#arc 1 is too far gone | Explore Tumblr posts and blogs

mrs-kmikaelson · 2 months ago

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apollo

Pairing: Aaron Hotchner x sunshine!reader Summary: Aaron thinks you're just about the most radiant person he's ever met. But then you fly too close to the sun, and all your light disappears. Warnings: grumpy x sunshine turned not sunshine, references to greek myth of icarus and the sun god helios, apollo lore, violence, mentions of reaper arc, heartbreak, complicated relationships, avoidance, unresolved trauma, feelings, hopeful ending Words: 4.8K

Masterlist | icarus (part 1) | helios (part 2)

a/n: this is the end! thank u for all the love! i love this series sm, and i'll prolly end up writing lil blurbs for it (esp at ur request). there's sm feelings in this one. enjoy!

"I need to leave, Y/N."

"Wait— wait, we can talk about this, can't we?" You stepped closer to her, distraught colouring your face. "We can get you help."

She shook her head, a sad smile crossing her face as if she was saying she knew you wouldn't understand. Poor, sweet Y/N, her eyes said. Too good for this world. Too naïve. Too hopeful. What she ended up saying was, "No, Y/N. I can't."

"I— I don't understand." Tears welled up in your eyes. Her words didn't make sense. None of it made sense.

The smile on her face never fell. Only a single tear did, racing down her cheek. It occurred to you then that you'd never seen her cry.

"Oh, Y/N/N." She grabbed your hand, squeezing it tightly. "I hope you never have to."

When she let go of your hand, you knew there was nothing more you could say. She was leaving, and there was absolutely nothing you could do about it.

But, deep down, you knew she'd already been long gone.

"Goodbye, Y/N."

And before you knew it, she was out the door, too far away to hear you whisper back.

"Goodbye, Elle."

When Elle left, you didn't understand it. As the only female profilers, you stuck together like glue. You both came from units where you were at the top of your game, just to be shuffled back down to the bottom, having to learn an entirely new competence.

You didn't get it. The work tore her away. The job took too much away from her, took too much out of her. But that was the job. But what about you?

She could walk away from the job, fine. But why did she walk away from you?

You didn't get it then. Too young. Too naïve. Too hopeful.

But now you were older. You knew too much. The hope had been sucked out of you.

You understood now.

You understood what it meant to not be able to take it anymore, to not be able to face the people you loved while knowing you weren't the same. And you wanted to. You desperately wanted things to go back to the way they were.

You wanted to go back to Rossi ruffling your hair, cracking jokes about your age but always knowing he took you seriously. You wanted to go back to lunch breaks with Penelope, talking about your nails and boys and feeling like a teenager. You wanted to back to laughing in Emily's apartment, her cat crawling across your lap. You wanted to go back to watching sci-fi movies with Reid, too convoluted to grasp. You wanted to go back to when Derek would tease you instead of treating you like you were made of glass. You wanted to go back to watching JJ's son without her wondering if you were in the state of mind to do it.

And Hotch.

Aaron.

You wanted to hit rewind to before everything happened, if not just to be at his side again. Before you tried to kiss him and before he pulled away. Before a serial killer decided he was God and your life was his to play with.

But you couldn't, and now you understood Elle better than you ever did. Because no matter how hard you tried, you couldn't be the same sunshine everyone loved.

You couldn't stay there anymore.

You submitted your resignation. You didn't know what happened next—you never thought further along than the BAU.

But you had to leave.

You understood now.

You wished you didn't.

—

The words echoed throughout your head on a loop.

Hotch. Accident. Hospital.

The Reaper.

If it hadn't been for Morgan, you would've jumped into that SUV and driven there immediately. But he stopped you, taking away the keys and regarding you with a soft but firm stance. You both knew it wasn't safe for you to drive.

You didn't talk about the reasons why.

Now, you sat to Aaron's left. He was sleeping. He'd never seemed so peaceful.

How ironic it was that he had to be stabbed before he took a break. Even if you knew it wasn't peaceful, not really.

A U.S. Marshal had just come and retrieved Jack and Haley, taking them to an undisclosed location. Their lives were upended. His life was upended.

Your fearless leader, stony and brave. He approached every challenge with determination, like he knew he could beat it. Aaron Hotchner was a man who won battles. But when you walked into that hospital room, for the first time since you met him, he looked afraid.

He looked like he'd already lost.

Your heart squeezed in your chest. It wasn't fair.

Suddenly, a mumble broke you out of your thoughts. "I can hear you thinking in my sleep."

You looked down, seeing him slowly open his eyes. You fixed him with a smile, even though it didn't feel right on your lips. Be brave, Y/N, your mind chided. He'd be brave for you. "Really? I can hear you thinking in your sleep."

His face remained blank, unfazed by your attempt to change the subject. He did that often—calling you out. Never maliciously, always with the greater good at heart. But he knew you. Sometimes, it felt like he knew you too well.

You wondered, did you know him as well as he knew you?

You liked to think so.

Like usual, you crumbled under his gaze, looking away. If you kept looking at him, nothing would stop the onslaught of tears from making their way down your face, and you wouldn't do that to him. You wouldn't cry; it wasn't your right to. You weren't his wife.

But you were something. Enough of something to feel the need to cry, anyway.

A shaky exhale left your lips. "Why do bad things always happen to good people?"

The room was silent after your question, the only sounds being his heart monitor and the shuffling of the hospital outside. The beeping felt like a taunt, a reminder that Aaron's life hung in the balance, that he could've died.

It made you realize that you weren't specific enough. What you really meant was, why did bad things always happen to him?

Aaron Hotchner. The leader. The father. A good man. The best man you'd ever met.

The man you'd fallen in love with.

When he responded, you could hear the despair in his voice, like he had the same questions.

But for once, he didn't have the answers.

"I don't know."

—

You didn't have to knock on Aaron's door long before he was opening it, having expected you. You grinned, holding up the brown bags in your hands. "I come bearing gifts. Chinese."

"You're a godsend," he praised, undoing his house alarm. You had helped him install it when he got out of the hospital, no questions asked.

While he did that, you placed the food on the table, going to grab some plates and drinks. This was the rhythm you'd settled into, a routine. You came over every other night under the guise of updating him with your cases, but really, it was a lot more than that for you.

You hoped it was for him, too.

You always brought food. Sometimes, he even cooked (it was edible). It was your way of making sure he ate.

You never talked about what happened. He never talked about Haley or Jack, even though you knew they were the only thing on his mind. You talked about work, and the weather, and what movies you were gonna be watching after dinner, but never anything that mattered.

You didn't need to. This, being here, mattered. You didn't need anything more than that.

You just wanted him to know he wasn't alone. No matter what happened, you'd always be there for him. This was your way of showing that.

After watching a movie you didn't pay much attention to, you stood at the door, shrugging on your coat. You were just about to leave when his hand enveloped your wrist, making you turn around.

Curiously, you stared up at him. "Hotch?" Your voice was soft, the kind of soft that came with fragile things. Fragile. Delicate. Valuable.

Aaron opened his mouth and then closed it again, looking like he knew exactly what he wanted to say without knowing how to say it. He could command a room with quiet confidence, negotiate with the most unstable unsubs and power-hungry police chiefs, and give a profile like no one you'd ever met. But when it came to his own emotions, he was at a loss for words.

You weren't used to seeing that. There was something about it. You didn't like watching him struggle, but some part of you was satisfied that you could make him pause. It made you think that, maybe, he thought about you the same way you thought about him.

Just maybe.

When he seemed to collect his thoughts, he spoke. "Thank you." He didn't take his eyes off you, making sure you knew how earnest he was.

Your breath got caught in your throat. The weight of his gaze told you everything else he wasn't saying. How this wasn't just a thank you for the food or the DVD. This was a thank you for everything.

But, in your eyes, he had nothing to thank you for.

So you smiled and said, "Don't mention it."

And you hoped he knew how earnest you were, too.

—

You awoke to loud pounding on your door. You remained motionless, hoping the person would get bored and go away, but the knocking persisted.

Glancing at your alarm clock, you groaned. It was far too early for anyone to be visiting you. Today, any time would be too early. But the knocking only continued, so with another groan, you rolled out of bed, throwing on a sweater in a hassle as you yelled, "I'm coming!"

You muttered curses to yourself all the way to the door, hastily unlocking it. When you finally threw it open, you were ready to give someone a piece of your mind, only to bet met with who you were least expecting.

Your mouth fell open slightly, all your curses dying on your tongue. And like you'd been doused in water, you suddenly felt wide awake.

On the other side of the threshold, Derek Morgan gave you a soft smile, his expression light while his eyes carried all the heavy things you thought you left at the BAU.

Now, all those things were at your doorstep.

"Hi, princess." He paused. "We have to talk."

—

You would've thought that, after all your time in the BAU, you would've gotten used to hospitals.

Apparently not.

As your eyelids fluttered open, you were disoriented, instantly closing them again at the sheer bright lights. The sound of feet shuffling came to your ears, followed by a flicking sound.

When you opened your eyes again, the lights were off, and Derek Morgan stood in front of you. He gave you his classic smile, but for some reason, it looked a little tighter than usual, a little bit harder to conceive.

What had happened? Why did he look so sad? Was he okay?

"D-Derek?" you croaked, interrupted by a cough.

Quick on his feet, he was soon passing you a glass of water, guiding the straw into your mouth. "Easy there, easy. There you go." He was tending to you like you were a sick child. You weren't sick. You weren't a child.

What happened? Why was he taking care of you? Why did you need to be taken care of?

When he removed the straw from your mouth, you repeated your question. "Derek, what's wrong?"

He looked like he didn't want to answer you. Instead, he countered, "Y/N, do you remember what happened?"

As if his question singlehandedly opened pandora's box, pain suddenly radiated from your lower body, aching all over.

Your brain caught up with your body, and then the pain intensified.

You shakily exhaled. "Yes."

Derek exhaled, too, but his looked more like relief than anything. Relief that he wouldn't have to explain this to you. Relief that he wouldn't have to say the words out loud.

"You were in surgery for a while," he said. "Yesterday night. The doctors say you'll make a speedy recovery."

You didn't respond.

"Garcia's still flying in. She won't believe anything I say until she sees it with her own eyes," he lightly chuckled. But his tone was heavy. No jokes could erase that. "The others'll be on their way back when they wake up. I told 'em you were in good hands."

You wanted to laugh. You tried. The only thing that left your mouth was a sob.

Derek was immediately at your side, cradling your head into his chest, letting your tears soak his shirt and not saying a single word about any of it. You wanted that to make it feel better, but you just felt empty.

Like there were holes in your body.

—

You sat on your couch, wrapped in a warm blanket as Derek rummaged through your cupboards, looking for something to give that was fit for human consumption. You would've been a good host and offered him tea, but he already had a pot on the stove.

He said you looked like you hadn't eaten. You didn't deny it.

"Everything in your fridge is expired, so I ordered us some breakfast from that place downtown," he informed you, setting down two mugs of tea on the coffee table and taking a seat in the armchair across from you.

You watched the steam twirl into the air, nodding blankly.

Derek sighed. "Kid, I'm worried about you."

You sighed back in response. "I'm fine." The words came out harsher than intended.

Derek's eyes softened. "You quit your job, Y/N. You love the BAU."

Love. Loved. You shook your head, lightly scoffing through your nose. For the first time in a while, you were honest. "I love the BAU when it isn't taking everything away from me." You could count the things this job had taken from you on two hands too many, turning your reflection into a stranger.

It made you wonder what you'd do without it.

Derek's eyes didn't meet yours, looking down at the floor instead. The room went quiet. You could hear the cars outside, the rest of the world moving on while you stayed right where you were, stagnant.

Right now, you were in your apartment. Your feet were touching your hardwood floor. Your fingers played with a loose string on your blanket. Derek sat across from you. Your body was here.

But in reality, your mind was stuck in that house. Stuck walking into a trap with Morgan right behind you.

"I'm sorry."

At his sudden words, you looked up. His eyes locked with yours. You didn't know how long it'd been that you'd sat in silence, but you certainly didn't expect it to be broken with those words.

You furrowed your brows. "What?"

Despite the long period of quietness that came before, he didn't stay quiet now. He didn't even look like he had to think about what he was saying—almost like he'd thought it all a thousand times before. "Y/N, I'm sorry that you're in pain. And if I could switch places with you, I would— in a heartbeat." He leaned forward in his chair. "There's not a day that goes by that I don't think about what happened. About how I left you alone." His voice tightened up. "But Y/N, I swear to you, if you come back to the BAU, I won't ever leave you alone like that again."

Strong conviction laced his voice, like he was under oath. For a moment, you were confused by what he was saying. He never left you alone— oh.

Oh.

Tears welled up in your eyes. "Derek—" your voice cracked. Oh, you felt terrible. So, so terrible.

How long had one of your best friends blamed himself for something he had no control over? How long had this slipped past you?

You were supposed to be one of the best profilers in the nation.

But right now, you just felt terrible.

"Derek, I never blamed you." A tear slid down your cheek against your wishes. "This isn't your fault. It never was."

Your vision was so blurry that you didn't see him crying, but you did see him wipe at his eyes. That made you get up, and he met you in the middle, wrapping his arms around you and engulfing you in his embrace.

In his arms, you cried freely, just like that morning in the hospital. You cried for all the things you pretended not to cry about. For all the things you lost. The things you didn't see. The person you were. The person you could've been.

"I'll never leave you alone again, you hear me, kid?" Derek hugged you tighter through his muffled words, making sure you didn't just hear them but that you felt them. "We're family."

Family.

You hugged him back just as tight. If you lost everything, you still had that. You might have lost yourself, but your family was right there, shining a light in the darkness, looking for you.

You prayed they'd find you.

—

When Morgan left, it was dark out. He only left after a lot of crying and even more food, but you felt different. Reminded of what you still had.

You weren't okay. Nothing was okay. But you wanted to things to be able to get better. You didn't just want to give up and walk away from it everything. You built a life at the BAU with people you loved. Maybe there was one person you even loved too much.

God, he hurt you. He hurt you in irreversible ways, leaving you out in the cold multiple times, begging for him to see you just for him to turn away.

And you knew he cared about you. No one acted the way he did without caring. Sometimes, you thought Aaron Hotchner cared too much, masking it behind a wall of indifference.

Before all this happened, you were allowed behind the wall. He showed you the man he hid from others. You fell in love with that man. You missed him.

You just wanted to go back to those versions of yourself. The Y/N who would make a stupid joke late at night and the Aaron who would be too tired to pretend not to smile.

But Hotch wanted to talk about it. Aaron did, too, but it was mostly Hotch. A different version of him that was too concerned, too focused on drilling the truth out of you.

Could you give it to him? There was a time when you would've given him anything; all he had to do was ask. Now, you weren't so sure. There were certain parts of yourself you couldn't just hand out, certain things you wanted to keep for you and you alone.

You had already given up so much. You already gave your heart to Aaron Hotchner once, and he discarded it. Who was to say this time would be any different?

No. You couldn't give him everything.

But you'd give him something.

—

You found the route to Hotch's apartment the same way you did time and time before, like a dance you still knew the steps to. You knew when to turn right and when to turn left, when to keep going straight and when to stop. Nothing about this was unfamiliar.

Aaron Hotchner was once the most familiar person you'd ever known.

But you knew things were different.

Even though the elevator up to his floor hadn't changed and he still had the same mat outside his door, you knew that you weren't the same. You had changed. You weren't familiar anymore.

And so, when he opened the door and his brows raised up to his hairline, you understood the surprise. You didn't just do this—you didn't just show up at his apartment unannounced, not anymore.

His lips parted. You weren't sure if he was going to speak or if he was just in shock. You spoke first regardless.

"I, um," you wrung your hands together, "I don't have food this time." A nervous smile lit up your face, no less nervous than your first time in his office. Maybe more nervous this time. Maybe you hid it better back then.

And maybe he could hide his emotions better back then, too. The shock on his face didn't clear until after you had spoken. He blinked, then opened his door wider. "Please."

A small thank you left your lips as you walked in, crossing the threshold into a world you knew you wouldn't be able to leave again.

The apartment looked like it hadn't changed at all. The only thing that caught your eye were the toys splayed out on the living room floor.

Your heart spiked, but as if Hotch could read your mind, he said, "Jack is asleep."

Glad you weren't interrupting anything, the tension in your shoulders was released. You wondered if that's what he saw: visual cues that indicated your mental state. Was it mind reading or behaviour?

Was he a profiler, or did he just know you as well as you both thought he did?

You couldn't really tell anymore.

"Would you like something to drink?" he queried.

"No, I uh..." this was small talk. You weren't here for this; you didn't even know what you were here for, but it was for more than this.

Whatever you were here for, you had to figure it out before you lost your nerve.

You turned around, finding him right behind you. You inhaled a sharp breath. The last time he was this close to you—

"You hurt me, Hotch." The words tumbled out of your mouth before you even had the time to filter them. You watched his face fall. You continued, anyway. "You hurt me when you left me alone that night. And I— I can't fault you for rejection. But you left me all over again when I— when I needed you."

"Y/N." He took a step closer.

You took a step back.

"I needed you. I really, really needed you." Tears built in your eyes. "But you weren't there." You wiped away the tears in your eyes before they could fall, refusing to cry. "And then you have me go on the record to talk about the most horrible experience of my life, and suspend me when you don't get what you want. Like I'm just some rookie agent."

Unlike the previous conversations you'd had, Aaron didn't say anything to his defense. He stood there, unmoving, letting you say what you needed to say. You were equal parts grateful and equal parts angry. Exasperated.

You wanted him to say something. You wanted to know if it was really all in your head, if it really happened or if you imagined it. "Is that—" you faltered, "is that all I am to you, Hotch? Just an agent? Did I ever—" you swallowed, "did I ever mean anything to you?"

"Yes." His response was rapid, his eyes narrowing as if he was insulted by the question. As if he was shocked you could ever think otherwise. He took a step closer to you, and this time, you didn't step back. "If I have ever made you feel like you are 'just an agent,' then I sincerely apologize." He paused, his eyes boring into yours. "Y/N, you are one of the most qualified and accomplished agents I have ever met, let alone had the pleasure of working with. And I can say with absolute certainty that you are one of the best people I have ever known. You are beautiful, inside and out, and full of so much light that you have brightened every room you've walked into." His words reverberated through the quiet room, soaking into your bones and into every fibre of your being. "So, if I've pressured you since your return, it is because I am worried."

Your breath hitched as he took another step closer. "I'm sorry I wasn't there. I'm sorry for leaving you alone that night and every other night afterward. I was—" he took a breath, looking down briefly. When his eyes met yours again, they were just as honest. Brave. Afraid. "I was terrified I'd lose you. That I would ruin what we had. And then I was scared for what happened to you. Too afraid to look you in the eye after I made a decision that almost cost you your life. By the time you got back to the BAU, my fear wasn't just losing you physically. It was losing you. Your heart. Your spirit. All the things I love about you."

Your heart might've stopped then and there. After a few seconds, you echoed, "Love?"

Aaron didn't back down or retract what he said. He nodded, like he was confirming it you and to himself. "Yes."

There were words he wasn't saying; you understood that. There were words you weren't saying, either.

But you knew what it meant for things to go unsaid. People blamed themselves. People crumbled. They said things they didn't mean to compensate for what they weren't saying. They were crushed under the weight of it all.

You didn't want that to happen anymore.

You took a step back, not because you were stepping away from the conversation, but because you were stepping into it. You nodded toward the couch. "Let's have that talk."

Aaron's eyes flooded with relief. You both made your way to his couch and sat down.

And then you talked until the sun came up.

—

Your talk with Aaron wasn't easy. And despite your best promises to yourself, you still ended up crying, anyway.

You weren't naïve. That may have been the first conversation you had, but it wouldn't be the last. There was still so much you had to talk about, so much you had to work through, but you had the time to do it.

Your suspension was lifted, but you didn't return to the BAU. At least, not right away. You decided not to throw yourself back into it, to let yourself find your footing first and process everything you tried to shove down.

Every member of the team supported you, and you knew there was a spot waiting for you when you were ready. Garcia had reassured you there were issues with your resignation, anyway (which you knew was undoubtedly her doing). You thanked her for her troubles.

She visited you often while you were home alone, updating you on the team's shenanigans. And Rossi visited you with enough food to feed a shelter, rendering it pointless to go grocery shopping at all. You accused him of spoiling you. He retorted that he could cook for the whole team if he wanted to.

And that's how you ended up where you were, underneath the fairy lights in his backyard as Reid summarized Greek mythology to you.

Gesturing his hands in the air, he explained, "No, actually— although thought to be, Apollo is not the sun god. Helios is. Helios is meant to be a personification of the sun—the sun in human form. But Apollo is god of the sun—an important distinction in categorization. He's not the sun, but he's not supposed to be. He just has sunlike features, and— I'm sorry. I'm rambling, aren't I?"

He looked sheepish, but you were leaning forward in your seat. "No, not at all." You gave him a reassuring smile. "Please, keep going."

Spencer's eyes lit up, and he went on, "Well, Apollo has many more characteristics that make him an interesting god to look at it, like his love of truth, music, poetry, healing, and..."

As he continued, you couldn't help but connect what he was talking about to yourself.

He's not the sun.

But he's not supposed to be.

Inadvertently, you realized what you'd been trying to learn for so long. The answer was right in front of you the whole time, but now, you finally understood it.

You kept trying to be this person that didn't exist. The sun. A work of fiction. But you couldn't be that. The sun wasn't up all the time. It wasn't always bright. It was impossible to be light at every waking moment. The light didn't define Apollo, and it didn't define you.

No, you realized. You weren't the sun.

You were so much more than that.

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p0orbaby · 4 months ago

Text

Spend the Night with You, Spend My Life with You

summary: sex, snow and three little words

warnings: SMUT 18+, strap use

a/n: these two are so hopeless it hurts

word count: 3.5k

part 1

The edge of the kitchen island bites into your stomach as Alexia pushes you forward, her hands gripping your hips with a steady, deliberate pressure. You splay your fingers across the cool marble, desperate for purchase, but the smooth surface offers nothing to hold on to. When her hips snap forward, the shock of it ripples through your entire body, a gasp catching in your throat.

Your hand shoots out instinctively, grasping for anything to ground you. It lands on the hammered copper bowl at the edge of the counter. The movement sends it spinning off balance, and a dozen oranges tumble onto the floor, rolling in lazy, chaotic arcs. The bowl clatters noisily, a sound that echoes off the tiled walls. Neither of you reacts. You’re too far gone.

Alexia leans into you from behind, her chest pressing against your back as her hands slide up your sides, over your ribs, her touch both reverent and possessive. The weight of her against you is grounding, her skin hot where it meets yours. Her lips find the nape of your neck, and she bites—hard enough to sting, hard enough to make you gasp again.

You feel her breath against your ear, hot and ragged. “You’re perfect,” she murmurs, the words almost swallowed by the sounds of your own shallow breathing.

Your head falls forward, your forehead brushing the cold marble. You squeeze your eyes shut, focusing on the weight of her hands on your hips, the way her fingers dig into your skin like she’s afraid you’ll slip away.

“Alexia,” you breathe, her name tumbling out of you unbidden, as if it’s the only word you’ve ever known.

Her answer comes in the way her hips press harder against yours, the rhythm she’s set becoming a language all its own. There’s nothing else, nothing outside the space you’ve carved out together. The world could be ending, and it wouldn’t matter.

Her movements are sure, deliberate, her hands sliding from your hips to your stomach, then lower, fingers brushing over the heat of your skin. You shudder beneath her, your legs threatening to give out, but she holds you steady, her strength a reminder of the control she wields effortlessly.

“Look at me,” she commands, her voice low but firm, cutting through the haze that clouds your thoughts.

You lift your head, craning your neck to meet her gaze over your shoulder. Her eyes are dark, endless, and they pin you in place more effectively than any touch ever could. There’s something in her expression—a tenderness that feels at odds with the raw, almost brutal edge of what’s happening—and it makes your chest tighten.

“I love you,” she says, and the simplicity of it leaves you breathless.

It’s the first time she’s said it, the first time either of you has dared to name this thing between you. And even though you’d already come to terms with your feelings in the quiet of your own mind, hearing it out loud is like a punch to the gut.

You turn your head back, pressing your cheek against the cool surface of the counter, unable to face her for more than a moment. But her hands are insistent, guiding you upright, pulling you back against her chest. One arm wraps around your waist, holding you close, while her free hand tilts your chin up, forcing you to meet her eyes again.

“Say it,” she whispers, her lips brushing against your ear.

You hesitate, the words lodged in your throat, but the way her eyes soften—hopeful and unrelenting—undoes you completely.

“I love you,” you admit, the words breaking on a gasp as her hand slides lower, her touch erasing any lingering doubts.

The air between you shifts, heavy with something unspoken but deeply understood. Her mouth finds yours, the kiss urgent and messy, teeth clashing and tongues tangling as if she’s trying to devour the words you’ve just given her.

Your legs shake, and she senses it, so she pulls out and scoops you up with an ease that borders on arrogance. Your thighs lock around her waist instinctively, the movement both desperate and defiant, and your arms loop around her neck like you might otherwise drift away. She doesn’t falter, doesn’t pause. She carries you as if you weigh nothing, as if your feverish kisses and clumsy, grasping hands don’t threaten to frustrate her with every step.

You’re not sure where she’s taking you; there’s no plan, only the friction of her fingertips digging into the backs of your thighs and the insistent pressure of her mouth on yours. You lose yourself in the motion, in the heat of her skin beneath her shirt—a cotton button-down you vaguely recall unbuttoning in a fit of impatience. It’s pale blue, maybe linen, and creases easily, but somehow, on her, even its rumpled state looks deliberate. The kind of effortless chic that you hate to admit you envy.

The bedroom is the goal, you think, until it isn’t. Until the two of you crash onto the rug in front of the fireplace. A soft furnishing you remember buying on a whim—hand-woven by a fourth-generation family in the Atlas Mountains, the kind of purchase that implies you’re a person with taste, with distinction. It’s soft in some places, coarse in others, but all you can focus on is the way Alexia’s body moves against yours, her breath hot against your neck, her hands mapping out territory she already owns.

“God, you’re perfect,” she murmurs, her voice rough, a little breathless, and it’s absurd how much the words undo you. You feel her lips against your collarbone, then lower, her tongue tracing a line along the curve of your breast before she takes your nipple into her mouth. Your back arches, your breath catching, and you’re distantly aware of the way your legs tighten around her waist, pulling her impossibly closer.

The fire is building, frantic and all-consuming, and you’re helpless to stop it. Not that you want to. Not when her hands are on you, coaxing, demanding, grounding you in a way nothing else ever has. You lose yourself in her touch, her voice, her everything.

Time becomes a blur after that. The weight of her body, the press of her hands, the sound of her voice—low and rough and threading its way through the space between you—it’s all-consuming. You don’t remember when you stopped thinking, when you let go of the need to control the situation, or her, or yourself. But it’s somewhere between her mouth finding yours again and the sheer mess of your limbs tangling together, her strength pinning you exactly where she wants you.

When it’s over, when the storm of her finally settles into something quieter, her head resting against your shoulder and her breath warm against your neck, you remember.

“We’re late,” you announce, your voice cutting through the silence with all the grace of a car alarm.

Alexia doesn’t move at first, her body still draped lazily over you, hot breath tickling the damp skin of your neck. “What?” she hums, not lifting her head.

“Skiing” you say, as though it’s obvious. “The booking. The gear hire. The… everything.” You gesture vaguely toward the coffee table, where your itinerary sits, printed and highlighted and unnecessarily laminated.

She looks up then, and for a moment she just stares at you, blinking, as if she can’t quite believe what she’s hearing. Then, to your utter dismay, she starts laughing. It’s not a small laugh, either. It’s full-bodied, rich, and entirely at your expense.

“You’re joking,” she says between breaths, though it’s clear she knows you’re not.

“I’m not,” you insist, pushing her off you, though the movement feels like betrayal—like cutting the power to a film just as the climax hits. “The lift tickets were pre-booked. There’s a window. A strict window that were going to miss”

“And whose fault is it that?” she asks, raising an eyebrow.

“Yours,” you reply, deadpan. “You’re the one who decided to… well, distract me”

Alexia laughs again, a soft sound that’s warm and infectious and entirely too easy to forgive. “Distract you? That’s rich, coming from the person who couldn’t keep their hands to themselves”

“Don’t deflect,” you say, sitting up to make a point this is in fact very serious. “Do you know how much coordination it took to set this up? The calls? The emails? The back-and-forth with their useless website that doesn’t recognise international postcodes? And the ski instructor alone was a nightmare to book. He’s apparently some kind of legend—teaches everyone from A-listers to politicians to royalty. His name’s Pierre, which is almost too on the nose, but I digress. The point is, he’s probably been standing there for twenty minutes now, wondering if we’ve been mauled by wolves”

She grins, shaking her head, and there’s something infuriatingly fond about the way she looks at you. “You’re very dramatic”

“No, I’m being organised,” you counter, scrambling to your feet and reaching for your discarded shirt. “This was your idea, remember? ‘Let’s try skiing,’ you said. ‘It’ll be fun,’ you said”

“It will be fun,” she says, still seated on the floor, her hair dishevelled, her shirt hanging off one shoulder. She looks maddeningly good like this, like she belongs in some high-end editorial spread titled Après Passion.

“Not if we miss the slot,” you mutter, pulling your shirt over your head and avoiding her gaze. “Do you know what happens if you’re late? They give your spot away. To people on a wait list”

She doesn’t move immediately, instead she sits there on your hand-woven rug watching you with an expression that’s equal parts fond and exasperated. “You know, you’re kind of cute when you’re like this,” she says, her voice teasing.

“Like what?”

“Frantic. Bossy. Pretending you don’t care when you obviously do”

You roll your eyes, but there’s no real bite to it. “Just get dressed. The sooner we get this over with, the sooner I can go back to not caring”

The beginner slope—charmingly nicknamed “Bunny Hill”—is far steeper than Alexia had anticipated. She stands rigidly at the edge, her boots clipped into rental skis that are alarmingly bright, the sort of neon green you associate with aggressive cycling brands or obnoxious trainers. You wonder if they’re intentionally loud, designed to help instructors spot the inevitable bodies sprawled across the snow.

Beside her, you’re dressed in a Moncler ski suit so pristine it practically sparkles in the sunlight. The stitching is quilted in perfect geometric diamonds, and the fur-lined hood is deliberately oversized, framing your face like the edges of a Vogue cover shoot. Your skis are top-tier: Fischer RC4 World Cups, chosen partly for their reputation and partly because the matte black matches your poles. You’ve already waxed them twice this season, though they probably didn’t need it. Your goggles, Oakleys with custom polarised lenses, sit snugly over your face, and you’re already warm, thanks to the base layer that cost more than the deposit on your first flat.

Alexia is, as always, frustratingly nonchalant. Her goggles, brand-new Oakleys you’d insisted on buying for her, sit slightly crooked on her face, the strap twisted in a way that makes your fingers itch to adjust them. The matching jacket, a sleek, insulated Patagonia shell in a shade of deep red that complements her complexion, fits perfectly—though she wears it like it’s just another hoodie tossed on before training. The trousers, Arcteryx, are so crisp they almost crackle, the tags having been snipped off mere hours ago. She looks every bit the part of a seasoned skier, though her posture suggests she’s waiting for the whole ordeal to be over so she can sit by the fire with a hot drink.

She shifts awkwardly, her poles dragging in the snow. “This is steeper than I thought”

You glance at the slope. It’s a nursery hill. Literal children are whizzing past with confidence, some barely old enough to tie their own shoelaces. A mother is halfway down, calling encouragement to a toddler in a lime-green snowsuit who is spinning in place, his skis forming an accidental snow angel.

“You’ll be fine,” you say, perhaps too casually, because she turns to look at you, her eyes narrowed.

“I’m not used to this,” she says, gesturing vaguely at the expanse of white in front of her. “You didn’t mention it would feel so… exposed”

You shrug. “You’ll pick it up quickly. You’re an athlete”

“Exactly, I don’t want to break my leg before the season starts”

Her caution surprises you. This is Alexia Putellas, who spends most of her life hurling herself into situations where bones break as casually as fingernails. But now, faced with the prospect of skiing, she’s hesitant, almost timid. It’s endearing, if not mildly irritating.

Pierre, your instructor for the day, is waiting at the bottom of the hill. His presence alone feels like an Arian tourism advertisement: flaxen hair, sharp cheekbones, and a jawline you could slice cheese on. His ski suit is a garish shade of blue, the logo of a the resort emblazoned across his chest. He waves at you both, teeth so white they practically refract the sun.

“Everyone is going to laugh at me,” Alexia mutters, her grip tightening on her poles.

“Maybe, but Pierre doesn’t count,” you say, ignoring the way she winces at the name. “He’s Swiss. They’re born on skis.”

She takes a deep breath and adjusts her goggles, the anti-fog coating catching the light. “Alright. I can do this”

She can’t do this, you quickly learn.

The moment she pushes off, it’s clear she’s underestimated the logistics. Her knees are too stiff, her weight too far back, and the skis seem to have a mind of their own. She picks up speed alarmingly quickly, her arms flailing in an almost cartoonish attempt at balance. You watch in horror as she veers toward the edge of the slope, narrowly missing a child who stares after her with wide-eyed bewilderment.

“Bend your knees!” you shout, though it’s futile.

Somehow, she manages to slow herself down enough to come to an abrupt, awkward halt halfway down the hill. She’s breathing heavily, her face flushed—not from exertion but from what you suspect is a mix of terror and mortification.

“What was that?” she calls up to you, her voice high-pitched.

“You were leaning back,” you reply, sliding toward her with an ease you know she finds infuriating. “Your centre of gravity was off”

“No shit,” she mutters, bending over to adjust her boots.

When you reach her, you make a show of stopping gracefully, your skis forming a perfect parallel line. You stand over her like an insufferable authority figure, which, let’s be honest, you are.

“Look,” you say, your tone breezy. “It’s all about weight distribution. Shift forward. Use your knees to absorb the movement. It’s physics”

She looks up at you, incredulous. “Are you seriously quoting physics to me right now?”

“Would you prefer I quote Pythagoras?”

“I’d prefer you stop being smug”

You grin. “I’m not being smug. I’m being helpful”

She scowls, but there’s no real venom in it.

Eventually, she makes it to the bottom, though not without incident. She topples twice, once taking out a marker pole and once nearly colliding with Sven, who watches the whole debacle with the stoicism of someone who’s seen far worse.

“I’m retiring,” Alexia declares when she finally comes to a stop, her skis splayed at an awkward angle.

“You’re fine,” you say, brushing snow off her jacket.

“I’m not fine. My pride is in pieces”

“Pride heals faster than a broken leg,” Pierre says, his tone unhelpfully chipper.

The lodge, when you finally retreat to it, is a welcome reprieve, a perfect cliché of alpine charm. The interior is all dark wood and exposed beams, the kind that might be reclaimed or might just be faux-rustic, it’s hard to tell. Roaring fireplaces anchor every corner, their stone mantels adorned with garlands of holly and pine cones sprayed with artificial snow. The air is thick with the scent of mulled wine, damp wool, and wood smoke, mingling in a way that makes the space feel both comforting and mildly suffocating.

Alexia slumps into a seat near the fireplace, tugging off her goggles with the dramatic sigh of someone who’s just endured a life-altering trauma. She drops them onto the table, where they skid across the varnished surface before coming to rest against a cast iron candleholder.

“I hate this,” she announces, slouching low in her chair like a moody teenager who’s just been told to tidy their room.

“You don’t hate this,” you say, sliding into the seat opposite her and unzipping your jacket with far less fanfare. “You hate not being good at it”

She glares at you, her jaw tightening in that way it always does when you’ve hit the mark. It’s the same glare she gives referees when a call doesn’t go her way, and it’s just as ineffective now as it is then.

“Admit it,” you press, unable to resist poking the bear. “You’re annoyed because skiing isn’t something you can dominate after five minutes of practice”

“I’m annoyed because skiing is stupid,” she retorts, though the defensive edge in her voice gives her away. “Who even decided sliding down a mountain with sticks strapped to your feet was a good idea?”

“Norwegians, probably,” you say, leaning back in your chair. “Blame them”

She grumbles something in Spanish, too low for you to catch, but the sharpness of her tone tells you it’s probably an insult aimed at both the Norwegians and you.

Before you can tease her further, a server appears with hot chocolates. They’re obscene—decadent monstrosities served in oversized ceramic mugs. Each one is piled high with whipped cream, dusted with cocoa powder, and garnished with sugar-dusted gingerbread stars precariously balanced on the rim. A stray marshmallow floats in the froth, its edges beginning to dissolve.

Alexia stares at hers like it’s personally offended her.

“What?” she demands when you burst into laughter.

“Nothing,” you say, though your smirk gives you away entirely. “It’s just… not very you, is it?”

“What’s that supposed to mean?” she asks, narrowing her eyes.

“Nothing,” you repeat, though you can’t stop yourself from glancing pointedly at the gingerbread star perched on her mug like it’s auditioning for next year's John Lewis Christmas advert.

“You’re enjoying this too much,” she mutters, picking up a marshmallow and lobbing it at you without warning.

It hits your sleeve, leaving a faint, sticky smudge of melted sugar on your Moncler jacket. You look down at it, then back at her, your expression perfectly deadpan.

“Childish,” you say, flicking the marshmallow back at her.

She dodges it with the expected reflexes of someone who captains her national team, though the movement is so exaggerated it draws the attention of the couple at the next table. You give them an apologetic smile, but Alexia just grabs her spoon and scoops an alarming amount of whipped cream off her hot chocolate.

“Don’t you dare,” you warn, raising a hand in mock surrender.

Her smirk is pure mischief as she leans forward, balancing the spoon precariously. “You started it”

“And best believe me, I’ll finish it too,” you say, though your tone lacks conviction.

She takes this as permission and flings the whipped cream in your direction. It lands squarely on your shoulder, and the entire room seems to pause as you stare at the mess now streaking your ski suit.

“You're five,” you say flatly, reaching for a napkin.

“You deserved it,” she replies, utterly unrepentant, leaning back in her chair with a victorious grin that makes your stomach flip in a way you’re starting to find annoyingly familiar.

You shake your head, suppressing a smile as you wipe the sticky smudge off your sleeve. The lodge hums around you—soft chatter, the occasional clink of glasses, the crackle of the fire—and yet it feels like the world has narrowed to just this table, just her.

She’s still grinning when you glance back up, like she knows exactly what she’s doing to you. It’s infuriating. And addictive.

“You’re a pain,” you mutter, more to yourself than to her, but she hears it anyway.

“Yet, you still love me,” she quips, her tone light, teasing, but there’s something in her eyes—something unguarded and fleeting, like a glimpse of light through a crack in the curtains.

It makes your chest ache, but not in a way that hurts. It’s the kind of ache you feel when you’re exactly where you’re meant to be, when everything finally clicks into place.

You shrug, trying to play it cool even as your pulse stumbles over itself. “Maybe I do”

Her grin softens, just slightly, and for a second, it feels like the world pauses. The fire crackles, the snow falls softly outside, and all the noise of the lodge blurs into background static.

Then she picks up her mug, takes an exaggerated sip of her hot chocolate, and smirks. “Lucky me”

Lucky her indeed.

#alexia putellas #alexia putellas x reader #fcb femeni #fcb femeni x reader #espwnt #espwnt x reader #woso #woso x reader #woso imagine #woso community

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zeropro · 3 months ago

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can i kindly ask for a summary of how time is measured in your au? mostly the cycle/year stuff, im not sure if it's lifted from elsewhere or your own creation — either way i think it's really cool :) world building is awesome

very sorry if you've already gone over this elsewhere

Oh sure! I spent way too long figuring this out so i might as well explain it.

The cybertronian calendar goes in one direction forever unless a new Prime decides to reset it. Nova Prime reset the calendar when he declared the new Golden Age of Expansion, which is why Megatron’s canon Birthday is so small (1st cycle 012) as he was among the first Cold Constructed mechs onlined, and that started with Nova.

The only unit of measurement that we seem to have solidified is Vorns, which is 83 earth years (earth years=stellar cycle). The calendar’s cycles are measured by vorn, the first number counts vorn, and every 24 vorn the second number ticks up. after 24th cycle 12 it would become 1st cycle 013 and then 2nd cycle 013.

There…actually is no unit of time for the second measurement as far as I can tell, so I have no idea what to call it, but essentially you would say Megatron’s birthday as first cycle O’twelve, and people would know he was born 23904-ish years after Nova Prime’s calendar went in effect.

24 vorns is roughly 2000 years and every 500 dates on the calendar is roughly one million years.

I developed this calendar system based on the actual dates we do have in IDW1, I decided 24 vorns are when the calendar turns over because the war starts about a million years after Megatron’s birth and the canon dates for most of those events are in the 500s. I did have to ignore the single canon date set in the 51st cycle for this, but all the other dates are within the 1 to 14 range. And this is taking into consideration that the calendar probably reset some time under Zeta Prime (which is why the Battle of Sherma Bridge where Megatron and the newly anointed Optimus Prime allegedly duked it out for the first time happens in 2nd Cycle 087 even tho Megatron was beat up by Whirl in jail before the war in 4th Cycle 496). Some of the inconsistencies I also chalk up to some bots still using the old calendar. the only date I really cant figure out is 6th Cycle 356 being confirmed to be “half a million years ago” like?? Eh?? Ultra Magnus’ last fatality was pre earth pretty sure and that happened in the 3800’s (of nova’s calendar pretty sure). Maybe they missed a zero at the end of the date or something idk XD 3560 would make so much more sense for half a million years ago.

Also, 83 years is a long time and it does seem like they have smaller units of dating called chords and arcs but I just assume thats like days and months to us and I cant be bothered to figure it out. not enough info about it anyway. I’m sure one of those tracks stellar cycles and the other tracks cybertronian days.

i think the only other unit of time I've used is deca-cycles, just cuz I like how it sounds. a deca-cycle is about a month, or three weeks.

Megatron and Skywarp were constructed earlier on (012 and 023 respectivly), Thundercracker was constructed closer to when the matrix “ran dry” probably in the 100s, and Starscream was commissioned by Cryak at the end of the millenia, in the late 400s, after they’d stopped constructing seekers entirely. He must not have been more than a few vorns old when he met Thundercracker.

Starscream and Skyfire’s expedition would have taken them 40 on the calendar to get to earth, based on Skyfire’s shuttle speed. Starscream probably would have been able to make it back to cybertron a little bit faster.

I referenced this and this page of the wiki while working on this. Most of my worldbuilding is extrapolation from canon.

yes i did all this for one joke.

A few more timeline stuff: Megatron is about .7 million years older than Starscream, and Starscream is about half a million years older than the start of the war. The war lasted 3 million years before they crash landed on earth after which they went into stasis for one million years. Some time after they landed on earth, Shockwave successfully clones Sunstorm.

and in case you were wondering, sunny's serial code is referencing his Collector's Edition toy's ID number (089). SC stands for Seeker Class. they run out of glyphs slots after 999 so they sort them into batches. Sunny is the 089th frame built in batch 16. whether that means his frame was already built and left empty in storage somewhere and then repurposed by Shockwave, or Shockwave built him from scratch based on the blueprints and just continued the serial code sequence, I haven't decided. but either way, it means there was a finite number of seekers brought into the world and they dont even make up a whole united states city's worth of people. Lots of them are dead by now anyway. The whole cybertronian race is so small now they are all on first name bases with each other XD. But i digress, none of that has to do with time or calendar stuff, just thought it was fun.

thanks for asking!!

#transformers #transformers calendar #transformers worldbuilding #transformers units of time #transformers 2005 idw #transformers idw1

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raayllum · 3 months ago

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I get that in general a lot of kids shows do utilize the protagonists ('good guys') in ways where they're supposed to be role models, particularly because some do have a "lesson of the week" where the character does bad things, then clearly learns and explains what they should've done instead by the end of the episode.

That has just... never been how TDP has operated, and I don't get how and why people think we're supposed to take what anyone does in the show as being unilaterally good or evil. Particularly in arc 2; any moral simplicity that was hanging on by a thread in arc 1 has been taken out back and shot numerous times by now.

TDP very rarely calls anything Evil or Good, and when it does, it's always filtered through the characters' biases, and rarely does more then 2-3 characters ever have the same opinion on something for the same reasons. Soren and Rayla, who have inverted character arcs, are some of the only characters to ever use the term villain / good guys or bad guys, and are two of the most staunchly black-and-white thinking characters, heavily to their detriment, I might add, in terms of coping with the increasing complexity of their lives. They have cognitive biases. They're not always right, and are frequently wrong. This is true for everyone in the show.

The show refuses to condemn murder, indirectly and directly condemns the expulsion of humans from Xadia routinely (Evrkynd being a city for everyone, Ezran arguing with Karim, who is the most wrong about the most things), and shows a variety of viewpoints on all things.

The show understands that the choices people make—whether the same character trait is a flaw or a strength—as well as 'moral' choices are all circumstantial.

Are you wrong to burn people alive? Mostly yes (2x07, 6x08) but also no (3x09). Are you wrong to kill people? Sometimes yes, sometimes no, sometimes whether it's 'wrong' or 'right' doesn't even factor in. Are you wrong to use dark magic, or use the dangerous Staff of Ziard, or coin someone and condemn them to a 'fate worse than death'? Sometimes yes, sometimes no. Is lying or hiding the truth to protect someone wrong? Sometimes yes (1x06, 2x03, 3x03, 5x01, 7x04, 7x06) sometimes no (1x02, 2x03, 6x06, 5x08, 7x08).

Are you doing the right thing?

Do you have no choice? Is that true, or is that just what you think, or how you rationalize it yourself?

When is it right or cowardly to leave (Viren, Lissa, Rayla, Callum, Ezran, the Cosmic Council, the offer made to Karim's troops)? When should you stay? When do you decide to share resources (2x05) to your potential detriment or withhold them in the name of protecting yourself and your own people (Xadia and magic)? At what point(s) do you prioritize your own pain and grief, or someone else's (i.e. the Keeper vs Callum vs Ezran)? At what point is someone too dangerous or 'too far gone' to keep alive (Runaan about Harrow, Ezran about Aaravos)? At what point do you decide someone cannot change? When do you refuse to change (Karim, Terry) who you are no matter what happens, and when do you decide that you must (Ezran, Soren)? When is it wrong to use illusions to trick someone (3x09 and 7x06) and when is it more reasonable (2x03)? When should you be willing to sacrifice others (Rayla with her family, Runaan and Rayla with Callum, Soren with Viren) and when should you refuse? When should you sacrifice yourself, and when it is wrong to? Did you betray them, or did they betray you, or both (usually both)? When should you betray or stay loyal to your family? What is the right thing to do?

The show, tbh, doesn't know, at least 90% of the time. It's not interested in knowing. It's interested in exploring. That's the whole point. At most, it says you should work towards harm reduction, but what constitutes harm, and what peace looks like, is also something that greatly differs for all the characters.

Rayla is willing to sacrifice the love of her life, Ezran is willing to create weapons of mass destruction and wield one, and Callum used a torture spell on someone when he absolutely did not have to. The idea that any of the protagonists are meant to be paragons of unblemished virtue who are always 100% right, or that any of the antagonists do not canonically have a good point of contention with anything that's happened and are always 100% wrong, is reductive to everything the show is and explores, because it is Quite Literally not what the show does, ever tbh.

They literally spelled it out this past season as a core theme; I don't think they needed to have a character directly point it out every time a main character did something that was Kinda Fucked Up or Complicated But Understandable to know that the show knows it was Canonically Fucked Up or Complicated But Understandable.

There is not a single character or action in TDP that is always right, and there is not a singular character or action in TDP that is always wrong. Hell, even narrowing it down to "this is 'right' or 'wrong'" feels counterintuitive because it's so subjective within the narrative.

Every choice the characters make is often well reasoned, aligns with their values and world views, and fits into how they work through problems. Every choice has benefits and consequences, for them or for others. That doesn't mean it's Right for everyone involved. That doesn't mean it's Wrong for everyone involved. That's what makes the show interesting. Everything has nuance. Everything has Complexity. I'm not interested in a simplified version of TDP. I'm interested in the show as is.

I hope you are, too.

#tdp #the dragon prince #analysis series #analysis #mine #im so tired #s7 spoilers #like i truly cannot fathom watching viren walk away from claudia or the illusion plan in 7x06 and thinking #'the show wants us to think this was 100% the right thing to do no ifs ands or buts' like. what #like rayla thematically has always been an antagonist #it just always seems like ppl are like. the show doesn't know the magic system is unfair #or the cosmic council are gonna be good guys. and it's like. the show has known the magic system is unfair since s2 #that's the point of s2. the cosmic council will be dismantled. they have to be. that's why they're there #it's a hand of god narrative structure. they executed a child for no reason. where else would we go #have a lil faith #'humans can do whatever they want bc they were oppressed' that's not how life & morality works #just look at world affairs (atrocities in gaza)

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odileeclipse · 2 months ago

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🍮 Welcome to My Cozy Corner! 🍮

Hey there!!! Welcome to my blog, here I will be writing crk fanfics I'm not picky with cookies....unless its Madelaine cookie....He's my #1 OPP/j I write in my spare time, and this is just a hobby for me so if life gets a little busy, I'm not able to write! Please keep this in mind TwT

I take requests, but before you send one in, check out my rules below so we’re on the same page. Happy reading! 💛

REQUESTS ARE CURRENTLY CLOSED 🤫🤫🤫

📜 Request Rules – Read Before You Send! 📜

✨ What I’ll Write:

Cookie Run-focused fanfics (x Reader, but if i get a request on something a little different I'm open to it)

Slow-burn, angst, fluff, and bittersweet themes

Darker storylines (manipulation, corruption arcs, etc.), but always handled with care

🚫 What I Won’t Write: (This list might grow I just haven't thought of much yet)

NSFW or extreme gore (I want for everyone to enjoy my blog)

One-sentence requests with no details (help me bring your idea to life!)

If I don't understand the background/media behind the request, example: If someone requests like (Final Fantasy x CRK) I have never played FF so I wouldn't be able to fulfill the request, so if your request isn't fulfilled it's because I don't know anything about the media or game/show. My apologies <3

💌 How to Request:

Be clear! Tell me the character(s), the vibe (angst, fluff, etc.), and any details you want included.

If you just have a general idea, that’s cool too! I can work with loose prompts.

⁉️QUESTIONS⁉️

YES you’re allowed to ask Questions about my fics if something was unclear

Yes you can ask questions or just interact with me I don’t mind 🫨🫨🫨

That’s it! Thanks for stopping by, and I hope you enjoy my writing! ✨

Masterlist

Cookie Run Kingdom

Pure Vanilla Fics

First Fic I ever posted here Part 1 Part 2 Part 3 Part 4

Child Reader Adventures w/ PV Part 1 Part 2

Girl-Dad PV

Heartfelt But Ugly ft Hollyberry

Choosing Her PV angst Part 1 Part 2

A Game of Favorites Ft Shadow Milk

Sleepless Nights

A Kindness You can't Grasp

Between Light and Shadow

A Place for Everything

The Gentle Weight of Love

The Cost of a Smile

The Fall (Truthless Recluse)

A Quiet Respite

Painted in Love

A Gentle Reminder

Holly Berry Fics

Granny HollyBerry

Forced Adoption Ft The Ancients

Shadow Milk Fics

A Wager of Fate Pt1 Pt2 Pt3 Pt4 Pt5 Pt6 Pt7 Pt8

A Lesson in Advanced Vocabulary Ft PV

The River's Edge Ft Pure Vanilla

Between Light and Shadow

The Puppet and The Fool

A Scholar's Indifference

The Cost of a Smile

The Sheep in The Shadows

The One Who Sees You

One last Lesson

In the Prescence of Truth (Sage of Truth) PT1 PT2 PT3 PT4 PT5 PT6 PT7 PT8 PT9 PT10 PT11 PT12 PT13 PT14

White Lily Cookie Fics

Blooming Beyond the Garden

Painted in Love

Wind Archer Cookie Fics

A Breeze of Affection

Black Sapphire Cookie Fics

A Prank Gone Too Far

Answered Questions Regarding Fics

A Wager of Fate What if... one two

Cookie Run Oven Break

Lotus Dragon Cookie

Serenading a Sleeping Dragon

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emmas · 23 days ago

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I dont know exactly How they are going to get there and what the answers to all the mysteries are bc i’m simply Not a talented writer lol However i dont think the place where severance wants to take its story is all That difficult to predict if you just. Take a step back and remember whats most important and thats 1: the core theme of the show, which is Personhood and “who are you” and what makes a person a person. And 2: the protagonists mark and helly/helena

Like the show that asks you the question “are innies real people who deserve rights” is simply not going to end without giving the innies their rights. Any ending where the innies are just Erased or where their thoughts/feelings/opinions have 0 weight in a reintegrated body is just. Not going to happen. The show spent 2 seasons building up to the finale where mark s decides that he is a person of his own rather than just an attachment to his outie i know it was presented as a choice between gemma and helly but it really was just mark s realizing that he is someone who Deserves to live just as much as his outie does.

Now tying it into Mark Scout. Who has spent 2 years avoiding his grief, becoming an alcoholic, being a downright asshole at times (affectionate) and going as far as to Sever his brain in half in order to escape his pain. He’s not going to just get what he wants (Rekindling his marriage) while facing 0 consequences for All That. Mark basically looked into the camera (2x06) and said “perhaps i will be the first man on this planet to bargain my way out of grief” like. The show is not just going to actually let that happen lol. His reasons for choosing severance are understandable and its not like he’s a Bad person or anything but that doesn’t erase the fact that he created innie mark. It was his choice to create a person that is a version of himself who Does Not Love Gemma. And this isnt something he’s just going to be allowed to run from. They’re not going to end his character arc by ‘validating’ all this and just letting him live happily ever after with his wife while innie mark just doesn’t matter at all anymore. I still firmly believe his ending is to become Whole again (reintegration) and finally Deal with his feelings, accept his grief and move on.

Helena meanwhile is as much of a protagonist as helly is (its bc they’re the same person, even tho some people Love to ignore that). And the show has gone out of its way to make it Clear that she is just as trapped inside of lumon as the innies. Jame saying he “used to see kier” in helena tells us she used to be similar to helly, but it was simply Conditioned out of her by growing up in a cult with its leader as her father. I think Hellyna’s story will be to break free of lumon and her father so she can discover who it is she actually is when she’s not forced to wear a multitude of masks in order to please others. So any ending where helena dies and helly gets the body, or any ending that doesn’t see them reintegrating just doesn’t make sense to me bc in order to find themselves they both have to Accept who they are and getting rid of one of them just defeats that purpose imo.

Idk how the show will tie up the stories of some side characters (gemma, irving, cobel etc) and i dont know what will happen with lumon like if “lumon gets dismantled and everyone lives happily ever after” is Too idyllic of an ending. And i’m sure theres a few plot twist left and some mysteries to solve.

But at the end of the road we will have mark, hellyna and the main Theme of personhood. And i think that story will end with true reintegration for them both. Wether they end the show in a romantic relationship or not is 50/50. I genuinely think there’s a chance. Because thats what innie mark and helly are dead set on. But mark will still undeniably love gemma as well, so i think it might be too soon for the story to just have him in a different official relationship™. So i’m leaning more towards both of them deciding to take some time for themselves to figure some shit out before they promise to meet each other again a year from now.

#ok i edited the ending a bit bc i thought i was being clear on why mh wont really be ENDGAME officially but apparently not hmm #also before anyone brings up the capitalism angle the critique in severance is specifically geared towards capitalisms effects on personhoo #bc personhood is the number 1 theme so anyway back to square one #severance #markhelly #mark scout #mark s #helena eagan #helly r #rambles

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self-made-purgatories · 4 months ago

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The Betrayal of Irritation: Part 1 of my thoughts on Star Trek TMP. The "Spirk divorce arc" in Star Trek TMP is not new, or unexpected, or a surprise. It starts in TOS, with Requiem for Methuselah. A theory. Long post again!

I just finished watching the Original Series, followed by The Motion Picture, and holy fuck the two are SO interconnected. But the timing makes it really confusing.

There was about a ten-year-gap in real life between the end of TOS and the start of TMP. And yet, the wounds of failed Spirk appear to still be completely unhealed at the start of the movie.

The movie itself denotes at least a two-and-a-half year gap since Kirk was last aboard the Enterprise. (Kirk tells Scotty, "two and a half years as Chief of Starfleet Operations may have made me stale, but I wouldn't exactly consider myself untried." Decker reiterates this time period by saying Kirk hasn't logged a single star hour in two and a half years.) It could have been more time since Kirk and Spock last saw each other, but it's unclear.

There is a lot of discussion akin to "Why are the characters acting so weird in Season 3?" as well as "What the hell happened between the series and the movie that made Spock run off to kolinahr like that?" I actually think that there is no missing information; rather, these two questions are connected. In fact, both questions have the same answer. Here is my theory:

In my opinion, Season One of TOS doesn't start at the very beginning of the five-year mission.

Season One does not start with everyone boarding the ship for the first time and meeting their roommates. The relationships between the characters are already far too well developed to be brand new. Think of the fact that by episode 2 (Charlie X) Kirk is already saying, "I need him" of Spock.

By episode 4 (The Naked Time) Spock is offering to Kirk a thinly veiled confession of love tainted by repression and internalized homophobia ("Jim, when I feel friendship for you, I'm ashamed"), during which they slap each other repeatedly (keeping in mind that physical fighting is a stand-in for sexual intimacy in this show. My personal theory is that their serious relationship starts around Amok Time, but there is definitely something already happening there).

By episode 7 (What Are Little Girls Made Of?), Spock trusts and knows Kirk intimately enough to identify a well-disguised Kirk imposter in just two key words ("half-breed interference"); two hurtful words that he not only understands as not Kirk, but actually somehow a secret message from the real Kirk.

These are not newly acquainted coworkers. I posit that the three years of TOS are not an exact one-to-one correlation to the first three years of the five year mission. My theory is that the two years that are missing are actually towards the beginning, not at the end.

(Disclaimer: I have not yet seen TAS, which, from what I understand, is meant to fill the gap of the last two years of the mission, but since it is considered "questionable canon" I will disregard it for now, for the sake of argument.)

I have written extensively about how, in season 3, Kirk and Spock suffer irreparable damage to their serious relationship in Requiem for Methuselah, and then continue to fight about it for several episodes. Then Spock lives an allegorical journey to hell and back in All Our Yesterdays, showing the extensive inner turmoil that he is still going through. By Turnabout Intruder, the last episode of the series, the two have broken up and it's affecting their interactions.

So my theory is this: the end of TOS is actually quite close to the end of the five-year mission, the Requiem for Methuselah wounds are still fresh in Spock's mind, the All Our Yesterdays turmoil is still very real, and Kirk and Spock have quite recently gone through a very painful breakup.

(Even if I'm wrong about this part. You can imagine two more years of that painful Turnabout-Intruder-level intimacy, where they undeniably know each other like the other half of themselves, and yet there is no joy in that connection and no way to bridge the rift between them. It would be enough to make anyone want to run away.)

Doesn't it just make sense that after the season 3 spirk fight arc, Spock would be ready to put some distance between himself and Kirk?

Can we also talk about what Spock was doing on the five-year mission in the first place? A half-Vulcan, raised on Vulcan, who feels he has something to prove as a Vulcan, and is trying desperately to repress his human side, elects to spend five full years in the unceasing and exclusive company of humans. Why?

What if Spock felt unfulfilled in that life as a Vulcan? What if he wanted to try out his human side? What if Spock meant for the five-year-mission to be a sort of rumspringa from Vulcan mores, during which he could try out this other world like a piece of clothing, to see how it fit?

But in the end, those five years of connection, of love, and then loss, only led to heartache and overwhelm. But, while Spock never confesses to heartache and overwhelm, what he does confess to? Irritation.

Think back to the start of the series. In Where No Man Has Gone Before, when Spock is trying so hard to repress his human half that he still refers to his mixed parentage as "one of my ancestors married a human female," Kirk tells him that he plays a very irritating game of chess. Spock coyly answers, "Irritating? Ah, yes. One of your Earth emotions."

And then, in Space Seed, we have this exchange, where Kirk is being so absolutely gentle and patient and loving with Spock that it makes me want to cry:

Both of these "Irritation? Never met her" exchanges are in Season 1.

But look how much things have changed by season 3: This is what he has learned in his time among humans.

From Day of the Dove:

Irritation is, actually, the perfect emotion for Spock to finally allow himself to express. It has almost a medical bent to it, as in the sort of irritant that causes a skin reaction. He's been expressing irritation all along with that telltale eyebrow, of course, but allowing himself to say the word out loud is a big step.

Then, upon being called "you pointed-eared Vulcan" by Bones in All Our Yesterdays:

His descent into the allegorical hell and the barbarism of his ancestors brings out this outburst of emotion against Bones, the only other bright spot (besides Jim) in this human world. It is a step beyond irritation, to "I don't like that. I don't think I ever did, and now I'm sure." But it shows that this particular irritation has been brewing for a long time, repressed under layers of Vulcan control.

And finally, this, from Plato's Stepchildren. Not irritation, but relevant:

Ouch.

Spock always felt out of place in his Vulcan world. And he feels even more out of place in the very human world of the Enterprise. But Kirk is the one thing that makes that life worthwhile. The one safe harbor, the only safe person in the whole world of both humans and Vulcans. Spock is never at home anywhere, but he is at home with Kirk. But then it turns out that the safe harbor is perhaps the most dangerous place of all. He risks everything to allow himself to love, but then he has his heart completely broken by Kirk. This human world was already perhaps not a great fit to begin with, but now it's painfully, excruciatingly obvious that he is not at home here either.

Remember, also, what one of the spectators said of Spock during his emotional torture in Plato's Stepchildren: "Cupid's arrow kills Vulcans." WHAT.

So of course Spock's response to this failed five-year experiment is to say, "Okay, this did not work out. I tried it on, but this living-with-humans garment did not fit me. Fuck this shit, this being-around-emotional-humans shit, this pain-from-other-people's-emotions shit, and FUCK THIS ONE MAN'S BULLSHIT IN PARTICULAR, I am now off to join the Vulcan priesthood. Not only must my life's answer be on Vulcan, it is the most Vulcan version of Vulcan I can think of. I will give up all of my connections, all of my emotions, everything that makes me me so that I can finally become the ultimate Vulcan. Maybe if I get rid of my emotions altogether, it will also get rid of this pain."

And that is how he ends up here at the start of the movie.

But of course. It doesn't work.

He is running away from life, away from love, away from Kirk, rather than running towards enlightenment.

It was never going to work.

And when he suddenly senses that Kirk needs him, his instinctual reaction is to refuse to complete the kolinahr. He is not rejected from it (at least that's not how it starts), as so many people say. He rejects it himself by raising his hand to stop the priestess. She simply agrees with him that he has work to do elsewhere.

What does he feel, though? It is hard to say. It looks more like confusion or disappointment than love or longing. But might it even be... Irritation?

"Okay, fine," he says to himself. "If I must, I must. I will go and save that man's sorry ass one more time. I will go get a nice haircut. I will go put on my makeup and an ABSOLUTE BANGER of a little black revenge dress. I will glide onto that bridge like I own the fucking place. I will make that man cum in his pants as soon as he sees me. And I will not even deign look at him." And so he does.

Irritation does seem to be his main outward emotional state when he makes his first appearance back on the Enterprise. He is trying so hard to project himself as an emotionless brick wall, but he is actually radiating irritation in every direction. He greets Chekov with thinly veiled irritation, doesn't even let him finish his sentence:

And then he does what he came to do; he glides onto the bridge like he owns the fucking place. He looks so damn good and Kirk notices, his whole body snapping to attention. Spock looks all around the bridge, but not at Kirk standing right in front of him.

But, of course, he can't not look at him. He makes it a full eight seconds before he finally lowers his gaze and stares straight into Kirk's very soul without saying a single word out loud.

He then busies himself around the science station, taking charge, getting to work, ignoring the pleasantries erupting from all the old friends and colleagues around him. Irritation, irritation, irritation. He cuts all the discussion short and plunges headlong into the science, completely ignoring the way that Kirk is practically on his knees in front of him. But he sees. Of course he sees.

And yet, this outward irritation is simply a betrayal of his inner feelings: the fact that he cares. If he didn't care, he wouldn't be irritated. If he didn't care, he wouldn't have come at all.

But now that he is here, now that he is back, anything is possible.

#star trek tmp #star trek the motion picture #spock #james t kirk #spirk #k/s #kirk/spock #the premise #tos spirk #spirk angst #season 3 spirk fight arc #turns out it's actually a season 3 to tmp spirk fight arc #long post #analysis #star trek meta #spirk divorce arc #sim speaks #my posts

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sneezypeasy · 1 year ago

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The Lightning Scene, How Azula Targeted Katara (of All People), and the Doylist Reason Why That Matters

Mention Zuko's sacrifice for Katara in Sozin's Comet Part 3 as part of a pro-Zutara talking point, and invariably you'll get a Pavlovian response of:

"But Zuko would have taken the lightning for anyone."

(Not to be confused with the similar-sounding Pavlovan response, which is "Zuko's sacrifice ain't shit compared to a mouth-watering, strawberry-topped meringue dessert"*, which is actually the only valid counter-argument to how the lightning scene is a bona fide Zutara treasure, but I digress.)

Now, I've talked in depth about how the lightning scene is framed far more romantically than it had any right to be, regardless of how you might interpret the subject on paper; this is an argument which I still stand by 100%. That Zuko would have gotten barbecued for anyone, and that he was at the stage of his arc where his royal kebab-ness represented his final act of redemption, doesn't change the fact that the animators/soundtrack artists decided to pull out all the stops with making this scene hit romantic film tropes bingo by the time it played out on screen.

(I mean, we stan.)

There's also a deeper level to this conundrum, a layer which creeps up on you when you're standing in your kitchen at night, the fridge door open in front of you, your hungry, sleep-deprived brain trying to decide on what to grab for a midnight snack, and quite inexcusably you're struck with the question: Okay, Zuko may indeed have taken the lightning for just anyone, but would Azula have shot the lightning at just anyone?

But there's yet a deeper layer to this question, that I don't recall ever seeing anyone discuss (though if somebody has, mea culpa). And that is: would you have written Zuko taking the lightning for anyone else?

Or in other words, who Zuko would have taken the lightning for is the wrong question to be asking; the question we ought to be asking is who Zuko should have taken the lightning for, instead.

Get your pens out, your Doylist hats on, and turn to page 394. It's time to think like an author for a hot minute.

(If you don't know what I mean by Watsonian vs. Doylist analyses, and/or if you need a refresher course, go have a skim of the first section of this 'ere post and then scoot your ass back to this one.)

So. You're the author. You've written almost the entirety of an animated series (look at you!!) and now you're at the climax, which you've decided is going to be an epic, hero-villain showdown. Classic. Unlike previous battles between these two characters, your hero is going to have a significant advantage in this fight - partly due to his own development as a hero at the height of his strength and moral conviction, and partly because your villain has gone through a bit of a Britney Spears 2007 fiasco, and isn't quite at the top of her game here. If things keep going at this pace, your hero is going to win the fight fairly easily - actually, maybe even too easily. That's okay though, you're a talented writer and you know just what will raise the stakes and give the audience a well-timed "oh shit" moment: you're going to have the villain suddenly switch targets and aim for somebody else. The hero will be thrown off his groove, the villain will gain the upper hand, the turns will have indubitably tabled. Villains playing dirty is the number 1 rule in every villain handbook after all, and each of the last two times your hero's braved this sort of fight he's faced an opponent who ended up fighting dishonourably, so you've got a lovely Rule of Three perfectly lined up for the taking. Impeccable. The warm glow of triumph shines upon you, cherubs sing, your English teachers clap and shed tears of pride. (Except for that one teacher you had in year 8 who hated everybody, but she's a right bitch and we're not talking about her today.)

Now here's the thing: your hero is a hero. Maybe he wasn't always a hero, but he certainly is one now. If the villain goes after an innocent third party, there's basically no-one your hero wouldn't sacrifice himself for. He's a hero! Heroes do be like that, it's kind of their thing. The villain could shoot a bolt of lightning at Bildad the Shuhite, and the only thing that'd stop our boy Redeemed Paladin Bravesoul McGee from shielding his foxy ass is the fact that Bildad the Shuhite has the audacity to exist in a totally different show (disgusten.)

But. You're holding the writer's pen. Minus crossover shenanigans you don't have the licensing or time-travel technology to achieve, you have full control over how this scene plays out. You get to decide which character to target to deliver the greatest emotional impact, the juiciest angst, the most powerful cinematic suspense. You get to decide whose life you'll put at risk, to make this scene the most intense spine-chilling heart-stopper it can possibly be.

This is the climax we're talking about, after all - now is not the time to go easy on the drama.

So.

Do you make the villain target just anyone?

Or do you make the villain target someone the hero cares about?

Perhaps, someone he cares about... a lot?

Maybe even, someone he cares about... more than anybody else?

You are the author. You are the God of this universe. You get to choose.

What would deliver the strongest punch?

If you happen to make the inadvisable decision of browsing through these tropes on TV tropes, aside from wasting the rest of your afternoon (you're welcome), you'll find that the examples listed are littered with threatened and dead love interests, and, well, there's a reason for that. For better or worse, romantic love is often portrayed by authors, and perceived by audiences, as a "true" form of love (often even, "the" true form of love). Which is responsible for the other is a chicken/egg situation, one I'm not going to go into for this post - and while I'm certainly not here to defend this perspective as objectively good, I do think it's worth acknowledging that it not only exists but is culturally rather ubiquitous. (If you're playing the love interest in a story with a hero v. a villain, you might wanna watch your back, is what I'm saying.)

Regardless of whether the vibe you're aiming for is romantic or platonic however, one thing is for certain: if you want maximum oomph, the way to achieve that is by making the villain go after the player whose death would hit the hero the hardest.

And like I said, this doesn't have to be played romantically (although it so often is). There are platonic examples in those trope pages, though it's also important to note that many of the platonic ones do show up in stories where a love interest isn't depicted/available/there's a strong "bromance" element/the hero is low-key ace - and keep in mind too that going that route sometimes runs a related risk of falling into queer-bait territory *coughJohnLockcough*

That said, if there is a canon love-interest available, one who's confessed her love for the hero, one who has since been imprisoned by the villain, one who can easily be written as being at the villain's disposal, and who could quite conveniently be whipped out for a mid-battle surprise round - you might find you have some explaining to do if you choose to wield your authorly powers to have the villain go after... idk, some other sheila instead.

(The fact that this ends up taking the hero out of the fight, and the person he sacrifices himself for subsequently throws herself into the arena risking life and limb to defeat the villain and rescue her saviour, also means the most satisfying way this plays out, narratively speaking, is if both of these characters happen to be the most important person in each other's lives - at least, as of that moment, anyway - but I think this post has gone on long enough, lol)

This is, by and large, a rebuttal post more than anything else, but the tl;dr here is - regardless of whether you want to read the scene as shippy or not, to downplay Zuko's sacrifice for Katara specifically as "not that deep™" because "Zuko would have taken the lightning for anyone anyway", suggests either that a) nobody should be reading into the implications of Katara being chosen as the person nearest and dearest to Zuko, so that putting her life in jeopardy can deliver the most powerful impact possible for an audience you'd bloody well hope are on the edge of their seats during the climax of your story or b) the writers made the inexplicable decision of having the villain threaten the life of... literally who the fuck ever, and ultimately landed on someone who's actually not all that important to the hero in the grand scheme of things - which is a cardinal writing sin if I ever saw one (even disregarding the Choice to then season it with mood lighting and sad violin music, on top of it all), and altogether something I'd be legitimately pissed about if my Zuko-OTP ship paired him with Mai, Sokka, or just about anybody else 😂

Most importantly c) I'm hungry, and I want snacks.

*The Aussies in the fandom will get this one. Everyone else can suffer in united confusion.

#zutara #anti anti zutara #lightning scene ramblings #meta #long post

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polarisjisung · 8 months ago

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LOVE ON THE COURT | 16 LOVERBOY #1 & #2

SYNOPSIS | every college student has their struggles, but raising her younger brother has Y/N top of the list, struggling her way through college whilst balancing her academics and basketball captaincy is difficult no doubt and with Jaemin, her ex best friend and captain of the guys basketball team, and his growing one sided hatred towards her, it doesn't seem to be getting any easier

WARNINGS | sexual innuendos, swearing, mentions of sleepwalking

NOTES | written cut ahead!! followed by more smau slides :) jaemin redemption arc is about to be in full swing but trust that does not mean sunshine lollipops and rainbows for our girly y/n also I'm actually a sucker for dystopian movies, like the maze runner trilogy??? 🙏🙏🙏🙏 i feel like I've watched every dystopian movie out there but if anyone has any recs send them throughhh or just to geek over the movies then my inbox is open 😭‼️

Minjun was nothing short of everything to y/n.

When she woke up to find him gone, her front door ajar, she felt the room close in on her. Her heart raced like a runaway train and panic gripped her chest. In no less than a few seconds, beads of sweat formed over her forehead, her breaths shallow and rapid.

She had rushed out of the apartment in a frenzy, calling out his name like her life depended on it. Constricted for air, her body ran on autopilot, down the dimly lit hallway and then down the stairs to search each floor the same way she had searched her own. To no avail. With each step her stomach churned further, sinking, overwhelming. The feeling of nausea ran deeper, stronger, her heartbeat beginning to sound in her ears. Loud and so painfully unforgiving.

She couldn't lose him. Not now, not like this.

Every noise seemed amplified, every shadow morphed into a lurking threat. She felt trapped in a whirlwind of far too many emotions she couldn't recognise. Her mind had become a storm of what-ifs and worst-case scenarios. Time seemed to slow down as her panic escalated, consuming her every thought and sense.

Where could he be?

Useless, she felt so utterly useless. She had raced a thousand times, millions of laps of the track during practise and yet when it really mattered, she couldn't find her feet moving fast enough, she couldn't run with the same speed no matter how hard she urged herself to. Her life was on the line, her everything, and her attenpts seemed futile as she raced up the stairs again, across each floor and down again, over and over. How could she have been so careless?

Her pants grew in their depth, the lack of oxygen getting to her brain and causing her vision to blurr— mixed with the tears that overcame her vision, y/n was struggling to keep going.

She couldn't breathe.

Her legs threatened to give way beneath her and yet the determination that coursed through her veins wouldn't relent.

There was no way she would give up without finding him. She wouldn't be able to live with herself. Her motivation, her happiness, her reminder to keep going and keep trying, Minjun had been every single one of those things and more, her family, her best friend, so utterly irreplaceable that she already felt the hole within her heart widening.

Circles. She felt like she was running in circles, searching the same corners of the same floors she had already looked over a hundred times, desperation evident in her frantic movements, worry painting her features.

It had been 20 minutes and she hadn't found him, not a single sign of him— she'd lost him. She was so sure. He was gone and it was all her fault.

Y/n had given up on far too many things in life, but if there was one thing she knew she couldn't give up on, it was him. Minjun was her purpose, in every meaning of the word. She could give up on herself, but she could never give up on him.

She forced herself to think, though her thoughts had become slow, foggy as she repeated the words in her head, think y/n think.

Where could he have possibly gone?

When she finally arrived on the 7th floor again, ready to search her apartment, considering the small chance he may have returned, y/n felt her heart drop. The feeling of inadequacy overcame her being— unable to stand her body found the floor.

And the feeling of relief, though present was so agonisingly fleeting that she couldn't push herself any further.

There he was, sleeping peacefully in Jay's arms, safe and sound. The Park let his eyes land on y/n, sleepy gaze softening at her panicked state. desperately wanting to ask if she was okay but not knowing how to.

He was barely conscious himself, struggling to make sense of the situation in front of him. All he knew was that he'd found Minjun banging against his door no less than a few seconds ago. The traces of slumber were still visible in his squinted eyes and messy hair.

He couldnt find himself to care, not when she was like this.

"Y/n what hapenned?" his voice was hoarse, but soothing, "are you okay?"

The words rested at the tip of her tongue but she couldn't bring herself to speak, shaking her head. She took ragged breaths and gasps for air, a broken eyed stare on the younger boy, her hand clasped across her mouth for the fear of waking him.

Jay found himself conflicted, at an inner battle with himself, not wanting to leave the girl in this state for even a second, but not wanting to wake the sleeping boy in his arms either.

"He sleepwalks" was all she could breathe out, her voice cracking sharply. How he had made it out of the front door in the first place, she had no idea. It had never been this bad, but she knew it was no excuse. If only she had been more careful, none of this would have ever hapenned.

Jay's mouth fell open, finally piecing together the information as he crouched down beside her, cradling her head in his free arm, rested against his chest

Her tears flowed so incessantly, pained and burning against her cheeks, the bitter feeling of guilt caught in her throat, heavy. Shoulder slumped as her body rested against the railings of the staircase behind her, her soft cries echoing throughout the empty space, loud enough for the door opposite to swing open to reveal a concerned, but equally as confused jaemin.

"I've got her" jaemin said, immediately letting his arms wrap around her, rubbing small circles against the small of her back, her tears soaking through his shirt. And though hesitant, Jay nodded, earning a puzzled look from jaemin when he stepped into y/n's apartment to tuck minjun back into bed.

But that was the least of jaemin's worries when y/n, the girl he had always seen so strong, unbreakable in fact, now shook in his hold, suddenly seeming so fragile.

"It's okay peach, I've got you, let it all out"

Something about his voice, his presence, something about that moment washed over her like a gentle wave, soothing the knots of worry that had twisted tight within her. And though nothing could negate the pain, the disappointment and the thoughts of self doubt playing in her mind like a broken record, his hold had offered her worlds of comfort. Even if for a second, y/n felt the weight lift off her shoulders and her racing heartbeat began to settle.

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TAGLIST (open): @jenobubbles @justalildumpling @nanawrlds @222brainrot @sungookie @pepperedthot @dinonuguaegi @haechansbbg @90s-belladonna @bath1lda @jeongintwt @daegalfangirl @ahnneyong @jammingjaem @paper-boats-rose @iraa567 @errrrrat @kyusqult @suzayaaa @jising-jisang-jisung @soonyoonswoo @nctrawberries @wonbin-truther @sunghoonsgfreal @lotties-readings @onlyhyunjin @swee7dream @girlz4jaem @beomgyusonlywife @nanaxwi @nosungluv @tommina @sinisxtea @20sdiary @otblous @p-d1ddy @lostinneocity @soobs-things @odxrilove @buns-inhiding @busy-daydreaming02 @starfilledgaze @papichulomacy @grassbutneo @iwilleatyourgod @jeeluv @mystverse @meowtella

#jaemin #jaemin smau #nct jaemin smau #jaemin social au #jaemin social media au #nct smau #nct dream smau #nct jaemin #nct dream

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vi-as-in-violet · 5 months ago

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i think the main feeling i have about this season so far is that i crave to see MORE, but not in a good way. i love the themes this season is working with, i love the conflicts, i love the characters but it feels like i don't see enough of the story playing out and it leaves me feeling like something is missing.

I wanted to SEE and experience the underground resistance growing, i wanted to actually see how Jinx became a symbol and how that united the underground. I wanted to see the process of it and how it affected her! I feel like the writers really should've gone with the traditional show-don't-tell rule here instead of just showing us the aftermath which left me with exactly zero emotions about such crazy impressive and important events. The entire Underground got united (!!!!) but we saw zero of the unification process and got like two scenes before they were all arrested, released and then the entire revolution idea was completely forgotten and not addressed once in the rest of the act (as far as I recall).

Jinx was clearly struggling with the newfound worship, so much so she went into HIDING. how must've she felt knowing that so many people find hope in her when she sees herself as a literal jinx? how did she deal with becoming people's hope instead of their curse? I wanted to see her work through this so bad since that is what Arcane has always been good at, it's what season one did so well - it walked you through the emotions and motives and therefore, the conclusion to personal plot lines felt SATISFYING and left massive impression. this was completely missing for me this act for most plot lines

Same goes for pitfighter!Vi and her descent into self-destructive hell. We don't get to see the emotional fall out of her being fucking punched and left lying on the ground by the only person she thought she had left - we just got a montage showing the aftermath of her spiraling. which is cool but it left me with feeling pretty much nothing about it all because seeing the conclusion to her struggling without the build-up just fell flat for me. i was looking forward this specific internal conflict of the protector archetype with nothing left to protect and therefore completely losing themselves before finding their purpose again SO much and it ended up being completely brushed over. i wanted to be able to pick Vi's thoughts apart when she was at her lowest point in life since her time in the jail and see how her behaviour and relationship with people/alcohol/violence changes in the process. like later in act 2 when she punches Isha, she doesn't even react (holy shit?). that is SO far from the Vi we saw in act 1 of this season and it feels super out of character because we did not actually get to SEE her behaviour and priorities changing - we can obviously figure out the reason and understand why she ended up this way but since we weren't actually shown how it happened, it still initially felt like it came out of nowhere and majorly ooc for the character we've known so far

and don't even let me start with Cait and her dictator arc. I was getting ready for the emotional fall out and internal conflict and the political powerplay with Embessa but we got SO LITTLE of it. i could go on and on about this but i feel like a lot of people might agree her dictator arc was pretty underdeveloped so I am not going to discuss it further (plus the immediate switch when she met Vi again was just ??? because we can't really see how she feels about this entire thing with the exception of her thinking Embessa is too brutal and that it seems to be weighting on her. PLUS she has at least a situationship with that sunshine enforcer and even tho she is clearly mentally elsewhere, we have no reason to think she is still pinning after Vi?).

I'm not even going to address Jayce because What.

On a positive note, I think Victor's arc has been handled pretty damn well. But aside from that, this season just leaves me craving more and it is quite clear to me the writers absolutely did not have enough time (nine episodes is not a lot) to develop the story they wanted to portray in full.

Now, I watched the latest three episodes while on a plane and since the act is so plot heavy, i might have totally missed or misunderstood something, lemme know if that is the case

i am super interested in how's everyone feeling about this so feel free to add your thoughts!!!

#arcane #now don't get me wrong #despite this long ass rant #i am still having a good time and there's a lot i like about it #but especially after act 2 #the pacing and lack of personal focus is getting to me a bit #arcane spoilers #arcane season 2 #caitlyn kiramman #vi #jinx #powder #discussion #critical #i guess?#arcane critical

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penofwildfire · 1 month ago

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Annoys me to no end when people act like Sensei Garm was somehow the truest form of Garmadon that he'll inevitably return to if he wants to be a good person. For starters, as far as we know, he's not even part human, so why would his truest form be his human one? He's clearly comfortable with his oni/part oni self, and there's nothing wrong with that.

When I say I don't want Sensei Garm back, I don't mean I think he should never try to be more active in Lloyd's life or that he should never try teaching again or hell, that he should never try being in a relationship with Misako again. I mean that the obsession with his human form, the version of him that was so clearly trying to be someone he wasn't, trying to fit himself into a mold of "goodness" that just didn't suit him, is weird and uncomfortable to me. Sensei Garm hated himself, it's so blatantly obvious, and while that certainly makes him interesting, it doesn't make for a good ending to a character arc.

Garmadon is not inherently incapable of being a father, a husband, or a sensei, but he was trying to take on those roles when he wasn't ready. He'd spent a lifetime fighting the evil in his veins and the second it was gone he was just expected to know how to be good. So naturally it didn't go very well. People criticize Lloyd's description of his father to Harumi in season 8, ask why he talked only about the time he was evil instead of the brief period where he was good. But it makes sense for Lloyd to have complicated feelings about his father, even before his resurrection when things went to shit, does it not? Yeah the love was there, but so was the strain, the distance, the abandonment, the multiple attempts on his and his friends' lives. A couple years of being on the same team doesn't necessarily make up for that.

Crystalized Garmadon wasn't ready for those things either, but the difference is he knew that, and he was working towards being ready someday. He was doing a parenthood practice round with Christofern, in hopes he could gain the skills to try and be Lloyd's father again. He wasn't in a relationship, but he was learning to better interact and connect with other people through Vinny. He was improving, however slowly.

If we ever do see some version of Sensei Garmadon again, I want it to be a natural progression of where Garm was at last we saw him. I want him to be ready for that role, and to take it on in a way that feels authentic to who he's become. He can't force himself to shy away from his destructive nature, we've seen more than once that his vows of peace don't last long. But he can probably learn to channel it in more helpful ways. The times Sensei Garmadon was at his best were the times he wasn't trying as hard to be serious, the times he teased Lloyd or let himself have a little violence and destruction, as a treat. I think it's entirely possible for him to achieve a functional balance of chaos and order, and I think a lot of that is precisely because of who he became after his resurrection. He's not ashamed of any side of himself, and that lets him harness that power in ways Lloyd can't because he's too scared of who he is.

Idk exactly where I was going with this, I just think I've maybe been a little harsh on the "I want Sensei Garmadon back" people. But a couple stances I'm still firm on: 1) there is no "good half" or "dragon half" or even just "other half" of Garmadon trapped in the Departed Realm or wandering the merged lands, and 2) if Garmadon comes back, it would be a disservice to his character to have him assume a human form, and if he does, they better have a damn good reason for it.

#ninjago #dragons rising #ninjago garmadon

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morallysuperiorlips · 2 months ago

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8 Tips for Redeeming Your Villain (Without Pissing Off Your Readers)

I won't lie, I love a good redemption arc for a villain. I love watching a formerly deplorable character atone for their sins and come to terms with the fact that they were wrong, and I especially love it when it doesn't come easy (as it shouldn't!). But I also know some writers might struggle with this, or worry about doing so in a way that won't aggravate readers or come out of left field. So, if you're struggling with this, here are some tips to help!

1.) Hint at redeemable traits early: All villains should be nuanced, in my opinion, but if you're going for a redemption arc, you should really dedicate some time to really showing those softer, redeemable sides of your villain from the beginning. It can be hesitation over their big evil schemes, or moments of really profound kindness in the midst of their cruelty. A villain that is too cruel from the get-go being redeemed will feel forced and likely uncalled for, so make sure you're going out of your way to show that the concept of "I can fix them" is actually possible.

2.) A strong motivation to change is a must: Nobody really makes an effort to change their ways unless they have a drive to do so, and the same should go for your villain. Don't make their mission to become "good" just a fleeting phase they happen to be going through (it's not like being emo, guys). Something needs to happen to them to drive them toward that switch. Maybe they realize the consequences of their actions and hate what they've done. Maybe the one person they want to save can only be saved if they change their ways. Maybe their beloved cat almost gets hurt during a scheme and they make the choice to change for their precious furry friend. You can really go nuts here!

3.) Remember "atonement, not apologies": Sometimes, "Sorry" isn't enough. In the case of a villain who might have done some pretty terrible shit in the past, I would wager it's most definitely not enough. While being remorseful is apart of atoning, it's not enough for them to just say "I'm sorry for trying to launch you into the sun" or "I'm sorry for committing arson on your base." Their actions also need to follow their apologies. They need to actually show that they're sorry, and are taking actions to fix the damage they've done. More than ever, their actions will speak louder than their dialogue.

4.) Remember that some actions are unforgiveable: There might come a moment in your villain's evildoings where they pass a point of no return. Some acts of villainy are just too far gone for chances of redemption. This doesn't mean that they can't have some version of redemption, but this just might come in the form of them accepting what they've done and making peace with it rather than being accepted and forgiven by those around them.

5.) Consequences don't just go away because they're nice now: No matter how kind your villain is choosing to be now, and how far they're willing to go to show that they've changed, they can't erase the past (of course, unless there is time travel at play, in which case...we'll talk). The consequences of their actions should still come back to bite them in some way, shape, or form, and they should still figure out how to work through them. Perhaps the villagers are still terrified of them, and likely will be for years to come. Perhaps the death of a loved one was indirectly caused by their wrongdoings, and they have to live with that.

6.) ...and neither does their core personality: At the end of the day, even though your villain is going through their redemption, they're still the same person they were as a villain. They still need to be the same ruthless or calculating or charismatic or dry or whatever kind of person they were to start. They just have less evil goals now. Write accordingly!

7.) The redemption needs to be EARNED: Redemption isn't something that just happens overnight. It needs to be treated like a practiced discipline. Your villain needs to try, fail, get up and try again, fail again, and keep trying. Maybe they almost give up at some point and try to relapse into evildoings. There needs to be a struggle as they come to terms with their actions, learn the correct way to atone, and find ways to make up for their terrible deeds. That way, when they've finally reached their peak of "good," it feels like it was deserved.

8.) Death does not always equal redemption: From years of reading, I've noticed that a common way to redeem a villain is just...killing them in an act of sacrifice. I feel like this only works if there's been a buildup to it. They can't just go out in a blaze of sacrificial glory and expect to be recounted as a hero when they were forcibly lobotomizing innocent children the day before. If your villains redemption arc does end in their death, the other tips still matter--there needs to be a buildup to it.

(If you like my guides, prompts, writing, or art, consider supporting the blog today! All donations help me keep this thing up and running and all are appreciated <3)

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a-killer-obsession · 9 months ago

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Whoops, you got hit by a bus, and now you're in the world of One Piece. But not everything is quite as you remember it...

General Tags: afab reader, she/her reader pronouns, isekai, monsterfucker reader, vampire!kid, werewolf!killer, wyrm!heat, minotaur!wire, everyone has a human form, smut heavy, unhealthy relationships, dubious consent, serious violence, spoilers for Wano arc, starts pre-timeskip. There will be a lot of more intense kinks, please check AO3 for all current tags.

Chapter 2 - To The Brig With Ye

Step 1: Get Heat on your side.

WC: 4.5k

Masterlist | AO3 | Chapter 1

You were surprised to wake up at all when you came to, in what you assumed was some sort of infirmary. The room tilted back and forth slightly, so you assumed you must still be on the ship at the very least. Your eyes fluttered open, finding a face suddenly far too close to your own.

“AHH!” you and Heat both shouted at once, the blue haired man scurrying backwards.

“Heat, for fucks sake I told you not to hover in her face like that!” A feminine voice scolded. You groaned as you tried to sit up, seeing a blue haired woman, her hair wild with spikes that looked like horns, a small set of round glasses, and a black dress bearing some sort of stylized cross. House. She was using a pipette to drip some sort of dark red liquid onto your exposed wound, which looked and felt nowhere near as bad as you thought it would, considering how deep the knife had gone. Your confusion was explained away as the red droplets hit your skin and you watched the flesh begin to sew itself closed, but it only brought up more questions in its place. You'd never seen something like that in One Piece, but then again this world was vast and strange, and people did always seem to heal fast here.

“Sorry, one more minute,” House spoke to you, drawing up more crimson into the pipette and dripping it onto the wound, the last sliver of open wound mending itself closed. “Okay, all done.”

“Uh thanks, House right?” You asked her, running your hand over the healed flesh, not even feeling a scar. It was like nothing had happened at all, save for the rouge red drips of whatever she'd used that remained on your skin before she hurriedly wiped it away with a damp cloth.

“Um, yes,” she replied unsurely, looking to Heat for clarity as she removed her latex gloves and threw them in a nearby bin. She'd seen the entire exchange on the deck, nobody had told you her name, and yet you somehow knew it. House didn't have a bounty poster, as the doctor of the Kid Pirates she hardly ever left the ship, so while it was understandable that you knew who the big four were, there shouldn't have been anyway you knew her name. “I'm gonna go let the captain know she's awake,” she addressed Heat, a distinct nervous tone to her voice, before scurrying out of the room, leaving you alone with the tall man, who shifted his weight between his feet awkwardly.

“What's your name?” He asked shyly.

“[Y/n],” you smiled.

“[Y/n]...” he repeated to himself, a slight blush to his cheeks, “Did you mean what you said?”

“What bit?” You rubbed your eyes with the palm of your hand, trying to piece together what had happened between getting hit by a bus and getting stabbed. “Oh, the sex dream stuff? Absolutely, baby” you winked at him, making him blush even more.

“No!” He choked on his breath, hands waving in defence, “I meant- the isekai bit!!”

“Ohhhhhh,” you blinked slowly, “I mean it's my best explanation for what happened. I'm like ninety-nine percent sure I got hit by a bus, and now I'm here. This whole world is supposed to be fictional, if this is just a dream then I shouldn't have been able to feel pain, but I certainly fucking felt it”

“And that's why you knew House's name?” He asked, stepping a little closer to the edge of the bed.

“Oh, it didn't even occur to me that I shouldn't know it,” you hummed, taking a moment to properly observe the room you were in now. It was darkly decorated in blacks and forest greens, the occasional violet pop of colour, none of the usual sterile whites and creams you'd expect of an infirmary, with two oversized beds (likely meant for larger crewmates), one of which you were currently laying in. Each bed had a side table, a table on wheels that fit over the bed, and a small plain chair for visitors. The whole room was almost a semi circle, save for the section missing on one side where you could see a door, likely to a bathroom. The opposite corner along the flat wall held cabinets and a counter, probably filled with medical supplies, with a small desk in front of it, a chair either side likely for doctor and patient. The beds were also along the flat wall, with a door to your left and another door in the centre of the curved wall in front of you, a small, green velvet couch to its left. The anime and manga had never shown the internals of the ship, but the curved walls and round portholes along them made you wonder if you were inside the forecastle, just behind the large dinosaur skull that acted as a figurehead for the ship. Your eyes came back to Heat, who stood next to your bed, waiting expectantly for an answer. “Yeah I mean, she's not really a well known character, but I guess you could say I'm a big Kid Pirates fan, so I remember a few more obscure characters.”

“From… a manga, you said, right?”

“Yeah. You're familiar with the isekai trope?” you didn't feel like explaining that it was an anime too, you weren't even sure if this world had cartoons.

“I am,” he mused, “and I guess weirder things have happened in this world. But we're gonna need proof, and I don't know how I'm gonna convince Kid”

You thought on that for a moment, “I think I can provide proof,” you mused, “has the crew been to Sabaody yet?”

“No, we're close though,” he told you hesitantly, not sure how much information he should reveal while he not so subtly eyed your body; you'd all but forgotten you were naked. You probably should have covered yourself up but it felt like a bit of a too little, too late situation. The whole crew had probably seen your tits at this point, not that it bothered you much. It wouldn't hurt to placate him either, it would be good to know at least one person on the crew had a fondness for you when it came to convincing Kid to keep you alive. If things really went tits up here you could always try your luck with the Straw Hats, but given the timing that would be difficult, you would have to stay on Sabaody for two years before you could try and join them. Maybe Shakky would let you stay with her in the meantime. Your preference though was to stay with the Kid Pirates, your favourite One Piece crew, and usually the subject of your sexy dreams and explicit fanfiction searches.

Heavy footsteps outside caught both of your attentions, Heat taking a few steps back to stand at a more respectful distance as the infirmary door flew open. Unsurprisingly, Kid stomped in, followed by Killer, and Wire, who shut the door behind him. Kid stood at the end of your bed, looking at you discerningly, an angry scowl on his face.

“Talk,” he said plainly.

“Boss, I think I can explain,” Heat told him, “what she said about isekai, I don't think she's from this world”

“The fuck is ‘isekai’” he growled, billowing his cape up so he could sit on the couch without catching it underneath him. Killer and Wire stood at either side of him like guard dogs, unsure of your capabilities, weary given the fact you'd appeared out of nowhere in the middle of the sea without a devil fruit power to get you here. There was no way of telling what powers you had or how you might suddenly use them.

“It's a trope, in manga,” Heat tried to explain, “the protagonist is sent to another world. Usually they die and get reincarnated, or some sort of god sends them there, to a usually fantasy world. I think that's what happened here, she claims she knows us because we're fiction in her world, and that she appeared here after she died in her world. Its a classic isekai premise.”

“Bullshit, she knows us from our bounty posters,” Kid huffed, unconvinced by Heats explanation.

“She knew House's name,” Heat replied. There was a pregnant silence as Kid considered that, his eyes flicking between you and Heat.

“Okay, so she's… from another world. If I chose to believe that,” Kid grumbled, “and she knows us because what? We're a comic book or some shit? They got comic books about the great Eustass ‘Captain’ Kid over there?”

“Well… they're not really about you per say,” you replied delicately, knowing the truth would piss him off.

“Then who the fuck could they be about?” Kid puffed up his chest, “why would they write about anyone other than the future King of Pirates?”

“They're uh… about Monkey D. Luffy…” you replied quietly. “Not that you're not also a very popular character!” You quickly added.

“STRAW HAT?” Kid roared, spooking you as he suddenly stood, “fucking STRAW HAT gets a comic book? Nah, fuck that, put this lying bitch in the brig.”

“Wait! Wait!” You quickly shouted, climbing further up the bed to avoid Killer's reaching hands, “I can prove it! I can tell you what'll happen when you get to Sabaody!”

“Sabaody is weeks out,” Kid huffed, “I ain't waitin’ for your lyin’ ass to be proven wrong so you can sit around in the meantime and find an opening to kill one of us. Devil fruit or no, you were obviously sent here to stop the best competition for finding the One Piece”

“Really? You think someone sent me here naked? Slammed me against the mast, no weapons, no devil fruit, no fighting skills, to kill you?” You rolled your eyes, “I can give you other proof, I can”

“Then fucking give me your proof, mouse,” Kid growled, the bed creaking as he leaned over you, his hands either side of your body. He probably wanted to intimidate you with his large form, but really it only served to make you a little horny.

“Killer wears purple lipstick,” you hurriedly shouted, the first thing that popped into your head as you searched for information only they should know. The room went silent before Kid suddenly wrapped a hand around your throat. He squeezed it threateningly, then he threw you back with a frustrated growl, letting you go as he moved to leave the room. He gave Killer a knowing look before turning back to Heat.

“Chain her in the brig,” Kid hissed, “I don't know where she learned that but I don't fucking trust her. Put her in iron too, there must be some trick, witch or some shit”

There was a flurry of movement as you were again left alone with Heat, Killer sparing you an unreadable look before slamming the infirmary door, clearly angry. You didn't like that you had to expose him like that, even if everyone in the room likely already knew that information, but it was him or you, and you had to act in self defence. Not that it'd helped in the end though either, as Heat apologetically dragged you off the bed and clamped your arms behind your back, wrapping one large hand around both of your small wrists at once to secure you as he led you out of the room.

Eyes followed you silently as you were led across the deck, still naked as the day you were born, revealing you had in fact been in the forecastle. Heat took you directly across to the rear of the ship, opening a door and leading you through a galley. The short view you got of the galley revealed a long room, with a serving window and counter on the left that peeked through to a moderately sized industrial looking kitchen. On the right was some sort of stage at the very end of the room, short stairs on either side leading up to the platform that currently held a long table surrounded by six chairs, a small liquor bar behind it. On the main floor between you and the stage were five long tables, a bench style seat along either side. The walls were decorated in band posters, bounty posters, photos of the crew together, newspaper clippings and all manner of souvenirs pinned to the walls, covering them in what spoke of a crew that acted more like a family, with many happy memories together all memorialised along the dining hall walls.

Heat led you to a staircase at the left of the room, following you down into a hall that was noticeably colder than above, likely due to being particularly below sea level. There was a short hall that split into two longer ones, they looked as though they made a loop around a center set of rooms, the walls lined with doors, no doubt bedrooms and storage rooms. He didn't lead you down either of the long halls, instead taking you to the end of the short one where a steep staircase, practically a ladder, led even further down to the hull of the ship. Heat gave you a little shove forward and you took the hint with a sigh, at least thankful that he'd let go of your wrists now so you could climb down.

You waited patiently at the bottom of the ladder beside a closed door as Heat climbed down after you. He fiddled with a set of keys that hung from his belt, unlocking the door and opening it, beckoning you to pass through. Inside was a series of cells, four in total, with iron bars at their fronts, each with a set of bare bunk beds with thin, stained mattresses, and a metal bucket in the corner, likely in lieu of a toilet. Unexpectedly, each cell was also trimmed in what looked like some sort of ancient symbols written along the floors and walls, a dark rusty colour that made you wonder if they were written in blood. The writing looked like something straight out of a dark fantasy show, with the occasional recognizable pentagram or latin in neat cursive letters. The doors to all four cells were open, seemingly unoccupied, and Heat gestured for you to enter the second, which sat directly across from a small desk, decorated only with a plain wooden chair and simple lamp.

You stood inside the cell, shivering as the air was considerably colder now that you were well under sea level, chilled by the cold ocean around you. The walls and floors offered no warmth, plated in what appeared to be stone, seastone perhaps. The wall behind the desk was lined with hooks holding multiple sets of cuffs in different styles. Heat selected a set of iron cuffs, with only three links between each wrist, and you sighed as you willingly held your hands out for him. There was no point fighting it, and forcing Heat to subdue you would only go against your plans to bring him to your side.

“Sorry about this,” he said softly as he closed the cuffs around your wrists. His hands were so warm against yours, reminding you of your current frigid situation.

“Can I have a blanket or something?” you pleaded, giving him your best puppy dog eyes.

“I.. I don't know if I'm allowed,” Heat replied, a tint of sadness to his voice.

“Maybe we can trade?” You offered, “I.. I only have my body, but maybe I can give you something in return for a blanket?” Was whoring yourself out a good idea? Probably not, given the circumstances, but you'd freeze to death down here if you didn't at least try. Besides, its not like you didn't want to fuck Heat. At this point you didn't have high hopes for surviving this world, but if you got laid with one of your favs then maybe it'd be at least a tiny bit redeemable.

“A trade?” He raised a brow, “like what?”

“What do you want?” You asked him, using your best sultry voice, experimentally pressing a hand to his chest and running it down slowly, pleasantly surprised when he didn't shy away from you. He shivered at the touch, your skin bare against his as your hand reached the bottom of his corset.

“Fuck, okay,” he growled, looking back at the door to the brig to check he had shut it, “on your knees, for a blanket”

“Yes sir,” you purred, perhaps a little too eager for Heat's dick. You would have traded a blowjob for a corn chip, if you were being honest with yourself. You fell to your knees slowly, trailing your fingertips down his midriff till they caught on the belt of his baggy pants. Raised on your knees, you could barely reach the flesh of his abdomen with your mouth as you hooked your fingers in the metal loops on his belt and used it as leverage to lower his pants, pressing your lips to the newly exposed flesh. He made a sharp exhale as your tongue came out to run over the V that led to his cock, pulling his pants down teasingly slowly and looking up at him with sultry eyes as his hand buried in your hair. Finally his pants lowered enough to expose his cock, long and girthy even at half mast, slightly more bulbous at the end with a set of three piercings along the underside, another at the tip, and a base of blue public hair, slightly darker than the hair on his head. He shivered as the cool air touched his exposed cock, quickly overruled by a groan as you took it in your bound hands and pumped the base, promptly becoming erect from your firm, warm touch.

“You have no idea how badly I've wanted to do this,” you purred, pressing your tongue to the tip, playing with the piercing and rolling your tongue over the fat head of his dick. He groaned as you took the end in your mouth, only taking a third of him as you began to bob your head, stroking the rest with your hand as you slowly adjusted and took a little more with each movement.

“Oh fuck, that's good,” Heat groaned, his hold on your hair tightening as you slowly worked towards taking all of his impressive length into your eager mouth, drool starting to drip down your chin as you focused on not gagging, breathing through your nose to suppress your natural urges. Your eyes watered as he started to hit the back of your throat, his hips making small thrusts in time with your movements, trying his best to hold back from just grabbing your skull and face fucking you. He'd been pent up for a while now, with a long stint between islands with working women, and a distinct lack of women in the meantime who were willing to risk their safety to sleep with the tall, stitched up man. By all accounts he looked terrifying to most women, so your willingness to get on your knees was certainly a nice surprise, seemingly having no issue with the way he looked. He felt bad at first for taking advantage of you, but the way you kept eye contact and hollowed your cheeks around his cock told him you wanted this, that the blanket was just an excuse to get in his pants. Really he should be the one feeling used, but he couldn't bring himself to feel anything but euphoric with the divine way your mouth was working his cock.

You paused as your nose hit his pubes, your now idle hands coming up to play with his balls, gagging a little as you swallowed around his cock. “Ohhhh fuck,” Heat groaned, looking down at you with his dick fully burried in your hot wet mouth. “Look at you, taking it like a proper slut, you like that huh? Like having my cock down your throat?”

You pulled off his cock with a pop as your thighs rubbed together in a desperate need for friction, you wouldn't be surprised if you were dripping on the floor at this point from how wet you were. “I'd like it better in my cunt,” you replied, stroking him with both hands, hoping above all that he'd take the bait and fuck you silly.

“Yeah? And what would you want to trade for that, huh?” He growled, wondering what game you were playing to be so willing, questioning whether this really was just a trick.

“One of your blankets,” you purred, running your tongue up the underside of his cock and feeling the piercings roll against it. “I want one that smells like you”

“Why are you so obsessed with me?” Heat replied, genuinely taken aback by your answer. He'd never known a woman to want him that bad, let alone just want something that smelt like him. It was making him feel sparks of something unfamiliar, possessiveness perhaps, fondness definitely.

“Because you're sweet, and you're sexy, you're one of my favourites,” you shrugged, “are you gonna fuck me or not? The stone is hurting my knees and my cunt is fucking dripping”

“Fuck,” Heat huffed, pulling you by your hair to stand and crashing his mouth against yours, groaning as he found you more than willing to return his affections. He walked you backwards until your body was flush with the cell wall, nipping at your bottom lip before he pulled away and spun you to face the wall. You arched your back and stuck your butt out for him, your tits squished against the stone as Heat admired your round ass. He gave it a playful spank, making you whine, before he grabbed handfuls of your ass cheeks and pulled them apart to admire your soaked pussy. “Fuck, you weren't lying, you're really fucking wet”

Unable to resist a taste, he knelt behind you and buried his face in your center, motorboating your cunt, your slick coating his face. He groaned against your pussy as his tongue zeroed in on your clit, making you moan and push back against him. His hands held your ass firmly, squeezing it to keep you in place as he sucked and lapped at your clit, before standing back up, running his tongue over your entrance and asshole as he moved.

“So fucking wet for me, so sweet too,” he groaned, taking his cock in his hand and lining it up with your needy entrance, your hips wiggling as you whined pleadingly. “Hold still, fuck,” you only managed to still for a moment before he pressed in, bullying his tip inside you and stretching your underprepared cunt wide. “Ah fuck, so tight,” he grunted as he slid inside you, bringing one hand to your mouth to clamp over it and muffle your sounds as you began to scream at the stretch.

His fingers slid into your mouth and you sucked them greedily, moaning around them as he bottomed out inside you. “Good girl, fuck, good little slut,” he groaned, giving you only a moment to adjust before he was dragging back out again, leaving only his tip inside you as he slammed back in. His fingers left your mouth so he could hold your hips firmly, fucking you hard and fast with the intention of making you both cum quickly before anyone caught you in the act, his cock heavy against your g-spot and stimulating it deliciously with every hard thrust he made. Your palms were flat against the wall, holding you steady as your body took the brunt of each impact, breasts grazing on the stone wall and drool transfering to the cool surface as Heat fucked you mercilessly.

He pulled you a little away from the wall, your tits now bouncing with every thrust as they hung freely until Heat reached underneath you and grabbed them, pulling you up and holding you with your back flush to his chest, one hand groping your tits still while the other wrapped around your throat, slowly travelling upwards till his fingers were buried in your mouth again, muffling your moans against the wet slapping of his body against yours. His teeth grazed your neck, wishing he could sink his fangs into you as they grew in his mouth, canines extending unbeknownst to you and running over your skin, knowing if he made a mark he would be caught. He was having trouble keeping in control of himself as you sucked on his fingers and your pussy fluttered around his cock, gummy walls clamping down around him as your eyes rolled back and you came on his cock without warning. A creamy ring formed around his base as he kept fucking you hard, chasing his own high now and trying to figure out where would be appropriate to cum.

“Get on your knees again,” he ordered, pulling his fingers from your mouth and withdrawing his throbbing cock from your cunt. You dropped to your knees willingly, opening your mouth invitingly for him with your tongue stuck out. He considered just jerking himself off over your face, painting your pretty fucked out expression with his cum, but worried about your inability to clean yourself off down here, so instead he shoved his cock down your throat, holding your hair with both hands as he began to use you rougher than he intended. You moaned around him at the surprising treatment, eyes streaming with unintentional tears as his cock gagged you with every hard thrust, until he finally stilled with his shaft balls deep in your mouth and you felt the hot cum pouring down your throat, his hands pulling your hair while he grunted. You shivered at the feeling, almost cumming again from it, playing with your oversensitive clit as he unloaded in your mouth. He pulled away slowly, the last drops of cum spilling against your tongue as you licked the tip. He slapped your cheek with his softening cock, giving you an appreciative grin as he slid his finger into your still open mouth and played with your tongue.

“I hope Kid decides not to kill you,” he mused as he helped you to your feet, pinning you against the wall again, his hand running up your thigh and hip till it came to rest at your waist. “Would be a real shame to waste a good set of holes like that”

“Tell him to come try me himself, maybe that'll convince him,” you suggested, “unless you wanna keep me all to yourself”

“Mm, tempting,” he mused, running a thumb over your bottom lip, “I don't mind sharing though, besides, I doubt I could keep you to myself even if I wanted to if one of the others decided they wanted a turn. Maybe we'll make you our ship whore”

“I'm not opposed to that,” you purred. Heat made a huff and started stepping away.

“Fuck, you really are a Kid Pirate fan huh?” He laughed, “I'll get you your blanket, but be a good girl and behave yourself until I can convince Kid to let you go”

“I'll be on my best, naughtiest behaviour,” you winked, shivering a little now that you didn't have his warm body to keep you heated. He frowned as he watched you shiver, realising how much you really did need the blanket.

“I'll find you some clothes too,” he said softly before turning to leave, disappearing before you even had a chance to respond.

[Next Chapter]

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