#but actually not sorry whatsoever
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peppered-moths · 5 months ago
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imagine you were born hungry. imagine you were born with a hole in your gut that can never be filled, that is always writhing.
you are a mirror. you were born a mirror, surrounded by mirrors. the first thing you ever know is that you are not human. the second thing is that you are not him. you are a reflection, with his face and his voice and the people who loved him. you can mimic him, pretend so well that you are not anything else, but you cannot escape the aching hunger in your stomach, in your mouth.
he cared for the other one, the you-but-not-you. you hear that you died in his arms once. you don't know how to feel about that; you don't know him, don't care (because you're not him even though you want).
nevertheless, you are drawn to him. maybe it's the way he looks at you, guilty and frustrated and awe-struck all at once, a complicated mixture of feelings that has you shying away and inching closer, bit by bit. you decide you like the way he looks when he's happy, though you'd never say it to his face.
that's probably why you don't say anything, when the world twists, soft graphite and watercolors. because you like seeing him happy.
this world is good enough. it doesn't matter if it isn't real, it can be good enough. you can be alive. he can love you like he loved him be happier here, without the pressure, without the fear. isn't that good? why can't it be good enough for him?
you know you don't matter to him, not like the real you. you know that when he looks at your face, all he sees is the other one. he doesn't understand. it's not fair. it's not fair. you want something for yourself for once.
he says he'd die, if that's what you wanted. standing on the precipice. his heels slip over the edge, hanging in space. you want. you do not want. you want, but not like this. you imagine his body below the city lights, arranged like he's sleeping, a halo of red seeping into his hair. you wonder what forever looks like with him, what it might look like without him. he would die for you. you have never been so afraid of that.
he pulls you over the edge, hands entangled.
you are the only one who can stop this. you are the only one who can save him.
(part of you doesn't want to. part of you is selfish, and aching, and hungry.)
(what would he have done?)
you catch him. save his life. it feels like the worst thing in the world. you hate yourself, just a little bit, for not wanting it. the hunger coils in your stomach.
you leave for a while (because of the severance). you don't want to talk about it. the far shore has waves that beat endlessly against the sand, and you fell apart and shivered back together- and you don't want to talk about it.
you tell him to take you somewhere. anywhere. somewhere nice.
(a nice place to die, you think. you're too much of a coward, too much of a monster, to say it.)
it's beautiful, and he's smiling, and there's a gaping emptiness in your gut. you feel yourself shaking apart, skin to bones.
you tell him you are hungry, the words ripped from your throat like the awful truth they are. and he just looks at you, the way he always does.
and then he kills for you. not human, not yet (you wonder if he would), but it still screams as it dies.
he holds the heart in his hands. you are hungry. from here, it just looks like meat. it drips, plip-plop-plip, black blood splatting on tile. you are hungry. he offers it to you.
(despite everything, you sort of want to be human. despite everything, you sort of want to be dead.)
you close your teeth around his fingers instead. like a feral dog. like somebody who is not (has never been) human. his blood is red, and you are terribly, painfully hungry.
you tell him you are a lost cause, a monster with a pretty face and nothing behind it. that he should give up, should leave you alone, should let you die (should kill you himself, really).
he cries, salty and miserable, shoulders shaking. he cries. for you. because of you. all you can do is stare.
the heart drips on the floor between you. you are hungry.
(he does not look like an angel, or an icarus, or a savior. he looks like a fourteen year old boy in love with a monster.)
you have always been selfish.
you have always been hungry.
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secriden · 19 days ago
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This line. God, this line! It has been eating me up inside for 2 days now, because let's not forget, this line isn't about love, it's about trust. And that has implications that make me want to scream.
It's a direct reference to this moment earlier in the episode:
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At the start of this discussion, Style and Fadel still have a kind of playful air about their conversation:
Style: Oh? Not even me? Fadel: You're at 80% at best. I feel like you're hiding something from me in the 20%.
In this exchange, though, there's a sense that Fadel is issuing a challenge, like there's something specific which Style can do to gain Fadel's full trust. And while Style knows there are things he cannot (yet) reveal to Fadel, I think a part of him is determined to be as honest as he can be, which is why he issues a challenge of his own by asking for more specificity:
Style: What do I have to do to gain your complete trust?
Part of this question is a simultaneously inquisitive and deflective - What (and why) do you think I'm hiding (something) from you? - but there's also a moment after Style finishes speaking where he stills and goes quiet that feels... genuine, weighty. Or, as @airenyah has pointed out in her meta on Style in episode 4, the "grounded[ness]" in Style's demeanour is a signal that Style means what he's saying in the moment. Maybe about his own desire to be worthy of Fadel's trust, maybe about how he genuinely does want this relationship to be real in whatever way that matters to Fadel.
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I think Fadel sensed that too, because the moment looses all the lightheartedness it had before. Fadel pauses, and then gets a look on his face that just... breaks my heart. There's a sombreness there, like he knows he's going to have to say something that makes him sad. Fadel looks away, and then down, before he seems to steel himself and says:
Fadel: It'll never happen. No matter how much you love someone, I just don't believe that you can completely lay yourself bare in front of them.
Fadel says this like it's fact. Like what he's expressing is something foundational and true and irrefutable. It's not even about his doubt in Style's honesty, because this statement has no qualifiers or conditions put on it to connect it to Style. Rather this is what Fadel fundamentally believes about relationships and trust: he finds the very concept of being fully known and still accepted an impossibility.
Sure, maybe this is because of the falling out (or betrayal or disappearance) associated with the former lover; but I also think it might be because Fadel is acutely aware not only that he's hiding a rather big and dark secret (not to mince words, but: actual literal premeditated murder), but also about what it implies about Fadel. Because being able to kill another human, coldly and clinically and without remorse, takes a certain type of person. Because, yes, Fadel has lived through an absolutely harrowing and traumatising event (his parents' murder), but it's also undeniable that it changed him. Because there's something about Fadel that twisted dark and which he never quite got back. There's an anger, a hurt that colours every moment of his life; that enables him to look a man in the eyes, smile politely, and pull a trigger.
And at this point in their relationship, Fadel's understanding of Style is that he's... well, kind of innocent. Especially in comparison to Fadel and Bison, and even Kant.
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Style, who easily reveals facts about his life which Fadel already knows (winning a car tuning competition), making Fadel doubt his own instincts about Style hiding secrets. Style, who also reveals the things Fadel doesn't know, like the tender and secret pain of a mother lost to cancer (which, now that I think about it, Fadel may also know) and his worries about a father who "lost his bearings for a bit" (which he probably doesn't). Style, who tries to comfort Fadel in his own loss by offering a safe space and a sympathetic ear.
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Style, who doesn't just see Fadel for his tragedy, but is asking to be given the chance to accept all of Fadel as a person. Style, who not only wants but has the capacity, to be the only person Fadel needs to rely on. Style who, despite the sea of differences between them, understands Fadel on a level that is so very foundational.
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I'm going to slightly segue and mention something that may not resonate with everyone, but really hit me in the gut this episode: because I lost my father when I was 16 after he battled cancer for 2 painful years. And this revelation about Style has totally shifted and coloured everything Style has done in a new light for me. Because not only does this totally explain Style's sometimes almost stubbornly childish demeanour (it's common in adults who've had to 'grow up' too early), but also why Style shows seemingly random flashes of insight and maturity when they are most crucial. Notably, Style has this almost instinctive sense of when he needs to back off a sore point with Fadel that I couldn't quite put my finger on until this episode.
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I've seen a few jokes about Style's awkward subject change, but I've actually got a friend who I hold very dear to my heart who was one of the only people to give me a sense of normalcy and comfort when my dad was on his last few days and then at his funeral. And part of that was the instinctive way she would know when I needed to just. Not be a grieving daughter for a few minutes. To get a small respite from the overwhelming hopelessness and sense of impending loss. To get a moment to breathe and gather my strength, because knowing I was never going to see my dad again, or hear his voice, or hold his hand was tearing me apart back then. Sometimes she'd talk to me about college drama, sometimes she'd introduce a new kpop video to me, sometimes she'd just ask me what I wanted to eat and take me to go have a meal with her. And sometimes there really just isn't anything else to say other than "I'm sorry." Nothing you say - nothing you can say - is going to ever, ever make this grief go away, and in most cases, it was better when people (especially those who couldn't really understand) didn't try.
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And I think if you look at Fadel very closely, there's a moment of genuine surprise (Fadel wasn't expecting the subject change at all) and then... something that looks like fondness mixed with exhausted relief. Because I don't think Fadel was ready to talk about his parents yet. This was honesty he wasn't ready to give Style, mostly prompted because Style himself had willingly been so vulnerable that a part of Fadel wanted to reciprocate. But further down that path lies not only his darkest memories, but also the connection to the part of his life he is not willing to share with Style yet. So this subject change is a relief, it's a blessing, but it's also Style knowing when he shouldn't push any further with Fadel's fragile heart.
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Which brings me back to how well the episode's theme of trust (both deserved and undeserved) was woven in this episode. This is true on multiple levels and characters but I'm not even going to attempt to touch Kant in this post because... Lord, that is beyond me at the moment. Someone else needs to do that, pretty please, so I can reblog it and scream.
It starts, somewhat unexpectedly, with Fadel asking for entrance into the intimate spaces of Style's life.
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So, this episode was not about Fadel's fear of his own feelings, desires, or even affection for Style - that appears to be fully addressed in episode 4. I think that's why we see Fadel be so physically affectionate and indulgent of Style in this episode. He's come to terms with his lust for Style's body (hence his comfort in initiating sex), he's accepted Style as his boyfriend and so can enjoy Style's playful teasing (still reluctantly, but Fadel is still an introvert even if he's mostly enjoying Style's rambunctious nature), and give into Style's (and Bison's and Kant's) cajoling with relatively little fuss.
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He's even comfortable toying with the edges of revealing his darker and more sinister side by reminding Style implicitly about how violent Fadel has the potential to be. Recall that Fadel knows Style knows some of his capacity for violence; he just doesn't know how very thoroughly Style is aware of the full scale of this truth. It does help that Style evidences no actual fear and, in fact, looks positively euphoric. Like, buddy, pal, dearest one... please control yourself.
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And yet something very, very telling is the way the show makes it a point to depict Fadel very deliberately getting drunk during the double date. Even before the date has started, Fadel looks to be about half a beer in and we see him constantly drinking, drinking, drinking during the whole date. From the conversation about trust he has with Style while Kant and Bison are being off key and adorable about it, to after Kant leaves and Bison gets worried. And we've seen Fadel cope with emotional and mental distress with alcohol before, so we know that Fadel is internally fighting some kind of very intense battle even as he is also very clearly enjoying moments with Style on this date (most notably when they're dancing by the bowling lanes and when Style asks him to go home with him).
So here's my take: rather than being about love, this is about Fadel fighting to hold onto his own philosophy on relationships and trust. Because as much as I do believe Fadel believes he's telling the truth when he tells Style that 100% trust is "impossible", I think it's clear that's not what he wants.
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What he wants is to finish this last job so that the only thing he can't be honest about with Style will finally stop being a factor in his life. What he wants is to fully and completely reciprocate the openness Style seems to be giving Fadel. What he wants is to switch off his brain and let his heart lead for once, to stop fighting a battle he has no desire to win anymore, only he can't. Trust (not love) is Fadel's final frontier, and one which he can't quite give up in spite of himself.
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Which is why I think Fadel intentionally gets himself drunk here. Because he wants to let his guard down around Style. He wants to open himself fully, he wants to "lay himself bare" for Style, he wants Style to know the full truth and accept him anyway - and he gets so close, but can't quite get there - because he doesn't know that Style already has.
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When Style says this, Fadel thinks it's empty words, not knowing that Style has long passed the bar Fadel thinks is insurmountable. And just like Style was able to offer safety and reassurance to the vulnerability Fadel was showing in episode 4, Style instinctively gets to the core of Fadel's darkest fears again:
Style: One day, I'll be your 100%.
This isn't (just) a promise that Style will wear Fadel's stubbornness down, or that Style will be worthy of Fadel's 100% (which, already, has me in tears, ngl). Beyond that, this is Style promising Fadel isn't ruined for this; that it isn't too late, that whatever hurts and wounds Fadel has can be made whole again. That the kind of honest and all-encompassing and unconditional trust which Fadel says is impossible can, in fact, be his. That Fadel still has the capacity to trust and be trusted the way he so desperately, painfully longs for.
I know a lot of people have said Style in this episode is writing cheques he has no ability to honour, but I think it's more layered than that. Because in a very significant and profound way, Style is wholly deserving of Fadel's trust. Because in all the ways that Fadel has ever known he should want, Style actually IS worthy of his trust. Style knows the truth Fadel is hiding, knows what this man is capable of, knows the danger of being in his arms, knows the likely nonexistent future Fadel has to offer him -- and wants him anyway. Style is a man who would stare into Fadel’s darkness and reach out first. Strip away the complication of Kant being blackmailed and dragging Style into his mission, and Style is literally perfect for Fadel. He is exactly what Fadel wants (and possibly has wanted for a very long time). He is, in fact, exactly what Fadel needs to ever experience anything beyond the shadow of a life he's had so far.
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But oh, the cruel narrative means that Style is also, simultaneously, painfully undeserving of Fadel's trust; and this is something Style is very much aware of. I think that's why he's trying so very hard to be worthy in all the other ways he can be. Style's awareness of what Fadel is hiding enables Style to (counterintuitively) be completely honest about his feelings for and about Fadel even as he cannot reveal his motivations. So he gives Fadel as much honesty as he can: offers the vulnerability of his own pain and hurts; the comfort of his true understanding and acceptance.
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And just as Fadel's vulnerability in the abandoned factory was met with Style choosing a form of physical connection that prioritised Fadel's pleasure (it's made very clear that Style is jerking Fadel off and that all his focus in that moment was on Fadel, not his own pleasure), so too is this moment met with Style very intentionally choosing to worship Fadel's body with all the tenderness and genuine emotional weight that Style wanted Fadel to have in their first time in the storeroom.
Because, crucially, this was Style giving Fadel the chance to lay himself at least physically bare. This is the closest either of them can get to full honesty with the secrets they both are keeping. It's why Style tries so very hard to show the care and adoration and genuine feelings he has for Fadel. Why he makes sure that the vulnerability of Fadel getting himself as drunk and as relaxed and as trusting as Fadel can allow himself to be is tied only to gentleness and tenderness and pleasure.
Because Style actually knows that Fadel can't (and shouldn't) trust him in the way Fadel truly wishes to.
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And as much as I believe that Style genuinely means this from the bottom of his heart, the horrifying full truth is that it is Style that has the metaphorical knife hovering over Fadel's chest. He is the one with the capacity to actually give Fadel a new scar that would truly matter. He is, in fact, the only one Fadel wants to fully trust -- and this, along with Style's compromised heart, makes it so that the circumstances will doom them both.
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wisteriasymphony · 6 months ago
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And no one else was in the room where it happened....
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mazojo · 2 years ago
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Anyways XO Kitty love interests summarized
Dae
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Min Ho
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Yuri
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oulkheir · 6 days ago
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i need the sensitive natsu back. the one who acted cold when lisanna's death was mentioned, the one who was melancholic in his childhood, the one who missed igneel and had to hide to cry his disappearance, the one who'd get insecure when not able to beat an enemy, the one who needed his friends to remind him he's not alone, and that they got his back, the one who chose only lucy and happy as his partners because of a special bond at first sight.
hell yeah i miss him.
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ipushedthewrongbutton · 2 months ago
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uuuuh yeah, i’m a little sick of romance being treated as the only type of love that matters, so yeah, get headcanoned as aro/ace
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lightnersdream · 2 months ago
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again i don't know where people are getting the idea that Swansea would've jumped to Anya's defense if told before beyond general fandom character rot because like do you remember the game? one of the first things the game lets you see Swansea say is
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in response to talking about opening the cargo after living for Two months in a wrecked ship knowing damn well no one is going to come save them. they had no reason to assume they're transporting exclusively mouthwash so that doesn't apply here, theoretically it Could have been something useful. he's exactly the guy to sweep shit under the rug and look the other way as to not get punished by the corporation he works for. he's not going to risk his own skin like that
it's locked for a reason, he says
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(side note he was really mean about Anya in this scene for NO REASON? interrupting her at the table? "Even SHE can't make this situation worse with her presence" "that woman" WHAT IS UOUR PROBLEM...)
it's notable that he only tries to kill Jimmy once he has absolutely nothing left to lose. he's still not going to rock the boat until he feels like it's over anyway
(beyond that, it's implied he already knows, and chose to do nothing.)
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rawkysawrus · 2 years ago
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some idiot said sonic being trans was ooc yesterday so i made this lol stay mad
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galactaknightyaoi · 2 months ago
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sorry for the lack of art posts im in the dimension
i will try to lock in super hard this week after my final. me and my friends are planning a trip for early december so i want to have art ready for when i'm not at my computer
if i fail i might spend the entire vacation posting traditional stuff to make up for it. it's nowhere near as good but it's still content. plus it gives a look at stuff i've been wanting to talk about more (ocs and headcanons)
so yeah. siblings for your troubles
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ursie · 3 months ago
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There’s a special place in hell for people who write about Dick being a survivor-about Catalina, Miriam, and/or Liu and make it about every other bat character then him 😭 who writes about the characters learning about it w/o his consent and that being a good thing, who writes about the women getting brutally murdered (misogyny I’m a survivor but it’s just misogyny here) even though that’s explicitly not what he wants, who uses it to push their hcs about other characters instead of actually prioritizing the actual survivor in the story like. It’s so transparent 😭 y’all defend half these porn r$pe fics by saying you care about survivors and y’all can’t even write about the actual survivors 😭
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twobellsilence · 13 days ago
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Anyway, speaking of Daima, I also want to touch on something I ended up cutting from my previous post because it was a bit of a tangent, but I still feel strongly enough about it to make it its own thing. And that's how much better Daima is at keeping you excited for what comes next and keeping a certain sense of urgency compared to Super despite its way lower scale.
See, one of my main problems with Super is how low stakes and predictable it was. I've bashed Super enough and thoroughly explained my point throughout this blog's lifespan so I won't delve much into it here, but I find that Daima completely fixes all of these issues and then some. It actively uses lore to better the narrative and create genuine intrigue instead of making things easier for the writers. It promotes speculation, because there are genuinely so many ways in which things could develop from here on, and even though we know Goku & Co will win at the end we have no idea just how much they're gonna have to fight for it - not only that, but they actually set up ways in which the villains could potentially kick the Z gang's ass fair and square without any deus ex machinas or dumbfuck retcons (I am looking directly at you, Potara nerf). AND they do it without making each new enemy stronger than Goku just because the narrative needs it, which means 1) power actually makes sense and 2) It provides a sense of scale as to just how strong the Real Baddies actually are. Isn't that exciting? There are ACTUAL stakes here, and they are wholly believable!
There are no Aliens with a butt for a head that could go toe to toe with a god or Some Random Ass Grey Guy in a jumpsuit that is potentially as powerful as Beerus because Trauma or whatever the hell, only regular Majins doing their best like Panzy being oppressed by beings with mysterious magical powers like Gomah. Mysterious powers that keep beings like Neva and Marba under Gomah's control but without blowing the entire known universe up. Still a tangible threat for sure, but one that is grounded and makes sense within the established rules, just like Kuu and Duu and the fact that them being part Buu opens up a lot of possibilities as to how things can play out between Arinsu, the Z gang, and Gomah, and not exclusively when it comes to fights. Does that make sense? There's strategy involved, and it really feels like the original DB in that sense.
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potatobugz · 19 days ago
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drawign.... dandys worl.... how do we feel about shrimpo angst
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i do think knight!reo eventually gets executed on grounds for the affair + spends his last moment spitting at the king’s feet . btw
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pacska · 3 months ago
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why do twitter and tiktok users feel so entitled to peoples ocs and to their own twisted sense of how the world should work. you people should all just die.
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aviatrickss · 2 years ago
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*takes a deep breath and leans in so close that my lips touch the microphone*
the tragedy of dick and jason’s relationship as brothers is not that they hated each other and then jason died, or that they were super close and then jason died. the tragedy is that dick did not know enough about jason to know how to mourn him. were they brothers? were they rivals? dick sure doesn’t know, and jason doesn’t either! but it’s fine bc they have plenty of time to figure that shit out, they don’t need to know each other right now bc there will be time to know each other later.
except.
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blueskittlesart · 1 year ago
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i am an athena cykes defender forever and ever until the day i die but god. somewhere out there there is a universe where apollo justice got actual follow through and it kills me that i am not living in it
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