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trippinsorrows · 11 months ago

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looking through your eyes + ten

authors note: i think ya'll will be pleased with majority of this chapter. as far as the ending scene, let me know what ya'll think roman should do. i have it already planned, but i'm always so curious reading other perspectives. btw, they've been married almost four months, for context.

also, to those who want to know about the subplot of solana's bitch ass daddy plotting to kill roman....it's still a subplot. stay tuned.

passages from 'the courage to heal' do not belong to me.

if any cw/tw’s are missed, please let me know, and i will add them!

cw/tw: violence against women, references to csa, character briefly discussing csa, fluff, angst, language, and suggestive themes

song inspo: ‘looking through your eyes’ by leann rimes

masterlist

words: 10k (no comment)

Learning to be intimate is rewarding, but it is not always comfortable. As one woman said, “I kept myself safe, but I also kept myself alone.” Becoming intimate means peeling back the layers of protection to let someone in. It means going to the place where you’re comfortable and then taking one step more. One step, not twenty.

Solana must read the passage at least half a dozen times, sitting with the words, meditating with them and doing her best to cope with the discomfort she’s experienced at various points while working her way through the book that’s brought an equal amount of questions as it has answers.

She knew right away going into this section, Healthy Intimacy, that it would most likely be the hardest chapter for her. But not even for the reasons that she initially thought, reasons that would have been the case before a certain Roman Reigns entered her life.

Every day that passes with him seems to bring about a new level of comfort, a new slice of happiness, a new type of contentment.

She enjoys talking with him and being around him. She looks forward to his meeting her at the end of work and struggles with endless worry when he doesn’t make it back home until the wee hours of the night.

His touch, whether that’s his hand on her back or both hands on her waist as he holds her against him, no longer triggers an automatic tense, uncomfortable feeling. Somewhere along the way, the need to identify his touch as ‘safe’ waned and was replaced with an automatic knowing. Like she knows that it’s okay for him to touch her, because she’s safe. Because she’s safe with him.

That, along with her continued and also growing attraction, has caused her to think more and more what it could be like to be with someone in that way. The thoughts have been fleeting, far and few over the years, typically followed up with abject horror. But lately….lately she’s been less and less scared and more and more hopeful.

Optimistic that maybe….just maybe, she could one day know what that’s like. To have that experience in a healthy and non-traumatic way with a safe person. With someone who truly desires her in said healthy way.

Someone….someone like Roman.

It’s scary and terrifying and exciting and nerve racking and moving and every other emotion to exist, but on top of all that, for the first time in her life, it’s a possibility for Solana.

And she wants to take that chance, even if doesn’t work out, even if it’s not what she thought it would be. To be able to say she at least tried, to say that she overcame her fears…it would be monumental.

It would feel like the breaking of mental and emotional chains.

And it starts today.

Closing up the book, Solana untangles her legs and marks her spot in her book. She gives Dulce a light pat on the head and walks into the bathroom. Opening up the drawer, her eyes land on the pair of scissors. Nothing fancy. Just a pair of regular scissors.

Solana takes a deep breath and grabs them.

Using one hand to let down her hair from the messy, half-effort bun, she gives her head a good shake. Once, twice, and then a third time. For a brief second, she hesitates, her father’s constant belittling returning to the surface.

“You don’t need short hair. You’ll look even fatter with it.”

Solana shuts her eyes as she thinks of all the times Roman has called her beautiful, has made her feel beautiful. The endless support from Bayley and Naomi. The borderline inappropriate comments form the twins almost every time she sees them.

It all brings an emotional smile to her face as she takes another deep breath.

One step, not twenty.

And she cuts.

________

Samantha can count on one hand in all of the years that she’s known Roman Reigns the times that he’s surprised her with a visit.

Zero.

He’s always always given her a heads up for his arrival or plans to visit, solely for the mere fact that Roman is a man who doesn’t like to wait. When he wants pussy, he wants it then and now. And she’s never been one to deny the Head of the Table anything he’s ever asked for.

So when she finds him sitting at her desk, feet propped up with an unreadable expression, it takes her off guard.

Only for a minute.

“I knew it was only a matter of time.” Samantha is quick to kick the door shut behind her, locking it right as she tosses her purse on the nearby chair. “You can’t go too long without me.” This fact alone is enough to make her cum right then and there. The fact that even with his roster of women he rotates through, she remains number one.

Roman knows where it’s at.

And him coming to her, at her job of all places, just proves it.

Eye dropping to his crotch, she licks her lips at the thought of that thick, beautiful dick in her mouth. Fuck, she’s salivating at just the thought. “You want me on my knees, daddy?”

Samantha starts to kick her shoes off when he finally breaks the silence.

“I want to know what you said to my wife.”

Samantha’s smile drops in under a millisecond. Instantly, she’s scowling. “What?”

Roman doesn’t hesitate to repeat himself, every word perfectly enunciated with his heavy, baritone voice. “What did you say to my wife, Samantha?”

This….this isn’t how she was expecting this to play out, and it shows in the sudden stuttering, “I—I don’t—”

“She came back from that bathroom upset, and I don’t like seeing her upset, so I’m only gonna ask you one more time—” Samantha nearly jumps back into the door when he suddenly bangs his fist on her wooden desk and growls, “what did you say to her!”

Stammering, she answers with a combination of fear and desperation, “I just—I told her the truth.”

It seems to be the wrong answer, as Roman looks 5x angrier. “And what the fuck is that?”

Samantha gathers herself a little better, voice more even as she answers with misplaced confidence. “That she could never please you. Not how I can.” And with foolish bravery, Samantha steps toward him. “That you’ll always come back to me.”

“You fucking bitch.”

That makes her still with her movements. He’s called her all kinds of names when they’ve fucked, and she’s loved it, loves being fucked hard and rough, his preference. But there’s something about this that she doesn’t love.

It’s because he sounds legitimately upset with her.

And that, in turn, upsets her, because he cannot seriously be upset that she said some shit to that little girl.

“Why does it matter? It’s not like she means anything to you.” Samantha has to actually laugh. In no universe can she see someone as strong and powerful as Roman caring about a girl like that. But, it’s when he doesn’t say anything, doesn’t voice some type of agreement that her confidence dwindles a bit. “R–right?” Still, nothing. And it’s with that nothing she realizes with all of the anger and shock in the world why he’s so upset.

“Oh my god. Are you serious right now? Her? You really have feelings for her?” Even saying it aloud sounds ludicrous. “What the fuck, Roman? What the hell is so great about her?”

There is absolutely nothing that girl brings to the table for her to have someone like Roman Reigns interested in her. It doesn’t make any goddamn sense. What the hell is attractive about a scarred, sliced up, fat bitch?

He finally speaks, warning her in an almost menacing tone. “Watch your fucking mouth.”

“That girl is weak, Roman. You can’t be the head of the Bloodline and have someone like her at your side. She doesn’t deserve it.” By now, Samantha has moved over to him, her hands planted on his chest, his eyes closed. “You need….someone strong at your side. Look at what you’ve done just by yourself. Imagine…imagine having a queen to rule with you.” She licks her lips, going in for the kill. “I can be that for you. I can give you an heir. Look at how long it’s been and still nothing, no baby. She’s broken, Roman. That bitch—”

Samantha is silenced by him jumping up from his chair as he shoves her against the wall, hand on her neck. It’s not the first time they’ve been in a similar position. She loves to be choked during sex, and he’s adept at doing just enough to get her off without her passing out.

But this time, there’s no pressure, no sexual aspect, no foreplay.

This….this is different.

Because this is the first time she’s ever actually been afraid of him.

“If you ever in your fucking life speak on her again, I’ll kill you.” Samantha’s eyes are wide, hand grasping at his. He’s still not actually applying any sort of pressure, probably more so placement to evoke a level of fear. A reminder that he could end her life in a matter of seconds if that’s what he wanted. “If you ever speak to her again, I’ll kill you. Fucking look at her, and you’re a dead bitch.”

Samantha barely has time to process his threats when he says something in Samoan and steps back, releasing her as she dubs over and gasps loudly from the shock of it all.

Seconds later, she’s on the floor, laying on her side after fucking Nia has landed her big ass foot in Samantha’s head.

Nia is looking down with a wicked smile that promises a level of pain. “You talk too fucking much.” She can’t tell if it’s directed to herself or Roman, regardless, he looks unbothered, outside of staring down at her with disgust.

Samantha has no idea where the hell that bitch came from, but her unexpected blow nearly has her seeing stars. She’s writhing on the floor, on her side, cradling her head when Nia yanks her up by her extensions.

“Oh, you have no idea how long I’ve been waiting for this.” Nia kicks her a second time, in her side, and Samantha is almost certain she heard the subsequent cracking of her rib from the impact. Tears fill her eyes. “I’ve wanted to kick your ass since we were kids.”

Helpless and feeling so confused as to how he could do this to her, Samantha sets her teary gaze onto him. She does her best to generate as many tears as she can. “Roman, please—”

“You’re fucking delusional if you really thought I would ever make you anything more than what you were to me.” Samantha sniffles, vision blurred and stomach aching from both the physical and emotional impact of his words. “Nothing.”

A sudden anger fills her, meshing with the growing physical pain. She did this. That fucking bitch has taken Roman from her, her Roman.

“You wanna know what she is to me?” He crouches down and reaches for a lock of her hair, answering just as icily as the disgusted look in his light brown eyes. “Everything you’re not.”

Samantha snarls almost, not even angry at his words as much as her mind is trying to navigate any and all ways to make that little troll pay for this. Pay for stealing her man.

But it’s as Roman is walking out, that he barks his last order to Nia. Not necessarily a necessity given the fact that he’s certain she’s dreamed exactly of how this very moment could and should go down. Granted, this is the one symbolic thing he needs to ensure takes place.

“Break her fucking jaw.”

________

Handling the Samantha situation is just one of many things to be checked off of Roman’s to-do list for today. He’s got meetings, contracts to review, spreadsheets to update, shipments to see sent off, and a million and one other things. Most of which he’s far from thrilled about but also know needs to be done, regardless if he’d rather say fuck it all just for today. For just a couple hours, even.

Delegate, perhaps. But these are things that can’t be delegated. He, as the Head of the Table, needs to put his signature on to make it official.

And he’s got his Wise Man fresh on his heel to remind him of such responsibilities.

“And if my Tribal Chief can find it in him, we should also review Nick Aldis' proposal.” Roman’s instantly scowling. He fucking hates Aldis. The bastard is smug and thinks himself more important than he is. That Roman won’t end his fucking life with one snap of his finger.

Roman is halfway listening to Paul when he walks past Alicia who stands up from her desk. “Sir—”

His dismissal is swift and brusque. “Leave me alone.”

“But—”

One murderous look, and Alicia is back in her seat. Roman briefly overhears Paul chastising his secretary for her insubordination when he opens his door and immediately realizes why Alicia was most likely trying to speak to him.

Roman sees Solo standing almost awkwardly in the corner out of his peripheral vision, but his attention is solely on the other unexpected guest.

Focused on the way her almost flesh toned dress hugs every curve that drives him fucking insane sometimes, the way she bites down on her bottom lip in that way he’s learned she does when she’s unsure of something. And he’s especially focused on her hair that’s chopped down to where it lightly grazes her shoulder.

“I tell you, good help is so hard to find—” Paul is silenced as he finally walks in and sees Solana. “Oh, it’s you.” Roman shoots him a look that would absolutely kill if it had any sort of physical impact. “I mean, Solana, what a surprise—”

Roman easily moves back to focusing on his wife who looks absolutely fucking stunning. He directs his command though to Solo and Paul. “You two, out.”

Solo doesn’t need to be told twice, but Paul seems to meander, even as Roman walks over to Solana. And it’s when Roman has his hands on Solana’s hips and the room is still not cleared, he repeats in a calm voice that’s solely because of Solana’s presence.

If not for her, he’d be screaming at his Wise Man.

“I said get out.”

Roman can practically hear the nervous gulp. “But, sir, we have work—”

Solana frowning pisses Roman off in a way he has to keep from showing. But it’s when she finally speaks and it’s an offer to leave that he really has to reel in his rage. “I can go—”

“No.” That’s the fucking last thing he wants. “Paul is leaving.”

It’s not a suggestion, not a request, not a preferred action.

It’s a fucking demand.

And his Wise Man must realize this, because he’s quickly following in line with Solo and finally leaving Roman alone with Solana who seems still unsure about her presence.

“You have work to do—”

“You really expect me to get anything done when you come in my office looking like this?” He motions to her outfit and sees the way her cheeks tinge reddish as she bites back a smile. “Not happening, sweetheart.”

“I thought it looked nice.” The bashful way she says as such, as if she’s unsure it was an accurate assessment blows his mind. She looks down at the dress as if it’s not the woman wearing said dress that has him pushing back unholy thoughts.

“It doesn’t look nice. You look nice, Solana.” Another one over of her curvy body, and he mutters, “more than nice.” He brings his hand to her hair, brushing his fingers against the ends. “You cut your hair.”

She nods, an almost look of determination in her soft expression. “It was time,” is all she says, and Roman doesn’t need to ask for clarification. This meant something to her. Cutting her hair has a deeper meaning than just wanting something new, and whatever the reason, he’s proud she found it in her to follow through.

He hates when she asks him, still unsure, “does it…does it look bad?”

He’s not sure he could ever use Solana and ‘bad’ in the same sentence. Ever. “You could never look bad.”

She smiles, clearly pleased by his compliment. Good. He likes seeing her smile.

“Come here.” Roman takes her hand and leads her over to his desk where he sits down in his chair and doesn’t think twice about guiding her onto his lap. Roman feels her tense for only a couple seconds before she relaxes against him.

“As pleasant a surprise it is to find your fine ass in my office, I know you came for a reason.”

Roman is extremely perceptive. Always has been. He’s noticed the increased comfort Solana has developed and continued to develop with him. The way her discomfort at being looked at too long or even touched in any sort of capacity has shifted into bashful smiles and an almost light in her eyes at being complimented. At someone finding her to be anything but every lie she’s ever been fed.

Her confidence is growing, slowly but surely. And he likes that shit.

So he’ll do whatever he needs to do to keep it growing.

“It’s nothing serious.” It doesn’t have to be. She could come to his office every day if that’s what she wanted. He’d have zero complaints. “I just…I was baking Sopaipillas, and I know you like them and I felt bad because I’m bringing Jimmy and Jey some—”

It’s not until that moment he sees the Tupperware container on his desk. Her thoughtfulness is so unfamiliar but very much appreciated. He chuckles as his fingers carefully tap against her hip. “Thank you, but you know if you keep feeding they asses, they gon’ keep coming over.”

She’s smiling almost, defending them to a certain extent. “They’re really not that bad.” And she’s not entirely wrong. His cousins can be entertaining at times, but beyond that, he likes seeing her comfort level with them increasing as well.

For her to be as comfortable around them as she’s become, especially with them being men, is extremely significant given her trauma.

He’s proud of her for that just as well.

Still,Roman shrugs and calmly points out. “I spend most of my day with them.” Her other hand lays on his chest as he admits, “I don’t want to come home and see them. I just want to see you.”

Solana gives an expected almost shocked expression followed up with a slight confession of her own. Her voice is soft, like she’s unsure about what she’s about to say but is going with it regardless. “That’s why I wait up for you to get home…because I want to see you too.”

He believes this to be true, but he also knows there’s something else to it. “You worry about me.”

She nods, nervously licking her lips. “I’m trying to work on it though.” She’s been working on a lot of things, a lot of difficult, most likely mentally taxing things. And as proud of her as he is, Roman also recognizes the importance of pacing oneself.

He gently grazes the back of his fingers over her cheek. “Just focus on you, alright?”

The corner of her lips lift into an almost playful grin as she asks innocently, “what if I can do both?” Roman studies her, sees and hears the playfulness. It’s unlike her, but he fucking loves it. She squeals and almost giggles against him as he brings her closer to his chest, her hand squeezing his shoulder as he remains mindful of the placement of his hand on her hip.

Growing comfort or not, he still wants to be respectful of her boundaries.

Still wants to maintain her trust.

“I got me. Always.” Her gaze is on him, softening by the second as he adds on almost quietly. “Just need you to be okay too.”

Okay is such a big word, so layered. She’s not sure she’ll ever be fully okay. Too much trauma. Never enough healing. But there may be some level of okayness she can achieve, and it does feel like that’s something that’s in progress. “I’m getting there.”

And a large part of her healing journey is largely due to the man underneath her, staring at her with almost a sense of fascination, like he’s so enraptured by her. Like he’s smitten with her. The person she once believed no one could ever want has a handsome, powerful man like Roman Reigns holding her, looking at her, wanting her.

A line from the book resurfaces to the front of her mind.

One step, not twenty.

With that as a motivating and supportive mantra, she slowly moves her hand from his shoulder to his face, his beard prickling against her skin.

“Solana…..” She’s not sure she’s ever heard him sound so pained. “Baby, you can’t touch me like this and expect me to not want to kiss you.”

The butterflies in her stomach grow exponentially. Baby. She’s not entirely certain, but she feels like he’s called her this before, that he’s referred to her as such on a different occasion. So, it’s not a mistake, not a one time thing. It’s yet another sign that there wasn’t a dishonest bone in his body when he said he wanted her.

That he wants her.

Her heart is beating a mile a minute as she pools together all of the courage in her body and again chips away another tiny section of her wall of protection. “So kiss me.”

It’s not until this moment that Solana sees Roman actually appear genuinely surprised at something. He asks, maybe as if he needs to make sure he heard correctly, but Solana would bet it’s less that and more him ensuring consent. “Are you sure?”

He’s been so good at that. Consent. And it’s meant the world to her. His patience with all of her baggage.

Nodding, she quickly remembers his preference for verbal acknowledgements. “Yes.”

Solana doesn’t really remember her kiss with Roman at their wedding. She doesn’t really remember much from the actual wedding at all, to be honest. It was….it was more traumatic than anything, which is why she does her best to keep it stored away with the other too difficult to sit on memories.

But this….this she is certain she will never forget.

There’s an almost hesitancy when his lips touch hers, a space he’s leaving open in the event that she changes her mind. She’s grateful for that, but it’s not necessary. Her ‘yes’ was as genuine as his apparent interest in her.

And when he picks this up, picks up the fact that she truly wants this, he deepens the kiss, his hand moving up to her lower back as he pulls her closer to him. Roman’s full lips are soft and warm, and the way he moves his mouth against hers is both reserved and hungry, a strange but well balanced thing only he can manage. Like only he can achieve. He kisses her with a passion that she feels is only a fraction of everything he feels toward and for her.

Solana’s hand slides to the back of his neck, her fingers brushing up and across the skin, teasing the strings of hair that refused to mold down. She’s not sure if this was the right move because he makes a sound against her mouth, an almost mixture of a moan and groan, and pulls away. The separation and her subsequent light panting makes her suddenly aware that they’d been kissing longer than she realized. That she’d gotten so plunged in the experience that time seemed a nonfactor.

Her eyes flutter close when Roman brings his lips back onto her, this time peppering kisses along her jawline. Her head tilts back, an unconscious thing that grants him full access to the nape of her neck, which he easily makes his way down to. It’s a different, pleasant sensation that has her nails scraping against him.

“Roman….”

“So fuckin’ beautiful….” He says something else, something she can’t understand because it’s said in Samoan, but it unintentionally triggers something for her. A new level of bravery, an ability to ask something that makes her insides light afire and heart rate exceed what’s probably safe and healthy. But, it’s a hill she wants to eventually be able to get up and over.

And he’s made her feel safe enough to be the one to do it with.

“Roman.” Her voice must give away her need to say something because he pulls away from her and is focused directly on her. She licks her slightly swollen lips. “I want….I want to try—”

“Whatchu mean he busy? Man, you trippin. Uce always got time for family.” Jimmy’s loud unexpected voice is enough of a disruption and mood killer that Solana quickly jumps off Roman’s lap and moves away just enough to adjust her hair and dress. “Soso!”

Solana brings herself to look at her husband’s cousin as he finally walks in the office after dismissing Alicia’s warning. The first thing she notices is the tupperware bowl in his hand and white substance on his fingers. “I hope you don’t mind. When I saw your driver, I figured you had these little sugar things in the back so I just grabbed em’ all.”

If not for the fact that Solana is still trying to settle herself, she’d point out how the other bowl was supposed to be for Jey. But that seems irrelevant at the moment.

“I’m going to fucking kill you.”

Jimmy seems completely unbothered by Roman’s threat as he plops down on the sofa, kicking his feet up on the glass coffee table and asks with all the obliviousness in the world. “So what ya’ll doing?”

When Roman shoots up from his desk and starts toward his cousin, Solana places herself in front of him, hands on his chest. His attention is immediately down, focused once again on her.

“It’s okay. I—I’ve got training with Bay and Naomi anyway.” Swallowing her nerves and pushing back thoughts of how….how nice it felt kissing him, she quietly offers a hopefully acceptable alternative. “We can talk tonight.”

This doesn’t seem like Roman’s preference but something he can live with. “Fine.”

She knows he’s obviously annoyed at being interrupted, and she is too, to a certain extent. But, Jimmy meant no harm, and she hopes Roman can at least recognize as much. Solana says bye to Jimmy and is near the door where she sees Solo waiting for her when an idea, more an urge, becomes too prominent to push away.

She turns back around and leans up, pulling Roman down by his shoulders and kisses his cheek. He gives her a look that tells her he’d be pulling her back for more if not for her cousin, and it makes her stomach somersault all over again.

But, she doesn’t give him the opportunity, just a small smile as she walks out for good this time.

And it’s after she’s gone, the Wise Man back in the room to help minimize the chances of his Tribal Chief killing one of his cousins that Jimmy uses the distraction to pull out his phone and send a text in the group chat.

Group Chat: Operation RoSo

Jimmy: Ya’ll! Code red! Code fucking red!

Jey:?????????

Bayley: Is Solana okay?!

Naomi: ^^^^^^

Jimmy: Man, I just got to Uce office, and good thing I walked in when I did. They acting all weird and shit. Soso just ran out of here but not after telling him they’ll ‘talk’ tonight!!!!

Jey: I’m too high for this shit right now.

Naomi: Babe, how exactly is that a code red???

Jimmy: They was obviously arguing before I got here! And ‘talking’ tonight??? That ain’t nothing but part two!

Bayley: Jimmy, that seems like a bit of a stretch.

Jey: A big ass stretch. Man, leave them two alone.

Jimmy: Naw. We gotta expedite this plan. I can see the writing on the wall. If we don’t move fast, they never gon fall in love. They might even be starting to hate each other now!

Bayley: Now you’re just being dramatic.

Jey: Agreed. How I get out this chat?

Jimmy: I don’t wanna hear it! I’m the master strategist so let me do my thing!

Jimmy: Babe. You and Bayley have SoSo all done up and nice this evening. Make her think ya’ll are going out or something.

Naomi: Why?

Jimmy: Damnit woman, because I said so!

Naomi: 🫤

Naomi: I’m trying to figure out who the fuck you think you talking to. Don’t get your ass beat.

Jey: I’m muting this shit. Ya’ll not gon get me killed. Roman don’t like people in his business.

Jimmy: Just have her ready, and I’ll text you the location and the time she needs to be there.

Jimmy: We gotta save RoSo from themselves!

________

Solana misses the blow from Naomi by only a fraction of a second, but before she has time to think about it, another one is coming, forcing Solana to quickly jump to the side.

“Nice,” Naomi compliments. “Try more offensive positions though. Try to hit me.”

Solana knew that was coming, knew that Naomi would be pushing her today, as she has the last couple times. It only makes sense. Solana recognizes that she’s improving, that she has improved a lot since she started. It seems only natural that Naomi would continue to push her to further the progression of her skills.

“Don’t be afraid, Solana! Naomi can take it,” Bayley encourages from the sidelines, drinking some of her Gatorade.

Solana does her best to not get too distracted, knowing that can be quite literally fatal if this was a real situation.

Naomi lunges at her again, and Solana manages to block it with her forearm but also lifts her foot, managing to kick Naomi away.

“Nice!” It’s such a weird thing to be applauded for. “But remember to retract your foot faster next time. I could have twisted it and grounded you.”

Solana commits that to memory just as Naomi steps back and Bayley walks back over. She then compliments, “I know I said it already, but the haircut looks amazing on you.” She quickly adds in a manner that’s more telling than asking. “Just have to even some areas off.”

Solana half smiles. She expected Bayley to need to go in with actual shears to shape up some areas given the fact that Solana’s impromptu haircut was literally just her taking some regular scissors and chopping at least five inches off.

But before Solana can say anything else, she sees why Bayley ended her break to get back into the training.

It’s evident by the knife in her outstretched hand.

“This is a Benchmade Bailout. It’s a folding knife. A little bigger than what we’d like you to carry on you, but a good place to start.”

Carrying….Solana hadn’t even allowed herself to think about that part. Of course they’d want her to start keeping a knife on her once teaching her how to use one.

Naomi then advises, “we’re not gonna do any fight training with it today, but we do want you to get used to the feel and weight of it.”

Solana can feel her heartbeat increasing. She can’t remember the last time, if ever, she’s held a knife of this nature. Her left hand is against her shorts, tapping against the spandex, a continued nervous habit.

Bayley sees this and offers assurance. “It’s okay. We just want to go over the basics.”

Solana does her best to focus not on the past, but the present. The here and now. Another recommendation from her book. She also strangely remembers the countless times Roman has asserted he won’t let anything happen to her.

“I’ve got you.”

The safe feeling she has when he’s around. He’s not physically present, but the recollection of his words anchor her.

Taking a deep breath, Solana takes the knife from Bayley, its coolness taking her by surprise. She never takes her eyes off the blade.

Meanwhile, Naomi goes into basic tips and information. “Right off the bat, if you ever need to use it to defend yourself, go for the major arteries.” She then begins pointing to the various body parts as she lists them off. “The neck, stomach, chest area namely. It’s your best bet at getting someone almost entirely immobilized.”

“And this might be graphic, but don’t be afraid to go for it twice. Sometimes people can still be standing with just one hit.” Solana is grateful for the fact that Bayley is trying to be careful with her words, vague to a certain extent but clear enough so she can understand.

“If you just wanna get them away and not potentially kill them, maybe go for the hand or foot, depending on how they’ve got you pinned.”

“But by the time we finish your training, no one will get the chance to pin you.” Naomi gives a comforting smile and squeeze of her shoulder. “Not to mention Roman would never let you be in that position in the first place.”

Solana doesn’t doubt that one bit.

Bayley suddenly clears her throat, almost awkwardly.

Solana frowns, looking lost by the otherwise random in interjection. “What?”

“We’re not supposed to tell you, but Roman is taking you out to dinner tonight.” Naomi’s answer is appreciated, but it doesn’t make sense.

“He what?” Solana is confused because she literally just saw Roman this morning and came straight from his office to the Warehouse to train without him mentioning a word of this. “He didn’t say anything to me.”

“It’s supposed to be a surprise,” Bayley adds, but there’s something almost unsure about her answer. “So, I’ll take you to my salon afterwards to touch up your hair now, and then we can also figure out glam while you’re there.”

“Yes.” Naomi claps and carefully removes the knife from Solana. The knife she completely forgot she was holding. Naomi comments on that. “See? You forgot about it for a minute, didn’t you?” Solana nods. “Don’t worry. We’ll get you there.”

The encouragement means the world to Solana as she offers a quiet but meaningful, “thank you.” They’ll never know how much their support means to her.

Ever.

Bayley comes and stands beside Solana, sliding her arm around her with that infamous sly smile.”You never have to thank us for being your friends, Solana.” Words have never hit so deeply, Solana having to hold back tears. Friends. “Now let’s figure out what the slay is gonna be for tonight.”

________

The minute Solana walks into the restaurant, she realizes that something is off.

And not even in a dangerous sort of way, more so, there’s something she’s not being told sort of way.

It’s a beautiful upscale restaurant that has decor that probably costs more than some people’s mortgage payment.

But it’s barren. Not a customer in sight.

Walking up the three steps that lead to a higher level, she looks around, confused as to the fact that a restaurant that probably requires reservations six months in advance is vacant.

Digging in her small purse, she pulls out her phone to text Roman. Bayley and Naomi encouraged her to continue to play dumb, but this isn’t right.

She needs to talk to him.

“Solana?”

Her head snaps up to see Roman who also just walked up the same steps she did minutes prior.

“Roman?”

He seems surprised to see her, an unexpected expression for someone who allegedly planned this dinner. “I—I don’t know what’s going on.” He walks over to her as she explains. “I was told—”

“Probably the same thing I was told,” he finishes for her and takes in her appearance, Solana’s hands smoothing over her dress. Looking just as captivated as he’d looked at her this morning in his office, Roman ghosts the back of his hand against her cheek. “Sei uno splendore….”

She hasn’t a clue what he’s said, but something tells her it’s a compliment of some sort. Still, Solana asks with that same bashful smile that seems to always fall on her face when she’s around him, “are you gonna tell me what you just said?”

Roman winks and answers, plain and simple, “naw.”

Smiling even harder, before she can say anything else, another voice enters the conversation.

“Soso, girl, what you doing here?”

Both Solana and Roman turn to a smiling Jimmy who's wearing a poorly feigned look of surprise.

“Jimmy?” Solana is genuinely confused while Roman looks like he’s genuinely considering murdering his cousin for the second time today. “What—what are you doing here?”

Roman is completely uninterested in the why and more so on the how he’s going to end the other man. “I’m going to fucking kill him, Solana. I don’t care anymore.”

Jimmy completely ignores Roman and answers her question with an answer that makes no sense. “Ahh, you know, I was in the neighborhood.”

He gives Solana a side hug as she answers his question as well, hoping to avoid witnessing a familial crime. “Bayley and Naomi told me—”

“You know what, it don’t even matter. You here. Big Dog here.” He gestures around them. “Looks like this nice ass restaurant has been rented out by some coincidence. Might as well enjoy a nice dinner.”

Roman closes his eyes, seemingly trying to count off. “I’m literally going to snap your fucking neck if you don’t get lost. Now.”

Solana moves over to Roman just enough for him to reach and gently tug her into him. He doesn’t need to be getting this upset. She naturally lays her head against his chest, fingers grasping the sides of his shirt.

Jimmy lifts his hands in a surrender manner. “Hey. I can tell when I’m not wanted.” Solana smiles at the look she can imagine on Roman’s face at that. “Ya’ll be safe now. Soso, I’ll be at the crib in the morning for breakfast.”

“Why the fuc—”

Solana reaches up and redirects his focus onto her. “It’s okay.” Solana looks over at the table that’s beautifully decorated with a stunning centerpiece. “It’s….it’s sweet.” Her diversion also, thankfully, a long enough distraction for Jimmy to depart, leaving the two of them alone.

Her preference.

Roman’s as well, clearly.

Solana then takes in the situation, a little relieved to finally know what’s going on. It’s obvious she was set up. Roman too. But regardless of the deception, it’s deeply appreciated. Her friends going to such lengths to set up something nice like this.

Roman, calming down a bit, doesn’t necessarily disagree with her, but instead asserts, “they’re interfering, and I don’t like that shit.”

Her smile dims a bit as she offers, “we can leave—”

“No.” He shoots it down immediately, hands on her hips. “Just hate that I finally get time alone with you, and it’s because of fucking Jimmy.” Her eyes shut when he kisses her forehead and murmurs, “been thinking’ bout you all day…”

And the smile is back as she takes his hand and leads him toward the table, Roman pulling her chair out for her.

Having the restaurant entirely rented out is a luxury she’s not used to but appreciates, especially with how catered the service is as well as the fact that they don’t have to wait long for the food. Conversation flows easy between them, more Roman asking questions about how she’s doing, if she needs anything.

He’s always so attentive, and she’s so grateful for that.

Grateful for him.

It’s the same type of attentiveness that causes her to comment after the waiter comes and takes their plates, clearing the table. “You seem stressed.”

And not just because of the date setup.

He shrugs, partially dismissing but not outright denying. “Just a long day.”

It seems to be a recurring theme with him. Solana has noticed for a while now how his early days always bleed into late evenings that sometimes spill over to the next day. It doesn’t seem sustainable to her. “You have a lot of those.”

“I’m the Tribal Chief.” He says it with pride, as he should, but there’s something else there. Something she can’t outright identify. “Comes with the territory.”

And Solana recognizes as such, but as large of a man Roman is—in many different ways—he’s still just a man. “Is it ever too much?” She crosses her arms across the table, leaning forward almost. There may be no other attendees present, but there are still workers, so she’s mindful of her volume. “I mean….”

“Do I ever get exhausted?” She nods. “Sure.” That wasn’t the answer she was expecting. Roman does such an excellent job always wearing that mask of calm, cool, and collected. Outside of his obvious temper, he’s always so well put together. It’s something she envies, to a certain extent. “But someone’s gotta do it, and as it’s my birthright, the responsibility falls on me.”

She sits on his words, understanding where he’s coming from but also wondering just how he manages such a weight. She knows he’d headed the Bloodline for some time now, since he was 18 years old. That’s a large burden to carry at such a young age and for him to do it so long and as well as he has, it’s impressive.

He certainly lives up to his reputation.

Solana nods and does her best to ease into what she’d really like to tell him, to have him know even if he never in life takes her up on it. “You always say that I can talk to you…”

Roman doesn’t hesitate to reaffirm it too. “You can.”

She knows this. He’s….he’s made it abundantly clear that he wants to speak with her, to know what’s on her mind. “That goes both ways.” Something speedily flashes in his eyes, briefly affecting his otherwise neutral expression. “You can talk to me too.”

For a second, she regrets saying anything, regrets second guessing his abilities to handle things. The last thing she wants is to insinuate he’s somehow incapable of taking care of business. But, if he’s insulted by her offer, he doesn’t show it, just says a simple, “thank you.” She offers a small nod when he seemingly changes the subject. “How’s training?”

There’s a bit of a sting at what feels like a slight form of rejection, but she understands better than anyone that opening up can be hard, so she respects his wishes.

“Good. I….I think I like it.” It’s the truth. While initially terrified of being put into such a foreign situation, Solana has found herself growing increasingly content with this new part of her weekly routine. Training has assisted, to a great extent, in her growing confidence and surety with herself. There’s something comforting about learning how to defend herself, how to keep herself safe. “Today was a little hard though. They’re teaching me how to fight with knives. It’s…..uncomfortable, but that’s how I know I need to do it.”

If there’s anything she’s learned in the past couple months, it’s that nothing about working to overcome trauma is easy. That doesn’t, however, make it any less important.

Or beneficial.

“Not if you absolutely don’t want to.” To be fair, Roman wasn’t even informed that this was something the girls were starting with Solana. He makes a mental note to remind them that while they handle her training, the specifics of what she’s taught needs to be run by him at all times. He probably would have shot down the knife training.

Solana was literally present and witnessed her mother be stabbed to death. Solana herself was also stabbed.

That seems almost cruel to make her learn how to wield the very weapon that took so much from her.

“Wes used to use knives to hurt me.” It comes out more quiet than she intended, a natural effect of sharing something so painful. She points to a small scar on her neck, the exact date and nature of how it happened, something she’ll never forget but has little desire to elaborate on.

“And I know….I know you won’t let him hurt me anymore, but….I don’t want him to have that power over me anymore either. He knows I’m scared of them, and he’s always taken advantage of that fact. I don’t….I don’t want him to have that anymore.”

“Then he won’t,” Roman agrees. He can understand her logic, and he respects the hell out of her wanting to take back that power. He supports the hell out of it too. “Not if you don’t let him.”

She gives a sad smile, shaking her head. “As strange as it is, I think….Wes and I are both victims.” Before Roman can press her for clarification, she explains, “my father always kept his contact limited with my mom. He said she would make him weak like she made me.” Just saying it takes Solana back to countless times and occasions where her father would talk down on her mother, talk down on Solana. It’s a weighty memory. “Having my mom…having her love for the time that I did made a big difference for me. Wes never got that, so I always wonder how things could have been different if he did.”

Solana has a big heart. Pure. A mind-boggling phenomena to Roman considering everything she’s been through. “It still doesn’t make what he’s done to you right.” Kind heart or not, it’s imperative she knows there’s never a good enough reason or excuse for anyone to do what he’s done to her.

She nods, “I know.” It’s still a work in progress, Solana learning to unlearn the victim blaming she’s placed on herself for so many years. But, that much, she’s come to accept.

She never deserved any of Wes or her father's abuse.

Roman can see the way memories might be coming back to the front of her mind and moves to redirect again. “You wanted to talk to me about something earlier.”

Oh.

For a second, she wants to lie. To make up something. To come up with a story that’s hopefully believable enough for him to not poke holes through. And then another line from her book resurfaces.

Calculated risks are different—you weigh your chances and step out onto the ice only when you’re relatively sure it’s solid.

Solana is certain she’s never met a more solid person than Roman.

Scooting back in her chair, she feels his watchful gaze around her as she moves around the table and is only inches away from him when he realizes what she's doing and beats her to it, gently pulling her onto his lap. He’s always so careful around her.

Solana moves her arms around his neck as he rests one hand on her hip.

She takes a deep breath. “I was...I was working out of my book this morning, and it was the chapter on…on intimacy and—” She has to pace herself, knowing that if she doesn’t, she won’t get through the conversation. And she has to do this. She almost feels like she needs to do this. “I think I always thought I couldn’t have that because of what happened to me, but…..but I think I can.”

And this has been such a powerful and moving revelation to walk into. For so long, Solana has lived in fear and trauma, haunted by the horrific memories of her sexual assault. It’s inaccurately painted her views of what should and could be something beautiful and special with the right person. She never thought that could be possible for her though, believed that her chance had been destroyed by two sick individuals.

But if the past few months have taught her anything, it’s that there are decent people in the world. Decent men in the world. Jimmy. Jey. Solo.

Roman

She’s still very much nervous, and even talking about it has her pushing back a level of anxiety, but the desire to overcome that trauma, to be able to experience that as a woman, to not be held down by the shackles of her past, is stronger than it’s ever been before.

“And I want to try.” She licks her lips, nervously adding on and explaining as best she can, “but, I can’t do it right away. I need….I need to build up to it, and I know—that has to be frustrating for you—”

“Solana.” His interruption is quiet but firm. “We’ll go as slow as you want.” His finger is moving in slow circles on her hip, an action that provides her a strange sense of comfort. “Whatever you need is what we’ll do.”

Solana releases a breath she didn’t even realize she was holding in. Him agreeing isn’t something she necessarily didn’t see coming, she just didn’t realize it’d come so easy.

She almost feels it’s too good to be true.

Suddenly unsure, Solana double checks. “You’re….you’re okay with that?”

He doesn’t miss a beat with his answer. “Only if you’re sure this is what you want.”

It’s a profound statement. There’s a lot of things she’s not sure of that she’s been making herself do, regardless.

But this……

This is something she wants.

Something she maybe even needs.

Solana is careful with her answer. “I’m gonna be 29 this year, and the only sexual experience I’ve had is being raped as a child.” There’s an equal combination of emotion and conviction as she affirms, “I don’t want that to be my story anymore.”

And it won’t.

Because she won’t let it.

Not anymore.

“Then we’ll do this.” She nods, still nervous but also comforted by his support. “You know I won’t make you do anything you’re not ready for, but I also need you to be good about communicating with me.” His eyes move up and down over her, resting slightly longer on her chest, which is understandable given the revealing nature of her dress. “And you also know how attracted I am to you, to all of you, so I need you to stay clear with me on what you are and aren’t comfortable with, okay?”

It’s fair and completely understandable. Roman is still a man. A man with needs, and he strikes her as being an otherwise handsy man, so him wanting and needing to know where her red zones are is important.

“I understand.” And she’ll make an active, concerted effort to be on top of that. To practice saying no and cutting things off when she needs to. “What—what about you?” He gives her a look. “Is there….is there anything you’re not comfortable with?”

Again, he takes her in, head to toe. His tongue leaves his mouth to slowly gloss over his bottom lip. “Baby, you can do whatever you want with me.”

Her smile is bashful as she looks away. Him being so….outspoken about his attraction and desire for her is still a new thing she’s trying to navigate, but it’s not unwanted. Nor does it feel bad to have a man like him want her so badly.

Not at all.

Deciding to continue to stay on the ledge she’s already started to trail, Solana brings her hand to his chest. “So….so if I asked you to kiss me again….”

He chuckles, Solana’s eyes shutting as he brings his mouth to her jawline, “whenever,” her nails claw against his chest as he moves his lips to her nose, “however,” finally he’s teasing the corner of her mouth. “Wherever you want.”

And it’s at the exact moment their lips connect again that a phone ringing once again steals away another groundbreaking moment.

Solana can feel the irritation in his muscular body and smiles against his lips.

“I’m gonna fucking kill him.” She doesn’t necessarily doubt it as he kisses her cheek before pulling his phone out and answering as she lays her head in his neck. He barks out an unkind, “what?”

It doesn’t deter her as he keeps his grip on her hip, Solana enjoying the feeling of being in his arms. She’s starting to realize being this close to him makes her feel safe. His presence alone gives her that feeling, but this is something different, something almost…deeper.

She doesn’t try to listen in on his phone call, but it’s made virtually impossible not to, given the fact that she’s literally on his lap. However, that’s ended when he switches to speaking in Samoan. Still, it’s not hard to pick up on the fact that he’s growing more annoyed with every second that passes.

He then gives a heavy sigh, switching to English, “I’ll be there in a bit.”

Her stomach drops, a frown appearing that she does her best to quickly push away. She had a feeling the call would end that way.

Before he can explain to her the obvious, she lifts her head and assures, “it’s okay. I should probably get back to Dulce anyway.”

“Damn dog is so needy.” Solana smiles at the scowl on his handsome face. For someone who doesn’t care for dogs, she’s noticed he seems to interact with her puppy more and more as the days pass. He brings his hand to her chin, ensuring she keeps her gaze on him. “Don’t wait up, alright?”

It’s an expected request, one he should already know she’ll do her best to, but most likely won’t, abide by.

“I make no promises...”

________

Having such a small dog means that he or she can be in the most random of places and blend in seamlessly because of said smallness. It’s why in looking for Dulce after getting out the shower, Solana damn near searches every corner and crevice of the first and second floors of the mansion. Outside of a room that’s been locked and closed off the past two weeks, Roman not really giving her a reason why nor has she pushed.

She’d never been in it anyway.

It is, however, out of the norm though for Dulce to not be nearby. She typically likes to stay close to Solana.

Or even Roman.

So for a moment, Solana starts to get concerned. But after searching her room, the kitchen, the dining room, and even the backyard a second time, Solana is finally able to locate Dulce in the least expected place.

Roman’s room.

She didn’t even realize Dulce’s bed was still in there, still in the original spot on the side of his bed.

The side she had slept on that one night.

“Dulce, you can’t stay in here.” Solana knows Roman isn’t a huge dog person, and Dulce being in his room is probably the last thing he’ll want to see when he gets back. But it’s in reaching over to pick up her puppy that something unexpected happens.

Dulce nips at her.

Solana gasps, momentarily taken off guard. That’s the first time Dulce has done that. “Dulce, no.” Again, Solana goes for the grab only for the puppy to plant her bottom and back legs into the bed. Now Solana is just straight up confused. “What is wrong with you?”

Thinking maybe she can lure the puppy with a toy, Solana turns to leave, almost to the door when Dulce’s whimpering and the patter of her little feet stops her. Solana turns around and moves to grab her when Dulce scampers right back over to her bed, plopping her little body down.

It’s when she does that, Solana starts to catch on.

“You want to stay in here?” Dulce’s reply is a bark followed by the wag of her tail. Solana frowns. “We can’t…..this is Roman’s room.”

And yet even as the words leave her mouth, she thinks about that. Thinks about the fact that a part of working up to being intimate with Roman includes being close to him, touching him, in his bed perhaps. And though she still doesn’t remember everything from the night she got drunk, she remembers waking up in his bed and falling asleep again in the same bed with zero issues.

She felt….she felt comfortable.

She felt safe.

“We can stay for a little while.” Deep down, Solana knows Roman won’t be upset with her. If anything, he’ll be more annoyed that she didn’t listen and decided to wait up, but her laying in his bed for a few minutes won’t generate anger.

Solana puts her phone on the nightstand, making sure the ringer is still on. The likelihood of him texting or even calling her is slim to none, but still….she doesn’t want to miss it if he does.

Laying on his bed is the initial plan, but there’s a chill in his room that has her moving under the covers just to provide her that slight warmth. It’s not intended to increase her comfort and definitely not intended to lead to her falling asleep.

But that’s exactly what happens.

It’s also the last thing Roman expects to find when he makes it back home a couple hours later.

Solana asleep in his bed.

He knew she would try to stay up, knew she would end up falling asleep in trying to stay up, but he didn’t know she would end up doing all of that in his room, in his bed.

It’s unexpected but far from unwanted, a strange sense of satisfaction at seeing her sleeping so comfortably, so peacefully in his space of all places.

He’s careful in his movements around the room, gathering clothes to change into post shower. Roman doesn’t want to disturb her, to wake her up, especially since he has a good guess that she didn’t intend to end up in his bed and would be unnecessarily apologetic.

Apologetic for something he’s halfway considering asking her to make a permanent thing.

Roman manages to finish his shower without Solana so much as moving an inch. If only her damn dog was the same, because he’s barely able to open the bathroom door when Dulce is at his feet, whimpering.

Small ass dog with an even smaller ass bladder.

Before she can progress to barking, he’s got her up in his arms, guiding her out the room, down the stairs and into the backyard where she thankfully wastes zero time in doing her business. Roman is grateful, not wanting a second to pass where Solana could wake up, freak the fuck out, and leave.

He wants her to stay right where she is.

And it’s in sliding into the bed with her, moving his arm over her body and gently pulling her into him, he realizes another reason why he doesn’t want her to leave. There’s an unfamiliar almost instant peace he has at the feel of her next to him, like this is how it should be, like she should be with him.

Like she’s supposed to be with him.

But he clearly wasn’t thinking straight when he moved her, because she’s suddenly stirring in her sleep, eyes slowly blinking open.

Fuck. He didn’t mean to wake her up.

Roman’s half expecting her to freak out, to panic at being this close to him, at being in bed this close to him. But she again surprises him with a quiet murmur that’s more an acknowledgment than anything. “You’re back….” He watches as she frowns almost, an indication of worry, asking in a voice full of sleep. “Are you okay?”

“I’m fine.” He brings his hand to her cheek, recognizing that even though she’s talking, she’s very much still half-sleep. “Go back to sleep.”

Solana gives a little nod and the moment he pulls his hand away, she inches closer to him. He shifts their positions, so he’s on his back, and she’s tucked safely into his side. In what feels like seconds, she’s fast asleep.

Yeah….

A discussion about her moving into his room is definitely on the table, preferably sooner rather than later. It makes sense to him for a lot of reasons, namely the fact that she’s clearly comfortable sleeping with him in this way but also the fact that she’s expressed a desire to work up to being intimate.

Roman’s had sex in a lot of different places, but there’s no way in fucking hell he could ever have his first time with Solana be anywhere but a bed.

His bed.

He plays around with a few different ideas on how to broach the subject before sleep prevails over him too.

It’s the fastest he’s fallen asleep in years.

And he’s certain it has nothing to do with the long ass day he had but everything to do with the woman besides him.

But his sleep is short lived by the vibrating of his phone on the nightstand. Irritated at the interruption of his sleep, he’s not surprised. Roman’s always been a light sleeper.

He peers down to make sure Solana remains undisturbed in her slumber, and seeing that she’s still sleeping as peacefully as before with her body somehow more over his than he remembered, he grabs his phone.

Paul: Sorry to disturb you so late, sir, but I got the files you requested for Miller. Emailed. As we already know, he’s almost a million in the hole. Has been in debt over the past twenty years. Never in the green. The bulk of it was accumulated in 2005. 500K. Summer 2005. Strangely, in that same month, it was cut in half to 250K. Then mysteriously zeroed out in late 07.

Roman sits on the brief summary provided by his Wise Man. It doesn’t add up. He already knew Miller was in the hole. The man is a fucking idiot when it comes to finances, so him being that deeply in debt isn’t surprising, but him somehow getting rid of a quarter million debt is. The fucker isn’t smart enough to pull that off.

Roman: Who was the creditor?

Paul: Still looking into that.

Roman: Anything significant about 07’?

Paul: Not that I can see. Still digging though.

Roman doesn’t like mysteries. Can’t stand unanswered questions. They’ve always driven him fucking insane. It’s why he finds himself unable to fall back asleep, an inconvenient thing given the fact that he’ll need to be up and out of bed in a little under three hours. Still, he can’t get the dates and information out of his head.

How the fuck did a dumbass like Miller clear his ledger to that extent? It’s not unheard of. Roman could have done it. Easily. But, he’s also significantly smarter than his wife’s dumbass father.

Even more, what the hell did Miller need or have done for fucking half a million dollars?

Was he moving product? Weapons, maybe? Human trafficking? Just the thought of that last one makes Roman want to place his fist through the nearest wall.

But it’s Solana stirring on top of him that serves as the unintended trigger that helps him fill in the rest of the gaps.

He’s quick with the text to the Wise Man.

Roman: When was Solana’s mother killed?

Paul: Sir?

Roman: Answer the fucking question.

There’s a brief delay followed by those three dots and an answer.

Paul: 2005. August.

Wheels start turning as Roman begins putting the harrowing pieces together. Miller went into half a million dollar debt in August of 2005 that somehow got slashed in half at the end of the same month. The same month that Solana and her mother were attacked, and only one of them made it out alive.

Half…..

2007….

Roman does some mental math. Solana was born in 95. She’ll be 29 this year. That puts her at age 12 back in 07’.

12.

The same age she was when she was raped.

The same year the largest chunk of her father’s debt suddenly zeroed out and disappeared like it never happened in the first place.

And just like the night he found out Solana was a survivor of childhood sexual assault, the unbridled horror and disgust that filled him in knowing the truth, Roman is starting to wish he wasn’t so good at connecting the dots. That he wasn’t able to put two and two together.

Because the picture is more fucking horrifying than anything he’s encountered in some time. If ever.

Because he’s now faced with the dilemma of just how in the hell he’s supposed to tell Solana that her father is responsible for her mother’s murder but also her being raped.

Because now he’s faced with the dilemma of if he should tell her at all.

Roman closes his eyes.

Shit just got infinitely more complicated.

#roman reigns fic #roman reigns x black!reader #roman reigns x black!oc #roman reigns #arisnotebook

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iwtv-theories · 2 months ago

Text

How Iwtv may adapt “the vampire Armand” (theory)

Tw: given Armand’s trauma.

I personally don’t think a whole season will be dedicated to adapt tva. But, I do believe a subplot of his past will be developed over multiple seasons through flashbacks and other writing devices . We already have a new Indian writer hired for the show - who wrote a play about living in a brothel . so we’ll most likely dive more into his past and trauma . it’s also foreshadowed that Armand will eventually tell Daniel his story- similar to how Louis and Lestat did. Armand already told Daniel a (probably not quite accurate) depiction of his past with the children of Satan . And Armand saying to Daniel: “Do you want to hear my story? My first memory…” (could foreshadow he’ll eventually tell Daniel his entire story ).

But, given the nature of Armand’s past I assume a lot of scenes will be portrayed by Assad, and some scenes by a younger looking adult actor, along with darker scenes being verbally stated (similar to Claudia verbally recounting her trauma with Bruce, to Louis). But … I also believe that by the end of Armand’s story a huge “bomb” or several “revelations” will be revealed as Daniel asks “a few follow up questions.” Which indicate Marius is even worse than Armand openly admits or realizes. It would be similar to how Daniel at the end of s2, points out discrepancies in Louis’ story (that re-contextualize everything) .

I think Armand will have been turned as an adult, but I believe it’ll be revealed that Armand was younger in his past than the flashbacks indicate. Similar to how certain passages of Armand’s book made him seem much younger than what he claimed to be . In Armand’s own flashbacks he’d be a “BOY masquerading as a gentleman" (even deceiving the audience into thinking he was older). PS, the next things I mention are either from the books or show canon.

Daniel : “just some follow up questions. Your FIRST memory was being chased down by slavers , so you were young… you had to be only 3 or 4 then? No wonder you aren’t positive of your birth name. I ask cause you said you said you were 15 when Marius saved you from the brothel, right? But, you told me that the night he bought and made a move on you that you were ��too young for wet pleasure“ - and then 2 years later that was no longer the case . So you’re saying you only started puberty at 17 years old? Are you sure you weren’t closer to Benji’s age when some of this stuff happened ?” (Benji is Armand’s 12 y foster son who was previously abused and trafficked) .

Daniel: “you told me in 2022 that you were a 514 year old vampire . So you were born in 1508? You said you were 20 years old when ‘adoration of the shepherds’ was made. But historians say the painting was commissioned between 1520-1525. So you'd have been somewhere between the ages of 12-17 when he 'donated' you to his friends ."

Daniel: “ I don’t know how to say this, but… are you sure the other young boys (that lived with Marius ) didn’t get donated to his artist friends too? Those boys were being trained as painters and hanging out with Marius’ ilk all the time . They may have had a hard time saying no to Marius’ requests , as well. You even said there were rumors of 'bad boys' being 'banished’ from the house ‘immediately' , for saying disrespectful things about Marius. When you first met Ricardo and he painted you , why did he cry ,throw the paint brush and say“ a very different picture master has in mind for you.” Was he warning you that being painted by someone isn’t as nice as it seems? If Marius wasn’t with the other boys -why did he make all of them show their ankles because ‘to him the ankles of boys were beautiful’. Why were those young boys already experimenting with each other , going to brothels and hanging out with courtesans for fun, and teaching you how to read by showing you “frightening books about men and women in carnality.” Aren’t those all signs that they were exposed to that stuff way too early ?! Marius made you go to brothels to ‘train you’ to be better at bedding men and women. And when you were a kid, you said Marius took you to a “ luxurious house of pleasure", which kept … "only young boys.” You even said that , this boys-house was “Eastern styled” and that the boys looked “Egyptian or Babylonian" . He even bought a couch from that establishment. Are you sure he wasn’t a regular customer there ? Armand… I don’t think he bought you to 'rescue you from the brothel'. He bought you because you looked like the boys from his favorite establishment! And at Marius’ house, the first thing those boys did when they met you was say they “loved you” and wink… are you sure they weren’t taught to do that with all house guests? Are you sure Marius' palazzo wasn't just a high-end brothel of young boys?"

Armand describing Marius' palazzo...

Never forget Marius tried to marry pandora when she was 10 !That man is a repeat offender! I don’t trust Marius at all! idc if all the vamps in the books (or even AR respected him) . All my homies hate marius! And I feel like the show may re-contextualize some of those very questionable details sprinkled in the books , that were never addressed . I think the show will make Marius even worse than the books ! Iwtv writers tweeting: “Kendrick Lamar releases Marius diss track.” And in s2 Louis straight up says Marius “groomed” Armand. I don’t think, they’ll shy away from his questionable actions … but I wouldn't be surprised if a lot of the vamps initially fall for his charisma/wisdom (similar to how he garners respect from other vamps in the novels) . Similar to how a lot of abusers are often loved and respected by their peers. It was Marius after all that initially taught Amadeo how to 'lie' better. Not to mention (Marius' age and and drinking from Akasha would make ) his mind-gift and ability to control minds MUCH stronger than Armand's too . Which could (theoretically) have some scary narrative implications for the future... Daniel run before he tries to mess with your head .

#armand #daniel molloy #marius de romanus #iwtv

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literaryvein-reblogs · 9 months ago

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Writing Notes: Plotting Your Novel

Plotting your novel is a multi-step process.

There are a few different approaches and mindsets when it comes to plotting a novel.

The following is a step-by-step guide to plotting a novel.

Generate ideas.

The first step in writing a novel is generating story ideas.

Some writers like to freewrite and brainstorm.

Others prefer working with writing prompts.

Whichever approach you take, it’s important to spend time coming up with a variety of ideas and choosing a strong premise that lends itself to an effective plot.

Start with a simple, compelling premise.

Once you have a basic idea, it’s time to develop a story premise.

One way to develop a small idea into a basic story is called the snowflake method.

The snowflake method involves starting with a core premise or theme upon which you build every other aspect of narrative and character as you flesh out the big picture.

Have a clear central conflict.

Creating a clear central conflict will anchor your plot and give your narrative focus.

If you’re a first-time novelist or new writer, look to thrillers, fantasy or adventure stories for examples of clear good guy vs. bad guy conflict.

Choose your structure.

There are many different models upon which you can base your plot structure. The most common is a three act structure.

Learning the basics of how a three-act story structure can help you start to piece together your plot and structure your narrative.

Trace out general story arcs.

Start to lay out a storyline.

You don’t have to worry about building the whole thing at once.

Rather you can focus on an act length story arc or even scene descriptions and piece these together as you build out a full-length narrative.

Build subplots.

Once you have a good sense for your main plot it’s time to layer in subplots.

Subplots can often be character specific, so this is a good time to think a bit about the characters you’ve populated your world with and how each individual backstory might come into play.

Good subplots will weave seamlessly through your main arc and help advance your action rather than distract from it.

Think about cause and effect.

Good stories involve a logical series of events that progress one into the next.

Make sure that your scenes are each motivated by something that preceded them.

A good driving narrative should feel dynamic.

A plot should progress forward because of tangible story elements like a character’s motivation or actions that propel your narrative.

If you look at your story arc as a sequence of events, there should be a logical progression where one scene triggers the next and pushes the action forward.

Write a detailed outline.

Before you start writing, you should have a detailed plot outline.

This should catalog the main story and individual plot points.

It should be comprehensive enough that someone who has no knowledge of your story could look at the outline and piece together the narrative of events, identifying your inciting incident, rising action, and climax.

Tie up loose ends.

Once you have a detailed outline, tie up loose ends and fill any plot holes.

Editing is a very important part of creative writing.

One misconception about writing is that editing comes at the end of the process.

Editing is something you should return to throughout your writing process and it’s important to edit your plot and outline before you start writing in earnest.

Don’t neglect character development.

Character is an incredibly important part of a story and helps to balance out plot-based narratives.

Before you start writing you should make sure that you have detailed character arcs and main characters with clear motivations and backstories.

Part of building a good character is building a strong and nuanced point of view.

Balance out the plot portion of your writing process by taking some time to analyze your characters and make sure they are strong, realistic, and nuanced.

Source ⚜ Writing Notes & References Writing References: Plot ⚜ Character ⚜ Worldbuilding

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starlight-bread-blog · 1 year ago

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The Fortune in The Fortune Teller

This is an isolated look into this specific episode.

The Fortune Teller is the 14th episode of book 1 of Avatar: The Last Airbender. It is famous for supposedly developping the show's romantic subplot between Katara and A\ang. The episode does two things: A\ang attempts to flirt with Katara, and Katara is finally willing to consider him as more than just a friend.

However, I believe that this episode could have masterfully foreshadowed the pair not getting together in the end. In this essay I will detail how each step the episode takes towards a Kat@ang endgame is actually foreshadowing the opposite.

1. Katara and the Nature of Destiny

In the beginning, the Gaang meets a person getting attacked by a bear. He is acting incredibly passive, simply dodging the bear's attemps at his life. Then, A\ang and Appa interfere to help the man. When the Gaang questions him on why he was so passive, he says it's because the Fortune Teller told him he'd have a safe journey. They then have the following exchange:

The man's logic is obviously flawed. If the Gaang didn't interfere, if the man continued to passivaly dodge, the bear would have attacked him. Fortune and destiny come from agency – from actively shaping them.

However, Katara is delaited at the prospect of seeing the future. Her and the Gaang go to meet the Fortune Teller, Aunt Wu. Aunt Wu tells her she'll marry a very powerful bender. Later, she comes back asking more details about her future husband. Remember her excitment, fantacising about her future husband:

After that, Katara becomes somewhat reliant on Aunt Wu's prophecies. She goes as far as to ask her what she should eat.

And she obeys her "prophecy", despite not wanting to. She became like the man from the beginning. She knowingly follows the fortune even though it doesn't make sense. She had given up on forging her own destiny.

Although by the end of the episode, she is no longer in this state of reliance, she still believes in the prophecies. Then, Sokka says that A\ang is a very powerful bender. This reminds her of what Aunt Wu said about her future husband. I don't want to cherry pick, so I took 4 different pictures of her face when she realizes A\ang might be the powerful bender she is to marry:

With the look in her eyes, with her mouth tilted down and with the ominous music, this could easily be read as disappointment. Especially when remembering how she fantacized about the powerful bender earlier in the episode. She doesn't smile, but looks concerned. As if she doesn't want this. Earlier in the episode, she says this:

A\ang is like the papaya. The fortune says he's right for her, but Katara doesn't want him. Now, she isn't like the man, passively dodging the bear attacking her. She shouldn't sit and wait for the prophecy to come true point blank. She has the agency to shape her own destiny and not to choose A\ang as her future husband.

2. A\ang, Meng, and First Crushes

In this episode we're introduced to a girl named Meng. Aunt Wu told her she'd end up with someone like A\ang, and so she developped a one sided crush on him. Throughout the episode she attempts to talk to him, all to no avail. Because A\ang is not interested in her.

Interestingly, her one sided crush is directly paralleled to A\ang's crush on Katara.

Exhibit A:

Exhibit B:

Exhibit C:

Please note that in exhibits B and C in particular, there is an emphasis on the other party not reciprocating their feelings.

In this parallel the show draws, A\ang is Meng, the younger, shorter one the one who is in love; and Katara is A\ang, the older, taller one who... *checks notes*... doesn't reciprocate.

But in the end, A\ang and Meng have a heart-to-heart.

Sometimes you'll like someone, and they aren't going to feel the same way, and even though it's hard, it's okay. They're young, just kids having a crush. A\ang responds to this with "I know what you mean". Because he, just like the audience that watched the parallels, knows that Katara likely doesn't return his feelings.

———————

In conclusion, The Fortuneteller could have been brilliant foreshadowing to Kata\ang not being the endgame couple, and it would have done so through beautiful, mature lessons about first loves and destiny. Thank you for reading.

#anti kataang #zutara #atla critical #anti anti zutara #pro zutara #zutara analysis #zutara evidence #zutara forever #zutara meta #zutara nation #zutara should have been canon #zutar #zutara supremacy #zuko x katara #katara x zuko #katara #meng #undescribed

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shadowed-dancer · 11 months ago

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Villains and Their Fates - A Tragedy Would Have Been Fine By Me

I've seen a lot of people who try to write off frustration with the league's fates by saying "you just wanted them to survive" or "you're just upset your favourite character died". And while that may be true for a few people, I know that it's at least not true for myself (which must mean there are others who feel the same way). So today I'm here to share my thoughts. Despite liking the villains and wanting them to be redeemed, I was also willing to accept a well written ending if they died. I just wanted to ramble a bit about the three main villains (mostly Toga) and how I felt a tragic ending could have been improved.

The only villain I felt should have lived is Dabi, but that's more because of the awkwardness his unconfirmed death caused for Shoto (read this beautifully written analysis for more). If Dabi had to die, he should have died on the battle field OR in the hospital surrounded by family where he gets a few last words in. Leaving his fate unconfirmed leads to the ruined Shoto arc, but is also just weird for a character who has existed for so long. You're telling me that even Overhaul gets a confirmed ending but DABI doesn't?

I've also talked a bit about how Endeavor's survival ruins the subplot, and in 426 he continues by making Touya's final appearance about him (rather than the two brothers) but that's something I've talked about too much. If Endeavor has to be alive and hogging screen time, the least Hori could do is imply Touya will survive rather than die, so at least Enji isn't literally stealing time from his other family members to have some interaction with Touya.

If Touya has to end up in that machine, an ideal ending would have been the doctor saying "it will be a gruelling and near-impossible uphill climb to recovery" and then Shoto can smile and say "he's done it before". Boom. Simple as that. Leave it open, but at least on a positive note so we can assume that the family will have plenty of time to reconcile, as opposed to an unknown (but limited) amount of time that Enji vows to use to talk to him (yeah I know it's supposed to be a sweet gesture but even Touya calls bullshit on it). Let Shoto and Touya eat their soba, damn it!

For Shigaraki, my grievances extend to the writing of the entire final battle between him and Deku. As such, I don't have much to say aside from that because it really is just a product of poor writing. Neither were really allowed to talk before the big moment (hell, the vestiges were narrating Deku's emotions half the time like "he must be upset, this quirk meant so much to him". Why not let him tell us???) and the back-and-forth of Shigaraki being destroyed and then not only to be destroyed again was too much. It felt sloppy and hard to follow, and once you figured it out it just felt dumb. It's as if each chapter needed some massive reveal, but the story had done it so much at this point that it just felt tired and like it was happening "because Hori said so", and that should never be what drives a story.

Speaking of "because Hori said so"...

Oh Toga. Out of all the villains, I actually liked her confrontation the most. (Lies. If Dabi vs Shoto was the end of Dabi's fight, THAT would have been the best. But the Endeavor fight ruins it). Despite having limited screen time, Toga and Uraraka had a surprisingly well-built dynamic. Their few interactions were actually meaningful and created a strong foundation for a fight, and at the very least they had more of a personal connection than Deku and Shigaraki ever did. I think that Toga giving her blood to someone she loves (as opposed to drinking/taking their blood like she had said the whole series) is a beautifully tragic end to her character, but still something that could have fit.

To me, the problem comes with how she died. Let me replay the scene for you: Toga stabs Uraraka in the stomach and Uraraka bleeds too much because she keeps moving around. Toga then realizes she doesn't want Uraraka to die. To save her life, Toga has to do a blood transfusion with herself as a donor and she dies because she has to give ALL her blood.

Now... sure. Ok. Fine. Yeah. Maybe by real-world logic this makes sense. I guess. Whatever. But within the world of MHA, this setup is laughable.

Here's a list of things characters survived (or at least, they survived LONG ENOUGH to get to a hospital rather than dying on the battlefield): Deku shattering his bones with 1 million percent, whatever happened to Best Jeanist when AFO attacked him, Nighteye getting a massive spike through the torso, All Might with "his entrails strewn across the ground", Bakugo becoming Swiss cheese, Grand Torino being punched so hard a crater forms beneath him, Touya being a literal flaming skeleton, Bakugo's heart exploding, Edgeshot becoming a worm. Mirko getting a limb ripped off and then running full speed at Shigaraki. That's just off the top of my head, I know there's probably more.

But you want to tell me that Uraraka getting stabbed and then moving was a fatal wound that required ALL TOGA'S BLOOD? ALL OF IT? The reason Toga's death bothers me is that the setup cheapens the actual moment of sacrifice. It feels preventable, so when she tells us that Uraraka is going to die without her blood, all I could do is roll my eyes because I'm not allowed to use critical thinking skills, I have to just accept what Hori says and take it at face value.

If the author wants you to live as Edgeworm despite saying you were gonna die, you can. But if the author needs a stab wound to be fatal and require ALL of someone's blood? Well tough luck bud, that's just how it goes. Mirko can run and move all she wants after having a limb ripped off, but moving a bit after one stab wound is fatal. Why? Because I say so.

If Uraraka's wound was actually serious then this ending would have been a beautiful tragedy. But as it stands now, the ridiculousness of her wound makes it all feel preventable.

Oh, there's also the fact that Toga switching blood types when she transforms was never established, but I've rambled enough.

That's it. Thanks for reading!

#bnha #bnha spoilers #bnha 430 #bnha meta #toga himiko #shigaraki tomura #touya todoroki #dabi

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annabelle--cane · 2 years ago

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it's fascinating to me the way that different social media platforms result in different types of fandom behavior. while s5 of tma was airing, I spent a good amount of time on tma tiktok (I log back in about once every two months now, going back to in-person school after a year a half of lockdown seem to re-blanace my brain and made me once again not really enjoy the format) while still using tumblr as my main socmed, and while there was a lot of overlap in the fan culture, some things were notably different.

tumblr tma fans had near-encyclopedic knowledge of the source material, but it was kind of an ongoing joke for tiktok tma fans that everyone binged the whole show in a week-long fugue state and lost memory of about 35% of it. tumblr has virtually no character limit and allows posts to be passed around by users indefinitely, which lends itself to fairly in-depth meta analysis being made and shared until most any fan could say "the time and space discrepancies at hill top road? psh yeah, I know all about them, I've read seven scrupulously cited posts that lay out all the details." for the entire time that s5 was airing, tiktok videos could still only be a minute long, and I know from a lot of personal effort that there's only so much you can fit into a one minute script that you also have to memorize and record (and cc manually with tiktok text stickers, as they didn't add the caption feature until april 2021) if you want the process to take less than four hours of your one mortal human life. and then you only see the video if your following or fyp algorithm shows it to you. there were a few tma meta-ish videos that got popular because other people would make their own videos referencing them and tag the account so their followers could see what they were talking about, but it's much harder to circulate content you like there. several times I saw people post videos saying "I got into cosplay to film some [agnes or annabelle or gerry or another secondary character] and I just realized I have no idea what their deal actually is 💀".

a thing that tiktok tma fandom was definitely better at than tumblr tma fandom was accurately remembering certain pieces of characterization and the flow of certain scenes. I've seen a bunch of posts on here where someone is trying to argue a point with excerpts from the text ("x character is nicer than you all give them credit for" "x character is so mean to y character in this scene" "z theory can't be true because y character said a line that disproves it") where the argument only holds up because the poster has gotten these excerpts from a transcript dive and hasn't listened to the episodes they're from recently, because while the text alone can be construed to mean one thing, the way it's delivered on-podcast clearly intends another. tiktok, being an audio and video based medium, allows audio clips to be shared around a lot, and cosplayers would often all make videos acting along to the same show clips of juicy interpersonal drama, and so tiktok fans, though they may have had less overall memory of what characters said, always had a better grasp on how they said it. an average tiktok tma fan might not have remembered melanie's subplot about war ghosts, but they would know the nuances of how the way she talks to jon changes between mag 28 and mag 155.

#prompted by Absolutely nothing #tma #marina marvels at life

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rowanthestrange · 1 month ago

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Poppy was always Real theory:

So there’s someone here with a theory that Belinda ALWAYS had a child to go back to. We do primary investigation in this house, so while it sounds like there might be an associated video, I’m not watching it, barely read the post, because if this holds water we should be able to get to it from that concept alone.

Hypothesis: Belinda ALWAYS was supposed to have a child to go back to, and we STARTED in a wonky reality where she didn’t.

Starting with the obvious: If so, that would be poorly signposted. Agree. However would fit with my reasoning as to why the additional pickups were needed: that it was simply that because of the delays, which would end up with future filming being potentially two years later than planned, the actress for Poppy was now going to age out of the role, and they had to hastily wrap up her story instead of following the original plan. And in my opinion it’s notable that they chose to rush add an ending for her with Belinda, where the obvious answer is…she just disappeared. That’s fine. So therefore it was theme relevant enough to go and film a whole thing for it in light of being unable to have the extra episodes to resolve it otherwise. Poppy being with Belinda at the end mattered more to the Themes than just leaving her as a thing that vanished.

With that being said, I think it would make sense to analyse this through the lens of an intention of a two series plot, where the result of an entire second series plot/subplot would have to be crushed into whatever pickup shots you could do to fit in whatever ending space you had available. (Which is why if he did do this, that was obviously going to be stupid and risky — no matter how much he loves a risk — without a greenlight. Though of course I blame the BBC entirely for its decision to remove our funding and so leave us to the Disney wolves in the first place. Personally? If I had to, I think I’d take the risk of audience confusion (and potential allegations of racism) and found a similar enough looking kid to recast. Okay she’s had closeups but certainly it’ll be fuzzy for any casual viewer in a year or so, and anyone catching up later all in one go could probably make the logical leap. But I’m not in TV and I’d trust a more experienced person to their call.

My points are in a non-specific order, just labelling them for ease of discussion/rebuttal.

a) Mundy does end up looking after a child. However, that child is also not her own, which feels more fitting with ‘reality rewritten for Poppy rather than her always being the case. Both Mundy and Poppy have Same Face Syndrome (though Poppy going all the way to her name - also significant as it does mean remembrance.)

b) What would have made the reality wonky? The Doctor mentions there was already a Time Schism (Edit: Fracture) that he’d “closed”. We did note this as weird. We know something glitchy went on.

c) While we get no talk of children, in Robot Revolution, we do have the Weird Schrödinger’s Baby-Cat.

d) Lux does have a key plot point of a woman whose child has gone missing. Who also in a fake reality shopped the Doctor to the police. Mirroring works.

e) The Well. We have a woman alleging she desperately needs to go home to get back to her child.

f) In the Story And The Engine we get a glimpse of Poppy herself. Perhaps the glitch could also be from the reality where Poppy existed.

g) Wish World and The Reality War give us Poppy there. And the Doctor is suddenly very convinced that Poppy is REAL. We don’t really understand what that meant beyond him wishing really hard.

h) Hypothetically then, the original Reality War final ~15 minutes, would have been them going back to what we think was reality, Belinda maybe thinking something’s missing, maybe we get some Poppy glitches noticed by her or Ruby. We are left with the characters uncertain but the audience more sure that actually we’re still in a rewritten reality: hence the teal etc, this reality is still wrong. But it’s ultimately for a future episode that we dig into the fact that reality wasn’t right even from the beginning.

Is this enough?

I think it’s possible. However, if true, I think you could have done better with the introduction. A sign she’s already feeling like she’s missing something in her life, maybe she interacts with a kid patient in the hospital, maybe she gets a bit babytalky with people and she catches herself and apologises etc.

There are also some counters which aren’t just handwaveable by saying they’re trying to make the reveal not too signposted (which is stupid to do btw). Like we see Belinda’s descendant. Now you could argue that maybe that’s a ‘for’ because it happened last series if you believe the shift came after that, but then we still have the scene of the Doctor genetically compare them in what should presumably be the Poppyless world. Would it be possible she just has a kid later, sure, but why would you include a thing that confirms she has a descendant in a story that’s about how her child disappeared? The natural way to write it would be that he goes to compare and then can’t find Mundy’s information anymore. Which would serve the double feature of ‘is she literally Mundy and has lost her memories’, but also by logical conclusion deletes ANOTHER child from the story.

And I stand by my reasoning paragraphs of why you might change the story because you literally have to due to actor age, but…assuming we all understand how this is supposed to more or less mirror the Doctor’s child in future… I think it would be just as valid to show us the option where she is written out of reality. An ending where Belinda does feel that something’s wrong and missing, but in the end just goes about her life as a doctor nurse. I don’t think she needs to have the opposite ‘good’ ending, it can be a straight mirror. Obviously I can’t truly know cus I haven’t seen his future plans, but I think I’d prioritise ultimate coherence over original intention, even if it leaves with the opposite end. Polar Opposite and Same endings both work meta-thematically.

(Though to note, he clearly does work with the darkness that this ending adds - you needn’t have Belinda’s last words be saying she feels like she’s missing something otherwise. So if this theory is the case, it wasn’t just taking an ending from series ‘3’ and just slotting it in. It knows what it looks like and is willing to work with it.)

I suppose the only difference that this might make would be saying that we’ve been operating in Reality2 all along rather than Reality1, but this change now puts us in Reality1. But…I just don’t think it’s that necessary? Especially if there’s going to be 4th wall breaks and all sorts. I can’t imagine that difference can be too stark story-wise if it hasn’t caused us major problems til now. Unless it /has/ and Ruby now doesn’t exist or something, but honestly, I feel like you could handwave that. Cus as it stands the audience interprets us as being in a new rewritten reality, not reality prime anyway, even if that was the intention, so you’re not getting what you want either way.

I understand the belief you could maybe wrap this up in some reshoots before she gets too old, but I think that was the devil talking. That was the peril of going for subtlety and believing you had time to delicately build up the layers, nope, needed to go in with more coverage from the start cus it turns out you only have a few hours to paint this room, not days. And you could have forseen that because you know the owner of the house is fickle and refused to pay you for your work before. Now the wall’s all patchy. Poorly executed.

I think at the moment, without some more meta behind it (that is an invitation by the way), that I come down as saying that is a Valid interpretation. However it isn’t enough to say that the main interpretation that Poppy is just created wholesale and slotted into a new reality with Belinda is Wrong. As the story currently stands, I think both reads are acceptable.

Schrödinger’s reality.

#meta #longpost #feedback and thoughts #points for and against #go #this is not a ‘personal investment’ theory for me #it needs shaking and pulling at #needs peer review

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genericpuff · 1 year ago

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Can you call Tina Belcher driving through a parking lot at an anxious snail's pace a driving "style"? So why do we try to use "style" as a defense for LO's pacing problems?

There's something about how Lore Olympus engrosses people within its weekly doses of H x P content and cliffhangers that makes people not realize just how long Lore Olympus takes to get to the point of, well, anything. Many plotlines are setup, and then go untouched for weeks, sometimes months at a time, before seeing any sort of progress, much less a resolution. In this, I'm going to actually give you time ranges on some of the more egregious payoffs and continuations of plotlines that were setup - some that are now resolved, others that have yet to see the light of day.

CONTENT WARNING: I will be discussing the SA plotline, and there will be spoilers for Episode 265. I will also be showing pictures of some rancid ass tattoos, I know that sounds random for what we're discussing, but trust me on this one, I have a point to make. Also there's a Junji Ito panel from The Enigma of Amigara Fault... yeah, that one.

LEUCE

Let's start with an easy one that's not exactly tied to the main plot. The Leuce plotline. She was first introduced in Episode 201 as a 'bargaining chip' from Zeus to Hades, in a misfired attempt to get Hades to call a truce over the embargo between the Underworld and Olympus.

At the time of this episode's release, by all accounts this seemed to be a cut and dry reference to Hades' first wife, Leuce, unfortunately reduced to a mail-order bride who Hades, of course, turns down, because he doesn't want the "I can't believe it's not butter" Persephone, he wants overpriced, tastes-the-same-but-costs-more-because-of-the-brand-name Persephone.

But then she came back, 36 episodes later - in real time, this was roughly 38 weeks for free-to-read users as the series went on a 2 week hiatus near the start of S3 - only to be used as a cliffhanger leading into a recycled Minthe plotline, in which she attempted to seduce Hades in Episode 238, only to be shot down for the second time.

If you're having a tough time wrapping your head around how long 36 weeks really is, that's nine months. If you got pregnant when Leuce was first revealed, you'd be entering the final window of pregnancy by the time she returned, assuming the baby didn't come pre-term.

Another 7 weeks later, enough time to actually get pregnant again following that first baby, we got the sudden continuation of that plot, with Persephone invading her home and filling it with barn animals, with a not-so-subtle threat to Leuce to stay away from her husband.

"But what about the text messages? Were they really from Hades?" Well, if you were someone reading this comic in real time, you wouldn't have this question answered for another SIX EPISODES - that's a month and a half in real time - and the answer would ultimately be "she made it up, she was 'manifesting', none of it's real, they should call her Deleuceional!" Six weeks for a nothingburger answer to wrap up a nothingburger sideplot, all in the pursuit to 'prove' for the 1275903729 time that Hades and Persephone are truly meant to be together.

EROS AND PSYCHE

This is a big one. The Eros x Psyche plotline was one of the most popular romance subplots, second only to Hades and Persephone, throughout the comic. And yet, despite people holding their breath to see what would become of the star-crossed lovers, a mortal and a god-

-readers in September 2021 would not find out how their recent skirmish with Apollo in Episode 171 would resolve itself until Episode 218, A YEAR AND TWO MONTHS - ROUGHLY 60 WEEKS AND A MIDSEASON HIATUS - LATER, and even then it would only show us Eros, who quickly summarizes what happened to him during the entire trial and Kronos arc that his anticipated romance storyline got sidelined for - he got married and now he has a child.

And it wouldn't be for ANOTHER six weeks that his wife and the mother of his child would actually show up, not alongside Eros, but Aphrodite and Hephaestus, in Episode 224.

What happened to her after finally having her 'true form' revealed to Eros? Well, that's not shown for another three weeks in Episode 227. During this a bunch of info about how Psyche got out of that sticky Apollo situation is dumped on us and we just have to go along with it as she becomes a goddess, not because she earned a place among the Olympians, but because Zeus needs her to spy on Apollo, which was actually shown one episode prior in 226.

So let's say you got knocked up again after that Leuce baby, when Eros and Psyche were shot out of the sky. Welp, in the time it took for Rachel to get around explaining what happened to the both of them, now you just had your second baby and for all we know, you could have gone for a third and already be well into or near the end of your first trimester, if you really wanted to get busy. You'd have a Dionysus, a Melinoe, and maybe even a Demophoon. Congratulations.

And speaking of Melinoe-

MELINOE

Turns out the interloper and the child in Tartarus were one and the same, or at least that's what I'm assuming, because otherwise that would mean there's some whole ass other baby to worry about that we haven't even been introduced to yet.

Melinoe, or "the child deity", was first established in Episode 218.

But as per LO tradition, the child would only mentioned in passing every now and then until finally being revealed as Melinoe in Episode 252, a whopping... THIRTY EIGHT FUCKING WEEKS LATER.

And that waiting is still ongoing as Melinoe is, of course, still trapped in Tartarus, with no end in sight. Since then, Hades and Persephone have gotten married, kidnapped a child, Persephone has terrorized a nymph and caused yet ANOTHER genocide, and they've resurrected a child that was suddenly revealed to be Demeter's. Thirty eight weeks and counting of dragging on a plotline that we're supposed to believe is dire while the characters do sweet fuck all.

What was the name of that other dream baby that Rachel referenced from some obscure non-legitimate source?

Riiiight, Brimos. Congrats, there's pregnancy number 4. But can we find a way to make a fifth happen?

KASSANDRA

We're first introduced to Kassandra, another implied victim of Apollo's, in Episode 226 when a photo of her is found on Apollo's pen drive which was conveniently left on the ground for Psyche to swipe.

In Episode 227, they theorize on how they could track down this mystery woman, using either Eros or Aphrodite's abilities to find her through the power of

✨love✨

How will that actually work though? Has anyone ever been in love with Kassandra, or has she ever been in love with anyone else?

Any bets on how long it would be until we'd get our answer?

Episode 251. The same episode where we're finally told about Leuce's delusions, we suddenly skip to the reveal of Kassandra being Apollo's personal oracle.

And it still doesn't end up answering our question as to how Kassandra was tracked down, by the way. Eros and Psyche sorta just conveniently find her at the same time Apollo happens to be there when he's getting her to deliver her big prophecy to him.

That's twenty four weeks, meaning you're now near the end of your second trimester with child #4. Whoever the child is remains to be seen but I'm sure Rachel will find a way to shoehorn another helpless baby into the plot for Hades and Persephone to rescue who we can use for this metaphor.

But none of these come close to the greatest unresolved plotline of them all, the one plotline that has outlasted even the main H x P plotline of Lore Olympus' story-

APOLLO

Or more specifically, the SA. Rachel has tried so hard to twist Apollo into a villain of Disney proportions, through his sudden involvement with Ouranos, while also using him as a mouthpiece for her own critics by having him literally dish out word-for-word the criticisms that have been made towards Rachel's writing of Persephone-

But the core foundation of his plotline goes all the way back to 2018, when he assaulted Persephone, a plotline that has yet to resolve itself or show any progression beyond Rachel's half-baked attempts at speedrunning Persephone's healing process, while Apollo is still at large and hasn't been brought to justice.

We've seen her in very poorly-written therapy where her assault was addressed once. We've seen her grapple with the potential consequences of the SA through a gynecologist scene that, as I've discussed before, does more harm than good in helping the discussion around women's sexual health. And of course, Rachel will pepper in vague references to the SA every now and then when she's bothered to remember that it's a plotline she wrote and still hasn't resolved:

And judging by how the story has been progressing, Rachel seems far more intent on simply using Apollo as a mouthpiece for criticism and a puppet for Ouranos rather than focusing on the bigger issues, all while Persephone has helped more people cope with the assault that happened to her rather than receiving help herself.

What's really telling is that despite half of the Olympians at this point knowing what Apollo did, not one of them even tries to convince Persephone to come forward, or say something themselves. Daphne has more than enough reason to come forward. Artemis, Hera, Eros, Hermes, and Hephaestus all know what he did, and yet none of them say a thing, even when those of them who haven't been conveniently shoehorned out of the plot are still in the same room as him-

The assault scene happened in August 2018. It's been five and a half years since it was established, and while there have been small efforts made to resolve it - from Hera and Hephaestus having the photos deleted to Persephone seeking therapy - there's less reason now than ever for it to not be addressed, especially with so much at stake. I could side with Persephone not wanting to say anything in the beginning, when he was blackmailing her with the photos and her TGOEM scholarship was on the line, but now that she's a Queen, rich, and married to Hades, living in the Underworld where he can't get to her, without any schooling or scholarship or job to worry about or the photos hanging over her head, it comes across as flat out irresponsible that not a single person thinks it's worth mentioning. Even the narrative itself seems to be trying to undo the SA entirely.

At this point, I'm not confident it will be mentioned at all, and that Apollo will be conveniently dealt with as a pawn of Ouranos rather than as a perpetrator of violence towards women.

A FINAL ANALYSIS OF LO'S PACING

There are certainly far more examples of this weekly edging happening throughout LO, but I hope the ones I provided get across the point I'm trying to make about its pacing.

Of course, none of these gaps in time are happening back-to-back-to-back. This is Lore Olympus' writing "style", if you can call it that - constantly bombard the reader with separate plot points so that they'll either not remember the ones that were left behind, or so that Rachel can buy herself time to get herself out of the corner she wrote herself into. It's the equivalent of clickbait, constantly grabbing your attention with shiny new things that will replace whatever you just saw in your brain, on a constantly repeating cycle. It's the writing process of inexperienced amateurs, like what you'd see in short stories written by fifth graders - "and then this happened, and then this happened, and then this happened", with no theme or overarching meaning tying them together; and if you were to ask them why a certain thing happens, especially if it logically doesn't make sense, the answer is just, "well, because it does." There's no rhyme or reason, they just thought it was cool.

And I say "style" because while fans of LO have definitely defended the story's pacing as just a writing style, the actual execution of what they're implying is painful to watch and not what any experienced writer would call a legitimate style. It's not uncommon at all in long-running series like this to jump from plotline to plotline, often times longform stories like these have to balance multiple side plots at once to keep things engaging and to bulk up the plot with more actual content.

But in most cases, the reader will expect the speed of a plot's resolution to be relative to its urgency. If a casual B plot with low stakes is introduced, it's not necessarily doing any harm if it just sits there for a bit before finally being resolved. After all, it's low stakes and no one is being hurt by it existing on the sidelines. It might feel a bit like pointless fluff, but there's nothing necessarily wrong with fluff and it can offer fun and relaxed reprieves from the overarching narrative, assuming you integrate them well so they're not drawing attention away from those more urgent plotlines at the worst possible times (looking at you, Stranger Things S2 Episode 7-)

But when even the high stakes plots are being hung out to dry and treated like distractions and fluff, it comes across less like a decisive writing "style" and more just directionless pantsing from an inexperienced writer who's gotten themselves in way too deep.

And that's what really separates Rachel's writing problems from "style". Style is decisive. Style is the act of referencing over a set period of time, crafting what you like and what you've learned into something new, with rounds and rounds of fine-tuning. Style is experience put into action.

And, while I don't typically like using my own work as a comparison, LORE | REKINDLED is meant to try and recapture the original magic of Lore Olympus' art style and writing foundations - and even then, you can still see the clear difference between Episodes 14 and 44, which use the same panel from the same scene, but look vastly different due to the improvement and refinement that's happened over time.

Same style, but different levels of experience and skill, which is to be expected after weeks and weeks of fine-tuning and deliberate practice.

If you're lacking in your fundamentals, whether in art or writing, you can't equate that lack of skill to "style" because you're not choosing to be inexperienced, you just are. And that's okay! But to try and pass it off as 'style' implies that you're choosing to be inexperienced - when in reality, if you tried to put out anything beyond your skill level, you simply wouldn't be able to, because you haven't gained those skills yet. Like fifth graders writing short stories with the "and then this happened" model, "it's just my style" is often used as an excuse by young artists and writers who don't understand that style is not exclusively an end result of inexperience.

I'm gonna go on a tangent here, but there's this controversial but trendy style in tattooing called 'ignorant', and it's best defined as "tattooing badly on purpose".

These tattoos are regularly praised for their simplistic ingenuity and visual aesthetic but equally criticized for being the opposite of what many artists have worked to overcome - being "bad at art". After all, who would willingly pay for a bad-looking tattoo? It's because it's the style that's in demand. I would argue that it takes a lot of confidence and mastery of the craft to be purposefully bad at it and make it look good, as contradictory as that sounds.

As much as the lines may be wobbly and the anatomy poor, ignorant style tattoos are done purposefully by experienced artists who still know how to properly tattoo. As much as they may look like they were drawn by a middle schooler, they will still heal properly, the lines will hold up, and the client will not (or at least, should not) experience any excessive scarring or unhygienic practices as one would experience from an actual inexperienced artist-

In a genuinely poorly-done tattoo, the evidence of the inexperience is literally written all over the body. The skin swells, the ink bleeds out, the lines are inconsistent in their depth, and there's clear signs of trauma to the skin that will undoubtedly result in a poorly-healed tattoo (and that's not even getting into the larger health risks such as contracting blood diseases due to a poorly kept space). It's not hard to see the difference between a bad tattoo and a tattoo that's intentionally bad.

It's the age old saying in a different medium - only once you learn the rules can you properly break them.

Rachel never learned these rules in her writing and it's evident to anyone who knows these rules and is viewing LO through a critical lens - or in my case, experiencing it on a week to week basis. It's a regularly occurring problem in the medium of webcomics as a whole - thinking that knowing how to draw is enough, and that writing comes dead last, if at all. When in reality, comics are a marriage of art and writing, you can't simply do one really well and allow the other to drag behind. That's not to say there aren't comics that succeed at having bad art and good writing, if anything a well-written comic can save bad art-

But if you have a comic with good art and bad writing, that's when a comic opens itself up to harsher criticism. As much as art may be the visual forefront of comics, if you want to keep your audience along for the long road that stretches ahead, you need to have a strong foundation in writing, or at least, enough of a plan to ensure you're not driving in the dark. The art can be as gorgeous as you want it to be, but if the plot is weak, then no one will have any reason to check back in week to week.

And such is Lore Olympus' biggest weakness. Much of what we praise LO for back in its first season was simply its foundation. It's very easy to praise a story's writing when it hasn't had to payoff what it's setup. Having ideas is easy, and early LO is rife with good ideas - but many of those ideas have since fallen flat, even the ones you wouldn't expect.

Ideas are a dime a dozen, but actually executing them in a way that can be engaging from start to finish and resolve itself in a way that's satisfying is a whole other challenge that many creators, including Rachel, find themselves unable to tackle; and nothing is a greater example of that than LO's third season, which is now fumbling its plotlines that have failed to resolve themselves properly after 5 years, while introducing new ones that serve as mere distractions, as if they were a laser pointer aimed at a cat.

I hear the argument, "LO is a better story if you binge read it" a lot, which - while I can certainly understand in today's culture of content that's churned out to be binged - I still fail to see how it actually makes LO a better story. Binge-reading LO doesn't remove the pointless plotlines. It doesn't fix its blatant timeline problems, its retcons, or its inability to stay focused on one topic for more than 5 panels. All it really fixes is the waiting, the ritualistic toiling over each and every cliffhanger that caps off the weekly episodes just for them to either be resolved in the next week or left behind with no in-between. And while having all that waiting removed certainly makes the reading experience a lot smoother, it doesn't make the story or its writing better.

The relationship between a story's writing and how the audience experiences it shouldn't be overlooked. Many stories depend on how the audience experiences it within the mind to succeed and leave an impression.

Junji Ito utilizes the dreaded page turn to scare his audience, an effect that can only be truly gained and appreciated if you read his books in traditional print.

Marvel spent years meticulously building up its Avengers franchise, culminating in a once-in-a-lifetime cinematic event through Avengers: Endgame, which is truly the epitome of "you had to be there", because if you watch Avengers: Endgame in 2024 in your living room, you're likely not going to experience the same level of hype as audiences experiencing it in the theater in 2019.

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The same can be said for James' Cameron's Avatar, which entranced audiences with its innovative motion capture CGI and immersive 3D effects, an experience that could only be lived to the fullest if you saw it in 3D in IMAX theaters back in 2009. Without that experience, most people in 2024 find the movie to be pretty generic and uninteresting, a reverse Pocahontas with blue people in space, but when it first released in IMAX theaters in 2009, it was a cultural and technological phenomenon due to how advanced it was in its VFX. I can't even share with you clips of it, because obviously it would just be proving my point to try and show you how groundbreaking Avatar was in theaters through a bad shaky cam Youtube upload of its IMAX release on Youtube, but let's just say that it wasn't uncommon for people to brag about how many times they'd gone back to watch the same movie just to feel what they felt from the first showing all over again.

All that's to say that while Lore Olympus may offer a 'better' reading experience when binge-read - regardless of whether or not it actually helps the story's pacing problems - the reality is that LO is still being written exclusively with the weekly format in mind, and its been very much to its detriment, both in the short-term and in the long-term. Readers are often left in the dark on plotlines for weeks at a time, Rachel loses track of what she has and hasn't addressed, and the extended waiting times trick readers into believing that weeks have passed in the comic's story, when in reality it's only been a day or two, sometimes as little as hours depending on the sequence; meanwhile, if you binge episodes that had those problems in hindsight, you'll likely be a lot more quick to notice how many plot beats are either retconned or abandoned entirely, because you don't have the weekly waiting times artificially inflating the pacing of the story and causing you to forget what was established weeks before, because when binged, those weeks are reduced to hours and minutes.

And worst of all, with the assumption that you're reading on a weekly basis - as it wants you to do - Rachel tries to pull clever stunts by matching up LO's episodes with real life dates and holidays, which often just makes the story beats feel rushed or random in their execution - because to the vast majority of readers who haven't caught on to this or are reading the episodes through the physical books, they are rushed and random, and they can't exactly explain why.

Binging these episodes doesn't solve the problem, if anything it exemplifies them because, as a shining example, Hades and Persephone suddenly get married right in the middle of an ongoing issue, which isn't exactly the best time to wrap up the story's main plotline. Since then readers have become less and less interested in their story, and can you blame them? By all accounts their story is over. Everything now just feels tacked on to give them something to do in a story they no longer fit into.

There's an episode behind the FastPass lock right now, Episode 265. It unlocks for free on February 17th, three days after Valentine's Day. Guess what episode it is?

Ah yes, the episode where Hades' initiates sex without consent with his wife who's suffering from panic attacks, who also happens to be a rape victim. Happy Valentine's Day, everyone.

I actually made this particular discovery while writing this essay, so that was a very unwelcome surprise, but it explains the sudden random shift from Persephone being so stressed over the ongoing situation that she's passed out to Hades just deciding for the both of them that now's the time to have sex. As much as the fans will defend this as a husband and wife's last chance at intimacy before diving into a dangerous situation, they'll also still conveniently forget - just like the narrative and Rachel herself - that Persephone is a rape victim, and Hades initiating sex with her after nearly having a panic attack isn't exactly a good look.

This is why our theories as to when LO ends are so firmly cemented in one specific time range, because the story's pacing and distractions seem only intent in one thing - getting the story to last until spring, when the series will most likely conclude. It's basically been all but confirmed by Rachel, from her stating the series would be ending in early 2024, to Inklore - an imprint that seems designed specifically for Rachel and LO - launching officially in spring of this year, undoubtedly just in time for Rachel to wrap up LO for good.

(and boy, do I have some words about Inklore and its plans for "Rachel Smythe Presents", but that's another essay entirely.)

At the end of the day, LO's pacing is equivalent to paint drying on the wall, but it relentlessly convinces us to keep watching because the paint is blue and pink and maybe, maybe it'll turn into a piece of art. But as is evident in the comment sections of the newest episodes, even the fans are starting to realize that paint will not magically turn into the final piece of art they've been waiting to see if the hand that wields it doesn't know what it's doing.

Though style may be gained as an accidental side effect of one's influences and experiences, what Lore Olympus' intent is remains to be seen, and the longer the story goes on, the blurrier whatever intent it could have becomes. Unless it somehow manages to pull off a twist of Attack on Titan proportions that thoroughly explains and ties together the plotlines that have been left in the rearview mirror, the vehicle that is LO will continue to trudge along at a snail's pace, until it inevitably either crosses the finish line or crashes - but by that point, anyone waiting for it could very well be gone, their good faith left behind at the starting line when there was still plenty of time to change its trajectory or stop.

Such a time is long, long gone.

#lore olympus critical #anti lore olympus #lo critical

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seventeenlovesthree · 4 months ago

Note

If Beyond got turned into a full blown series or a movie or even a manga or audio drama, what do you think the plot would be?

We do have at least the implication that there is going to be a novelization of the story - and let's be real, considering the following paragraph(s), even if Kakudou narrowed this down to a (quite incoherent) 4-minute-PV (that took over a year to make!!!), he said it himself: It was VERY selective and since he's been brewing up ideas for probably 30+ years at this point... There'd be enough plot for at least 54 more episodes.

We DO have a short synopsis for the part with Taichi, Yamato and Iori, but we can see that there is a lot more to it:

Considering the amount of cameos and nudges within the PV, one has to ask the question how much of what we've seen is SOLELY Kakudou's vision - and where he had to make "compromises". (I'm quoting a Japanese Twitter account moping about the hints towards Tri onwards, claiming that "we don't know if those were really Maki and Rui - and Meiko may really just be a random Chosen Child in this universe." We really don't know anything here, they may as well just have been cameos and nothing else!).

@jamesthedigidestined has come up with a general plot idea that I'm gonna post and elaborate on just a little bit!

"So, Jap government already has a Digimon research division, being the epicenter, but USA wouldn't want to lag behind on a new field of research, and would basically hunt for the American Chosen, leading to Japan/Koushirou (possibly as 1337 hackerman) to locate them, while Taichi, Yamato, and Iori are out recovering children. Taito because brawn + marketing and Iori because gatehop + Engrish.

This leads to America to build a supercomputer in an attempt to take over the Digital World, as the Digital World servers naturally migrate to the strongest computer of that era, and the current strongest (Yggdrasil) is an anonymous supercomputer that they can’t locate, leading to Digital World: Liberty (WIP title) and the attempt of Liberty to overthrow Homeostasis as the master controller, which is when Koushirou attacks and this is when the supercomputer Liberty reveals its its own consciousness now and can project AT Fields. The gears are Liberty’s attempt at forcibly controlling Digital World: Yggdrasil, specifically the Digimon."

Having the military involved was already a little nod towards Takeru's little drama fanfiction after the events of The Beginning (which also mentions the Evangelion-esque AT Field we see, coincidentally, with Koushirou and Kabuterimon in Beyond). Even if that drama was not authorized by Kakudou himself, we KNOW that higher-scale-involvement HAD been a thing in Kakudou's previous epilogue-related ideas:

Of course that doesn't really help us plot-wise overall, because these are all very loose ideas, but I'd narrow this down to three separate POTENTIAL main-plot-strings:

1.) The "Liberty" plot outlined above (or something similar along those lines).

2.) Everything that could be a 02 leftover, such as, but not limited to: Armor evolution (as seen with Daisuke, Ken and Iori), Arukenimon (maybe having a Wizardmon-esque cameo since she somehow survived?), the whole Dark Ocean aspect. Hikari being affected by those dark particles could be either a nod towards the Dark Ocean, or, as James pointed out, may have been Liberty trying to enter Hikari's mind. Also, as posted above, SOME kind of space-related involvement.

3.) Leftover plots from Tri/The Beginning - IF that was Rui, Dark Gennai or someone entirely else. Some people on Twitter speculated that Takeru got Maki back from the Dark Ocean and in my opinion, the whole reason Meiko showed up in this context would be to show the connection between this subplot (Meiko+Maki/Tri) to the original cast (Hikari being affected by it and Takeru going to act on it - thus, they'd finally get something to do in the forefront).

So yeah... Lots of stuff to figure out and focus on!

#digimon adventure beyond #my two cents #resources #meta #long post #anon #answered

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arabellasleopardcoat · 2 years ago

Text

Foresight (Daemon Targaryen x Reader)

Summary: The only time modern reader actually uses her intuition and hits the nail right on the head.

Warnings: I barely know by now. Smut. Fingering. Oral sex (F receiving) Non-con/ Dub con. I mean, reader consents, but you have read this series. Pregnancy.

A/N: And… It’s a wrap, folks! My first series. Think of this as the epilogue. As always, you can shout at me in my asks.

Previous parts here.

There is a certain irony in this, you think. You were once someone of no importance in a world filled with millions of people. Then, you were a servant in the Middle Ages. Now, you are a Lady of a noble house, married to a Prince.

Yet, it’s the first time you are held in such a way. A slightly longer chain than the one for your wrists connects your ankles together. Despite being in one of the highest positions a woman could be in these times, you have never had less freedom.

Now it’s a new girl, delivering your food. No matter how hard you try, she never answers your questions about Mina or what is happening outside your rooms. You discover it is because she doesn’t have a tongue. And she is terrified of even looking at you, too. You wonder what Daemon has done to her.

Was she born like that? Did another Lord punish her? Or worse. Did Daemon take her tongue? Trying to guess what happened to her is good entertainment. Unfortunately, you soon realize it frightens her too much when you speak to her. You wouldn’t want to cause her a heart attack, and so, you have to quit it.

You feel like an asshole. But you are desperate for company, to get someone to speak to you. The hopelessness you first felt has started to feel much like realization. You are not leaving. You are stuck with Daemon.

To keep your mind occupied, you try to remember as many details of the time you are living in. You start with the cutting of tongues as your inspiration. Someone did something similar in the show. You didn’t pay as much attention to the story as you would have if you had known it was going to become your life.

But someone had. Surely. What was it, with Westeros, and the forceful taking of the organs? They cut hands, tongues, fingers, eyes. God.

If you remembered something else, it could be useful. Unfortunately for you, you had been too fixated on how hot some people looked to follow subplots. The exercise is useless, but you start writing what you can remember on parchments and hiding them from your captor.

You feel like you are going insane. The only thing you do is pace and read, pace and read, all day. Something is wrong with you. You feel strange, like you are wearing clothes a size too small. Uncomfortable. Cranky. Sensitive. Lonely.

You read once, that human beings have more needs than just eat, sleep and shelter. Maslow’s hierarchy of needs. People need to own things, they need friends and intimacy, they need purpose. Otherwise, bad things happen.

Oh, but what? Could all your symptoms be explained by it? If you had a phone, you could look it up. Hell, even if it was the sixties, you could search it in a book. Not in the Middle Ages. Or well, Westeros.

You long for Daemon’s company. He comes every afternoon and sits near the fireplace. You talk to him because there is nothing else to do. From time to time, you repeat that you are not a dreamer. He laughs.

“You wouldn’t be this perfect for me if you weren’t.”

He is very cultured, and interesting. It's something you are desperately attracted to. It’s not only that you are now in what it’s effectively solitary confinement, no. Deeper than that. Just like Rhea, Daemon is one of the few people in the Runestone that can read. His mind is more open, he is less superstitious. Talking to him makes you less lonely.

There is no way you can rationalize it, though. What you are doing is wrong. It’s a betrayal to Rhea, to someone you loved more than you could ever love him. But you are weak, too broken down by grief and fear to oppose him.

You need someone to tell you everything will be alright. And Daemon makes sure he is available for the job. He fights off your loneliness when you ask him to.

Sometimes, Daemon sits next to you on the bed and talks about Valyrian history or traditions. His tone is soft, and calming. His face lights up when you show an interest in the topic or ask questions that prove you are following his monologue. It’s like seeing an entirely different man.

Before, you would have resented being babied in the way you are. Daemon treats you as if you were a little girl, one he entertains with tales and praises when she is good. Now, you crave the comfort of it.

You still bathe together. Daemon never touches you, though. Not after the night you tried to escape. Sometimes, he just looks at you. You sit there, basking on the freedom of being able to move without the cuffs. You are no longer embarrassed of your nakedness.

The chains frightened you, at first. You are not stupid. You are married to him, in chains and in a room bare except for the bed. What else would you think, if not rape? But Daemon was smarter than that. Insidious. Slowly, he had been coaxing you to let him touch you. At first, you squirmed like your pants were on fire when his hands were on your skin. Then, you had slowly come to accept it as part of your routine. And lately, to crave it.

He had been conditioning into it, you are sure. First, the offers to tend to your wounds, then, massages to your sore ankles and wrists. It was a merely chemical thing, you tried reassuring yourself. Your brain had come to associate endorphins with his touch, and so, like an addict, you sought more.

But you knew, it was no long now before you weren’t able to resist him. It was not a thing of physical strength. He wasn’t going to grab you and force you down. No. It was more complex than that.

Daemon had acquired himself a dreamer, according to him. He was not keen on alienating you, but seducing you. He intended for you to be the one to come to him. Worst thing? You were so touch starved, and so lonely, it was working. Stockholm syndrome, surely.

The next chain would be a child. It was the obvious thing to do, to keep control over the Vale and you. You would never leave if you were pregnant. What would you do, in your world, with a child that could potentially tame dragons and whose legal existence you couldn’t prove? It would surely be too late for abortion, and most probably, time would have passed. How to explain your disappearance?

And of course, there is the fact that your body is rioting against your brain. No matter the phase of your cycle, you are perpetually horny. The smallest of touches or looks make your mind spiral, you daydream about sex and feel the urge to jump Daemon’s bones almost daily.

Maybe there is some truth to whatever they are serving you. The milk and wine are always laced with spices, to make you more agreeable to his advances. At first, you thought it was silly, but by your current state, they seem to be working. You are desperate to be able to masturbate. But bound hands are not particularly useful. Besides, you have an inkling that’s not really what you want.

Every night before bed, Daemon takes the cuffs off and lets you walk around your room. You make small laps around the room, sometimes he tries teaching you the dances people do at feasts. Then, he gets you ready for bed.

Daemon rubs salve into your wrists and ankles. You don't ask him, but you know it has to have some aphrodisiacs on it. When his hands touch your skin, it feels electric. You knew aphrodisiacs existed in your world, even if they were fickle and old wives tales. But in a world where there is magic and dragons? Why not?

Even if not, the whole thing is an assault on your senses. The room filled with incense and candles, the baths, the soft silky clothes. The silence. Usually, when people are not busy enough, they get horny, right?

Perhaps it's the mirror. There is one placed in your room for baths, once you are not on suicide watch. You see yourself for the first time in months, and nearly don’t recognize your reflection. Your hair is longer, falling messily down your back. The sheer shifts you wear, specially tailored for you, make you look put together and sensual.

Collarbones exposed, accentuated hips, bare arms. Botticelli’s Venus comes to life. The image arouses you. You feel naughty in all the right ways, sexy, desirable.

Each night, Daemon’s hands rub the salve slightly higher. You find yourself yearning for his touch, anticipating the moments you will get with him. He massages your calves. Your forearms. He kisses your shoulders. You mewl, desperate. But Daemon doesn't do anything.

You share secrets like they are oozing out of your pores. Aemond's birth. Criston Cole and Rhaenyra fucked. Lucerys. Joffrey. Harwin Strong. Alicent and the rat looking man. Daemon dutifully repeats them to Viserys.

Were you meant to feel this way? You had never expected it, not in a million years. It's like standing on the edge of a cliff. Any second now, and you could plummet down. But what a fall it would be.

Tonight, he is on his knees. Despite being in a dominant position, sitting on the edge of the bed, you don't feel powerful. Daemon has a way of entering a room and just making anyone else fade into the background. He overpowers anyone easily, by sheer presence alone.

Daemon grabs your ankle and gently rubs at it, spreading the salve. He has said he doesn't want you to scar, or hurt. But your newest cuffs have padded interiors, making this whole act pointless. Neither of you voices it.

You shiver. His hands massage your calves.

“Daemon.” The first mistake. You have never, not once, called out his name before. It comes out soft and whiny, in a sweet whisper.

“Should I stop, dreamer?” He gives you a coy look, as his fingers go higher and higher. Ankle, calf, back of the knee. His hands are warm against your skin. Daemon seems to have a fascination with touching you. He cannot keep his hands to himself, no matter how hard he tries.

You say nothing. Daemon kisses your ankle, then your leg. He mouths along your knee. You feel so aroused, you think you are about to pass out. You shouldn’t give in, you know, you know. But it’s the sweetest torture.

He stops right above your knee, looking at you with mischievous eyes. You pant, looking at him like you are about to murder him if he dares deny you now.

“My poor little dreamer, have I neglected you so?” Daemon smirks, and parts your legs, making room for himself. “Don’t worry, we will fix this right away.”

“Stop it.” You mutter, but before you can start explaining to him why this is a bad idea, you feel a sharp sting on your thigh. You moan, feeling utterly confused. In your aroused state, the sting of the bite feels almost pleasant.

“It doesn’t sound like you want me to stop.” Daemon soothes the hurt with his tongue. He looks hungry, pupils blown and hair mussed just so. “Besides, I have been very patient with you, have I not?” His fingers dig in more harshly. He is right, of course. He could have fucked you already if he wanted to. It's not like anyone would come to your defense.

“You have.” You agree, shakily. His tongue draws little ribbons over your inner thigh. You cannot stop moaning, for some reason. And you are no stranger to sex, not as Daemon thinks. You were not a virgin when you got here. Despite knowing this screams of consent issues and that he is trying to manipulate you, you cannot help it.

You wonder how Rhaenyra and Laena ever stood a chance, being mere girls when they met him. If everyone told you this was wrong, but the first time he touched you felt this pleasurable, would you believe it?

No. You are more than enough proof of it.

“I will make it good for you, little one.” He kisses higher, this time. Along the juncture where your leg meets your hip. “It's a kindness most wives don't get.”

“I know, but…” You stop talking and melt into a sight when he rubs a finger over your labia, spreading the wetness there. You know if you keep talking, he will be able to hear exactly how much his touch is affecting you.

“I just want to look at you. And kiss you a little.” Daemon says, and his tone leaves no room for argument. His hands rub soothingly along the outside of your thigh. “I won’t take your maidenhead… Yet.”

Maidenhead. What’s that supposed to mean? You try to remember, certain that you have heard it before. Rhea mentioned it? Or was it the girls? Maidens. They called maidens women who were virgins. God. He thinks you are still a virgin.

He won’t fuck you, tonight. You hope that his plans for just touching and kissing include an orgasm because you feel like you will go mad if you don’t come tonight.

You could tell him the truth. But what would you gain? Daemon only believes what pleases him. You have told him time and time again that you are not a dreamer. You even tried telling him you were from the future. His words still ring in your ears.

“A world where men and women are equal? And there are no Kings? Oh, my poor confused little thing. You have been reading too much again.”

So telling him would be no use. He might believe it another attempt at getting him to let you go. Or he might actually believe you and try to eviscerate any previous lover of yours. Or gauge their eyes out. Perhaps cut a hand. That’s who Daemon is at his core.

No, it’s better this way. Playing along will get him to be gentler, and he won’t even be able to tell the difference.

“Won’t it hurt?” You ask, and it comes out just the right amount of shy to be believable. It’s easy, leaning on the lingering fear of the fact that this is Daemon you will be going to bed with. Your body reacts to him like it has never reacted to another lover before, yet you shouldn’t be doing this. He is skilled at it. Whoever he was fucking before, she has trained him well.

But now that you have allowed yourself to think, your hesitance takes hold. This is wrong, in so many ways. You shouldn’t be doing this. Yet, you want him so much, you feel like you might burst into flames if you don’t get him right now.

The lure of the forbidden, in all its glory.

“Not tonight.” He kisses your inner thigh, open-mouthed. You tense in anticipation. Daemon can be giving when he wants to be.

“I don’t want it to hurt.” You close your legs, trapping his hand between them. Your lower lip lightly sticks out, playing the part of the disgruntled little girl.

Daemon chuckles. One of his fingers rubs teasingly over your clit. Being a brat always seems to rile him up, and you feel smug at knowing him so well.

Oh, god. What are you even doing? Are you seriously contemplating ways of manipulating him during sex? You shouldn't even be thinking of fucking him. It's disgusting.

It’s not. Not when Daemon’s hands are on your thighs, not when his lips are on your skin. You are just too needy for it. Too many nights have passed since the last time you had been touched in such a way.

His hands knead into your thighs. The touch is greedy, possessive. He makes a tsking sound, and rubs a tight little circle over your clit.

“I’ll warm you up to it. Don’t worry.”

“I don’t… We really shouldn’t…” You plead, weakly. You are trying hard not to succumb to the pleasure.

“Why not?” He asks, pressing his finger over your hole and making you nearly sob in pure neediness. He is not entering, just threatening with it. Both holding you in place and feeling you flutter around him.

Daemon waits for your response, but when you don’t answer as quickly as he hoped, he starts sucking a bruise on your inner thigh.

“Because it’s wrong! You killed Rhea. You have no morals. And… Besides, it’s not me. I don’t want it.” You try to scramble away, suddenly regaining your senses. It must be the oils. Or the food. Or whatever he puts into your wine.

“Oh?” Daemon presses your hips down with an arm, and rubs around your clit again. He makes a show of taking his fingers away from you and admiring them in the light. Your arousal shines on them, sticky wet. “If you don’t want it, why are you dripping all over the bed? What is it, if not arousal?”

“The oils! The incense!” You complain. His hand, soaked in your juices, comes to cup your face.

“Oh, sweetling, no.” Daemon laughs. He presses his thumb on your lower lip. Despite your best judgment, you open up and taste yourself. “They are not meant to warm your blood. This is all you.”

Your whole body feels hot with embarrassment. He has to be lying. It can't be. You can’t be this… This… No. No. He has to be lying.

Daemon laughs even more at the face you make. He kisses your neck, then your collarbone. He pushes at the strands of your shift, kissing all over your breast. You feel too ashamed, still reeling at the realization that this is, in fact, all you, to push him off. You are the crazy woman who is begging to have sex with a killer.

He takes your nipple into his mouth, sucking slightly. You moan, arching your back to offer more skin to kiss. Daemon does so, greedily.

He kisses your sternum, then your belly. He bites at the curve of your waist, making you squeal. His lips go lower, kissing over your womb. Then, your mound. And finally, your labia.

Daemon pulls your lips apart and gently nips your clit, taking it between his teeth. Despite how gentle he is being, you jolt. It’s too much stimulation at once, and it’s bordering on the painful. Yet, he shows he can read your body well, because he quickly recovers and chooses to kiss your clitoral hood instead.

You moan again, all high-pitched. The vibrations of his laughter feel very pleasant against your sex.

“That's it. Melt into it, little dreamer.” Daemon says, before going back to eating you out. This time, he sucks slightly harder. You tense in his arms. You can feel the pleasure rising and rising. Never has a partner driven you this fast towards an orgasm.

It's too much and too little.

“I… More, please.” You plead, petting his hair.

He gets up, and kisses you, for the first time in months. You sigh into his mouth. It's then that he pushes his finger inside of you. Immediately, you tighten and tense around him, all sense of embarrassment gone.

“This was just what you needed, wasn’t it?” Daemon whispers in your ear, biting your earlobe before speaking again. You buck your hips, trying to get him to move his finger. He complies, making a come and hither motion. His other hand rubs circles on your clit. “Yes, you needed someone to show you who you really were. My needy little dragon.”

You try to swallow down your scream, muffling it with your hand. The praise, mixed in with the raspy, hungry tone it's delivered in, makes your head swim.

“Come on, don’t fight it.” Daemon encourages, and bends down to take your nipple inside his mouth. It's enough to send you over the edge. This time, you actually scream, tensing under him. White, hot, blinding pleasure. And he strokes you through it, making everything more intense.

As you pant there, coming down from your high, it occurs to you to return the favor. It had been one of the best orgasms of your life, you wouldn't mind pleasing him in exchange. Your mouth watered at the thought of what else he could do.

You place a shaky hand on his thigh, but Daemon pushes it away, gently.

“You will learn to please me too, Wife. In time. But not tonight.” Daemon kisses your cheek, sweetly.

“When?”

“We have the rest of our lives to figure it out.” It’s then when it sinks in. Daemon is never planning to let you go. You start to cry. What have you done?

Daemon sighs. He starts rubbing soothing circles on your back, as if you were a child. That night, he stays. You fall asleep in his arms, warm and relaxed. For the first time in weeks, you do not dream of Rhea.

A few months go by. The season changes, from warm summer to harsh winter. And just as the season changes, so do you.

You wake in your chambers, the bed next to you cold. Your ankles hurt.

You put on a light dress, and go in search for your husband. As you pass the servants and guards, they give you respectful nods and greetings.

Daemon sits on the Iron Throne. Viserys’s health has been worsening, lately. He looks up at you, taking his eyes from the parchment he is reading. His eyes greedily trace your figure.

“I swear you get more beautiful every day.” He says, as you let your dress pool at your ankles.

“Everyday I look rounder, more like it.” You complain. At the door, the guards discretely look away. If you want to parade around naked, so be it. It’s up to them to avert their eyes, if they don’t want to lose them, Daemon has instructed.

No one dares oppose him. Not anymore, with you by his side. Viserys’s reign might just go down as one of the bloodiest in history, with how hard the two of them have been working to rid the realm of any future enemy of Rhaenyra.

He laughs.

“You do not. You look like my dreamer.”

You roll your eyes at him, cradling your belly. His breathing hitches, minutely. There is arousal in his expression, once again. The more obvious your pregnancy becomes, the more he wants you. Daemon likes how your body has changed, how there are stretch marks on previously smooth skin, how your breasts are fuller.

“My ankles hurt. Make it better?”

What was life before him? You can barely remember how you functioned before, having to make all the decisions and thinking. Trusting him is easier. Daemon loves you. He wants the best for you.

You don't hate him as much as you thought. You might even love him back. No. You love the pleasure he gives you, you are hooked to it. You need him like a heroin addict needs her next fix.

Before, you used to be a good person. You cared about others. Now, you care about yourself, the baby and him. In that order.

You had plans. You had a future, a career. Now, you live the day. If you think too hard about tomorrow, you feel like you can't breathe. So you don't. It's easier, this way.

Daemon likes you more like this. Not a little girl anymore, but a woman. One he molded into his perfect partner. Strong, but never stronger than him. Smart, but not enough to escape him. And a little broken. Still with a bit of fire, still a little rebellious. But never trying to get away.

He says you are more of a goddess than a woman. Special. Holy. Before, your courses aligned with the moon, your pregnancy timed just right. The baby should be here just when spring turns to summer. What could you be, if not a little goddess?

The mysteries of womanhood fascinate him. It’s made even worse with your knowledge of the future. He seems to think all you know about pregnancy is part of your powers as a dreamer. Once, you made the mistake of telling him the baby could hear him. Daemon has never skipped a day of talking to them since.

You barely think of Rhea, these days. Daemon keeps you away from Runestone and occupied with other matters. Matters that are much more pleasurable to think about than your past.

“Come, Lady Wife.”

And you do.

You wear other kinds of chains now.