking tone. “Don't you worry, sweetheart, daddy will take good care of you. Sit down for me.”

Despite your embarrassment, you do as you're told and sit on your bed. Steve kneels on the floor in front of you, pulling you to the edge of the mattress so your tits are directly in his face.

“So soft. So pretty,” he murmurs, cupping them in his hands.

He takes one nipple into his mouth and you let out a high pitched whine, hands coming up to bury themselves in his hair. He gives your nipple the same treatment your collarbones received, sucking harshly and flicking his tongue back and forth. Abruptly, he shifts to the other side, not giving you a chance to catch up. You tug roughly at his hair as you push your chest closer and closer to him.

He pulls off, blowing across your spit-covered breasts, seeing you shiver and whine with a twisted sense of gratification. With a sudden urgency, he determines he needs his mouth on your pussy now. He spreads your legs and pushes up the hem of your dress at the same time. If he wasn't already on his knees, he'd have fallen to them when he sees you're not wearing panties.

“What a naughty, naughty girl,” he chides, voice gruff.

Your pussy glistens with your wetness and you start squirming as he stares.

“Please,” you gasp.

“Please what, sweetheart?” he wonders and meets your desperate gaze.

“Daddy, please, want your mouth.”

He tilts his head. “Where, baby?” You whine again, fingers twitching where they still rest in his hair. He runs his forefinger down your wet slit and you cry out. “Here? You want daddy there?”

“Yes! Please, daddy,” you beg, hips trying to meet his hand.

Steve hums. “I don't know, sweetheart. You weren't wearing any panties. Is that something good girls do?”

You whimper, brows furrowing as you bite your lip and shake your head.

“Think I’m gonna have to spank you, after all.”

“Daddy—”

“Are you gonna be a good girl or not, sweetheart? I can stop here.”

He definitely cannot, but you don't seem to be in the mindset to call his bluff. You whimper loudly.

“No, no, please, I'll be good, daddy, I promise!”

“Color?” he checks in.

“Green,” you reply, eager and breathless.

He grins. “Alright, sweetheart, up you go.”

He rises to his feet and helps you stand before taking your place on the mattress. He pats at his lap, raising an expectant brow. You only hesitate for a second, carefully draping yourself across his lap, making a small noise when you feel his erection pressing into your stomach.

“How many spanks do you think I should give you? Three? Five? Ten?”

You fist your blanket tightly. “However many daddy thinks is appropriate.”

He coos. “Look at that. You can be a good girl. I'll do five this time, okay, sweetheart?”

“Yes, daddy,” you whisper.

“Count them out for me,” he directs as he pushes your dress up past your hips, swiping his large hand over your plump ass.

He lifts his hand and brings it back down in a firm smack. With a wicked grin, he watches your ass jiggle with the impact. The only sound you let out is a small gasp.

“One,” you mutter shakily.

Each time he spanks you, he soothes the sting by softly rubbing his hand along your heated flesh.

As he lands his fifth and final spank he's almost upset to be finished. But then he pulls your ass cheek to the side and leans over to look at your dripping pussy, and his mouth waters with want.

“Five,” you whine, squirming, fists clenching and unclenching.

Steve hums. “Perfect.”

“Daddy…”

“I know, darlin’, I know,” he coos.

He maneuvers your pliant body until you're on your back, legs dangling off the edge as he makes himself comfortable between them again.

“Since you were good for me, I’ll give you a reward,” he murmurs, pushing your thighs apart and back so you're on full display for him.

You're already writhing on your bed and he hasn't even touched you properly. It makes his cock throb where it's pressing against his zipper. God, he wants to fuck you, and he fully plans on it, but he has to taste you first or he’ll go crazy.

With that thought in mind, he leans in and sucks on your clit, making you inhale sharply and arch your back. He kisses your pussy sloppily, letting your wetness coat his tongue. He groans deep in his chest; you taste unlike any other and he's on the fast-track to becoming addicted.

“Daddy,” you whine, tugging at his hair, “daddy, please, please fuck me.”

He ignores you for a moment, thrusting his tongue in and out of you, bringing his fingers down to rub messily at your clit. You cry out, a sob forcing itself out of you.

“Steve,” you plead.

Reluctantly, and with a final suck and lick, he pulls his mouth away from your delicious cunt. He stands to his full height and quickly removes his clothes, eyes never leaving your prone form. The way you're spread out is indecent, downright sinful, and the way your stare is already going glazed makes his spine tingle.

When he shoves his boxer briefs down and frees his cock, he sighs in relief. You moan at the sight of it, spreading your legs even wider.

Steve gives you a half grin, stroking himself, “Want daddy’s cock, sweetheart?” You nod, which makes him raise an eyebrow in expectance. “Words, darlin’. Use them.”

“Yes, please,” you whimper.

“Please what?” he taunts, joining you on the bed, manhandling you so that your legs are no longer hanging off.

He makes no move to finish removing your dress or your heels.

“Please, daddy,” you groan.

“Good girl,” he intones. He kisses the inside of one of your knees. “Condom.”

You lick your lips, biting them anxiously. “Can I… I wanna feel daddy’s cum drip out of me,” you whisper, your eyelids getting heavier.

“Jesus,” Steve exhales. “Are you sure? Color?”

“Green, it's green,” you assure quickly.

You're gonna be the death of him.

He pushes two fingers in your cunt without warning and you whine, long and loud enough that he wonders if your neighbors can hear. Part of him hopes they can.

“Mm, so tight with only two of my fingers inside you,” he observes, teasing, “Are you sure you can take my cock?”

“Yes,” you gasp out, “Please, daddy. Wanna feel you split me open, wanna feel full.”

He groans. “Fuck, baby. You're not just a slut, are you? You're a cockslut. A greedy one at that.”

“Yes, yeah, ‘m a cockslut,” you hurriedly agree, “your little cockslut.”

The flare of possessiveness that spreads throughout him is sudden and ignites his desires even more.

“Mine, huh? I like the sound of that.”

He teases the head of his cock along your slit, loving the way you squirm and whimper but still wait so patiently. Finally, he takes mercy on you and pushes in. Your mouth falls open on a silent moan, your eyebrows scrunching together in the sweetest way. Steve groans deep in his chest as he sinks deeper and deeper into your tight, wet heat. When his hips are flush against yours, he only waits a beat before pulling out and thrusting right back in, setting an immediate, steady rhythm that has your knees hiking higher and higher on either side of him.

You're restless with pleasure, unable to be still, head tossing from side to side, hands grappling at nothing and everything. Steve is so big inside you, hitting all the right spots, plus some you didn't even know about. A constant flow of moans, whimpers, and pleas fall from your bitten lips. A light sheen of sweat covers your neck and chest, your nipples hardened into peaks.

“God, you feel so good,” Steve grunts, watching the way his cock slides in and out of you.

You nod in agreement. “My–oh–my pussy was m-made for you,” you whine. “Fit me just right, daddy, fuck! Never… Never had anyone feel this perfect.”

“Yeah? Is daddy ruining you for everybody else?” Steve goads.

“Yes! Yes, daddy, don't want anyone else, ever, please,” you beg, hips twitching up into his next thrust.

Your heels bite into the skin on Steve’s back, but he welcomes the pain. He wants to wear your marks just as much as he wants you to wear his. He thrusts into you harder, loving the way your back arches beneath him, the way your tits bounce with the movement.

You're about a million percent sure if Steve changed the position now you'd punch him in the throat, but you're also just as sure that he knows this, if the way he's looking at you is any indication. His eyes are sparkling, lips tilted up on one side. The apples of his cheeks are pink from exertion, and it makes you bite your lip.

Steve cups his hands under your knees, pushing them up and open more, adjusting the angle of his thrusts just so and making you nearly scream.

“Oh god, oh god, oh god,” you chant, “Steve, daddy, fuck!”

He grins at your babbling, feeling you clench around him as you near your climax. He's not far behind, heat pooling in his lower abdomen quickly. He lets go of your legs, letting them drop to his sides, reaching down to hold your pussy lips open as he spits on your clit. A ragged moan comes from you at the action. Wondering how far he can push, Steve lightly slaps your clit, and fuck. You cry out and clench around him so tight he has to pause.

“Again, again, please, daddy, do that again, don't stop,” you ramble, words blurring together.

Steve does it again. And again. And again. Until you're clamping down on his cock, body locking up as your orgasm hits, your breath halting. But then you're jerking, letting out a throaty gasp, followed by long whines as you ride out what's got to be an intense high. The sight alone is enough to bring Steve to completion, grinding into you as his cock throbs and releases inside you. He groans, closing his eyes, feeling beyond sated and happy.

“Fuck,” you whisper.

Steve huffs a laugh. “Agreed.”

He looks down at you and you’re the most beautiful thing he's ever seen. Your hair is splayed out messily around your face, some pieces sticking to your clammy cheeks and forehead, the sheen of sweat making you glow in the low light of your bedroom. Your eyes are still heavy-lidded, but you're smiling in complete bliss, arms stretching above you.

“That was incredible,” you rasp. Your smile goes wonky. “Thank you, daddy.”

His cock twitches where it's still buried inside you and you giggle.

“You're a menace,” he accuses, the gentle way he brushes your hair off your face softening the accusation.

You preen. “Yep! But you like me anyway.”

Steve sighs heavily. “God help me, I do.”

[humornaut]

Hey, @basil-daisy here.

I just wanted to drop by because there's something that has been eating my insides for a long time and I can't get it out of my head.

I wanna talk about the scenes in Black Space, more precisely the scenes in the Church of Something, both the Sunny route and Omori route, although the Omori route one was really the one that made me think.

Have you ever thought about how the scene where Omori finally finds and "saves" Basil in the Omori route feels strangely like... A wedding?

It's not only the bridal style way Omori catches Basil. It's the way Basil lightly complains about Omori being late, the way they stop as Omori gives Basil his flower crown back and how directly after the act is interrupted by Stranger, who objects the whole "thing". A spectacle a bunch of "guests" witness.

I was always really curious about the church symbolism. For example the way Basil is stuck at the top of the church. I've tried really hard not to think about what usually is in the same place in churches because that comparison is making me die inside, even if it weirdly makes sense (Basil died for your sins U^U).

Besides that we have Sunny's interesting relationship with religion. Mainly that he probably feels insanely guilty. He feels judged by all the religious statues, moreover the snow angels, which are also one of my favourites, don't need to have the game tell us Omori feels judged by them. You feel it just by looking at their eyes.

The fact that Basil is in a church of all places is so telling too. Besides masses churches are known for holding weddings and, well, funerals. And in case of Faraway town's church is has a graveyard right behind it, where Mari lies.

I wonder if the scene in the Omori route is supposed to feel like a wedding but also double as a funeral (considering it marks the end of Stranger and his admittance of defeat that is actually a premonition of Basil's death in real life). It's one of the few scenes between routes that changes drastically and what it represents is absolutely fascinating.

What is really interesting also is that in the Sunny route the scene feels is completely different. It no longer feels like wedding. If anything it is just Basil begging for forgiveness, which does of course ties well with religion. But he's not begging for God's forgiveness, no, he's begging for his best friend's forgiveness.

I imagine this might be another way of showing us that Basil idolises Sunny as well as telling us that Basil feels really bad (what an understatement).

I also question if the Omori route scene is there to mirror the Sweetheart marriage scene somewhat, but I think I would need to dwell a bit more on that to come reach a proper conclusion.

Anyway, I hope you're having a lovely day! 💜

Wow, this is a really good ask! I'm going to break it down into a few different parts.

The Symbolism of the Church of Something

I think you are right on the money in how things go down in the Church of Something in the Omori route. The entire scene does almost play out as a wedding! Not just as a marriage to Headspace Basil, but as a final marriage to Headspace in general. After Sunny moves, whether or not he ever finds out about the fate of the real Basil, he has wholly become Omori. Stranger's objection does represent the last vestige of Sunny's mind trying to stop him from doing this; after all, saving the real Basil is the only loose end that Sunny really feels a responsibility for in a way that he can fix. He may want to see his other friends again, but he doesn't feel guilty for not doing so, because he feels he doesn't deserve it. Basil's a different story, because he knows he did Basil wrong for the selfish reason of protecting himself from his past.

To deepen the significance of this "wedding to Headspace Basil, and with it, a marriage to the concept of Headspace itself", I also want to point out that there is an implication that the end of Black Space in the Sunny route is not an end to the loop of Headspace, which won't happen until Sunny decides to shatter the light bulb on the next night. There is Stranger dialogue in the hub area that makes clear that killing the Basil that has seen the truth in Red Space is something that usually happens, and when you go there, you can find multiple of Basil's bodies littering the area. Instead, it's the Omori route that "breaks the loop of Headspace", via Stranger choosing to attack Sunny for abandoning Basil and the others.

That's not even mentioning the things that happen after this in the Omori route.

The flower crown that Headspace Basil gives to Sunny in the last Headspace Night in the Omori route provides twice as much HEART as the next best charm in that department (with those charms being the the Pretty Bow, a charm tied to Aubrey, and the Tulip Hairstick, a charm tied to Omori). The use of the word "precious" is also used in the Sunny route, in the description for Basil's Photo Album:

All three of these charms are only accessible in the Omori route, as well. The Pretty Bow item is only receivable after defeating Abbi, and is explicitly described as "too flashy for your taste".

Finally, so long as we are talking about weddings in Headspace, there is another thing that we would be remiss not to talk about. To go along with your mention of the Snow Angels (who have another interesting connection that I will go over later), the charm that you get from completing this area is the Wedding Ring.

As I've mentioned before, there are three different charms that allow the wearer to start happy, and they generally have fairly romantic connotations. First is the daisy, which both you and I understand is likely tied to Basil, but also has a romantic connotation due to the context of being a reward for assisting a character acquire a gift for their crush.

The second is one that I would also tie to Basil.

The Heart String is such an interesting little item, and the way it is tied to Basil isn't as immediately obvious as the Daisy. First off, this item is really easy to miss. You have to grab it during the chase section within Humphrey, and you can't go back to grab it afterwards to get it. There is also another item in the same area: the Blender weapon for Hero. This item immediately sets off alarm bells in my head, because smoothies (the only snacks in the list that are made in a blender) are snacks that are pretty clearly tied to Basil. Why make these two items into two of the only completely miss-able items in the game? And it doesn't evade my notice that shortly before Humphrey, where you find these charms, you have the Branch Coral, who makes another connection to Basil using the romantic image of a string.

Finally, the wedding ring is tied to Basil in another way, and that is what's going on in the area that you find it. Obviously, there is a negative association between Headspace Basil and the cold/snow, but there's also the fact that the ascent up Snowglobe Mountain is reminiscent of the leadup to the Church of Something in general, with the stairs and the snow. And regarding the Snow Angels, aside from the religious connotations behind them, there is another neat association. Take a look:

this was pointed out by someone in a discord server that I am in, and I unfortunately do not remember who at this point. Let me know if you see this and want credit!

I would argue that this similarity was intentional, as an older version of the game had White Egret Orchids looking much different, though I can't find a beta picture of Basil's house at this exact moment. These Snow Angels serve much the same purpose as Stranger in this route: being embodiments of Sunny's guilt for abandoning Basil and refusing to take responsibility for his sins. This takes place on the final night before Sunny moves, the same night that the real Basil chooses to end his own life. These are his final thoughts following Sunny into his dreams (whether you take this as literal or figurative).

One last thought on Basil in the Omori route before moving on: the Basil Rush, and how it’s the most explicit the game ever gets about how Sunny imagines his Basil's closeness.

Like, oh my goodness. The TAG photos didn't even need to exist, but they were put in anyway! And a little detail that goes unnoticed a lot, is that the hand-holding TAG photo is one in which Omori has initiated it! I think part of the tragedy of the Omori route is that it is most player's second playthrough (if they ever play it at all) and it is when the idea of Sunny and Basil having romantic feelings for each other starts being implied way heavier than before. Congrats! You got some heavy romantic subtext between the two boys. One of them is dead in the real world because you didn't save him.

Moving on!

The Religious Connotations of Headspace Basil

You didn't want to go into it very heavily, but I will: among other things, Sunny's dreamworld has turned Headspace Basil into a Christ-like figure.

Of course, there is his position in the Church of Something, but that's not all. He constantly wears a Flower Crown (crown of thorns, anyone?). In fact, Omori has to give Basil the Flower Crown back in the very first Black Space area, the Watermelon Area, seemingly as a preface for what's going to be happening with Headspace Basil throughout that portion of the game.

Look at what he says during the hide and seek game:

There's also the fact that in the Sunny route, we are looking at a game that takes place over three days and three nights after Basil disappears from Headspace, which I'm sure I don't have to point out the significance of.

This is a connotation that Sunny is making himself. Basil did not choose to take on Sunny's sins in real life, he expected that they would always be together. It was Sunny that decided to throw the responsibility of both of their sins on Basil, by choosing to forget. Basil will literally die for Sunny's sins in the real world.

Which brings us to the Flower Crown that Basil gifts to Omori after being rescued. Whether Sunny knows it or not, Basil has decided to end his own suffering in the real world. By gifting the flower crown to Omori, Headspace Basil has symbolically indicated that the situation has been reversed. Basil is no longer suffering for Sunny's sins, but Sunny is about to start suffering for Basil's. We are told numerous times throughout the game that Headspace is on its last legs. It's running out of places to hide the truth. We see Black Space leaking through almost everywhere, and the Basil Rush ends in a direct reminder of the day of the incident.

All that is to say, Headspace is seemingly going to fail, and soon. Black Space has grown too strong. If you ask me, it's only a matter of time until news of the real Basil's death has reached Sunny in the real world, and that will be the tipping point. From there on, assuming Sunny even decides to go on after that point, he will be living with the same weight that Basil did for those four years after Sunny left him, and there won't be anyone to save him.

The Sunny Route and Sweetheart's Castle

Finally, you mentioned how the scene goes in the Sunny Route. It should be noted, right after Stranger merges with the version of Basil there is the first time in the entire game that a version of Basil in Sunny's head refers to Sunny exclusively as his best friend, and from that point on, we will see that repeated in Sunny's mind. The room that Omori and Basil fall into prior to Red Space is one that we will see during the truth sequence, but it also appears in the Omori route, in a manner that we should discuss, as it ties into what you said about Sweetheart's Castle being connected. After all, the room that Omori and Basil falls into is the same room that Sweetheart's Castle turns into once you accept the Keeper of the Castle's deal, as I noted in my post about Sweetheart's Castle previously.

Sweetheart herself represents Sunny; both in his quest for presenting a perfect version of himself and his broken understanding of love, both of others and himself. Spaceboy represents the more "Omori" part of him; someone claiming to be above his emotions, but ultimately ruled by them. He even changes his name while he is in a relationship with Sweetheart. From this interpretation, we can extrapolate that their wedding in the castle is a representation of the Omori route's ending, right down to ending up on Snowglobe Mountain.

I also want to point out what happens right after this. You don't immediately just jump on down to the Lost Library. You try to leave, but right before you exit the area, you get the cutscene showing Stranger on the stage, leading you into the hole, meaning you literally need to walk down the aisle of an area explicitly designed for a wedding to follow Stranger into the Lost Library.

Whether or not you interpret Sunny and Basil as having romantic feelings for each other, this seems very symbolic of the fact that accepting and following Stranger (who I have previously described as the individual in which Basil's love of Sunny resides, be it romantic or platonic) is how you get to the truth. It's as if Sweetheart and Spaceboy's wedding represented the ending of Black Space in the Omori route, while what happens right after represents the ending of Black Space in the Sunny route. And like most of the ways Sunny remembers aspects of his history, the library is tied to Basil. Where the real Basil would provide books for Sunny to read, Stranger leads him to an entire library filled with books depicting his memories, both good and bad.

I hope you found all this interesting! I haven't really gotten the chance to talk about these things before, since I haven't really found the motivation to talk about them in their own post before! I hope you have a wonderful day as well! Time to go back to packing for my flight tomorrow!

[alwayslurkinginthebackground]

The Shirt - A Pedrotober Drabble

Day Thirty of Pedrotober: Fav Awards 'fit Pedrotober Hosted by @norththelemon and @alyssamariag. View the full prompt list HERE and view my entire Pedrotober drabble catalog HERE.

Pairing: Javier Peña x f!reader

Rating: Javi took the wheel, which means E. Oral (fem receiving), rough sex, bondage, dirty talk, unprotected p in v, cum shot.

Word Count: 1466

a/n: I had such good intentions with this prompt and then Javi threw them all out the window. So here's whatever this is instead.

When he finds you, you're in his shirt.

Not just any shirt, either. The shirt. The one he was wearing the day you first met.

If you were being honest, you'd clocked the way he was uncomfortable in it the second your eyes landed on him at the press conference. A little too tight around his neck with a tie that you'd watched him loosen the second he walked out to his truck. Almost like it wasn't something he'd wear normally.

Or, at least, that he'd prefer not to.

"You're home late."

He's shuffling past the door to your bedroom, tie already loose around his neck as he toes off his shoes. "Damn newbies couldn't get their heads on straight today," he grumbles, tossing his suit jacket over the chair that sits by the desk he never uses. His belt is off next, and you know the exact moment he figures out what you're wearing because all movement stops.

You've been sprawled out on the bed for the better part of the evening, his white shirt hanging from your shoulders, barely buttoned down your middle. You know it's hitched up in your slumber while you waited for him to get home because you've barely cleared the sleep from your vision when you feel the warmth of his hand tracing the curve of your ass.

"Thought I told you that you aren't allowed to wear my good shirt," Javi grumbles, the mattress dipping beside you as he closes in on your body.

"You hate this shirt," you point out, rolling toward him and reaching for the buttons that keep him from your view, unbuttoning them one at a time to expose his chest. "If I remember correctly, you stated that it made you feel like you were going to a funeral."

He leans over you, making quick work of your legs so he can kneel between them. "It does make me feel like I'm going to a funeral," he insists, capturing your lips in a heated kiss as the ends of his tie hang around you, "but it's also my best shirt."

"Well then the way I see it you have two options."

Javi's already working at your neck, the rough scrape of his stubble leaving red marks along your skin. "Oh yeah? And what exactly are my choices here?"

"Option one," you state, trying your best to regain the little bit of composure you can cling to when he's tugging the shirt in question down to expose one of your breasts. "You get a new shirt."

He hums, tongue trailing along your skin as he tugs at the buttons until you're exposed before him, "and option two?"

"You'll just have to think of me every time you wear it."

Your suggestion causes him to still, pulling back to stare down at you with a heated gaze. He sucks in a deep breath, his hands trailing along your thighs, up your sides, and along your arms until he's capturing your hands in his. It's only when he slips the tie from his neck and begins to weave it around your wrists that you question him. "What's it gonna be, Peña?"

"Option two," he returns with a low voice, looping the fabric around the bedpost as he hovers over you. "Except if I'm going to think of you every time I wear this shirt, I want it to be worthwhile."

You try to test the strength of the knots he's made, only to find them secure above your head. This isn't the first time he's done this with you, and you mentally recall the safe word he insisted upon the first time you slept together. Vermillion. Not that you've ever used it.

"Is the image of me in only this shirt not enough for you?" you tease.

Javi doesn't respond, not right away, because he's already busy kissing down your stomach and settling between your legs. He presses his lips to the sensitive skin of your thigh, wrapping your legs over his shoulders and hitching your hips closer to his waiting mouth before looking back up at you.

"You're always stunning, Carino, but when you come? That is the picture I want to remember."

He gives you no time to protest, diving into your folds like a man dying of thirst. Lapping at your clit and holding you still as you try to roll your hips into his mouth. You'd learned early on that Javi would do just about anything to make you come like this, with just his tongue and nothing more, and you have no problem providing him with the opportunity to do so as often as possible.

It's his name that comes from your lips first, a high-pitched whine that continues when he doesn't let up. A repeated prayer for him to ease you over the edge and let you fall into the abyss. "Javi. Javi. Javi." Your shoulders burn from the way you tug against the restraints, your fingers longing to grip at his curls, but there's no point in trying. Not when he has you exactly where he wants you.

"Fuck, you're so sweet," he mutters against you, a brief respite before he's diving back in, tongue dipping into your center as he laps at an unforgiving pace. Your nails dig into your palm, a hint of pain amidst the pleasure until you're falling apart in his firm grasp. Even then, Javi doesn't stop, working you through it as he watches you carefully, memorizing the keenness of your voice and every flex of your muscles as you spasm around him.

"That a better picture for you?" you breathe out when he maneuvers back up your body, kneeling between your legs after he makes quick work of the dress pants he's forced to wear to the embassy every day. Your eyes never leave his cock, hands absentmindedly tugging at your bonds when he takes himself in his hand.

He runs a thumb over the tip, gathering the pre-cum with a hiss. "I think you can do better," he challenges, shifting closer and lining himself up. He pushes into you slowly, stretching you bit by bit at a torturous pace that has you desperately fighting to get closer. The tie prevents it all, fabric digging into your wrists, and you can't help but catch the glimmer in his eyes as he takes in the sight of you beneath him.

"How about now?"

His mouth meets yours in a lengthy kiss, lingering until he's fully engulfed in your heat. "There's still room for improvement," he notes, taking the opportunity to prove it to you, and your face twists in pleasure when he pulls back only to bottom out inside you a moment later. "There you go, you're getting there."

There are a few things you know to be true about Javier Peña. One, that he loves fucking you as much as he loves eating you out. Two, that he fills you in a way no other man has ever been able to, his cock pounding against something deep and devastating inside you. And three, that he really loves when you wear this shirt.

"Gonna think about you like this every time I wear it, Carino." He leans down, rhythm consistent as his lips ghost against the shell of your ear. "Gonna think about the way you look wearing it when you're coming around my cock."

He must know you're close because then he's shifting back, grabbing at you, tugging you as far as the binds will allow. "So. Fucking. Beautiful," he grits out between thrusts when he catches the telltale signs of your impending climax. The way you bite into your lower lip, the way you go limp in his arms, the way the sound of your voice reaches higher and higher until you clench around him with a groan.

That is the picture he'll remember.

He comes in hot spurts against your stomach, and you memorize it all, too. The way he lets you watch him. The way his hand fists his length and the way he groans out your name, body tense until he's able to meet your gaze and reach above you to untie you. He leaves the tie wrapped around the bedpost, more intent on running his thumb gently over the curve of your wrists, bringing each to his lips with reverence.

When he releases you completely, he's quick to clean his spend from your skin, wiping with the edges of the shirt that still hangs loosely from your body.

"I thought you wanted this back?" you taunt, watching the way he slowly and methodically tends to you in the aftermath.

Javi shakes his head, gathering you in his arms. "I'll get a new one. This one looks better on you anyway."

[staywhore]

countdown to midnight

felix x reader

word count: 2009

genre: smut with a hint of angst?! (my first attempt so be nice)

warnings: friends to lovers, hot hot hot takeout sesh, biting, slight angst if you can call it that.

an: sorry there's not a lot here! this is part one of two so look forward to the next update to see what happens (eye emoji) I hope everyone had an amazing new year! I love you all, thank you so much for supporting me this past year despite my hiatus.

taglist: @mingigoo @ravenjoongie @wickeddarkness-place @whatudowhennooneseesyou @teezers99 @mirror-juliet

new years confession part one click here for part two

~

You ducked fast as a mis-shapen ball of snow is hurled towards your head. A pang of adrenalin strikes right through your heart despite the fact that there now is a small smile pulling at the corner of your mouth. You clutch the ball of snow in your beige mitten and prepare to throw it back at your attacker. Risking a quick look you see that he has his back turned to you and you take your chance to make your move. You quickly stand and throw the snowball with as much force as you can muster to ensure it makes its mark. Watching as the non lethal projectile flies across the imagined battlefield, you see as it connects with the neck of your blonde attacker. His head moves forward with impact, causing him to look as though he’s bowing. 

He turns to you with a shocked look on your face. The laughter fills your mind until you can’t help but fold as it erupts from you. With tears now in your eyes and the look on his face on loop in your mind, you don’t notice that the man is now running towards you. You look up right before he makes contact with you. His arms wrapping around your waist lifting you up slightly before you feel yourself falling backwards. You can’t help but let out a little scream at the feeling of falling. He tackles you into a pile of snow that previously was your attempt at a snowman before the snowball fight ensued. 

“How does it feel to lose to a girl?” You say a little out of breath from the adrenalin still pumping rapidly throughout your body. You can’t help but smile as you look up and see a matching grin paired with that oh-so-familiar sparkle of mischief in his deep brown eyes. The former flicks back and forth a few times from your eyes to your mouth. He just lets out a short throaty laugh as a response. 

“Are you going to let me get up?” You say, starting to feel the weight of his stare. His hand reaches out and he brushes some snowflakes that are collecting on your eyelashes. 

Felix has been your friend for three years now. You’ve stayed friends through drunken calls, colds, and breakups. Of course you’ve noticed his impeccable beauty. His deep brown eyes that glow in the sunlight giving the illusion of having dark chocolate for irises. The freckles that are splattered across his nose, cheeks, and a few on his forehead; it’s as if an artist took his brush and placed each one specifically. His full pink lips that you have only ever seen turned down in frustration or anger a handful of times. He is the image of beauty to you. Yet in these past two, nearly three, years you never let your feelings manifest into anything stronger. You’ve seen the girls he has dated, you look nothing like them. So you keep your love for him platonic, and lock up anything less deep within your heart. 

His gentle touch threatens to bring your bubbling feelings to the surface. The soft material of his gloved fingers moved from your closed eyes onto your cheeks, that are no longer flushed because of the cold. Sometimes you think he’s looking at you as more than a friend, but the thought leaves you quickly. Despite what happened a year ago. 

“I’m quite comfortable actually.” The corner of his lips turn up in challenge to your question. 

~

It was New Years Eve, everyone was drinking and having a good time playing games and sharing stories. Felix had not left you alone for the entirety of the evening, not that that was unusual. Usually you stick to each other’s side, but something was different. If you stepped out of arm's reach of him you could feel his stare following you throughout the apartment. Eventually you decided to ask what the fuck is up. 

You pulled him off to one of the two bathrooms in yours and your friends shared apartment. It just happened to be the smaller of the two, just enough room for a sink, toilet, and a small shower encased by frosted glass. Not totally realizing that we are now nearly chest to chest as you look up to him to confront him. 

“What’s wrong with you tonight?” You say a little too loud, noting to lower your volume from now on. 

“Nothing’s wrong y/n.” He says without looking at you. Seemingly focused on a very interesting spot on the wall no doubt. 

“Bull shit Felix.” Attempting to cross your arms at your chest, but can’t successfully without touching him. It feels weird to touch him tonight. You can’t figure out why. “You have been acting strange all evening.” You settle with placing your hands on your hips. 

After a few beats of silence Felix finally looks at you. He seems to be searching for something in your face. His chocolate eyes flicking to the different parts of your face. An unspoken emotion hanging in the air between the two of us. Maybe it’s the seclusion, or maybe it’s the drinks finally working their way into your system, but tonight he looks different. Your eyes dared a look at his lips, quickly looking back up to his eyes. His pupils dilated.

“Felix..” Now he looked at your lips as you spoke, but he wasn’t quick to look away like you were. He leaned forward causing you to step back hitting the wall. “What is wr-” He cuts you off with a finger shushing your lips. 

“Y/n, I know you feel it two.” You could feel yourself pale. 

“I don’t know what you are talking about Felix.” 

“I know this is sudden y/n, maybe it’s the alcohol or the fact that it’s new years eve, but I want to kiss you tonight.. I want you and I don’t wanna hide it anymore.” His hands found their way to your face, tilting it back slightly. Your mouth was suddenly dry and eyes wide at the confession. 

“But.. I- I didn’t think I was your type?” You barely manage to get your words out. 

“You are the most beautiful woman I have ever seen in my life y/n.” Past the pounding of your heart echoing in your ears you can hear your friends call for you. 

“It’s nearly midnight.” Your response to his second confession. 

“I know y/n.” He continues to stare down at you. Trapping you against the cool wall and his hard body. “I’d like to kiss you if you’ll let me.” 

Mind racing. You swear he could hear your heart beating. Your eyes roamed over his face, looking for any sign of deception. You could hear your friends starting their count down into the new year. 

"10"

"9"

"8"

"7"

"6"

"5"

"4"

"3"

“Kiss me felix.” His lips crashed onto yours as your friends finished counting down, and cheered as they rang the new year in. Hands found their way into your hair, pulling slightly, causing you to gasp. He took his chance to kiss you deeper. Felix consumed you wholly. His tongue explored your mouth as he continued to deepen the kiss. His hands roaming further down your body. They moved from your hair to your neck, then shoulders, and smoothed down your back softly causing you to shiver. Your own found their way to his shaggy blonde hair. 

Finally snapping from your stupor you tug at his locks softly. He moans into your mouth, sending a bolt of arousal directly to your core. So you pull harder. This time he growls as his grip on your ass tightens. He spins the two of you around so your back is now to the sink, lifting you, you now are sitting on the lip of the sink; wrapping your legs around his waist to pull him closer. His hand slid from your ass to your waist, fingers playing with the hem of your shirt. A silent request for permission, you respond by taking your nails to his broad shoulders and running them along his clothed skin. Cool fingertips slid up your skin sending goosebumps to your arms. The further north his hands went, the deeper your nails dug into his shoulders. 

He breaks away from the kiss to look into your eyes. His own half lidded with arousal looking at your lips that are no doubt plumped and a deeper shade of pink from the kiss. He lets out a deep breath before he leans in to kiss you gently. Staring at your lips then going to your nose and forehead. Moving to your neck where he places pepperings of kisses that once again cause you to shiver. All while his fingers are running along your rib cage, and just under the fabric of your bra. As his hands move up taking the silky material of your shirt with him he bites your earlobe. 

Pulling your shirt over your head he leans back slightly to take a full look at you. Chest heaving and knuckles gone white from the grip you have on the sink. One hand goes to your neck to pull you back into a deep kiss. His lips run down your neck this time he’s not so gentle. He leaves bite marks in his wake. Each time he sucks your skin you let out a little moan, and the next time he sucks a little harder. He does the same thing to your chest. Teasing you as he plays with the edge of our bra, not quite going underneath the fabric. 

“Please Felix.” You say breathlessly. He obeys and reaches behind to unhook your bra. The feel of it sliding against your skin only heightens your arousal. Without hesitation he takes one of your nipples into your mouth and sucks it. It was a struggle to not scream at the sensation. 

“F-felix.. Fuck.” You moan as he releases the first with a pop and moves to the second. Your hands find their way to his head once more, tugging as he moans around your breast. Your abs begin to burn trying to keep you balanced on the ledge. Releasing the second with a pop he looks up at you, this time with fire in his eyes. 

“Y/n…” Right before he can say anything else the handle to the door jiggles, shortly followed by a pounding fist. 

“Hey open up! I gotta piss.” Someone who sounds an awful lot like a drunken changbin shouts from the other side of the door. Heat instantly rushes to your face as you push Felix off of you and quickly try to make yourself decent. 

“Be right out.” You stammer, frantically searching for your shirt. Seriously, where did that thing go in such a small space! Only stopping when Felix's hands cup your face once more, causing you to look up at him. He looked like he had a lot to say, but he leaned in to kiss you. Flinching back not wanting to seem any more suspicious than you probably already have to the party, you regretted it immediately. The hurt that flashed across his beautiful features stung you. 

“Felix.. I didn’t-” He turned away from you picking up your shirt and handed it to you, his silence was deadly. He waited until you readied yourself, tucking you behind him while he opened the door. 

Feeling awkward and embarrassed you hid out in your room until the last of your party guests left, feigning a headache. Curled up in your bed scrolling through your phone, when Felix’s name pops onto your screen. 

[sorry for tonight y/n] Another ding sounds 

[maybe we should just stay friends, go back to the way things were before tonight] it’s almost as if a knife went straight through your heart. With tears in your eyes you begin to reply, but you can’t find any words so you just turn your phone over and quietly cry yourself to sleep.

[cogentsummoner]

Hi! So I'm rereading the Smite soulmate au and I was curious- Will we ever find out what exactly their soulmate marks are? Based on chapter 2 its a mark or something on the wrist. Is it a picture or certain word?

Also idk if you had plans to write out the actual scene of Smite and reader meeting for the first time but him kidnapping them and bombarding them with questions always sounded so funny 😭 I personaly would love a fleshed out scene of that if it's something you've thought about writing!

This fic is everything and I'm obsessed 💖

so i was largely gonna leave the soulmark designs up to reader interpretations, mostly because i don't really have any specific symbolism in mind for them. like, its not a sunflower or something like that. its just a kind of... curvy little design. if i had to pin down a design for it, it looks something like this!

as for how the reader and smite met.... well. let's just say it was a rocky beginning.

─ ⋅ ⋅ ⋅ ──── ♡ ─── ⋅ ⋅ ⋅ ──

You took stock of the situation; you weren't injured- anymore, that is- but you were deeply fatigued and pinned down amongst the rubble. You could hear the sounds of battle, far too close for comfort. Your left arm was stuck, your wrist- your soulmark - exposed to the world.

Gazing at its familiar looping design, you felt your tired eyes fill with tears. Were you going to die? Before ever having gotten to meet your soulmate? You'd been waiting for them for such a long time… it wasn't fair. Fuck, it wasn't fair!

Without warning, something crashed like a comet nearby, it's impact making the earth tremble- and making your coffin almost complete. You could barely see anything anymore, just a sliver of light penetrating the oppressive darkness.

You heard the sound of heavy, stomping footsteps approaching, and a deep, distorted laugh, and found yourself frozen in fear. Oh god. You were going to die, weren't you? This was it.

Cowering in fear, you remained silent- and All Might, King of Chaos, Symbol of Fear- he almost passed you by without noticing you.

But something caught his eye, and he stopped. Right in front of you.

"What is this?" he breathed out. There was no cocky malice in his voice- only genuine confusion… no, wonder?

Suddenly, you could feel the ground shake a little as he dropped to his knees, clearing away the rubble and debris pinning your arm down. Once it was free, he… cradled your arm, your wrist, gently, as if it was something precious.

"Hey- hey! Are you alive under there? Can you hear me?" came the voice of All Might as he… began digging you out.

"I'm here," you replied, voice shaking with terror. You begged pathetically, "Please don't hurt me."

"No- no, no, no, I'd never hurt you," All Might reassured you in a way your exhausted mind couldn't comprehend.

He pushed aside huge chunks of cement and rubble like they were nothing, pulling you out and then holding you with his hands under your armpits, as if you were a small child. You stared into the unforgiving and uncaring mask of the most dangerous man in the world, and you could do little more than tremble like a frightened prey animal.

"Hey, it's okay!" All Might said, his voice changer making what was surely supposed to be a comforting statement into an unsettling one. "I'm not gonna hurt you, and I'm not gonna let anyone else hurt you. I promise."

"Why?" you whispered, your confusion only feeding into the fear.

"Oh- right. Got a little ahead of myself!" All Might replied with a belly laugh. He put you down gently, and then- to your horror- rolled up his left sleeve.

It was a perfect match. It was a perfect match of your soulmark.

You stared, uncomprehending, until it finally clicked.

Tears welled up in your eyes. They were not tears of joy.

When the sound of the Number One Hero's yell reached the two of you, the moment was cut short, and All Might made his move.

─ ⋅ ⋅ ⋅ ──── ♡ ─── ⋅ ⋅ ⋅ ──

All Might was on cloud fucking nine.

Literally, as in he was bounding high in the air, from building to building, as Endeavor blazed after him like a fiery comet- but also metaphorically, because he had, at long last, found his soulmate.

"Where are you from? Where'd you grow up? What do you do for a living?" he asked, voice loud enough to carry over the intense wind rushing past the two of you. There was just so much he wanted to know about you- it'd been a little over forty years since his soulmark appeared, and he wanted to know every detail of what had happened to you in that time. He was so goddamn excited, a warm bubbling feeling taking root where his stomach should be. "What's your favorite color? And food? And flower?"

You only answered one of his questions, your voice barely above a whisper. "Daisies," he could barely make out. "I like daisies."

"Daisies are nice!" he replied cheerily.

It took him a few more minutes to get Endeavor off his tail, but finally, he came to a stop on a rooftop in a quiet section of town. He gingerly took you off his shoulder and set you down on the ground, and you immediately leaned on him for support, which he was more than happy to give you.

"Are you alright?" he asked, which- in hindsight, it was a stupid question. He could admit that now. But in the moment, he was just...worried about you.

Your grip on his arms tightened, and you laughed. It was a harsh, hysterical sound.

"No!" you shouted, tears once again filling your eyes. "No, I'm not alright! I-I was buried alive because of your stupid fight, then I'm 'rescued' only to find out the Number One Villain is my soulmate, and now-! Now you've kidnapped me, and I'm so nauseous from all that jumping, I could puke! So, no, I'm not alright! In fact, this is perhaps the worst day of my fucking life!"

For a long moment, All Might simply stood there, still as a statue, your words making his heart freeze over, then shatter. You were trembling, and you refused to look at him- finally, he realized the obvious. You were terrified of him.

Before he could say anything, you let go of him, taking a few stumbling steps back from him, your back hitting the wall of the rooftop door. Your hands covered your tired, dusty face, and you sobbed as you slid down against the wall, pulling your knees close to your body.

You looked so fucking heartbroken. So genuinely fucking upset. Upset that he was your soulmate.

Minutes passed in silence as you wept, and All Might fought the sudden, pathetic urge to do the same. You didn't want him. You were afraid of him, you hated him!

He'd been so excited to finally meet you. After so many long years of isolation, necessitated by his crusade against All for One, he had hoped that when he did finally find his soulmate…

He wanted you to love him. You were supposed to love him.

This wasn't fair.

─ ⋅ ⋅ ⋅ ──── ♡ ─── ⋅ ⋅ ⋅ ──

This wasn't fair.

Your soulmate was supposed to be someone charming and sweet and kind- not a villain. Not the Villain. Not a murderer, a monster. What had you done to deserve this?

Slowly, you stopped crying, having no tears left in you. You were exhausted, physically and emotionally, and now you had a headache on top of everything else. You simply curled up, resting your forehead on your knees as you hugged them, and closed your eyes.

You tried not to jump when you heard heavy footsteps approaching you, but despite your efforts, you flinched. You could hear All Might sigh, then came the rustling of buckles and leather. When he spoke again, his voice was noticeably different.

"I'm… I'm sorry. I didn't… mean to kidnap you. I… I just couldn't leave you behind, and Endeavor…" he said. His voice was deep and low, almost soothing.

You opened your eyes and tried not to gasp at the startlingly handsome face of an unmasked All Might. Chiseled features, hypnotic blue eyes, and golden, slicked back hair… Nothing could've prepared you for the sight of the Number One Villain's true face.

You furrowed your eyebrows. "So I can go home whenever I want?" you asked. Handsome though he may be… he was still All Might. This changed nothing.

He nodded, mouth set in a firm line. "Of course. I can drop you off-"

"If you're going to jump like you did to get here, then absolutely not," you interrupted sourly. Then, quietly, you added, "I'm afraid of heights."

He winced, then rubbed the back of his neck. Seemingly embarrassed, he mumbled, "…sorry."

He reached out a hand, to place on your shoulder, but you immediately tensed and said, in a voice as cold as ice, "Don't. Don't touch me."

You could see him swallow thickly, and he nodded. "Alright. Alright," he replied with a sigh, just the barest hint of… disappointment? sadness? in his expression. He took a few steps away from you, then asked, "Is it okay if I sit down here?"

You had to bite down a hysterical laugh. The most dangerous man in the world, asking for permission from you? What a joke.

You nodded warily. "Fine."

All Might sat down across from you, brows furrowed as he seemed to study you. You merely closed your eyes and rested your forehead on your knees again.

Finally, he spoke. "I… I know I'm not… what you wanted-"

You let out a derisive snort.

"-but we are soulmates, and… and I'd like the chance to get to know you," he said, sounding incredibly sincere, if not somber.

You contemplated his words for a minute, then replied, "There is quite literally nothing I could do to stop you from doing… anything, really. If you wanted to stalk me every moment of every day, there is no force on this planet I could enlist to get you to go away. If you wanted to actually kidnap me on purpose, then I doubt anyone could save me. Don't pretend like I have a choice in all of this."

You opened your eyes, and looked up to see unmistakable hurt in All Might's expression. He was quick to hide it, but his stricken face sat heavy in your mind.

"You do have a choice," he insisted. "I don't- I don't want to force you to do anything! I won't! I want you to…"

"To want you? To love you? Of my own free will?" you supplied, letting out a heavy sigh and straightening out your legs. You folded your hands in your lap.

A fierce blush bloomed on All Might's face, even as he looked away. "…yeah."

"I don't know if I can do that," you answered honestly.

His eyes squeezed shut, and his hands clenched into fists. "Can you… can you give me a chance at least? Please?"

Without his eyes on you, you stared at him unabashedly, then let out another sigh. "If I do, and the answer is still no, I do not or cannot love you at the end of it, will you accept that? Will you leave me alone? Or should I fear for my life if I do reject you?"

His mouth trembled. "I would never hurt you. No matter what you do to me, or how you feel, I-I… I could never hurt you. Please, please- if nothing else, please believe me on that."

You were quiet for a long moment, letting the two of you stew in the mess of emotions you were both feeling, before finally replying, "Okay. Alright. I'll give you a chance."

And with that decision, you sealed your fate.

[timeloop-observer]

time loop Stands For Some Things question mark? mostly just curious about your interpretation of the metaphor(s) there as someone only vaguely familiar with the game. sorry for stumbling on your special interest blog and asking for the literal ABCs of isat im just soo questions

ok well the thing is the things that the loop stands for in isat are Big Spoilers. so uh, go into the read more at your own discretion? also keep in mind this is just my interpretation

the way i see it, the loops can be read psychologically and metawise. psychologically, it's all about being trapped in patterns of behavior. conversations that you've already had dozens of time before, things that you and the people around you keep doing, cycles that repeat for no one's benefit, safe for the unintended effect of not having to change or open up about your issues. siffrin keeping himself and his party hostage by not being vulnerable with them but refusing to let them leave out of fear and love. and thus making the same mistakes and doing the same things over and over until they get so burnt out and mess up so hard it threatens to Ruin Everything (where the game once again ramps up siffrin's subjective perception to cosmic cataclysm proportions via wish craft).

metawise, isat is also a commentary on how hard it is to leave a good game behind. the story is framed as the endgame area of a different jrpg (which i'll refer to as "the larger game" from here on out) for a reason: siffrin is effectively the player being unable to reckon with the fact the larger game is almost over. running around with different sidequests, trying to find more ways to spend time with the characters, feeling the endgame grind of fighting against enemies time and time again for exp, doing anything and everything to just not let the game go. it even escalates to the point of their attachment becoming warped, ironically getting so invested that they wind up flattening the complexities of the story and characters that they loved so much it caused this (siffrin with their stageplay metaphors paralleling how some people become hyperaware of the fact they're "playing a game" and "trying to 100% it" which ironically even happens to isat).

the two allegories are in my opinion two sides of the same silver coin and serve as another element of what makes siffrin so compelling (not to mention relatable, i only thought of the psychological angle because i sometimes feel like i'm in a timeloop when a depressing situation happens that has happened before- I MEAN WHAT).

[strangesthirdeye]

Listen Before I Go (SH x Fem! Reader)

Summary: A quick call won't hurt, right?

Warning: It's Sherlock everyone like him..heavy angst? Attempt Suicide, mental breakdown, mental health, You are loved by people, don't do that. You need a hug, pleading, high ceiling, hanging rope, almost suffocating. The Empty Hearse episode.

As usual, I'm sorry if there are any wrong sentences or typos or grammatical mistakes, please forgive me and again English is not my first language, so I try to improve my language and writing in this way.

─── ･ ｡ﾟ☆: *.☽ .* :☆ﾟ. ───

One more loop and the knots are strong enough to support your weight. You sighed heavily. The creaking sound of the chair under your feet is heard when you make some motions on it. You look around your living room. Everything is scattered and unmanaged. Papers and books on the floor not to mentioned chairs are scattered around the living room, just like your wooden table.

you exhaled a heavy breath and looked up to see the noose hanging from the ceiling of your house. Well, here it is. After running around in your own mind and going through all the painful and stressful things in the real world, you are finally lost. Those things successfully kick your ass. Not to mention what happened to Sherlock two years ago. He committed suicide and claimed he was a liar, but that was not true. Why did he do that makes it a question mark for you, John, Mrs Hudson, Greg, Molly and Lestrade. Mycroft? hmm, he's just quiet. There was no news from him after that.

As if he has disappeared from existence.

Every dark plagued plays in your mind. All those rude people who curse Sherlock and proudly claim that Sherlock is a fraud. Not to mention those people have started bothering Sherlock's friends including you as his girlfriend. Those people don't know the meaning of grief.

You then look down. This is high enough. As long as your feet do not touch the floor is enough. Suffocate is not the first thing in your mind but because you don't want to commit suicide dirty with blood, you immediately decide to hang yourself. At least your life is taken slowly and in that time you can see all the happy memories at the end of your time.

You stand on your tiptoes and stick your head into the noose. The noose gently ends around your neck. Your hands started to tighten the noose around your neck so that it would be tight and not come loose when you hung it later. You sighed for the second time.

You are not afraid but nervous. Well, at least you know what your destiny is. You then close your eyes and your legs are ready to push the chair. All of the sudden, your phone rang in your pants pocket. You were shocked and almost pushed the chair under you but luckily the chair didn't slip.

You fish out your pocket and take your phone out of your pocket. You gulped your saliva slowly when you saw the contact on your phone.

John.

You immediately slide accept and open the speaker.

"Y/n"

"Hey, John"

"Where are you now? I need to tell you something.. Might be a surprise from me to you... I guess" John chuckled a little. Following with his hype tone means that John is in a good mood. Good. You're going to ruin his mood if you tell him what you're up to.

"what is it that you want to tell me? Is it Mary tho?" You pretend to hype your voice just to hide your crack tone.

"Well, I prefer to tell you at a cafe around your house only if you're not busy" John reasoned.

"well, i can't go out now.. can you just tell me on the phone instead? i kind of not really having a mood to go out anymore" You bit your lip slightly.

John was silent for a moment. You can imagine his confused face in your mind. Classic John. Gonna miss him.

"Are you alright?" John asked.

"mhmm.. I'm always alright" You replied.

"really? cuz' that's not how your 'alright' voice sounds like" John said suspiciously. "is it about Sherlock again?" John added.

Dammit. Why does he have to be the one who is always right? You are silent.

"It's been two years, Y/n. You have to let go that 'feeling'. It's not good for you" John said as if a father was advising his children to be useful human beings.

"you don't understand, aren't you? It's not easy. You have Mary.. while I don't have no one. No one to help me. Not even Mycroft. And I don't want to bring Mrs Hudson into this. She's already got a lot of plates in her hands." you paused you stand on your tiptoes.

"well, at least you don't have to deal with me anymore. I know what I'm doing now is a very useful thing. You don't have to worry about me." you added, the voice started to crack.

"What are you doing right now, Y/n. Don't you dare say that to me. I know exactly what you are trying to do. I'm coming" John's voice seemed to rush.

"tell me, John" you spoke up.

"what" John snapped trying to stop himself from yelling at you not to say negative things again.

"tell me what you want to say to me. That you expect me to be surprised" You closed your eyes. Tears streamed down your cheeks.

John let out a heavy breath. "I- oh god! this is not the situation I expected to tell you what it is. Taxi!" John yelled. John's voice then became muffled for a few moments before it became clear again. John then hurriedly told the cab driver your home address. Although the location is quite far from your house, John doesn't care about the fare. As long as he can save his other friend this time.

"just hold on. Don't end the call" John informed you firmly. John then sighed anxiously. "I-I plan to propose Mary tonight"

You smiled sadly. "is it going to be fancy? big?" you questioned him.

"fancy but simple.. oh gosh, why can't you just.. not doing all these things? You have many other things out there to go through! why now do you want to end it?" John is furiously rich.

"I think this is the end of my story. I've got nothing out there to go through. You have Mary. She's the one, John. Marry her. Make her half of your life. Have a family." You said lowly. your toes little by little push the chair under you.

"don't you dare say that. Think about it again. Sherlock doesn't want all this. He doesn't like any decision to end your life. He despises it. He wants you to move on and live a normal life. Normal life! Don't you want that? Find someone who can be with you for the rest of your life. Please.. I don't want to lose my best friend again" John begged.

Your line is quiet. Only the sound of the cab that John was riding in was heard. You look down. The hanging rope around the neck feels tight.

You know he's right but why don't you move away from the noose that is now resting on your neck? Sherlock doesn't like this. He despises it like John said earlier. Why then don't you open the rope and get off the chair? It's not going to work you know. Kill yourself. It's not.

Every thousand possibilities play in your mind as you hold the phone tightly in your hand. You bit your lips hard.

"I can't hold it anymore. The feeling of pain, grief and lost. It's not easy like what you say. It's just- Move on? no.. it's not working." you sobbed.

"No.." John paused. Probably is choosing and arranging the next sentence. "No, it's not easy. But, Sherlock wouldn't want that, right? So whatever you're doing now just drop it. Please. For the sake of Sherlock Holmes" John added in a tone of hope.

You paused and closed your eyes. Thumbs up on the screen. "I'm sorry, John" and you ended the call.

'just get on with it' whispered the demon in your ear. You choked on your own tears in your throat. You tossed your phone aside and stared for a moment then without hesitation you pushed the chair down so fast that it landed on the floor. But you don't fall, you float in the air with a hanging rope around your neck.

And there goes your oxygen is cut off quickly as you gasp for air while thrashing in the air. Both hands on the noose around your neck while your eyes darted around the living room. Mouth part away trying to get even a little oxygen. Your skin's colour is getting paler and your brain is in a state of shock when the oxygen is getting less and less to the brain.

You almost lost consciousness and then you see it. Life flashes before your eyes. Happy and sad memories. All in one. As the last piece of memories played in your eyes, you finally lost consciousness. Both your hands limp to the side while your head lolled forward. Your hair frames your pale face. But not before you hear the door of your house burst open by someone. Someone who you didn't get to see as your eyes are now tightly closed. Welcoming the feeling of a blanket of darkness.

─── ･ ｡ﾟ☆: *.☽ .* :☆ﾟ. ───

Eyes opened slowly as you gasped to take enough oxygen into your body system. Every thought plays in your mind. Why can't you just go in peace? Why do people have to bother you?

You look around the living room. Now you are lying on the floor. Eyes on the ceiling while your breath is still panting. Everything is hurt especially in your neck. You can still feel the texture of the hanging rope around your neck.

You curse whoever messed up your suicide attempt. It could be John but the taxi John took could not be able to get here quickly. So who? You glared at the person who was kneeling next to you but then as soon as your eyes landed on the silhouette, you widened your eyes.

there he is, a man who claims to be a sociopath and never believes in sentiment but then falls into the terms boyfriend and girlfriend. His brunette hair, his eyes, his cheek bones and his face are still the same but at the same time he looks a little mature. While his eyes hold emotions that are very heavy plus panic and concerned etched on his face.

Sherlock Holmes. The so called 'fraud' is now on your side.

"What were you thinking?!" Sherlock said loudly.

You are stunned. Sherlock then touched your shoulder and shook it a little trying to get you out of the trance.

Oh, God. What you think is a dream is actually not a dream but real. The feeling of him touching your shoulder and his deep raspy and smoky timbre makes you miss him so much. Your eyes start to glaze over with tears.

"Sherlock?" you whispered his name.

Sherlock looked at you with concern and tried to help you sit up. "what were you thinking? Suffocate yourself to death? why? just why?"

"because you died! For two years. I thought you were dead once your body hit the ground in front of the hospital. Two years, Sherlock. Two years. And you think I can live without you just like that?" you yelled while slapping him on the chest several times.

Sherlock deflected your blow by holding both of your wrists to his chest. He looked at you with sympathy. "I want to save you and the others. This is all I can do. Moriarty will do worse than what you don't expect that's why I have to do that. Two years I tried to take down his network and now I'm here. What you did earlier there was the most horrible thing for me. I don't want to come back home knowing that you are dead."

You thought for a moment. Your red eyes looked at Sherlock's face with realization on your face. And then you sniffed and leaned your head on his chest.

Sherlock then put his arms around you. His right hand was placed on the back of your head and stroked gently while his head was placed on top of your head.

"You saved me.. oh, how stupid I am to do that" you sobbed.

"no you're not stupid. Don't say that. You are the most brilliant and courageous woman I know. Your intelligent and kind attitude makes me adore and fond of you more.. listen, I don't always say this but you are the only reason I'm coming home. Please.. don't do that ever again" Sherlock said while kissing your hair.

"John will be here soon." you say. Your voice is muffled in his chest.

"let him. might as well make it a surprise for him." Sherlock joked trying to lighten up the mood.

You chuckled tearfully and then hugged Sherlock tightly. Sherlock smiled gently and tightened his arms and rocked you left and right with his eyes closed.

[skyeslittlecorner]

can you post some photos on chapter five? ive been struggling to get to it and im impatient if ykwim 😭😭

Don't worry anon, I got you covered! Let's break this chapter for three parts - one for story and for one for both H-scenes. There are a lot of things to look forward to~

Warning: HEAVY SPOILERS BELOW THE CUT. In fact, I'll try to shorten the whole thing and focus on plot-relevant facts, so for those who want to go through chapter 5 on their own, come back when you're done! (Or just skip to h-scene, they are marked.)

Ch5 - STORY

First, I would like to warn that my opinion about it may be unpopular. As someone who hadn't paid much attention to Hades before, I fell in love with it after this episode. I adore ch5. A lot of people hate these boys to the core for what they did, and I understand and respect their opinion, but I'm with Hades here. I would love to analyze their behavior in more detail, but we don't have time for that today.

Summarizing this chapter is going to be hard because a lot of things happened. Let's go!

We start by going down a slide sponsored by Leviathan and his Lovecraftian friends (TM). But worry not! It seems we have friends even in the realm of death. Say hello to grandpa!

We talk a little, being in a questionable mood. Well, who wouldn't be? But we have the opportunity to know Solomon better, and I'm getting to understand why all devils love him. By the way, it turns out that we are his last descendant.

Sorry Solomon, you're still a peepaw.

He also advises us not to be afraid of Leviathan and not to be submissive to him, and then in a brilliant way he sends us back to the world of the living. Of course, our beautiful king is delighted.

We take Grandpa's advice to heart and finally stand up to Levi. He's surprised, but he doesn't try to kill us again (for now). We witness him hanging one of his subjects, who dared to ask about an accident from 311 years ago.

Fun fact. Devils must have much stronger spines. Do you know how people used to die by hanging? The first methods involved cutting off oxygen, but later they involved into breaking the cervical spine and this was considered a standard hanging execution. Leviathan must be gentle (how bad it sounds in this context), he could kill instantly with a loop like that.

Back to the point. We find out that we also have a noose around our neck, and Leviathan makes use of it. We're hanging, but we finally begin to meet Leviathan's nobles one by one.

Glasyal plots (and ends up hanging for it), Foras argues with him, along the way we learn that Leviathan needs us in his plan, and, you know, maybe killing us isn't the smartest thing he can do. Only Barbatos realizes that maybe it's a good idea to stop hanging us like wet laundry. He's the only one so openly nice to us.

Remember that.

Another fun fact, our MC is of medium height (~160 cm I guess). Leviathan is 187cm, Foras should be similar. I only noticed this because I myself am 180 cm so they are not so strappingly tall for me.

Foras wants to take us away from Levi and explain everything calmly, but the king does not agree. We learn that the guys know where the seed from the Tree of Knowledge is. We're supposed to go with them, and we have about a 50/50 chance of survival. Also, we have the opportunity to see a very rare phenomenon, a joking Leviathan.

Sweetie.

Colossally shortening the rest, the cavalry arrives! You didn't have to. I haven't had time to fuck them yet.

And this cavalry is very much at odds with the nobles of Hades. Most of the time is them arguing. Fortunately, they didn't kill each other…

...because Barbie decided to kill us.

Barbatos is poisoning us to force Bimet and Valefor to join the plan. While we are unconscious, we have flashes of Leviathan's past, which is too sad to analyze considering that we are about to jump to hot scenes now. Besides, most of us already know what this is about. Experience it for yourself. Really. We also learn that not only angels experimented on children, and a little about Mammon's childhood.

In the end, we learn that in Ch6 we must visit the abandoned laboratory in Tartaros, where the seed from the tree of knowledge should be, because as Solomon's descendants, we may be the only ones who will not be killed by it.

Ch5 - VALEFOR H-SCENE

(I really wanted to post CG from Valefor's scene here, but I don't know if Tumblr will block it.)

TIME FOR DESSERT!

Bimet is the first to realize that we lack devil energy. He wants to take care of it, but Valefor brushes him off, sends him to scout, and overall Bimet is our wingman, what a bro lol

Since we are away from Satan and Gehenna, we cannot summon Minhyeok's room. MC thinks she's outgrown it anyway. So we can count on the next scenes to be more and more creative.

It all starts with us telling Valefor that he reminds us of Mammon. And what a beast it brings out of him.

And he loves it.

...aaand then, someone wants to interrupt. Bimet informs us about this and goes to chase them out. Valefor stands with us at the door to see if anyone else is coming. Yes. Naked. With us. In us.

Fortunately, no one catches us and after the entire session we fall asleep in our knight's arms.

I really would like to do more screenshots, but tumblr is blocked… and there's one more part to come.

Ch5 - LEVIATHAN H-SCENE

At least you look beautiful and the platform won't block you.

And here's what I love the most. It was sick. I'd love to experience it again.

I would love to make a whole post ONLY about this and just leave the screenshots.

We are in Leviathan's office, and he interrogates us when we feel like we are lacking devil energy. We want to go to Bimet, but do you think our jealous king will allow it? Oh no no no. And of course, his hands land on our chin and then our neck. He doesn't like our hickeys.

We start asking him valid questions like "why are you jealous of us if you hate us?" So he silences us with a kiss. A deep, suffocating kiss. This is also how Leviathan discovers that we gain their energy through "intercourse with the devil".

And how can I not fall in love with this idiot.

The conversation that follows gives us some light on his approach to sex and to relationships in general. Which is… sad. It fits him perfectly, but it's sad. And I would also like to analyze this someday, this character is beautiful and how he's written is even more beautiful, especially from writer's point of view. He does not want the admiration of his people or the hatred of angels. The only thing he can believe and consider to be sincere is that someone's dislike. This is something that might actually turn him on.

At first he rules, he asks questions and he hangs us. And he does everything he can to piss us off. He hands us a whip and lowers us down.

Just disliking him isn't enough, and he works diligently to make us hate him. He insults Minhyeok, us, wishes us dead, and the more he sees our anger, the more he gets excited and talks more. He knows that we are connected to Satan and we will know how to release our anger. On him.

He finally got what he wanted. We straddle him and, with the help of Satan's strength, begin to strangle him. Neither you nor he are gentle.

Also, his words (unfortunately, I already have a limit on screenshots). "Do not bite your lips. Bite mine instead." I beg, let me violate him even more.

Compliment from Leviathan, nice. In the end, we fall asleep cuddled up to him, and he has no intention of giving us up to anyone. As in the case of Sitri, he only opens up to us when we are so unconscious that we do not see his softer side.

꧁:･ ✡ ･:꧂

AND THATS ALL! What a ride it was, I hope I was a good guide. One day I will go into the Hades boys in more depth, but for now, let this be a shortcut for everyone who is still struggling with ch5.

[olivieblake]

I know it's SO silly to avoid posting spoilers on a fic that was written almost a decade ago but @wonniesverse asked about what happens in chapter 35 or 36 or whatever of Marked (you know the one) and I am putting my answer under the cut!!! it's unfortunately kind of a short answer lol

hi! i am so sorry if i've got the wrong account but i had just recently read the clean and marked dramione series you wrote on ao3, and i was genuinely FLOORED. yep it's me lol this was the first fic i had ever genuinely cried for, the way you expressed hermione's and draco's relationship so well. the fic was written so long ago - in 2016 - and you might have forgotten about it, ahahahah pls but i had one question i simply couldn't ignore for the life of me: when snape used the time turner, he went to another parallel universe, right?

sorry to interrupt you here, but no! he used the time turner to go back in time, within the same universe, in a time loop. as with the events of book 3, there is still only one universe and only one timeline—there are briefly two harrys and two hermiones in the book because they're the ones who used the time-turner, but in this case, only snape went back, so he's the only one who is experiencing both the current timeline and the rewritten past.

so the new universe's hermione and draco could feel the phantom original universe's draco and hermione's experiences, so the original universe must still have been existing and operating alongside the new parallel one, meaning that the original hermione and draco were still there (please correct me if i'm wrong!).

so again, there is only one timeline, but them being able to feel the echoes of other decisions and other lives was meant to be sort of ineffable. magic!!! etc etc

but i was wondering, if that was a separate timeline, what happened to the original universe's draco and hermione if they still existed? i know draco died in the original universe, but i was curious how the original universe's hermione (master of death) lived after that, and if she ever found joy again, or if she only talked to the ghost of draco forever, and i also wonder how theo fared in that original timeline. there are so many other questions i'd like to ask, but i'll keep this as short as i can.

I made a joke in this week's not writing video that the oversaturation of multiverse media has led to some confusion so yeah, the timeline is disrupted and written over, like—oops maybe this is too Aged a reference—but it's like when you record over an existing VHS and the original footage is simply lost. but there is also the concept of a palimpsest, which is what I wanted those echoes of another life to feel like

as for what would have happened if that timeline continued: what the story suggests (the reason snape went back to begin with) is that the timeline is hopeless—draco is dead and can't be resurrected, hermione maybe never moves on, she allows absolute power to corrupt her absolutely. but that was the point of the story, that the pressure point that re-starts the time loop each time is that draco dies and everything goes irreparably wrong from there. you are of course welcome to reimagine something else! but that was the point of writing a story that resets to canon; I was trying to resolve and explain all the places where something doesn't make sense, like whenever an adult makes a terrible and illogical decision

the way that you wrote of hermione's heartbreak truly tore me apart, and i cried unabashedly when i saw draco died. draco loved her so much and she loved him, so to kill one of them would be utter torture, and i hope the original hermione got to find peace or at the very least see draco in the afterlife. theo was so strong too - even though he wished he could be selfish and talk to draco too, he knew he couldn't take even the ghost of draco away from hermione, so he gave up his chance. i cannot even begin to describe how this story broke my heart and mended it again, and i'm happy that at least the hermione and draco in the other parallel universe got their happy ending, but i also worry about the original hermione and draco too. if you've read until here, thank you so so much for just indulging and entertaining this silly question of mine, and i wholly understand if you don't feel like reading this question anymore. nonetheless, regardless of if you read or reply to this message, i just wanted to let you know that this series was truly of the best i have ever read, and i thank you so so much for that. again, if this is the wrong account, i apologize! but the fic was written in 2016, and the author said this was her tumblr account, so i found the best match i could <3

hahahaah it's so funny to me that you would have any doubt that this was me... I still pretty much write endings that people get mad

but thank you so much for caring this much about the story and I'm so glad you enjoyed it!!

[dark-dimare]

Imagine seven year old Luffy seeing some baby animals (maybe wolves?) play-biting out of affection and deciding to do the same. So he goes up to Ace and just gently *nom*.

Ace is confused, cause what? He asks, and Luffy just says that he saw someone else do that to their siblings. Ace, not realizing that Luffy saw baby /animals/ play-bite their sibling, and runs with it. After all, Luffy has the most experience with kids their age between the two of them. (Sabo’ as experiences don’t count to them because “Nobles are weird”)

So the two (or three if it happens before Sabo’s accident) just start biting each other as a way of showing affection. No big deal, just average wild child stuff, only it continues once they’ve set out and gathered crew.

I imagine Ace ended up gathering the Spades in a similar manner to Luffy, one by one kind of way but no more than two at a time. By the time the next Spade joined, the previous one was not only accustomed to but joined in with affectionate biting. It wasn’t much, or often, but still present enough.

Ace doesn’t even realize that it’s not a normal thing until after he joins Whitebeard, when he affectionately bites Thatch for bringing him food. A whole shenanigan-esque scene happens where they try to explain to Ace that No, humans do not tend to bite each other in affection outside of lovers in intimate situations. Once it finally sinks in, all he can say is “Oh no, my brother’s poor crew.”

Luffy doesn’t hesitate to affectionately bite his nakama, and they just take it as part of him, just like how he’s rubber. It mainly becomes a thing when the other Straw Hats start doing it as well.

Zoro, I imagine, would be the first, and would first do it to Sanji. Like, he just woke up from a nap, and sees Sanji handing him a bottle of booze. So, as thanks, he instinctively gives Sanji a gentle nip on his wrist as he takes the bottle. Sanji is so shook he doesn’t even start a fight over it, and just numbly walks over to the girl(s). “You know how Luffy keeps biting us?” “Yeah, he’s like a damn mosquito, only he doesn’t draw blood.” “Zoro just bit me. Like how Luffy does.” “…What?”

From there, it spreads. Gentle nips as thanks, worried noms for those injured, soft bites as just general “I’m glad you’re here”. Every one of the Straw Hats bite each other. (I imagine Brook has a bone in particular that he lets them nom on because he’s so tall, and they don’t want to upset him by making him feel like a chew toy, and it just has various teeth marks simply because of how many times they’ve gently bit him. He’s very thankful for it, because on nights when he can’t sleep because he’s suddenly thrown mentally back into isolation, he can feel their marks on his bone and remember that he will never be alone as long as they live.)

The Whitebeards are thrown through a loop if/when they meet a small crew captained by their Second Division Commander’s precious baby brother, and finds that a l l of them have the same way of showing affection, and none of them brought up how weird it is.

(If Sabo was still around when Luffy came to this conclusion, I imagine it’d gotten stuck in Sabo’s instincts to nom with affection. Koala is the first -and only for a long time- person he bites, and she doesn’t question it because “maybe it’s an amnesia thing? Like him not even knowing his name?”, and doesn’t even bring it up. The others only find out once Hack gets bitten for delivering a tired and hungry Sabo a snack after training. “You know I’m not food, right?” “Yeah?” “So then why did you bite me?” “I bite Koala all the time?” “I thought it was an amnesia thing, is it not?” “No, it’s not even really a human thing, with some very age-specific exceptions.” “Huh. Normally, I just feel like biting, so I bite. Normally, it’s a ‘I’m glad you’re here’ or ‘hello/goodbye’ bite. That was a ‘thank you’.” “…all right.”)

[yersina]

a linguist plays chants of sennaar (pt 3)

[pt 1] [pt 2] [x] [pt 4] [pt 5]

onwards and upwards!

disclaimer: can't promise that i'll have any insights that a layperson wouldn't have, this is kinda just me thinking through the grammar of the language out loud haha.

this post covers the third language and will contain spoilers! it also assumes that you know what all of the symbols mean already.

have a huge soft spot for this language the most out of all of them haha. again, missed part of the gameplay for the dictionary—i couldn’t find the last fruit to feed the monkey lmao. also, i had the game open while writing this post this time, so more screenshots, yay!

visually, i'd say that this compares to arabic script or devanagari, especially with the line that runs through all of the characters, but it's still a logographic language. culturally/artistically, i think it's meant to represent how flow-y and artistic the bards are haha. i also remember seeing something once about the thai script (which this is not entirely dissimilar to) and how it was originally written on organic matter (eg leaves, bark, etc idk) and needed to have loops in order to work against the grain of the leaves. i haven’t done my due diligence and confirmed that in any historical or anthropological context yet, but it seems plausible to me?? the bards do seem to have a more tropical environment, tho again it’s likely just an artistic decision haha

once again, in terms of visual patterns in the words, we can see that a verb is indicated by a dot in the top right hand corner. the people words ("warrior", "bard", "you", "i/me") seem to all have a swoopy symbol that crosses the horizontal line, which is interesting. the only exception is "idiot", which might be because it's primarily functions as an adjective. locative nouns, including the cardinal directions, have a dot below the line. the only noun that includes a dot is “compass”, which might be a reflection of its connection to location? as in it contains locations, or navigates to locations? i’m uncertain. interestingly, the only non-person nouns that touch the horizontal line are “monster” and “greeting”, which might also be indicative of the senses of those words—if we recategorize “monster” with the people-words and “greeting” with the verbs, then we don’t have any outliers. however, this would include a word without a dot in the verb category. perhaps at some point in the evolution of the bard’s language, “greeting” lost its verb features? again, i’m unsure and possibly reading too far into it lmao.

this is our first OSV (object subject verb) language! ngl, i was annoyed by the way the game chose to translate the meaning into english—there are plenty of verb-final languages out there irl, no need to be so literal with the translation lol. amusingly, we see this being the most apparent when translating between the bards’ language (which is OSV and has plural marker suffixes) and the warriors’ language (which is SVO and has plural marker prefixes). absolutely none of the characters line up w each other lmao

(we can also see from this exchange that there’s no distinction between “go/pass” (i.e, from here to there) and “come” (from there to here), which is not something that i specifically noted before. interesting! again, i assume this is due to the capacity of these languages being limited.)

this is also our first possible (possible) indication of punctuation, with “question”. i’ve seen some people directly translate the “question” word as <¿?> (the punctuation marks), which i’m hesitant to do, especially considering that there’s no other evidence of punctuation in any of the languages. irl, japanese (and other languages) has a question word <か>, which indicates orally that something is a question—the bards’ language could easily have something similar.

we also see this mirrored in “not” in terms of grammatical structure, which probably indicates something about how auxiliary verbs are used/placed in this language (even tho “not” isn’t a verb—i’m sure there’s a linguistic category that includes the both of them but it escapes me rn). someone else on tumblr called this negative concord, and julia on an sss stream likened it to the french “ne pas”, and yes that is what this is, but it’s also… a little different?? my academic interest in linguistics when i was in school lay more in socio-cultural contexts than syntax so this is definitely NOT my area of expertise at all, so take what i say here with a large hunk of salt:

after some very brief research, it seems that negation can either take place at the sentence-level (e.g., through verbs like “can’t” or “won’t”) or through negative words (e.g., “nobody”, “nowhere”). so, a sentence like “i don’t go nowhere” (meaning “i don’t go anywhere”) achieves double negation through negating once at the sentence-level and once at the word-level. standard english doesn’t have negative concord, but some dialects do. different languages treat multiple negation differently; sometimes it conveys a slightly different meaning (from wikipedia: “you’re not unattractive” vs “you’re attractive”) and sometimes it intensifies the negation (also from wikipedia: “i haven’t never owed nothing to no one”).

the thing that i’m struggling with in the bard’s language is that the negation isn’t… attached to anything??? it’s not affixed to a verb or a noun, so really it’s not conveying negation of a particular thing, it’s negation of the whole sentence….???? which (in my mind) isn’t… really… negative concord. if that makes sense. like sure, there’s two symbols of it at both ends of the sentence, but it’s more indicative of the meaning of the sentence as a whole, rather than conveying smth abt a specific word. like it's not as if both of them mean "no" or each of them are adding meaning in a particular way. so. that’s why i’m more inclined to take it as a general grammatical feature of the language, along with “question”, and say that this is just how the language treats auxiliary/modal/whatever words??? it’s not as if we have other evidence. 😐

another option could be that negation w a noun takes places as a prefix (e.g., "not-warrior") and negation w a verb takes place as a suffix (e.g., "be-not"), so because of the OSV word order, you end up with something like ("not-warrior you be-not" or "a warrior, you're not").

HOWEVER. we do see some instances of the game's internal translation of some sentences conveying a slightly different meaning than a pure ('pure') negation, which makes figuring out the syntactic structure of this language kinda difficult.

if we take each of the "not" words as a negation, we'd end up with "not-hammer i carry-not", which is not "a hammer, i miss" lol. (to demonstrate w an english equivalent example: "i ain't no warrior" vs "i don't carry no hammer"). if you're a speaker of a negative concord language/dialect, pls pls feel free to correct me here; my intuition's going to be slightly off because i haven't studied any languages where this would be relevant. I think it could work, probably, but again, it's really difficult to say anything concrete without more examples. given its congruence with the "can you get a hammer" example, though, i really am inclined to say that this is just a grammar thing, not a negative concord thing (even tho negative concord IS a grammar thing—you get my drift).

questions that remain unanswered: - does the fact that "question" is two dots relate to the presence of dots in the verbs and locative nouns?

[chaoticgoodthief]

Redraw Time :D

So... It's been a while since I drew this. And... I gave into the siren call to do a redraw of my voice designs!

Alright, starting off with a major design change. Went with something a bit more abstract that I really think better captures "submission". Harsh edges (almost like broken glass) since no matter how weak-willed he is, he can and will still be a major threat against you.

Oh my gosh I am SO HAPPY with my Paranoid redraw I cannot begin to articulate how much I adore this new version compared to the last. Would have included a bit more blood, but... yeah I'm happy I went without. Because a) my hands already hurt and b) eh probably would have not looked that good anyway.

Poor, well-intentioned Smitten. He wants so badly to be human, to be the noble prince sweeping the princess off her feet. Such a shame he's doomed to be the monster no matter how hard he tries.

Another major design change, this time less abstract! Tried to keep the same animalistic look to him (Wide eyes, ear tufts looking like rabbit ears) but a lot more humanoid and mobile (my boy is fleeing) than before. Originally, I was trying to shape this into a Paranoid design, but I think Hunted fits it much better.

Often I see people giving Hero the knight in shining armour treatment. Which, honestly, fair. He is Hero after all. But look me in my digital eyes and tell me Stubborn isn't rocking the look. Dented armour and tattered cloak to add a bit of flavour. He's not just ready for battle. He is the battle.

Alright, I gave into masked Opportunist. What can I say? He is rocking the mask + suit combo. Inspiration for his mask comes mainly from bird-themed masquerade masks. One of the few designs that I actually kept the wings, mainly becuase they're just too him to leave out.

Not much changes with Cheated, mainly just changing his facial expression to better fit his personality and getting him mobile. Yes, I know he's literally just wearing bandages. Laugh all you want, but it's pretty convenient when you're getting turned into bird mâché.

Once again, not much changes needed for Cold. Just a bit of changing the placement of the string, a little additional violence (as a treat) and a few other minor aesthetic details to spruce up his Look TM.

Same general expression, but a lot of changes design-wise. Tried to include as many curving, amlost question-mark shapes in as I could and I think I'm happy with how it turned out. Also yes, he's literally leaving no stone unturned.

Hey come back here I haven't finished your backround yet- Oh well whatever guess I'll just get started then. Only voice other than Smitten with a brightly coloured outfit, a face that makes it hard to tell whether he's grinning or has downcast eyes, jester outfit because why not?

Alright, I lied. Hero still gets a bit of knight in the design of his ear tufts. Tried to keep with a more simplistic, abstract design while still adding a lot more of a Friend TM vibe that I think really worked out quite well.

Extra fun facts:

All the counterpart voices have the same arm markings! Spikes for Broken and Stubborn. Chain-like loops for Paranoid and Cold. Daggers/Blades for Smitten and Skeptic. Arrowheads for Hunted and Opportunist. Wavy lines for Cheated and Contrarian.

Counterpart voices also have the same ear tufts, some of them are just hidden from sight. Yes, this means that Opportunist's "ear tufts" are actually just part of his mask. He has the bunny ears too >:3

[felassan]

Last week Mark Darrah did a Q&A video on his YouTube channel Mark Darrah on Games, called "15K Subs - Q&A". In case it's useful to anyone e.g. for accessibility reasons, here are some notes. The full video can be watched here [<- source link].

(Some of the questions answered were leftover from his previous Q&A video in this series from some time ago, during which time he had left BioWare and had not yet started his consultant work with BioWare.)

---

Dragon Age: Dreadwolf, the DA:D development era at BioWare & related topics

"I'm still consulting with BioWare."

Q. Were there any plans to make Dragon Age games in other genres, like an MMO? A. "Not really. What actually happened was during Joplin development, as we were being squeezed and people were being stolen onto other projects like Mass Effect: Andromeda and Anthem, I actually put a Twitter poll up at one point, just sort've gauging the interest. There was never any people against it, it was really nothing more than that, just to see what the appetite was for something like that. But no development was ever done." Q. Are you looking forward to playing Dragon Age: Dreadwolf? A. "I mean, I'm not really completely on the outside anymore. I'm working with BioWare as a consultant. So when this question was originally asked I was on the outside. Yeah, I mean, that was a pretty interesting thing to look forward to, I know a lot more now than I did then. So my answer I guess is not really relevant anymore, but at the time, yeah, I would say so."

Q. At this point would it be better for the Dragon Age IP to be sold off and taken by another studio such as Larian? A. "I don't think, first of all that's never gonna happen. EA doesn't really sell off IPs. I think that it's in a good place, it's got support from EA and it's moving towards its end." [meaning Dragon Age: Dreadwolf is nearing the end of its development cycle and moving towards ship]

Q. What happened internally at BioWare, [someone whose name was redacted by Mark for the video] started becoming more and more bigoted, and why does he have a beef with Mark? A. "So I'm not gonna talk about who this was, but I'll just answer the question. The reason why there's a specific beef with me is because I was the one tasked with responding to some of the drama that was spinning up, once it crossed the line where EA felt something needed to be done. I did a video about why it's sometimes the right answer to be quiet and not to respond to something, in this particular case EA decided that things had gotten sufficiently out of hand and something needed to be done. I was the one who had the very legally-approved language and was the one that was, as a result, responding to that."

Q. [a question regarding Dragon Age extended universe/secondary material, like the comics and novels] A. "At BioWare, there is a business development group who is responsible for looking for this kind of thing. Usually, well I guess always, there is a requirement of feedback, some sort of feedback loop. Depending on the exact property that might be everything from 'you will do exactly what we say and you're just work for hire' up to 'you have a lot of creative control and BioWare maintains some degree of veto power'. Typically, with BioWare, they're looking for deals where the cost is being carried by the people making the product, as opposed to by BioWare. This is not the case with all companies. The advantage of the studio paying for it is that you make more money, but you carry more risk, so BioWare goes with the more conservative way, where they're not spending as much, or anything usually, but they give away more profit on the back end."

Q. How has it been working on Dragon Age again? Did you miss it? A. "I don't know that I missed it when I wasn't working on it. It was interesting to be on the outside. It's very strange being back in the, on the inside again, because my role is very different. I'm not the Executive Producer, I don't have that direct managerial role, I don't have direct, I don't really have any hard power whatsoever on the project anymore, so that's definitely different."

Q. What's the best piece of advice you would give the Dragon Age/Dragon Age: Dreadwolf team if asked? A. "I guess this question, which was from before, isn't as relevant, I've given them all that advice at this point."

"Dragon Age: Dreadwolf will be only on next gen consoles and PC, as far as I'm aware." [i.e., PS5 not PS4, Xbox Series X not XBone etc].

Q. Is this [referring to Dragon Age: Dreadwolf] a new beginning for Dragon Age? A. "Dragon Age is a weird franchise. It has had to reinvent itself every single time because of internal corporate pressures. This, like Dragon Age: Inquisition, like Dragon Age II, will be different from the games that came before it. I think that's fine. It's kind of become part of the DNA of the franchise at this point."

Q. What made you want to reach out to BioWare to consult on Dragon Age: Dreadwolf? A. "So I feel like that's been somewhat over-reported. So I have been doing consulting work since, in 2022, was when I started doing it. I was reaching out to different people. I knew where BioWare was when I first reached out to them. At the time they said 'no', and then I was like 'alright, fine' and I started working with some other people, and then things changed at BioWare and then they came and reached out to me when their situation was a bit different. So, I guess the short answer is money. The long answer was, I mean I have contacts there, I knew I could help them out, and I'm certainly interested in Dragon Age being the best game that it can be."

Q. How long is alpha to beta to release in general terms? A. "Almost unanswerable. It is incredibly dependent upon - the time from alpha to beta, well first of all there's lots of different definitions of these different phases, but the time from alpha to beta is the time of getting the content finished, and then from beta to release is more about getting your bugs fixed. Some games have thousands of bugs, some games have tens of thousands or hundreds of thousands of bugs, so these times can be highly dependent upon the game and the genre. If you're making something that's a competitive game that really needs a lot of tuning, then you want a lot of time in that beta period, ideally to get the game in front of people who're gonna play it, to really dial those knobs in as best you can."

Q. Why does Frostbite struggle with animation? A. "I actually feel like it's actually doing fine with animation. I think it's a content problem, not an engine problem, when it comes to animation in Frostbite. I think what you're seeing is what is being built. Now, that being said, Frostbite now uses ANT, which is the animation system built for sports, so it is different."

"I did watch Dragon Age: Absolution. I actually really liked Absolution. I'm not sure how enjoyable it would be for a non-Dragon Age person, because I'm not a non-Dragon Age person, but as a Dragon Age person I really liked it, I thought it was well-made, I thought it did something interesting with the IP."

Q. Have you added any new gameplay mechanics that you can talk about? [unclear if question was regarding DA:D or the DA games in general] A. "Not anything that I really remember, exactly, because, you know, it's a collaborative, for a AAA game it's a collaborative exercise, at least the way that I ran the project, so I wouldn't consider that anything that was in the games that I led was introduced by me, they would have been introduced by the team, or pushed for, or advocated for by people other than me, for the most part."

"In one of my videos, I said that Dragon Age: Origins went through lots of shifts in development. Yeah, Dragon Age: Origins was multiplayer two different times before it actually ended up shipping. Also, it was originally being built on the Neverwinter Engine, it shifted engines in the middle, so it had some big shifts. The difference being that, you know, back in the early 2000s, there wasn't as much scrutiny on development, there wasn't as wide of a pipeline for rumors as there is now."

Q. Is there going to be any new external/secondary media about Dragon Age? A. "I actually don't know the answer to that, that's not a room that I am in anymore, so that would be a question to ask BioWare."

Q. Where was this filmed? [The next DRAGON AGE: Behind the scenes at BioWare] How does it hold up comparing to what was announced at The Game Awards? A. "I think this is the video, the Dragon Age video that was filmed at a park in Edmonton. I think it was Whitemud Park, if it's the video I am thinking of. How does it hold up? I mean, it doesn't show as much, it's showing a little bit of content, it holds up fine."

Q. How difficult or realistic is it to have previous protagonists in a sequel game? Like Hawke in Dragon Age: Inquisition or letters from the Warden?  A. "It can, for Dragon Age, or any game that has a, or any game that has character creation, it is extra work, because you have kinda two choices. You either have to move to sort've default marketing protagonist. Well I guess you have three choices. Default marketing protagonist, or you have to put character creation right in the middle of the game flow, to allow people to create their character, or you have to have some way to move your protagonist appearance from game to game to game. Which, it would be the ideal solution, but that requires that your character creation remains relatively constantly from game to game. Which typically isn't actually the case."

Q. Why did EA cut BioWare's budget? A. "I assume that's to do with the layoffs. I do not have an answer to that question, but I put it in here anyway, so, there you go."

Q. Have you acquired new knowledge you can use for yourself consulting at BioWare? A. "It's actually been really useful, for me, so as a story-shaper, someone who develops my storytelling through the interaction with people, it's been useful for a lot of my concepts and philosophy, to bounce it off of people, and to be able to come back to things that I've thought about and even written about, even made videos about, and re-examine some of that. So absolutely, working with people has, for my kind of storytelling, has been helpful for me understanding the things I already believe."

Q. Any idea what the Dragon Age: Dreadwolf Collector's Edition will entail, or how do you decide what goes in them? A. "I have no idea, I guess they'll announce it probably when they put pre-orders up. When you're doing a Collector's Edition, when you're doing a Digital Deluxe, any of those things, it's all about perceived value. So it's all about, how much more do we want to charge for this thing? How do we get that much stuff in the box so that it's worth it? Not worth it for everyone, because otherwise, that would just be the game, but worth it for some degree of people. Typically, for physical Collector's Editions, that comes with a bunch of little things and one big thing. Dragon Age: Inquisition went a different way and it gets its value through a ton of little things like a map, little things you put on the map, and a lockpicking set, and a whole bunch of little things, but it's all about getting over that threshold of this being worth it to some percentage of your audience."

Q. Do you have hope that Dragon Age: Dreadwolf will be good? A. "Absolutely, that's why I'm working with them."

Q. Do you think it's possible for EA to recover in the eyes of BioWare fans? A. "I'm not sure that it's possible for any multi-billion dollar publicly traded company to ever have a really great public perception. I think it's something that they should care about, but I think they would be better served by focusing on strengthening the perception of the individual studios. Let EA be the evil corporate overlord and then make the perception of the studios that they own as strong as possible. That would be the way that I would go."

Q. If you could go back and change Dragon Age lore, what would you change? A. "There was some stuff in the early Dragon Age: Origins [days] which was very much trying to address some of the tropey, problematic bits of magic from D&D, so teleportation, things that. I think we went a little too hard there, and I think leaving that door a little bit more open would be better. The other thing that I think that Dragon Age has been dealing with, but is sort've a problem is, the source of magic. So in typical vanilla D&D magic kind've comes from a million different places, so it kinda doesn't matter. In some other settings, magic comes from a single place, it comes from the astral plane or it comes from this crystal that people dig up and grind up and use to do magic. In Dragon Age you kind've have it coming from a couple of different places, but too few to be everywhere, and therefore it doesn't matter, but too many for it to be one. So you end up with this weird thing of like, are undead caused by the Blight, is lyrium a source of magic? Like, there's just a few too many. And so Dragon Age has been kind've collapsing that probability space down. If I had a time machine, I'd probably just collapse that probability space down in the first place, not necessarily put it in the games, but at least know where that space collapsed." Q. Aren't the only sources of magic Blight, blood or Fade? A. "It isn't, because you've got Blight, blood, Fade - well, okay, yes - lyrium is [Titan] blood now because that was Dragon Age collapsing the probability space. That's what I mean by Dragon Age is collapsing the probability space. It didn't used to be. I don't know if that was always the plan for lyrium or not. I don't think so, I think that was - yeah, no, I think there are Titans, Titans have always been in the plan, but I don't know that lyrium was always - I could be wrong, I could be misremembering."

Q. Are games taking longer to come out now, or is it just Dragon Age and Mass Effect that this has happened to? Why? A. "No, games are taking longer. The short answer actually has a lot to do with graphical fidelity, it's just the assets take longer to make. There are more things, like you didn't have as many steps in creating a piece of art in 1998 as you do now, you didn't have even the concept of materials or shaders or any of these things, so now you have all of these additional steps along the way. It will be interesting to see if, as, some of these techniques, you know, PBM and photogrammetry and these other things become more commonplace, if some of those costs come down. It hasn't happened yet, it actually just kept going up and up and up, you just changed the work that's being done, but that might be the end-state, where maybe costs actually start to go down again. I haven't seen it yet though."

Q. Can you tell us more about Sandal or do we have to wait until Dragon Age: Dreadwolf? A. "No, Sandal is a character whose future will be decided by BioWare." Q. Can I assume that Sandal will be in Dragon Age: Dreadwolf? A. "I wouldn't make that assumption."

Q. What did you miss most about working in AAA and how does it feel being back in a different position? A. "Like I said before, it's weird, because I am, my desk, the desk, if I go into the office the desk I actually sit at is the same desk I had before, but my position is very different. I'm not doing salaries, I'm not doing people management, I'm not doing reviews, but also I don't have final say on anything, I have no hard power in my position, it's just a consulting position, so it's pretty different. I don't know that I miss anything in particular about AAA, I mean there's a power in the giant team that you just don't see in the indie space, but there's an agility that you just don't see in AAA in the indie space, so I think there's pros and cons for both sides."

Q. Any thoughts on the idea that Mass Effect and Dragon Age have become too similar? A. "I would, so I did a very sarcastic presentation back in, probably 2017. They've always been really similar. They are BioWare games with a party, they've always been incredibly similar, so I don't think it's a problem, I think that they have their own distinct characters, they stand apart from each other. In the same way that I wouldn't say that Fallout and Elder Scrolls are too similar, but they sure are both Bethesda games, so I don't think there's a problem there at all."

Q. ​Do you have an opinion to share on why there's been no marketing yet for Dreadwolf? A. "I assume that means 'why hasn't there been marketing yet for Dragon Age: Dreadwolf. I mean, there has, but nothing recently. The policy for much of AAA has become very much shorter, louder marketing campaigns. I think that there is a lot of power in that. I think that can be a very powerful way to go. Dragon Age obviously carries the fact that we did an announcement trailer back in 2018, but I think that's what's happening."

Q. Do you think it's possible for BioWare to split from EA? A. "No. EA doesn't let things go, so no. Could everyone leave and start their own studio? Sure, but BioWare will remain part of EA as far as I can tell. That's not how EA thinks."

Q. Should Dragon Age have more or fewer jump-scares in it? A. "I mean it doesn't have that many jump-scares, so... more!"

Q. Why did you decide to rejoin BioWare? A. "Like I said, I was consulting. I reached out to them, to look at the possibility of helping them out with some things. They said no, then some time went by and then they contacted me and said 'oh, actually yes', so, short answer is because it was what I was doing at the time. Longer answer is, I mean, definitely I am interested in Dragon Age being the best game it's capable of being."

Q. Do you feel BioWare could have done more to nurture the fanbase between releases, other than comics and novels? A. "Yeah, I do actually wish that there was an ecosystem to make little games, so, you know, you make the little, you make Final Fantasy Tactics, you make Dragon Age Tactics. You make mobile title - I mean there was the mobile game, the Dragon Age mobile game [Heroes of Dragon Age], that did really well, but yeah, I think there is an opportunity there. That is not the way that development works really at EA. It would've had to have been done by a different part of EA, and, so, yep. [shrug]"

Q. What do you feel about the comments that BioWare is becoming less writer-oriented? A. "I don't know that that is true. Definitely it went through a period of trying to focus more on different kinds of gameplay, like Anthem is definitely a game driven by its gameplay as opposed to by its story. I guess we'll see with Bowie what the actual truth is going to be, but I don't think that's what's happening."

Q. Is the next Mass Effect still in development? A. "Yep."

Q. Will Dragon Age go open-world again? A. "I don't know, I mean I guess that's always a possibility."

"I'm not going to comment on any things that have changed in BioWare's staffing, because, one, I found out at the same time as everybody else did, so I have no information, and two, I'm working with them, so I'm not going to give my opinion on that, so." "I'm not gonna comment on any layoff stuff."

Q. Would it be possible to give us the option to turn off the 'screen shake' effects after a critical or melee hit in Dragon Age games? A. "Yeah, I mean you do see that as an accessibility option in a lot of games now, so, hopefully."

Q. ​Mass Effect and Dragon Age have thousands of years in each of their respective lore/worlds, do you think there's a space for smaller and/or externally produced experiences that explore it more? A. "I do think there is an opportunity for that, I mean that's kind've where the comics and Dragon Age: Absolution and things like that have lived. You do have to figure out to control the IP somehow. Now you could go, like with KOTOR, where you just throw something back into the past far enough. Like go wayyy back and talk about 'where the Qunari came from' or something, but, I do think there's an opportunity there with some thinking. Now, will that happen? I don't expect so because that would require dev resources that don't really exist, or going to an external studio, which I don't think EA is gonna be particularly interested in doing."

"Yeah, I know. [the title] 'Dreadwolf' did ruin the whole vowel thing. Like, I'm also mad about that."

Q. Has there ever been discussion about adding more 'drama' to BioWare romances? I loved the conflict with Liara in Mass Effect 2 if you had romanced another character. A. "I'm sure that's a conversation that's happened somewhere. Often the characters are, each character is written by a different writer, so when they interact that can become a little bit more complicated, but yeah, there's certainly interesting things to be potentially done there."

Q. How involved are you as a Creative Lead on marketing titles? Do you have input into the creation of trailers? A. "Yes, usually there's some degree of input in trailers, but at EA they're usually done by a central group, so it's influence more than necessarily even veto. Probably the Executive Producer has veto power if necessary, but not direct creative control, they're done by a different group."

"I won't be working on [his game, High Tea on the High Seas] until my contract with BioWare is over, I expect."

"I love the modding community. We don't really support them very much, but I think there's a lot of power there for sure."

Q. Do you think BioWare should make non-linear games like Baldur's Gate 3 or stick with what they have always done before? A. "I think that there is, BioWare used to do more 'campfires in the dark', so more, like, 'I know you got here, but I don't know how', and I think that we should return to that more, at least for the side content. I think that the follower content is where BioWare's strength remains and will remain, and I think that deserves to be done in whatever way fits the storytelling that we're trying to do."

Q. Do you think the Dragon Age series should have more musical numbers in the game? A. "Yes I do."

Q. Is there any animosity between BioWare teams? A. "There has been, in the past. I don't think there is now, but there has been in the past, for sure."

Q. Do you regret allowing the player to kill certain characters? How much does that complicate future titles? A. "It makes future titles really complicated. In Dragon Age: Inquisition trying to find a Warden was like, basically they all could be dead, that's why you end up with mustache, Stroud, because literally everyone else could be dead. I don't regret it though, I think it's good to do that kind of thing when you can, it adds extra impact. You just have to live with the consequences of it."

Q. ​Is there room when AAA games are being developed for smaller projects to get made in the same studio? A. "It depends on the studio. Within BioWare, basically no, because the big AAA things just suck all the life out of it, but I've seen it work at some places where they have protection to keep the little things working and alive. So it's possible, but I don't think it could work at BioWare because I think they would just end up getting starved out by the bigger titles."

Q. ​Do you think BioWare is going to innovate, or are they trying to make something standard? A. "I mean all games contain innovation, so I'm not sure what your question is there, so yes."

Q. Was there any general reaction that BioWare had to Cyberpunk: Edgerunners?  A. "Nothing that I'm aware of. I'm sure that people watched it and had thoughts, but nothing that I've heard."

Q. Do you believe marketing campaigns that are started too early, with features that don't make it into the final product are deceptive and counter-productive because they create false expectations? A. "So I do believe in shorter, louder marketing campaigns in general. There are cases where ya gotta go out and ya gotta start building expectations for your title, but when you're out there for a long time, and you're showing gameplay, you're going to show things that end up getting cut. And I don't think, so, are they counterproductive? No, I don't think they are, because most people don't remember, they just remember they were excited, the thing they saw two years ago. They don't remember that it showed something that ended up getting cut. Do they cause a little bit of internet drama? Sure. But I don't think that they're counterproductive. I think in the cases where you have to do them, where you're repairing a relationship or you need to build up a new IP or whatever, they can be useful. Are you gonna get yourself into trouble? For sure, but, still worth doing."

"Shorter marketing campaigns are super effective, but there are cases where you need a longer conversation with your potential fans."

Q. Do you see Dragon Age as a franchises headed towards a linear end, or more of a world for stories that expand in different directions? A. "I don't know that we'll ever see Dragon Age kind've branch into a bunch of different things. So, like, will there be a main title that continues to basically be the line of canon, that's, probably, yes. That's probably what will happen. It is a franchise that is much more about its world than Mass Effect, and much less about its characters, so I get your point, but I don't think we'll ever see, like, several different parallel storylines going at once."

Q. Without a remake or remaster [of previous Dragon Age games] what would you pitch to onboard people in the Dragon Age franchise? A. "I mean hopefully Dragon Age: Dreadwolf is a perfectly reasonable on-boarding point. The games are designed to be able to be consumed starting with any of them, so hopefully that remains the case."

Q. Why did you not teach anyone at BioWare the true art of Twitter teasing and trolling before you left, because your skills was legendary, and it has not been the same since? A. "So I think, I only got to be on Twitter the way I was on Twitter because I was the Executive Producer, because I was basically the one who decided what information was public. Which is why you haven't seen me do that again."

Q. Does BioWare face any recruitment problems due to its primary location in Canada? A. "Primarily in Canada isn't a huge problem, primarily in Edmonton definitely is. We still live in this weird world of hybrid development so people are getting hired from all over the place right now, but yeah, Edmonton was always a problem for recruiting."

Q. When are you planning to talk about Anthem? [in YouTube videos] A. "Yeah, so we're like two years late on this. It is going to be after I finish working with BioWare at this point, to be perfectly honest. It's gonna be a while, but we'll get there, we will definitely talk about it."

Q. There was talk about a "five game plan" for Dragon Age at some point. Was that ever a thing? If so, is it still a thing? A. "There have been lots of plans, so, sure."

Q. Will you continue your career in development after Dragon Age: Dreadwolf, or was it just a one-time return? A. "Yeah, I'm working with another studio right now as well, this is not my only contract, for sure."

Q. Will you be involved with the next Mass Effect as a consultant? A. "That's not my decision to make."

Q. What is the main thing you would change about how management works in AAA studios? A. "I think that question is unanswerable because management at AAA studios is different everywhere. BioWare uses a matrix structure, so they have departments, but they also have individual leaders. I would like to see more project-driven, like, I've talked about [his] 'hourglass' [concept] in a video before, where driven more through the product, but that being said, I'm not sure long-term how that would be for the people, so I guess, short answer is depends on the studio."

"Dragon Age has had the misfortune of always being seen as being inaccessible to the average gamer, so there's been a lot of corporate pressure for it to become more mainstream. And so it's been kinda questing for a fantasy RPG that is very accessible. Hence why, and then, you know, hence that's Dragon Age II, and then you know Dragon Age II's reception pushed Dragon Age: Inquisition to change some more. Dragon Age has never really been allowed to be constant. And I think it would actually be very good for the franchise to be allowed to be constant for a while, get some 'true sequels' [true sequels here refers to a specific thing Mark has previously discussed on his channel] under the belt. So, yes, true sequels are awesome, I wish that there were more of them and I wish that Dragon Age was one of them."

Q. Are Dragon Age and Mass Effect regarded as big IPs by EA? A. "Sometimes. Sometimes yes, sometimes no. There was a time when EA had the, I think it was called like, 'The Big 12', Mass Effect was on that list, Dragon Age was not, so, sometimes."

Q. Do you feel EA has historically had unrealistic profit expectations for the Dragon Age series? A. "I can't really get into the way that EA does its financials. I think that there are, sometimes, EA wishes everything was FIFA and obviously that's unrealistic."

Q. Will the critical success of Baldur's Gate 3 influence Dragon Age: Dreadwolf and other future projects? A. "It's a bit late to influence Dragon Age: Dreadwolf. Will it affect other future projects? I suspect so. I think it's gonna have a big impact on the RPG space, in some ways, for sure."

Q. Oh, is 'Bowie' the actual codename? Neat! A. "Yeah, Bowie is the actual codename. Did I just leak that? Well it is."

"The hardest part of a project for most people, myself included, is when you can't see the start anymore, and you can't yet see the finish, so with games with really long [development] cycles they can have a lot of trouble in the middle because you don't have the excitement of the beginning anymore and you can't see that it's finishing. So that can be hard. I think that is honestly one of the reasons why I think completion urgency has been on my mind so much, because this has always been kind of the case with BioWare with games, where you do a middle march in the dark, and so hopefully we find some solutions to that."

Q. When are you planning to talk about Anthem? A. "Yeah, so we're like two years late on this. It is going to be after I finish working with BioWare at this point, to be perfectly honest. It's gonna be a while, but we'll get there, we will definitely talk about it."

Q. ​Is it more accurate to think of the development cycle of Dragon Age: Dreadwolf as one game, or several? A. "Kind've something in-between. Definitely there have been moments where the game has pivoted to a large degree that it effectively has started over, but it hasn't always actually started over, and maybe that would've been better, so it's a little bit of both."

Q. BioWare office tour when? A. "I don't think that I can do that, but maybe BioWare will, you should ask them."

Q. Do you think the 'Frostbite is bad' narrative has been blown out of proportion? A. "Yes I do. I mean, yes it is not a perfect engine, no engine is. It definitely doesn't have the support levels that Unreal has, but it is a capable engine if you treat it with respect. The problem is, is that I think a lot of developers have not treated it with respect."

Q. Has BioWare ever thought about character DLC, for example the story DLC in Dragon Age: Inquisition was wonderful but much of what people enjoyed about the story DLC like Trespasser was reuniting with the companions. A. "Yeah, there actually, a bunch of stuff got discussed in earlier incarnations of Joplin and Morrison about doing, like, date packs, or very, very focused bits of DLC. I don't think that's still in the plan, but that was the plan at one point."

Q. What would you say to fans of Dragon Age that are worried about Dreadwolf right now? A. "I'd say keep paying attention, and hopefully BioWare give you confidence."

Q. ​Do Dragon Age: Dreadwolf leaks hurt any team morale? A. "It can, depends on the leak, it can, for sure."

[source and full video link]

Other notes from the video are collected under the cut due to length:

Q. What's something from Baldur's Gate 3 that may not be obvious to players that you've seen and said 'wow, Larian really figured something out that I wish we, BioWare, had been able to do'? A. "The big thing that Larian is doing that is missing from most other modern games is they are, Failbetter Games calls it 'campfires in the dark', which is, a lot of their plot scripting is based upon reacting to where you are in the moment as opposed to the path you use to get there. What that means is you can do almost anything, because the game doesn't really care how you did it. If you're Matt Mercer and you pile up a bunch of boxes and then teleport into a keep, and bypass the entire plot of getting in there, once you're in the keep, the keep is like, 'okay, you're here, I don't know how you did it, but whatever, we'll just go from here'. And, two things. One, it makes for incredibly robust scripting. The game is able to not fall apart as you do things that it wasn't expecting, because to some degree it's not really expecting things as much. Two, it's just letting you do much more as a result. Now you are giving up a certain degree of reactivity for that, but it's a very powerful tool that I think has been largely set aside by most other developers."

"I think there's definitely some interesting avenues to be taken with your party members having relationships with each other and interacting with each other. It gives them more life. It makes them more believable, that they're not just there waiting for you to come and talk to them and otherwise they're completely static. I think having them interact with each other definitely helps make them more believable."

"One of the, I would say, biggest mistakes of Dragon Age II is the fact that you always have to fight both final antagonists, regardless of which path you decided to do, and that's a decision coming from 'we don't want to waste our content. We want people to see this stuff we spent all this time on'. So some of it is about just being willing to commit to the concept of, there is content that people won't see. It helps, at least it helps me a little bit to remember that most people aren't gonna even finish your game, so arguably the end is a branch that most people won't see." "Honestly, to a large degree, let the creatives guide the way. If they're excited about writing it, if they're excited about scripting it, let them do it. Maybe you do a much simpler version [of the hypothetical cutscene being discussed, re: branching content and zots/resources], but you can still do it."

"I've never played a game of the Dragon Age TTRPG. How much was the Dragon Age team involved in the creation of the rules? Not at all. That was created entirely by Green Ronin. That was their system entirely and I think they've used it for other things since then. I like that it exists. I like that there is a, something that signals that Dragon Age is an RPG. Now I think I would be pushing to make a 5th edition supplement for Dragon Age, rather than a standalone RPG, but at the time, it was the right call, I'd say."

Q. As a producer, how have you mitigated decision fatigue for you or your team throughout closing a project? A. "So one of the reasons why I actually advocate so strongly for triage is that triage is a forum through which you can answer a lot of questions, especially at the end of a project, the closing parts of a project. You're not going to avoid making decisions. Finaling a project is making thousands of decisions in rapid succession, but you can take a little bit of the burden off individual team members by helping them with that decision-making, or when necessary making decisions yourself. Triage also lets you get a group of people together. Making decisions as a group, if you've worked together for a while, can be faster, can be less draining as well."

"I really believe in some degree of developing out loud. I don't know how practical Larian's style of, 'go into Early Access for three years and develop it with the community' is, for most studios, especially the publicly traded ones, but I do think some form of discourse with the community is incredibly valuable. Are we gonna see it? I hope so, but I do think that a lot of studios have developed a very secretive, private kind of stance. For good reason. It's a lot of work to keep this discourse running, to keep it from turning toxic, to keep the conversation going. I think it's worth it, but there's work there, for sure." [I think BioWare are a publicly traded company]

"I could be wrong, but I feel like we're starting to see DLC in singleplayer games be a thing of the past. It seems like it's fading away. I think we may not see very much [of this] three years from now. Will it then circle back around, come back around? I suspect it will, but that's what I'm noticing."

[on the game industry in general] "We've had a lot of layoffs this year, so definitely there's been volatility this year, but we have, as the industry has grown up, it has become more risk-averse, at least in the AAA space, it's become more expensive, things have taken longer, but you do see less, sort've pulsing - you see less AAA games shipping and then the entire studio being shut down. It does still happen, but I do think you are seeing less of it. I think it's partly just, becoming more and more a business."

"I do not think Mass Effect 3 will ever be open-sourced."

"If I was given a large budget and asked to create a 'Dragon Age Legendary Edition', I think if I was given that task, the big thing would be, I think for Dragon Age: Origins, you have only two choices. Once you start going in there, you gotta go so deep, that I would go remaster, and just pretty it up, and let all its warts be its warts. Maybe take another crack at the console controls, and like getting tactical camera on the consoles, if I could, but largely just prettying it up. Dragon Age II, I'd be really tempted to see if you could make Orsino an optional fight, otherwise, probably it's fine. Dragon Age: Inquisition, Hinterlands, actively pushing you out of the Hinterlands much more quickly, not cutting anything from it, but definitely making it more clear that there is a critical path, because the pacing is kind've off there. Reducing the amount of Influence you need to unlock things so you can get through it a little more quickly."

"Dragon Age: Origins was originally planned as one game with no sequels. That was the original plan, which is why the end of Dragon Age: Origins has weird branching epilogue structure, is because it was never intended to be a game with sequels. You're always going to, that's a lesson for the world, always assume that you're going to potentially have sequels. So, it's not that you should leave a bunch of threads, but don't make sequels incredibly difficult to have."

"Dragon Age: Inquisition basically only had eight spells because of console convenience, yeah, basically, it's designed around its console controls for sure."

Q. Was there ever a significance to the Amell [blood]line? Like the Warden and Champion being related? A. "I don't know the answer to that question. I mean, there are often things that are planned and then executed, but also things where convenient plot hooks are picked up and taken in different ways. So sometimes things are planned years in advance and sometimes they just look that way."

"As far as I can remember, Leliana's lyrium ghost was just a quantum thing. It's just because we wanted Leliana in Dragon Age: Inquisition and Leliana could be dead. I mean it kinda makes sense, because the only place that Leliana could die in Dragon Age: Origins was at the Urn, so, sure, the Urn did it."

Q. If Dragon Age: Origins ever gets a remake, would a lot more of the problematic elements be removed? A. "So that's, ultimately what it comes down to, I think if you did a Dragon Age: Origins remaster, you wouldn't, you would just put a fresh coat of paint on it and that would be what you would do. But if you start to do a remake, I think it becomes necessary to start to open up some of those conversations, and that could be a lot, which is honestly one of the things that probably is causing hesitation on doing a remaster, or a remake in that case."

Q. If a fan writes an incredibly good idea on a forum or social media, is BioWare banned from implementing their idea? A. "It depends. If it's just like, 'I put an idea out on a Twitter post', no, you're basically releasing that idea to the public by that kind of post, but we don't, but BioWare doesn't, so I guess no, I guess, short answer no, because in that case it's like, well you just gave that to everybody. If it's a bit of fan literature, nobody's reading it, it's just going in the garbage, so no, so in that case nobody knows what's in that piece of literature, so, no."

"Will Dragon Age: II and Dragon Age: Origins ever come to PS5? I don't know. I mean that would basically require a remaster of some sort."

Q. If you had free reign what's the coolest, most ridiculous thing you would put into a physical Collector's Edition of the game? A. "So, I did, on Anthem, I did push for this, and I wish we'd done it, I did push for doing, because we had the studio that made the physical versions of the Javelin suits for that one EA Play. I did push for a $55,000 Collector's Edition, where you got one of those suits. Obviously we didn't do that."

Q. Would you say it’s harder to import decisions in a series like Dragon Age or Mass Effect? I bet it’s harder when each game has a different protagonist. A. "Actually, so, Dragon Age is a little bit more self-healing because when you are playing a Mass Effect, so Mass Effect 1, 2, 3, a lot of what you care about is the interpersonal stuff. When you're moving from Dragon Age: Origins to Dragon Age II, you don't really care about any of that interpersonal stuff, because it's a different character. I mean, you care, but it doesn't, the game doesn't need to reflect it. So Mass Effect has to deal with a lot more minutiae than Dragon Age does. Dragon Age just needs to deal with the big stuff."

Q. Would the Eclipse Engine have been better for Dragon Age: Inquisition even if it had meant the scope of the game would have to be smaller? A. "No, the Eclipse Engine was about ready to die of old age."

Q. ​Do you remember what the major aesthetic influences on Anthem were? A. "So, this is what I remember. Cigarette butts and coffee cups, so like, the abyss. No wheels. I actually think Anthem has a pretty strong identity. It looks like something."

Q. Who's decision was it to start using Frostbite? A. "I mean, the short answer is, it was the only politically-viable answer for Dragon Age: Inquisition, so, so I guess EA."

Q. Did you feel there was a large culture change when Greg Zeschuk and Ray Muzyka left BioWare? A. "Not really, like a lot of it was basically already happening, as part, as EA basically started to impose its culture on, and also just the culture infiltrated over time. I would say that the cultural shift at BioWare happened slowly, not all at once when they left."

Q. I was really hoping for that Dragon Age tactical game. Any chance of seeing something like that in the future? A. "Probably not, I mean, it was a tweet, there wasn't anything behind that."

Q. ​If only there was a Mass Effect toolset. A. "Yeah, so I don't think you're gonna get, so a toolset with a game that is using Unreal like Mass Effect, that's much less likely, because you're gonna have to get a deal with Epic to do that. They might go for it, but yeah, that would be harder."

Q. I recently found out that The Last Court was made by an outside studio, and BioWare has brought in outside writers to work on Dragon Age before. Is that a common occurrence? A. "Yeah, it happens, for sure."

"Dragon Age II is pushing the Eclipse engine to the limit, it's basically the upper limits."

Q. Was there ever any discussion on showing Hawke and their companions visibly age over Dragon Age II? A. "There was, there was absolutely, that conversation did happen. We didn't really have any way to do it easily, but it was talked about."

Q. Dragon Age seems to have a much larger female fanbase than most gaming franchises, is this something EA has been cognizant of/interested in? A. "Cognizant of, yes, interested in, yes as well, though The Sims is actually even better. Understanding what to do about? No."

Q. What were your lessons learned from Mass Effect: Andromeda and why it went that bad? A. "I don't actually think it went that bad. It had a rough launch, so it kind've escaped a little early. That's probably its biggest problem. If it had released in the state that it was at within a month, it would've been a lot better received. Now it did also launch up against Zelda and Horizon, so, the number one lesson there is - when Dragon Age: Inquisition shipped and the Inquisition team was talking to the other team, one of the biggest things we said was 'don't use Inquisition as your baseline, it should be your worst-case', and a lot of the planning on Mass Effect: Andromeda was done using Dragon Age: Inquisition as the best case, so, what happened, basically its end got squeezed out of existence."

Q. What do you think about a Mass Effect: Andromeda remake? A. "Seems early, but maybe, some day. I mean it's kind've healed its perception to a large degree, kind've like Dragon Age II but for different reasons, it's not seen as as bad as it was seen at launch, so, I think there's a market there."

Q. Have there ever been discussions within BioWare of visual novels as a possible format for their franchises? A. "Yeah, it's come up, it's even been pitched. Hard for EA to do little things."

[source and full video link]

[lord-squiggletits]

For the Salty Asks (forgive us for the avalanche, if it's too many you can pick your top three): 2, 9, 10, 11, 13 (Optimus), 20, 25 (IDW1), 26

uhhh honestly I feel a bit like a hermit who's out of the loop on what's popular/unpopular so some of these might be completely off the mark but here we go

2. Are there any popular fandom OTPs you only BroTP?

Mmmm I think most of my brotp's aren't shipped as OTPs to start with, so I dunno if I have any that fit this question.

Guess the closest example for me would be OPli/ta. I don't actively platonically ship them but I think platonic is way more interesting than romantic. I don't like the fandom's interpretation of romantic O/Plita at all + I feel like as one of the original "token woman" Autobots, I'd like to see Elita unshackled from Optimus as a love interest, esp because any official interpretation of them is probably gonna be written extremely heteronormatively/token romance between an action hero and The Girl. And the fanon version of them that's Strong Independent Girlboss Elita with whipped simp husbnad Optimus is just as boring and gross.

I just don't like the vibes and would rather them have some sort of friendly or regular relationship together.

9. Most disliked character(s)? Why?

IDW1 Slide, who I've gone into detail about my hatred of in several posts, but the TLDR is that she comes off as some kind of mouthpiece character? Not a mouthpiece as in for the author's beliefs, but it literally feels like she only exists to shit on Optimus and call him a piece of shit. Her dialogue is so cheesily written ("literally fascism" is an actual thing she says) and her bitching/lack of cultural comprehension about Cybertronian history is so prevalent, that for a long time during my IDW1 reading I was genuinely confused as to whether she was supposed to be some sort of parody/strawman/mockery of someone IRL (her character comes off almost EXACTLY like an anti-SJW stereotype of a screeching harpy calling everyone she dislikes a fascist, and it's only Barber's very obviously left-leaning writing in other parts of the story that told me that definitely wasn't the intent). So then I was wondering "okay is she gonna like, randomly become evil and turn against the good guys because she's just that petty? I mean she spends all of her time bitching about how Optimus/the Autobots/Cybertronians in general are the worst ever and she also hates humans too so I mean maybe? Half of this story already doesn't make sense so I can see it happening."

Thankfully that didn't happen, but like. Slide is so goddamn annoying and ignorant and gets way too much page time dedicated to her angry monologuing (in Unicron aka the finale of IDW1 there's literally a whole half page panel of her bitching about how Optimus is an evil tyrant while Trypticon is dying behind her and it comes off as a poorly timed, bad taste joke). The narrative treats her like she's some important individual whose feelings are important and valid, but she's fucking annoying. Any sympathy she was meant to garner is canceled out by badly written dialogue and the fact that she's a Literal Nobody of a character who seemingly only exists to bash the decades old, beloved legacy characters. For the sake of, idk, talking about how fucked up Cybertronians are that they just shrug and move on when people die? Bc apparently it's some sort of sin to be numb after 4 million years of war (and war that's literally still ongoing while Slide is bitching) and just soldier on trying to get through it? God forbid that a military hierarchy fighting to keep neo-Decepticons and various other alien threats from colonizing Earth be run like a military in which orders have to be followed, people die, but you still have to keep fighting anyways? Idefk man I just hate Slide so much she's basically the embodiment of all of the bad aspects of Barber's writing personified.

10. Most disliked arc? Why?

Mutineers arc in MTMTE/LL. I feel like (whether due to early cancellation and/or JRO wasting time on too many side plots to give it its full depth), I dislike how the mutineers were basically boiled down to pure evil morons who are the most disgusting, despicable evil ever and the only reason the mutiny had Good Guys (TM) in it was because they were horribly misled and not because, you know, the mutiny was 100% a valid thing to have happened as retaliation against Rodimus and Megatron's captaincy.

Like, I'm not opposed to the idea of Getaway and his cronies being assholes (I personally thought Getaway was a GREAT slow-burn, puppet master villain/anti-hero), I just dislike how the quality of their writing degraded from MTMTE to LL. Felt like they (Getaway in particular) got passed the Idiot Ball and then the actual reasons behind the mutiny were never addressed, it was kind of just "oh Getaway died horribly so we're all friends now and we forgive each other and Rodimus/Megatron will just go back to being captains now."

11. Is there an unpopular character you like that the fandom doesn’t? Why?

You mean besides IDW Optimus because anyone who's been on my blog for like 5 seconds knows he's my biggest problematic fave skldfjskd

Uhhh I guess in the spirit of the previous question, Getaway. I feel like the fandom's hatred for him is overblown mainly bc it's a combination of Tailgate/Cyga/te fans going "HE GOT IN THE WAY OF C/YGA/TE AND ALMOST KILLED THAT PRECIOUS CINNAMON ROLL" and Rodimus or Megatron stans going "Getaway hates my fave?? But my fave is a good captain and deserves the world HE'S EVIL MY FAVORITE IS BEYOND CRITICISM OR REPROACH GETAWAY IS THE EMBODIMENT OF EVIL."

Like to me it seems as if the hate for Getaway isn't normal dislike or even people hating him because he's a well written villain. It feels weirdly like ppl really take Getaway's actions personally and hate him with the kind of passion you normally see reserved for actual real life horrible people. Or they like, see Getaway as an obstacle to [favorite character]'s happiness and not as an individual who, before the quality of his writing tanked, was actually an interesting character who maybe even had good points? It just feels like people mainly hate Getaway because he's the antagonist to more popular characters/ships and so they project their defense of their faves into virulently hating him.

13. Unpopular opinion about (Optimus)?

Honestly 90% or more of the fan content I see for Optimus is really boring/uncompelling to me, or really just comes off as out of character. It's either Optimus being reduced to an accessory to be shipped with someone (usually turned into some sort of moe cutesy uke type) or him being turned into.... idk some permutation of "feral irresponsible gremlin" or "One Of The Good Ones (TM)" or "anxiety-ridden damsel who needs to be rescued by his lover" or, in some circles, "character I project my issues with authority onto and try to frame as evil for things that aren't even evil."

Idk how to specifically describe it, it's just... a vibe? Most of the Optimus content I see doesn't actually feel like him at all. It feels like it's Optimus/Orion in name only, who got so separated from canon and distorted by fanon/flanderization/shipping/porn stereotypes that he now only vaguely resembles the character he's supposed to be.

20. What is the purest ship in the fandom?

Ahahaha I don't really go into the realm of pure ships honestly, plus this is the war criminal fandom where pretty much every character has killed people or committed crimes or is just generally scarred by war so uhhh

Idk I think Thundercracker/Melissa is a pretty hinged ship? They get along and cope surprisingly well with all the shit that happens. There's no angst or betrayals or misunderstandings or enemies, they're just very respectfully together. Sdfklsajfksd

25. How would you end (IDW1)/Would you change the ending of (IDW1)?

Honestly, I'm pretty satisfied with the ending of IDW1 on both sides of the story. On Barber's side I would've preferred if every single planet including Cybertron didn't get fucking eaten leaving them all stuck on Earth together, and I would've also kept Trypticon alive while... minimizing Slide's role, to say the least. I don't have a problem with Optimus' ending bc I actually think that Optimus' arc in Unicron is like, one of the few 1000% good things Barber wrote for him it's just. It's pure Optimus in his best form.

On JRO's side I would've cut out the last panel with the alternate Lost Light and left it ambiguous as to whether the quantum jump successfully copied the ship or not. I dislike the vibes of the canon ending that implied that everyone moving on with their lives (almost universally to new and exciting and happier places) was the "sad" ending and going on a permanent road trip is the "true, happy" ending. In the author's notes I think JRO said that he wanted to give the readers an ending that would allow them to imagine their faves continuing to go on adventures, but I think compromising a good ending to a story to appease fans is fucking stupid + fandom has never needed permission or approval from the author to write alternate, happy endings. So why ruin a poignant, melancholy ending about how endings come with new beginnings and sadness/nostalgia can be mixed with hope and happiness by going "sike lol they're all living happily ever after on their space cruise."

Also I wouldn't have randomly killed off Ratchet for no reason because like. What was that even supposed to accomplish. I'm no stranger to writing major character deaths but like. He just fucking died of disease off-screen and that was that??? Why, like what was the narrative/symbolic purpose of that besides just making the ending more sad? Maybe to emphasize how going back to Cybertron was the "bad ending" and the quantum Lost Light is the "good ending" since on the LL Ratchet is still alive? But see the paragraph above for why I don't like that.

26. Most shippable character?

The most shippable character to me is whichever character I think is the sexiest, because if I think they're sexy it makes me want to ship them with everyone. "Guards, fuck that man for me" etc etc. Lmao