#but it's so good because of the moral dilemma that comes with it

[tsuyalovebot]

make him lose his cool.

suggestive and sexual content. mdni, ageless blogs dni.

xia yi zhou / caleb x reader.

cw. drabble (~1k wc, written in one sitting. ignore any typos.) no sex, but caleb popping a boner like a victorian man. afab reader (that also wears bras). mc=reader.

"caleb is an ass man!" "no, he likes tits!"

personally, i think caleb would have a near panic attack upon seeing your shoulder, elbow, or ankle.

he just does a really good job of pretending he doesn't mind it. after all, the two of you grew up together. he's had to put his hands on you many times — carrying, tending to scrapes and cuts, tickling you, ruffling your hair, squeezing your face. skinship was a language that the two of you were plenty fluent in.

but the year spent apart failed to maintain this, like some half-assed video streaming subscription, and caleb's the newborn fawn learning how to walk.

so what happens when he knocks on the room to his bedroom — it belongs to you now, technically — with a plate of breakfast before coming in, and he witnesses you sitting up, all sleepy and the neckline of his shirt slightly sliding down your shoulder?

he's going to throw himself off a cliffside. maybe even off skyhaven itself.

the plate hits the bedside table on your side with a loud clatter. none of the food spilled over, luckily. he has half a mind to garble some lame excuse about being busy and a quick good morning before trying to bolt.

but, caleb nearly snaps into two when you tug at the hem of his shirt, slumber still slurred in your words as you ask where he's going. there'd been no strength in that tug. yet, he stopped in his tracks all the same. he ends up listening to your grumbles, ones reminding him that it's his day off, remember? you promised you'd spend it with me.

"i gotta take a shower first," he chuckles, hoping his voice wasn't too shaky. please don't notice. please don't notice.

"but caleb," you keen.

god, it's like when he'd take leave from the academy for a few days just to go back to you and gran. always coming home to you, thoroughly acquainted with you not being a morning person but still making the effort to cling to him and savor every second you two spent together.

he assumed it would be the same now, but clearly, that was a mistake. because the coiling tension of warmth threatening to boil over in his stomach was nothing short of treacherous.

caleb does manage to escape; albeit pained by the half-awake whines behind him and the sound of you falling back into bed. god, how badly he wanted to cave into your demands. you don't even know the half of it.

he wonders if you've ever curled into his side of that bed he once slept on, seeking his cologne, his body, his warmth the same way he looks for your silhouette in every corner of this home. a melody he knows, but a name he can't quite place in this shell of a house that transformed in your presence.

regardless, it's really difficult to let this relationship rebuild organically when he was popping a boner over the slightest sliver of skin. the shower's streams are icy on his skin, the impromptu bath having thrown a wrench into his morning routine. he refuses to even touch himself. letting the proof of his sin soften under the biting cold of the water, despite the discomfort.

because nothing was more horrific than having his body react to you like a prepubescent teen discovering porn online for the first time.

caleb thinks he's safe after spending an hour in the bathroom, fingertips pruned and mind cooler than the iciest of planets. but as he's changed back into his clothes, he discovers you beside the door, a blanket around your sitting form and those eyelids droopy.

"pipsqueak? what're you doin' here?" he's crouching down — mortifying boner forgotten as he gathers you into his arms before he realizes it.

then, you stir. a whine muffled into the crook of his neck as you wrap your arms around him, the vibration seeming to ripple down his spinal column. the blanket falls from your body in the motions, and you're so soft compared to the firmness of his body.

his arms tighten around you on instinct and you let out a pleased sound and—

he stiffens. you weren't wearing a bra.

"caleb, you're done." you yawn, like the spoiled, pampered figurehead of royalty you are. you arch up into him, and he swears he feels several of his neurons die, dropping like flies in the empty cavity of his head.

"take me back to bed." he feels the air shift as you seem to inhale his scent. your voice softer, more content when you say, "i wanna sleep some more."

he's so fucking doomed.

[burningcrab]

i like surge for many reasons but among others i like that shes a cockroach. she will not fucking die. starline basically ran her through death traps until she could just shrug off things that should, by all rights, kill or incapacitate her, and now he's dead and the world just has an unkillable electric freak running on pure spite

[luna-azzurra]

Some Tips for writing internal conflict

Wanting Two Things at Once Imagine your character really wants to chase after something big, like a dream school, a major opportunity, or maybe even moving to a new city. But at the same time, they’re terrified of leaving behind everything they’ve ever known. Or maybe they’re in a relationship that’s holding them back, but they can’t bring themselves to let go. Show them getting pulled in two directions, torn between their ambition and their fear of losing the people or places that ground them.

Right vs. Wrong Sometimes, your character will know deep down what the right choice is, but it’s the most difficult one to make. Like, maybe they see someone getting bullied and know they should stand up, but doing so could make them a target. Or maybe they have to decide between helping a friend and doing something that could ruin their own future. These moral dilemmas create intense internal conflict because it forces them to question who they are and what they stand for.

Doubting Themselves We all have moments where we wonder if we’re enough, smart enough, strong enough, brave enough. Let your character wrestle with that same doubt. Maybe they’re the kid who has always been told they’re special, but now they’re in a place where everyone is just as good, and they start to wonder if they even belong. Or maybe they’ve been through something tough, and they’re not sure if they can bounce back. These moments of insecurity make your character feel human, like they’re trying to figure it all out, just like everyone else.

Dreams vs. Fears Show your character dreaming big but getting frozen by their own fears. It’s like wanting to ask someone out but being terrified of rejection, or wanting to move away for college but being scared to leave home. Let them imagine all the things that could go wrong , that moment when fear makes them doubt if they should even try. But also show their desire burning just as strong, making it impossible to ignore. That’s the heart of internal conflict: they’re stuck between wanting something so bad and being afraid of what it’ll cost to go after it.

Beliefs Being Challenged As your character grows, the world will start challenging their beliefs. Maybe they grew up in a family that drilled certain values into them, and now they’re meeting people who see things differently. Or maybe they’re experiencing something new, and it’s changing their perspective. It’s like when you think you have everything figured out, and then life throws something at you that makes you go, "Wait, maybe I’ve been wrong this whole time." This kind of internal conflict is powerful because it forces the character to question who they’ve always been.

Keeping Secrets If your character is hiding something, like a mistake they made, feelings they’re afraid to admit, or a truth they don’t want to face, that secret becomes a huge part of their internal conflict. The fear of being found out or of dealing with the consequences can create a constant pressure in their mind. Maybe they’re scared they’ll lose their friends if the truth comes out, or maybe they’re dealing with guilt they can’t shake. The tension comes from their battle to keep it hidden while knowing they can’t keep it locked away forever.

Pressure from Everyone Your character might feel like they’re trapped between what they want for themselves and what everyone else wants from them. It could be pressure from parents, who have their whole future planned out, or pressure from friends to fit in or follow the crowd. Maybe your character wants to be true to themselves, but they’re scared of disappointing people or standing out too much. This kind of internal conflict is super relatable because, at some point, everyone feels like they’re stuck between living for themselves and living for others.

Fear of Failing Sometimes the biggest obstacle isn’t the external challenge but the internal fear of failure. Your character might have big dreams, but they’re paralyzed by the thought of messing up. Whether it’s competing in a sport, performing on stage, or just trying something new, the fear of not being good enough can be overwhelming. Maybe they’re afraid that if they fail, everyone will see them differently, or worse, that they’ll see themselves differently. The internal conflict comes from their desire to succeed battling against their crippling fear of failure.

[vatelixx]

The enormity of my desire (disgusts me),

Very very early seasons (1 — start of 2) Spencer Reid x afab!BAU!reader

SMUT!! (and fluff, some angst in relation to Spencer’s past because it can never be too happy, we’re not allowed nice things here). first times & explorations of intimacy.

──── autistic spencer (it’s a central theme to the plot), reader is actually morally good (for once).

Warnings: sub spencer (what did u even expect?), heavy corruption kink, first time for Spencer (all i do is sit around and think about how i’d like to devirgin that genius), HEAAVY praise kink, very very inexperienced Spencer, slight? oral fixation, they’re both just rlly down bad (i told u i would write something light, i delivered), Reader is whipped, Spencer is sooo much worse. Biblical references, Religious imagery, i think i talk about math equations???? And random metaphors/complexes.

w.c: 4k

a/n: i rlly wanted to explore aspects of spencer that criminal minds swept under the rug (cough cough his undiagnosed autism, cough cough his social exclusion, cough cough his crippling fear of forever being alone). Next upload will prob be heavy angst/no smut post-prison spencer (god help me please, i must be a masochist for the way i make myself suffer)

───────────────

There’s a lot Spencer hasn’t done.

He knows he’s behind, that he never quite caught up when it came to the taboo of sex and intimacy. Everything, everything, he’s ever had has been centred around exclusion, alienation, he feels like he’s lived on pause. Frozen, never advancing, stuck on ‘go’. Touch isn’t easy for him, interpersonal relationships are worse. He’s different, god he’s heard that his entire life. ‘You’re not weird, you’re just… different’, but maybe he is weird. Maybe his whole existence is just one big cosmic fuck you, because he’s missed out on so much, so much that he can’t understand, comprehend, act out against. Falling behind; this is the only area of life where he continuously comes up short, inexperienced, naive, he’s not used to being incompetent.

He’s never experienced want the way others do. He could never just hook up, fall into the body of another, expose them to the vulnerable elements of his stature. Open himself up to scrutiny. He might be a genius, he might be intellectually advanced, accepted into a multitude of ivy leagues before he was old enough to vote, but there’s drawbacks to his success. Social awkwardness, an inability to blend, mould, be one of the crowd. Sometimes he wishes he was average, something grey and mundane, so far reduced from the person he is now— it would all be plainly simple.

But he’s not, he’s not. So, this is the weight he has to bare for the brain he never asked for.

Pyrrhic victory, he’ll always be renowned for his intelligence. ‘You’re going to change the world kid,’ maybe, but simultaneously, he’ll never get to experience said world. There’s a chance he’ll always be on the outside, watching normal people gravitate towards each other. Live dreary lives of domesticated simplicity. Stacked bills, arguments over money and parenting techniques. Going to bed angry, only to turn around, mid-night, and resolve it, to not sleep on bad blood. To take them off the couch, to settle into predestined sides of the mattress.

There’s not enough possessions in the world he’d sacrifice just to experience love.

Hedgehog dilemma, the challenges of human intimacy. The hedgehogs want to move closer, to preserve heat during cold. But, they are forced, biologically cursed to remain apart, in order to prevent themselves from harming each other. Spencer doesn’t want to be hurt, to hurt, it’s a morbid byproduct of his upbringing; all he ever endured was mockery.

He thought he’d never get to experience the physical, carnal aspects of existence. And sure, he made peace with the notion, accepted the consequences of being born atypical. Learnt to live without.

But then, oh then there was you. Pretty, intellectual you who quite literally tipped his world on it’s axis. Upheaved the most stable of routines. New to the BAU, he wanted you to last. To stay around, endure the worst of the job. If only for his selfish benefit of orbiting in your presence.

He remembers how it all started: Detroit, another case, more budget cuts, forced proximity that sent you spiralling into a shared bed for the night.

“You’re my favourite person in the team.” you admitted, “And I know that’s dumb, because we’ve spoken the least, but… you’re just, so you. That’s a good thing by the way, a really really good thing.”

He couldn’t quite believe you were talking about him. Spencer, who spilt coffee, and slipped into ceaseless tangents about obscure information. Spencer, who walked into walls when you were around, stumbling over his sentences before deftly, very astutely, giving up, walking away mid-conversation. He wore sweater-vests and colourful mismatched socks, it’s not like he was going to be crowned ‘white boy of the month’.

“Not dumb.” Spencer had responded, shifting closer to tangle further into the warm mess of this accidental situation. “That’s good. I like being me.” he mumbled. “Sometimes…. sometimes it sucks. But that’s okay. I think it’s okay?”

He moved to press his face into the crook of your neck, but you were faster, gathering him by tousled hair, forcing him to look you in the eye.

Oh.

“Please. Please.” he whispered, breaking apart, fracturing, “Please like me. And more than in a weird, ‘just friends or coworkers’ way.”

You did. You do. He should’ve kissed you then, but maybe he was scared, maybe he couldn’t quite discern his feelings, separate the logic from the emotional. So he waited, waited, waited until now. Your third date, you take him to an exhibition within a science centre: replica models of the solar system, filling rooms up, papier-mâché sculptures illuminated by light.

Best date ever. You listen, even when he’s rambling about planets, when he’s pointing out that yes, Jupiter’s density is less than water. That, technically, it would float in a bathtub, if one was built to accommodate its size. You don’t care that he’s not exactly the staple-piece for conventionally attractive males. That he’s nerdish, and awkward, and so so inexperienced when it comes to this.

In his apartment, later, much later, he looks at you, looks at you like you’re the one who just solved the fucking Riemann hypothesis.

“What do you want the most? Like,… if you could ask for one thing.” you say, and god, Spencer loves when you pose these deep, hypothetical questions. When you make him think, because you, you are the biggest challenge to his intellect yet.

You. He wants to say. But he settles for ‘Being remembered,’ instead. He works to untangle layers of fabric, your scarf, your jacket, letting out an exasperated laugh when he meets your amused gaze. “Right now though? I think I’d settle for kissing you.”

You cup his jaw, tracing your fingers along the sharp curve, and god he has perfect anatomy. “Settle huh? You should be more appreciative.”

He leans forward to press a chaste kiss against your lips. Drawing away for a moment, just to return because he’s never had this before. Because for the first time in his life, he gets it. He gets physical attraction, even if it took time. He’s kissed, been kissed, yes. But he could count those moments on one hand, and if you asked how many he truly enjoyed, he’d be left with no fingers raised.

“Believe me, i’m very appreciative…”

This isn’t like before, what he felt in the past; he expected something monotone, flighty, a brief fleeting moment of satisfaction. Means to an end. No, it’s actually the best thing he’s ever experienced, and he’s going to become so insufferable after this, because he’s just found out he is very very into kissing.

Correction: he’s very into kissing you.

In the moment between parting, and touching again, he assumes you to be divinity personified. Spencer has never been religious, but something of this magnitude should be canonised. He wants to ask you. Ask you when you became this beautiful. When you became the person he needs to kiss a second time, kiss a third time, kiss until his lips go numb.

A shaky inhale, a pause. “I hope… I hope that it was okay - I mean, it was good for me. Really, really good. Um—“ to be honest, he’s just glad he didn’t say thankyou.

“Yeah, Spence. That was�� wow.” you draw your bottom lip between teeth, press into tissued flesh. Jesus Christ. “Wanna try again?”

Yes yes yes yes. He looks at you, pupils blown obscenely out of proportion. Part of him wants to say, ‘why didn’t we do this sooner?’ But that’s not fair; he’s only ready now. Now that he feels, now that he might be a little in love with you.

“Please,” is his answer, and then he’s catching your face in the palms of his hand, tugging your lips back to his, because admittedly, they have ached in the long, extensive period you were apart (53 seconds).

This time it deepens and Spencer sees stars. It’s an astronomical phenomenon, something interstellar— and god, he’s relating kissing to space. They should just tape the word ‘virgin’ to his back and call it a day.

There’s soft little breathy sighs escaping his mouth now, bleeding into yours. And yeah, spontaneous combustion might be a real threat. Actually no, it would hardly be spontaneous; there’s a clear, clear cause, and it just so happens to be your ruinous lips.

This is an entirely new facet of the human experience. The kiss is electric; he’s always been partial toward physics, and right now his veins carry an alternating current.

You know, he could probably write a thesis based on this.

You both stumble back back back until he’s hitting a wall, and yes, thankyou. He’s making all sorts of sounds he can’t justify, and it’s a supernova, an infinite black pool of— oh, he thinks he might die, ascend, transcend, when you press your thumb against his chin, hold your lips at just a little slant from his. Force him to wait there.

“Please,” he’s never been above begging. A worthy sacrifice, one he’ll certainly repeat again because you return to the kiss, and the world around him dissolves.

You’ve got one hand tangled in his hair. Tousled auburn, fingers sinking into strands, pushing all the way down to the root. The other is still cupping his face, keeping him close, keeping him selfishly close actually.

“Spence,” you murmur. And yes. Yes. He likes that. The way his name sounds rolling off your tongue, like it was destined to be there. Like he was destined to be yours.

His world is ending. So is yours. Fuck it, he presses himself against your thigh, and ohmygodohmygod. He’s being loud, he’s actually being so criminally loud right now because apparently he’s the most whorish virgin to ever exist.

“I lied, I lied,” he admits between messy kisses, “When you asked what I wanted the most? It’s not to be remembered, well it is, its on the list. But—“ he groans, kisses you again because talking interrupts matters that are more important. Like your lips.

“I wanna cum.”

Eloquent.

Spencer Reid being dirty? Oh, it’s hot, it’s so hot to reduce someone to such an obscene state. To reduce him, the boyish fumbling nerd (who just so happens to be the most beautiful person in existence) to such a degrading mess.

Still, there’s shock. Not because he said it (you greatly appreciate the indecent things falling from those pretty lips right now), but because—

“You’ve never? Haven’t even experienced it once? By yourself?”

He should be embarrassed, but his lips are red, his eyes are glassy, and the bulge in his pants is straining to be touched. “Never,” he sighs shakilly. “Never, and i’m— i’m starting to understand why it’s so popular.”

He whimpers, pushes himself against your thigh, because the friction, yes. “Is that weird? Please don’t think i’m weird. Because I’m really, really weird. Just maybe… not in that way?”

It’s never been enough. His body sometimes feels numb to the touch, and yet still so very overstimulated. Like he manually blocks himself from feeling, already prepared for the flinch. How does he explain that life hasn’t been kind to him? That he hates his body because of what people made it out to be when he was a child. Stripping him naked, tying him to a goalpost, always the underdog. The one to be targeted, tormented.

“It’s actually kinda hot,” you interrupt his thoughts, and just because you’re evil, corrupt, the worst, you press your thigh harder against his clothed cock, palm covering his mouth when a plethora of whiny sounds escape his mouth.

It’s performative, really. Alone in his apartment, there’s no need for noise control. So when your thumb slips between parted, swollen lips, he knows to suck. The average human hand has between 10,000 and 10 million bacteria, and Spencer does not actually give a fuck anymore.

“To think that you’ve never even felt what it’s like. That you’re gonna feel it with me for the first time. I get to see that shit— god, you’re going to look so fucking pretty for me.”

You draw your thumb out of his mouth, and he has the audacity to whine.

He’s never wanted anything more in his entire life. It’s all tertiary now. Only this matters.

“Please don’t praise me—“ he protests, “I’ll probably finish in my pants.”

“Praise kink, noted.”

You laugh, and he can only groan, curse existence for being this cruel to his overworked, undervalued body. “Don’t— don’t laugh. You’re not supposed to laugh, that can heighten performance anxiety. Increase insecurity, and…” he sighs, “You do not care. Sadistic tendencies, noted.”

“Shut up. Wanna see you.” you say, and he’s just muttering breathless mhm’s, too delirious to function; his body is betraying the last iota of self-control like the little whore it apparently is.

His sweater comes off first, then his top. Discarded fabric, his raised arms when you mutter a candid ‘up’, giving way to exposed skin. In response? Your pupils dilate. Spencer knows because he’s analysing, profiling. If you hate him like this, he’s fairly certain he’ll drag himself into a self-dug early grave. He wishes he was being melodramatic. That your approval didn’t have such a substantial impact on his carefully-constructed ego. But, oh, it does. It does.

Thin, with a long, defined torso, he blushes, rose blemished skin, when your hands drag across his stomach. He’d love to say he reacts sanely, suavely. Urbane to your touch. But that would be a total, discreditable lie. Instead, his back arches, seeking contact, following the path of your fingertips with pitiful desperation. He feels malleable, willing to bend and contort, if only to feel more.

“How can you not think you’re pretty, Spence?” His pants are gone next, then his stained boxers, fabric borderline sheer now, soaked through with pre-cum.

Spencer feels betrayed. His body never responds, not to his own hands, not to his own thoughts. And yet, the moment you’re on him, he’s a live-wire. It’s sick, heinous, double-crossing. Maybe it’s purposeful, done just to spite him. Figures.

“Holy shit, look at you. Look at how perfect you are.” Spencer wants to object, because he distinctly told you not to praise him. However,.. right now, the lights are on but nobody is home. Brain-death, he’s certainly in a vegetative state.

“Ohmygodohmygod,” he whimpers, because no amount of knowledge about human anatomy and physiology could prepare him for how he feels under your touch. No amount of education in the psychology of relationships could inform him of how viscerally wrong the way you look at him feels.

Because it’s not wrong, not all. It’s the most right he’s ever felt, and he’ll tell you that if you’ll just keep it up.

The sounds he’s making are phonographic, lewd, you’ve given up on trying to stifle them now. Where have you been hiding? Your eyes fall, and he wants to blush away from the exhibiting gaze, but he’s just…. too far gone; the thought of your touch outweighs any previous reticence. Then, oh then, you drop to your knees, and shit. He expected your thigh, maybe your hand if he was lucky, not—

This. Your mouth, your tongue, your pretty lips; god, god, is this a sin? Because if it is, he’ll take it.

“Please,” he whines, and he can’t look anymore because the sight alone is going to send him over the edge. He’s gripping the wall, scrambling scrambling for purchase, because he’s trying not to grip you, but how exactly does he keep this respectful?

He’s pretty sure they’re past that, considering your mouth is currently wrapped around his cock, and he’s debauched.

You want this, you want him, he feels like he’s transcended humanity, like he’s become someone, anyone and anything, that deserves the way you’re taking him apart, piece by piece. In the aftermath, he hopes you don’t leave a single ounce of him intact.

“Wanna kiss you. Oh— oh oh,” he’s sobbing now, “Come back here. Miss your mouth— even if it’s,” he looks down and that’s a mistake. “Please.”

Of course it would be Spencer to disrupt the best (and admittedly only) head of his life because he needs you closer.

You oblige, raising from your knees, and Spencer thinks it might be sacrilegious. But then again, he feels religion in your touch so it can’t be too profane. Maybe? He’s not sure, he’s not sure and it doesn’t matter. Ethics and morality have long since disintegrated, sins are engrained into humankind. He almost wants to thank Eve for tearing into the apple, because it’s allowed this irreverence to occur.

Spencer blindly follows you through the apartment, stumbling and muttering until he can collapse against the bed. Baring his pretty neck as his head hits the bedframe. Tangled in sheets, draped over his lap, his deft fingers run across your waist, mapping out the structure of your frame. If only to remember, recite this act of blasphemy.

“Spence,” you whisper, and then his lips are crashing into yours, stealing breath, stealing sanity. He whimpers, murmurs a protest when you draw back, and you can only laugh. “Lets get you off, yeah? You wanna feel an orgasm, pretty boy?”

“Yes, yes please. That would uh— yes.” he’s not even sure how he’s conscious right now. His body, god his body, has endured more pleasure in the last hour than it has for the majority of his life. Your hands scathe, and Spencer is willing to indefinitely burn, if just to feel them one more time.

You only stop to take off your clothes, and surely there needs to be prep? To reaffirm, he knows anatomy, the correct procedure, how the transgression is supposed to occur. And yet, that’s from a clinical, objective mindset. Do this, do that, etc etc. Nothing works out like that in practice.

You’re so wet, panties stained through, he spares a moment to run his fingers across your thighs, hand slipping beneath fabric to graze your clit. The moan that follows has him distracted, thumb tracing circlets, over and over until you’re pulling back to return the balance. The balance, which admittedly is skewed, tipped scales, you’re on top. He falls to the weight of your influence.

And yeah, he’s more than fine with that. Jesus, you drag your panties down, down your thighs, your legs, then they’re reaching your ankles, pooling there for a moment before they’re being discarded, tossed somewhere on his floor — leaving behind a souvenir that yes, yes this happened.

“I can’t,” he says, burying his face into your shoulder when you take him. It’s slow, sinking onto his cock like every inch of warmth will destroy him. Maybe it will. Maybe he doesn’t care, because he deserves this. He deserves to feel after so much repression.

Or maybe, maybe he’s just become the biggest slut known to mankind. Likely.

Your body presses against his, and he thinks he’s going to disintegrate, because he feels so good. He understands now, he understands why people do this. Why it’s integral to the function of most. This is the best day of his life. This. Is. The. Best. Day. Of. His. Life.

There’s this noise, this pathetically loud whimper when you start to roll your hips— and oh your body is wet against him, and you’re so tight, and it’s perfect because he doesn’t have to do anything.

He can just sit here, look pretty, and cry.

He knows he’s a giver, that he’d bleed himself dry for you. It’s a curse, he supposes: so willing to bend backwards for the satisfaction of the people he trusts. But, this is foreign, and he wants to watch you, aimlessly stare, dumb and empty-headed as you wield his body like a weapon. Turn him into something perniciously yours.

Spencer has no reference for what an orgasm is supposed to feel like, and yeah, he’s really good at guessing in these type of situations. Because he’s rolling his thumb over your clit again, and he wants to draw it into his mouth, to see you laid out across bedsheets, writhing, unable to do anything but suffocate him with your thighs.

You clench around him, back arched, releasing a series of strained moans. With one hand tangled in his dishevelled hair, the other pressed against his chest, your face contorts, your body stiffens. There’s no way his incessant whimpering just got you off?

Okay. So you like him desperate. Point taken.

“Please— please, wanna cum. Wanna feel it so bad,” he’s slurring over his words, sentences punctured by devastating whimpers. And look at him, asking for permission, waiting even though his body has been teetering on the edge for so long now.

“Shh, shh..” you press your forehead against his, and he melts. Reoccurring theme. His hand grips your jaw, thumb pushed firmly against your chin, keeping you close. “You wanna cum for me, baby? Gonna give me your first?”

“Mhm— mhm…” is all he can say. When you pick up your pace, he has to burrow his face into the crook of your neck, whimpers messy and broken off, suppressed against your warm skin.

“Oh. Oh…” he repeats, again. Like there’s anything else he could utter, because this is earth-shattering.

It’s the sun, and all eight planets combined, and the universe collapsing in on itself, and he’s bucking, squirming, releasing into you, spilling deep.

He sobs. Breaks down. Because it’s so so good, and he can’t believe he ever deprived his body of this.

Neediest whore to ever exist, apparently.

It takes him a while to come back. Longer to regain motor function, to sink into present day. Life, and expectations, and everything, everything, your touch eradicated.

“Just… just stay like this?” he asks, collapsing against your body after he’s drawn out of you. There’s mess, evidence of your ministrations, but cleanliness seems futile when he’s blissed out, caught in a post-orgasmic haze that yes yes yes he needed so badly.

You card your hands through his hair, watch the way he stares up at you, large, widened eyes, chin resting against your chest. “Hi,” he mutters dumbly.

“Spence,” Spence, Spence, Spence. He could drown himself in that nickname.

“Yeah?” he breathes out.

“You we’re so good—“

He rolls away from you, finding a home for his face in the pillow. “Stop. Stop.” he groans, “Don’t do that. You’re going to destroy me. I’m not… equipped for this, for you. Someone should just sedate me, put me out of my misery, a coma sounds like—“

He tilts his head to the side, relinquishing, “Okay. Sorry. Meltdown over. Can we shower? Then maybe do this again? Which will make the shower inconsequential, I suppose. There’s a new documentary I want to watch, and oh, you still haven’t seen the third Star Wars—“

He’s happy, content, over the fucking moon, to be silenced with your lips. “Yeah,” he murmurs, hand interlocking with yours as you both fall back against the mattress, “Let’s do this again.”

[feathersandblue]

So, full disclosure, I haven't been a Solas fan before.

I am now.

And that's because of Veilguard and the many, many ways in which I felt let down by this game.

The aspect that bothers me most is the reduction of nuance and complexity.

Rook's hero's cakewalk (because “journey” really isn't the right word) is a ready-made path that offers no deviation at all and never challenges the player in any meaningful way.

Sure, you can spend some time pondering the pros and cons of saving Treviso or Minrathous. Ultimately, it makes no difference. Rook does their best, they just can’t be in two places at once.

Same with the companion character arcs. What does it mean if you decide to you turn Emmrich into a lich? For the most part, it's idle musing. Indulgence. He’ll be happy either way, there are no real stakes. Yeah, your actions do have consequences, just not the sort of consequences that make a substantial difference. It’s the illusion of choice – reduced to cosmetics.

The problems with decisions that cost nothing is that they don’t feel like an accomplishment. They also don’t allow for character growth. Rook doesn’t change, they remain static. Even the section in the Fade where Rooks faces their regrets is easy and comparatively lightweight. Varric was killed by Solas, Harding resp. Davrin died in combat and either Bellara or Neve was abducted by Elgar’nan. It’s not like Rook’s decisions actually caused these events, it’s not like Rook actually failed through a choice they had to make that turned out to be the wrong one. Everyone was there willingly and volunteered to fight the good fight. Rook’s regrets are not about real guilt, they are about feeling sad and guilty. And that – it needs to be said – is not the same thing. At all.

At the same time, the story carefully avoids any kind of true ethical dilemma.

It's not even about the lack of mean or edgy dialogue options; that’s just a symptom. The cause is the writers’ unwillingness to let realism intrude in Rook’s fairytale – the lack of anything that would require Rook to compromise on morals, or fight temptation. Rook is never faced with any sort of moral conundrum, or allowed to act out any kind of vice that realistic characters have. In its straight-path simplicity, Rook's story is apparently written for children and people who remain child-like in their yearning for simple, uncontested truths.

Of all the sorts of conflicts that a story can offer, Veilguard carefully avoids the most realistic and (in my opinion) interesting ones: Character vs. self and character vs. society, aka, politics. The game firmly refuses to go there. To the point where it creates a completely unrealistic consensus on all sides that eliminates yet another sort of conflict: character vs. character.

If Rook and their companions would talk politics, they’d all be on the exact same side. In a two party state, they’d all cast the same vote.

I am sure that there are many players who feel comforted and reassured by that fact, who sincerely believe that this is how stories should be written. That stories should reflect the world not as it is but as they think it should be. But for everyone who likes their stories a little more realistic, that lack of meaningful interpersonal conflict, that lack of real diversity which comes not from appearance but from different cultures and opposing viewpoints amounts to a frankly cringe-worthy, artificial and juvenile surface-level interaction between characters. Or, to phrase it differently: the diversity remains skin-deep and doesn’t extend to the philosophical, and even in the few instances where it does, it shies away from the political.

Which means that the only conflicts that remain are the most boring and stereotypical ones: character vs. monsters resp. the supernatural, where all foes are evil in the blandest way (Supremacist Venatori! Fascist renegade qunari! Power-hungry necromancers!). These conflicts are resolved through exploring maps and endless, repetitive combat.

The only thing that brings a bit of nuance to the game is Solas’s story. And there is an element of character vs. character in Rook’s and Solas’s relationship, but the sad truth is that what could have been a fascinating mirrored character journey falls flat for all the reasons already explained – because where Solas is a character as layered and controversial as it gets, Rook is anything but.

Solas’s story shows how even people with the best intentions and the greatest integrity are ultimately broken by what life throws at them, both by the decisions that are forced upon them and the choices they make on their own. It shows how a prolonged war is always a sunk cost fallacy: I’ve gone this far, if I stop now, it was all for nothing.

Rook’s victories, on the other hand, come without a cost – both in terms of moral corruption and in accountability. The guilt Solas bears is real. The fight against the titans, followed by his war against the Evanuris, requires compromising his own morals, one day at a time, one century after another, he’s trying to save the world yet doomed to fail. Sacrificing the spirits to win a battle after the war has gone this far? Every single war leader around the globe would make the same decision. In fact, all of them do: They do sacrifice the lives of others if it will help them win, they do send soldies into the trenches to die, whether these soldiers want to or not, and they are rarely, if ever, truthful about the reasons why.

In a certain way, the story of the spirit of wisdom turned flesh is reminiscent of the biblical Fall of Man: the original sin. Solas has fallen, and he’s broken. In trying to heal the world, he’s trying to heal himself. The burden is too heavy, the responsibility to great, the knowledge that he is responsible for all of it too devastating. Solas’s greatest conflict is character vs. self. It has the potential to be great. In a way, it is. It’s the single redeeming quality that, depending on your interpretation of what went on behind the scenes, the writers managed to salvage from the original concept of Dreadwolf or the lone pillar that withstood all their attempts to bring it down.

Only sadly, infuriatingly, in the end, that fallen hero’s ending is put into the hands of a protagonist who judges him from the perspective of someone who has never even stumbled – not because they are wiser, braver, or kinder. No, just because the writers were gracious – or cowardly? – enough to never let them fail.

The game gives Rook a moral high ground which isn’t earned in the slightest because Rook never had to walk even a quarter of a mile in Solas’s shoes. They don’t know what they would have done in his stead, they have no idea what it actually means to see the sorry shape the world is in and know that it was your hands that shaped it. And even where Rook might actually be culpable – the interruption of Solas’s ritual that freed the remaining Evanuris – anyone is quick to assure Rook that it wasn’t their fault.

Whatever regrets Rook carries, they’re born from self-doubt and trauma response. Survivor’s guilt, mostly. When compared to Solas’s immense guilt, Rook’s regrets are, for lack of a better term, insignificant. That Rook manages to face them doesn’t mean that they are more truthful or emotionally mature, it just means that Rook’s story is a tale for children and Solas’s is not.

It’s not that I’m necessarily opposed to the idea that the player decides Solas’s fate through their actions. It’s the injustice of it all that bothers me: The player is led through a game that provides a safe space for their character, one that is devoid of any interpersonal conflict and any ethical quandary. Rooks succeeds through kindness and heroism and taking their companions on team bonding exercises.

As if Solas could have won the war against the Evanuris if he’d taken the time to take his companions on coffee dates.

The juxtaposition – Rook vs. Solas – fails, simply because of this deep divide. Rook’s story is detached from reality and yet Rook gets to be Solas’s judge, jury, and executioner. On what grounds?

As I said, right in the beginning, I haven’t been a Solas fan before. But by the end of Veilguard, I was firmly, irrevocably, Team Solas, just because I was so annoyed that the narrative put Rook in a position of moral superiority. I detested my own character. Jesus, what a goody two-shoes! I was rooting for Solas simply because his story was so much more: a genuine tragedy, a study in complexity. Rook, on the other hand, remains bland, snotty, unchanged. Untried.

The thing is, I don’t believe that my reaction was one the writers had intended. I strongly feel that they didn’t mean for me to pick up on their double standard, that they expected me to walk away fully satisfied, convinced that Rook and The Team were the Good Guys because they went on picnics and petted the griffon, their final victory well-earned and just. If only Solas had had a Team and taken care of their emotional needs – he could have taken down the Evanuris with nary a scratch!

It’s all so very disingenuous.

Rook and, by extension, the player exist in a bubble of sanitized content. That is clearly deliberate. The player is meant to like it there. (In that sense, it’s only logical that they changed the title from Dreadwolf to Veilguard.) And clearly, it does resonate with a certain kind of their player base: mostly with people, I think, who would like their real life to be a bubble too and whose only experience with moral corruption is when they find it in others.

[eelhound]

"The idea of reforming Omelas is a pleasant idea, to be sure, but it is one that Le Guin herself specifically tells us is not an option. No reform of Omelas is possible — at least, not without destroying Omelas itself:

If the child were brought up into the sunlight out of that vile place, if it were cleaned and fed and comforted, that would be a good thing, indeed; but if it were done, in that day and hour all the prosperity and beauty and delight of Omelas would wither and be destroyed. Those are the terms.

'Those are the terms', indeed. Le Guin’s original story is careful to cast the underlying evil of Omelas as un-addressable — not, as some have suggested, to 'cheat' or create a false dilemma, but as an intentionally insurmountable challenge to the reader. The premise of Omelas feels unfair because it is meant to be unfair. Instead of racing to find a clever solution ('Free the child! Replace it with a robot! Have everyone suffer a little bit instead of one person all at once!'), the reader is forced to consider how they might cope with moral injustice that is so foundational to their very way of life that it cannot be undone. Confronted with the choice to give up your entire way of life or allow someone else to suffer, what do you do? Do you stay and enjoy the fruits of their pain? Or do you reject this devil’s compromise at your own expense, even knowing that it may not even help? And through implication, we are then forced to consider whether we are — at this very moment! — already in exactly this situation. At what cost does our happiness come? And, even more significantly, at whose expense? And what, in fact, can be done? Can anything?

This is the essential and agonizing question that Le Guin poses, and we avoid it at our peril. It’s easy, but thoroughly besides the point, to say — as the narrator of 'The Ones Who Don’t Walk Away' does — that you would simply keep the nice things about Omelas, and work to address the bad. You might as well say that you would solve the trolley problem by putting rockets on the trolley and having it jump over the people tied to the tracks. Le Guin’s challenge is one that can only be resolved by introspection, because the challenge is one levied against the discomforting awareness of our own complicity; to 'reject the premise' is to reject this (all too real) discomfort in favor of empty wish fulfillment. A happy fairytale about the nobility of our imagined efforts against a hypothetical evil profits no one but ourselves (and I would argue that in the long run it robs us as well).

But in addition to being morally evasive, treating Omelas as a puzzle to be solved (or as a piece of straightforward didactic moralism) also flattens the depth of the original story. We are not really meant to understand Le Guin’s 'walking away' as a literal abandonment of a problem, nor as a self-satisfied 'Sounds bad, but I’m outta here', the way Vivier’s response piece or others of its ilk do; rather, it is framed as a rejection of complacency. This is why those who leave are shown not as triumphant heroes, but as harried and desperate fools; hopeless, troubled souls setting forth on a journey that may well be doomed from the start — because isn’t that the fate of most people who set out to fight the injustices they see, and that they cannot help but see once they have been made aware of it? The story is a metaphor, not a math problem, and 'walking away' might just as easily encompass any form of sincere and fully committed struggle against injustice: a lonely, often thankless journey, yet one which is no less essential for its difficulty."

- Kurt Schiller, from "Omelas, Je T'aime." Blood Knife, 8 July 2022.

[thebibliosphere]

Talking in a group chat with some fellow author friends earlier, and the subject of our book reviews came up. As in, "What's the favorite thing anyone's ever said about your book?" type thing.

I had to pause and think about it because people have said a lot of nice things about my work. That it's the queer goth love child of Jane Austen meets Terry Pratchett, for one. That Nathan's disability arc meant the world to them. That Vlad's blatant neurodivergence made them feel seen. That Ursula's profound loneliness made them feel less alone.

But the one thing I see time and time again that makes me smile is the word "comfort." So that's the one I went with. That people find my work comfortable.

So you can imagine my surprise when someone chimed in going, "Noo, don't say that! Your work is so good!"

I won't lie, it took me a solid ten to twenty seconds to realize that she thought someone describing my work as being "comfortable" was an insult and not one of the nicest things anyone has ever said to me.

And maybe I'm just several types of mentally ill, chronically ill, and too beaten down by the world, but I do not understand what is wrong with comfort. Comfort, for me, is a physically unobtainable goal. You might as well rank it up there with getting transported into another world and becoming Queen of the Fae. For me, reading comfortable narratives where people get taken care of with compassion and love is a fantasy.

And, like, just objectively speaking, something being comfortable doesn't mean it's not good.

It doesn't mean it's not thought provoking. It doesn't mean conflict-free or lacking moral dilemmas. It means people feel safe reading it, knowing those things will be resolved.

I'm not trying to keep my readers on edge with anxiety, always wondering where the next plot twist will come in. That's not my style of writing. It's not my goal. It's fine if it's yours, but like... Comfort is not an insult, and it makes me a little sad to think some people think it is.

[linkcharacter]

Really like the recent analysis. I know I speak of curly in a more defensive way than most but I generally try to get the point you made across at the end of the day with my analyses on him and his behaviors.

People love to lock analyses around Curly solely based on what he could’ve done as a physical action and have this avoidance to acknowledging the realistic barriers at play when it comes to those solutions. It’s. The game tries to treat the pre-crash section as if they are grounded in social and organizational realities. So the what if he did this questions about the situation always fall short when the real answer is he either couldn’t or it wasn’t an actual viable option. But then when they talk about what he actually did do it’s surrounded by such bad faith interpretations that his actions were completely intentional or still not affected by outside sources. He’s a very much “road to hell is paved with good intentions” character. He cared too much and that’s a big part of his problem.

There’s such a “perfect victim or nothing” mindset in the fandom where people can’t admit that there are no such things as perfect victims but that also shouldn’t mean that even if there were it would absolve them of the mistakes they made. People want to moralize every action of every character that they don’t realize that some actions are done without any specific morale factor. People just do things, like you said. People assumed failed intentions immediately flip the thought process behind them “he meant to do good but bad happened, he must be bad” and that just is not how people work. It’s how perceptions work but only of the observer.

It’s such a sensitive topic because, yes, you are supposed to be frustrated, even mad, at what Curly didn’t do, but you have to acknowledge the fact these were good intentioned acts even if that good intent did jack squat in the end. That his responses are human and it’s supposed to be uncomfortable and hurt that they were realistic faults of his.

He enabled his friend and it ended bad for everyone including him. No one really tries to argue this fact but everyone seems to think it has to be tied to the morale dilemma and not certain human natures and social factors.

This is all to ask, why do you personally lean towards thinking Curly wouldn’t turn Jimmy in? Are you speaking in the short term of realizing how bad he got or long-term/overall? I feel like he could but it would not be easy and no matter the necessity he’d always have this guilt at feeling bad for doing it.

Ah yes Curly the most imperfect human man character.

Yep yep yep absolutely, people love to assign morality onto characters and call them good or bad and diminishing the depth and nuance of Mouthwashing, filling discussions with bad-faith interpretations or speculating on inconcrete understandings of the incomplete, intentionally vague, context. I adore Mouthwashing to no end for having this oppressive suffocating and constant atmosphere surrounding everything in the game. Really shows off that the environment festers, no one well-meaning guy could create a happy ending with individual actions alone because it's all systematic.

To elaborate from your question tho, at the point Curly was in (if Anya wasn't pregnant scenario), definitely no don't think so (would depend on Anya a too on whether or not she would go to the authorities outside). Curly knew Jimmy was a danger, and I do believe that subconsciously Anya's report to him on Jimmy gnaws at him, but not vividly enough. I want to point out a moment where Anya tells him about the pregnancy, he begins asking "Who would you-", then he's nudged by Anya that she told him and he should know who it is, and he does, instantly saying he's known him a long time and will talk to him. That moment of, for a second not connecting that Jimmy is the assaulter responsible just makes me drag my palm across my face for how much of a man (derogatory) Curly acted like for one dialogue line. Like he just 'forgot' for a brief moment that Jimmy harassed Anya prior? Granted, he instantly believes and takes Anya seriously, immediately dropping the search for the gun he was on in that scene, realizing the severity of the situation and of Jimmy. We also don't know what Anya has told him specifically, how long ago it happened, etc. but the 'implications' of the scene make me believe Jimmy's known sexual harassment on the ship slipped Curly's mind due to him being more invested in "the bigger picture" of Jimmy, not latching onto a harmful and a very serious fucking trivia fact about Jimmy because of his perception of who his friend is as a whole (and with his foggy sleep-deprived mind at the moment), 'losing a needle in a haystack' with how much unknown history Curly and Jimmy shared, so to say.

Maaaybe in some other circumstances, like if Jimmy didn't crash the ship or smth long term I could see him doing it, it would take a lot effort like you said, no matter the necessity. We will never know. If we're going into speculation and imaginary scenarios though, if Anya HERSELF were to try and get justice, Curly would be backing her up undoubtedly (still not disconnecting himself from Jimmy though and feeling guilt on his behalf). But that's all suppositions from my reading of the characters.

[alchemistc]

There's been something about the woobification of Buck that's been sitting on the tip of my tongue for weeks now, and I think I've finally figured it out.

This is, of course, mostly in reference to the moral outrage about a decade-ish (give or take) age gap between two adult men and the infantalization of one said grown man, so all the puritanism isn't really coming from a place of good faith anyway, but here's the thing that's been bugging me that I couldn't quite put a finger on until now.

Buck has people he goes to for certain things. He has, what are in his mind, experts in the field for most of the things he can't think through on his own, that he goes to for a sounding board.

He went to Hen to talk through the sperm donor dilemma for a few reasons that made sense to him. 1) She's a mom. She has very much had to deal with the reality of 'giving up' children she considered her own. Buck is aware that he would be giving up something that could mean something to him, and he wants to talk to someone who has some insight into that. 2) She's dealt with IVF. She knows the risks, she knows the trials and tribulations, she knows about this thing that he is thinking about agreeing to be a part of so she's going to have a fuller grasp on the enormity of everything this process entails.

And they drink about it. Hen gives him what she can and cautions him where she thinks she should and they continue to talk about it and regardless of what SHE thinks, he makes his mind up in part because he got to talk to his Expert.

Bobby is often his go to when he feels like he's losing his grip on things. He's seen Bobby staring down the bottom of the bottle. He's seen the work he's done to pull himself back into the world, and he's seen the way he fights for his family, his people. Buck leans on him in times of questioning himself because he knows Bobby has pulled himself off the ledge with bleeding hands and a bleeding heart.

He reaches out to Maddie about interpersonal shit constantly. We see it all the way back in S2 when he's starting to question what the hell he's still doing in Abby's apartment, and that never really changes. She's the one with advice for him when he's angry with his parents, upset with the firefam, worried about his friends, or just generally concerned with the way he's perceived by people or how he perceives the world. He goes to her when he's embarrassed, ashamed, because he knows she won't judge him for it. She'll call him out, for sure, but she's not going to look at him differently when she knows he's done something he considers bad behavior.

When he goes to her during the Tommy arc, he's there for one reason he'll admit, and another she has to ferret out. 1) He lied to his best friend and he doesn't know why. 2) Oh yeah he went on a date with a dude that's not strange WHY IS THAT STRANGE I'VE ALWAYS BEEN AN ALLY PLEASE DON'T PULL BACK THE CURTAIN - and Maddie is there with two things: 1) It's not weird but it IS new and something you clearly haven't worked through all the way which is why 2) you'll tell Eddie when you're ready

And Eddie is sort of his go-to to bounce ideas off of. Eddie is his Buck expert. Eddie is the guy who can sort through all the bullshit and who sees Buck for exactly who he is, every time, regardless of what Buck himself is thinking. Eddie is his best friend, and he knows the good the bad and the ugly better than anyone else. He is also, quite frankly, the one Buck seeks out to help him contextualize all of his romantic feelings for people. Eddie's the guy he talks to when he's interested in someone, when he's falling for someone, he's the guy through which Buck filters his love interests into the firefam. I do the same shit with my best friend. It's instinct to want the person you consider the expert on you to meet the person you are interested in, it's instinct to want them to like each other, to get along. Buck knows Eddie loves him (in whatever way you see that love, Buck knows Eddie loves him) and he wants this person who loves him to be at least an active listener as he talks himself through the minefield of relationships. I do also think that up until the events of season seven, Buck considers Eddie sort of an expert on that traditional love-marriage-kids-white-picket-fence relationship Buck thinks he's striving for - in a very naive way, because obviously the wasn't what Eddie and Shannon had and Buck knows that, but he's probably fed some of Eddie's rose colored reminiscences back into that notion.

When he comes out to Eddie he's got two worries. 1) I lied to you and I figured out why but I'm still a little worried you think it's weird and 2) I screwed it up with someone I really like and I don't know where to go from here.

And Eddie (Buck expert) reassures him that just because it's new and unexpected doesn't make it strange, that it doesn't change anything in their friendship. And then he gets right to the heart of it - if you like him you should reach out and tell him that. He doesn't know you like we do but if you give him the chance to, he'll love you as much as we do. If he doesn't give it the same shot you want to he's the idiot.

With all that context in mind, Buck isn't seeking out Tommy's attention because he wants an authority figure, or someone to take care of him, someone to guide him through sex or love or relationship dynamics or any of the other random shit I've seen ppl infantalizing Buck about.

What he's looking for, and what he ultimately tells Tommy he'd like to pursue, is a partnership. Someone to walk (or more likely for Buck, speedrun) through experiences together. The Athena to his Bobby, the Chim to his Maddie, the Karen to his Hen.

So every time I see someone infantalizing Buck for seeking out a relationship with an older man for X or Y reason, I'm just like - no. He has Bobby, Hen, Maddie, Eddie, Chim etc for that. He doesn't want or need Tommy for that. He is a grown ass man who has built these strong relationships with his peers and his mentors and he is so fucking aware of that because he reaches for their help any time he feels the urge for a helping hand.

So yeah, Tommy's older. Yes, Tommy has more experience with his sexuality than Buck. And that - that's really it. Buck's been in the same career for more than half a decade. He's lived on his own since he was no older than 19/20. He's had serious relationships, he has a rich and fulfilling life. There is no power imbalance in the relationship between Buck and Tommy.

And while the age gap may be a bit of a draw for Buck, it's not WHY he's attracted to Tommy. We know because he's told Maddie. He's cool. He's interesting. He's confident. He has a cleft.

Buck isn't going into this waiting for someone older and more experienced to take the fucking reins. He felt like he clicked with Tommy, like there was an immediate connection, and yes, Tommy had to kiss him about it for Buck to actually figure out what it was he was experiencing, but from that point on it was all on Buck (and the people he leans on for advice) to help him sort through.

Tommy didn't do shit other than pump the brakes and try to give Buck the space he thought he needed to decide what he was ready for. Buck (again, with the help of his experts - Maddie for the emotional piece of it, Eddie for the Buck of it all) did the work on his own. Tommy didn't swoop in and overbearingly hold his hand through a sexual awakening. He kissed him, asked him out, realized he wasn't ready, stepped back and then checked in multiple times when Buck came back at it going 120 miles an hour.

And then he did everything he could to prove to Buck he wanted the same thing - a partner, someone to talk to, and lean on, and flirt with and rely on to show up whenever they could feasibly manage it (and sometimes when it's a little unfeasible too).

The narrative even acknowledges that Buck had no reason to go to Bobby in this scenario, when he often would, and lays out exactly why.

Within the canon of this particular arc, we're meant to see this as Buck realizing he has the experience necessary to think these things through on his own. This is Buck finally taking control of something that's always felt like it fell into his lap a bit. This is Buck doing more than treading water until his legs give out.

And minimizing that growth bc you personally don't like the LI he's pursuing is gross at best. At worst it's something much more insidious.

[visionsofmagic]

◜ mk1 men when you meet with their evil versions [+bonus]◞

▸ characters: raiden, johnny cage,  kuai liang, tomas & [+bonus} bi han: meeting with his good version ◂ ▸wc: 2.7k

▸ tags&notes: drabble, fluff, hurt/comfort, spicy, flirting, touching, gentle, rough, lots of usage of version & timeline words (like in the game, lol), dilemma, betrayal, angst (a little bit), humor, use of y/n, pet names, no specification of gender (as I remember), well, ‘s all I guess? (lol, this is the mixed tags I have ever wrote, but, it’s a drabble, so… enjoy!◂ ▸ m.

RAIDEN can be one of the most precious men you have met, and falling for him is the rightest thing that has happened to you – however, contrary to how a loving boyfriend he is in your timeline, he’s the opposite one when it comes to his another version you have come across.

everything about his evil, the version seems all the same and different at the same time as he makes his way towards you, having the red color on unlike what your raiden wear normally. the only thing that reminds of him is the hat that covers his face from you until he slowly raises his head, eyes glowing red while looking at you from above. the danger is radiating from his presence, giving you a cold chill down your spine, making you crawl back step by step because of being on your ass, sitting on the ground after the fight has begun between you and the other timeline.

“oh,” he says, a smirk appears on his pretty face – not the one your raiden has, the one that is the representation of the most beautiful flower in the entire world, no, this one gives the feeling of an ivy full of poison. “y/n?” gulping, you remember the words that left liu kang’s mouth about how raiden once lost himself and sought the power to protect the earthrealm at any cost. 

you stop when your back touches a wall, leaving no place to run either when raiden kneels before you, red lightning traveling on his body that looks so powerful that you find yourself getting weak – not only because of the aura he has unlike the one the raiden you know has, but also because how it seems that he pulls you closer to him. somehow, he makes you lose all logical sides of your brain with the way he looks down at you; prevailing.

“raiden?” you ask, sounding soft which earns a smirk from him as he holds you by the chin.

“oh my love, you’re so soft – so fragile. it seems your raiden doesn’t give you enough – he is still weak. with that power, he can’t protect you, but I can,” his fingers move from your chin to your cheek, and lightning under his skin tickles yours. “come with me. I will protect you and the earthrealm from any danger out there.”

“I can’t –“ you utter, sounding not so sure of the decision but your heart knows the best – and that is to stay beside your raiden, the one who has you completely, not the one seeking power even though he needs to end his friends’ life or even another timeline to accomplish it. “I will never leave my raiden’s side.”

“how loyal,” he says, both irritated by the fact that your bond with the raiden in your timeline can’t be broken and proud of how loyal you’re for your love. “I wish we met in my timeline.”

with his confession, he leaves you behind, going to fight with others – how ironic, he comes here to end any life form yet he shows mercy when it comes to you. whatever it is that makes him do that, doesn’t matter, you say to yourself as you get up and go to help your raiden, hoping he will never turn evil.

JOHNNY CAGE in your own timeline is flirtatious and teasing enough – or as you thought until you see his evil version from another timeline after the great fight has begun. you can’t distinguish him from your johnny – but the moment his eyes find you, admiring how you easily defeat one his companions on the way to the top, he whistles playfully.

when you turn to see him, ready to make a moral lesson about how he shouldn’t be humoristic in a fight for death and life, you see his eyes scanning your body from head to toe shamelessly. realization hits you like a ball in the face; he’s not your johnny. he doesn’t care about anything in the world, well, your johnny didn’t either before meeting with you. 

acknowledging that you see the danger when he winks at you, eyes finally directed to your face. “well, hello cutie. aren’t you such a beauty who will make aphrodite jealous?” he leaves a chuckle when you roll your eyes. without positioning a fight stance, you begin to walk towards him so that you can pass by his side – you can’t stand a version of johnny who is cockier and open-mouthed.

“woah woah,” he stops in front of you, hands on his chest, smirking, “already going, baby? c’mon, there is no man who deserves your attention as I do – not even your johnny if there is one.”

crossing your arms, a weary expression lightens your face up – still, you can feel the heat rushing to your body because of his flirty manner and words. johnny cage will be able to make you giggle with his demeanor with every version of him, won’t he?

“what do you want? a fight? then do it with someone else.” a dismissive hand movement makes him close the gap between you, eyes shining at your words.

“why pretty? can’t hit my handsome face? I bet you love seeing it.”

“u-huh,” you say, smiling as you put a hand on his shoulder, winking at him when he gets excited at the action. “you’re right I can’t hit my boyfriend’s pretty face,” you show his back, “but he can.”

when he turns around after you take a few steps back to leave enough room for your boyfriend to hit his own-self’s face with a strong punch, you chuckle. it’s a sight that will never leave your mind. 

“hey pretty,” your johnny says, gripping you by the waist and pulling you closer. chest to chest, he puts a kiss on your lips, acting like there’s no battle happening around you, taking the taste of you that he missed so much even though he had you before this hell. “you missed me so much that you began to chat with cheaper versions of me?”

“of course not. no one can be like you baby.”

“oh hell yeah!” he chuckles, taking you by the hand, “then, let’s kick some ass, well,” he takes a quick look around before turning to you, “our ass.”

KUAI LIANG of your timeline can’t be looking as dangerous as his evil version even when he has a venomous fire radiating directed to the enemies. your boyfriend tends to have a tender side in him, especially for you. he’s the fire itself – using it to burn the ones who deserve it, and for warming you at any cost, in any place because he loves you so much that he can’t let himself go all wide beside you.

however, his evil version is nothing similar to him – maybe in a few situations but not on the battlefield in which no single soul can escape from the wrath scorpion has.

watching him from afar, for a moment, you can’t help but feel both power flowing through his armored body within the flames rising on the outline of his build, and hatred. 

he mesmerizes you in aspects it shouldn’t have – how can you feel a connection between an evil version of kuai liang when you’re destined to protect your own realm, fighting right beside your boyfriend? guilt rushing to you as scorpion becomes aware of your existence, looking at you after he takes down an ally – your wide eyes that do not leave him is the impulse of it. 

“hmm,” he says, slowly approaching you – you try to move, you really do but you simply can’t, not when every step he takes towards you sends a jolt of excitement and fear to your core, alerting you to either run so fast or stay still and you choose the second option without realizing it until he stops in front of you. “liked what you see, princess?” 

he flirts, teases, and even sounds as if your kuai liang except he has a bloodcurdling tone in his voice. 

when you don’t respond, eyes scanning his suit – looks like he came from straight hell, or he’s the hell, he scoffs, gloved hand replaces under your chin, pulling you closer to him as you rise on your toes to reach his height, hands finding his chest not to fall. “isn’t my version in this timeline enough for you that you eyeing me too? maybe he’s not good at satisfying you.”

heat rising within you, you can’t stop looking at his eyes – burning with flames, magically, yet seeming real as the blood covering his suit. you want to feel disgusted, but you’re far away from having such emotion. 

when he lowers his head, closer to you, you hear kuai liang’s voice behind you – taking you from daydreaming to reality, making you realize you let his evil version do whatever he wants with you. “y/n!”

with such speed, you get away from him, ready to stay in fighting style when your kuai liang covers your body like a shield, standing between you and his evil version.

“you should go,” he says, taking a look at your face as he prepares himself to battle with an armored scorpion whose eyes never leave yours, still attempting to capture you. attempt fails when you shake your head negatively when kuai liang adds, “I will deal with him.”

“no,” you sound certain, standing beside your boyfriend, an assuring smile on your face, “we will fight together.”

evil version only chuckles at that, darkly, and with that, “if it’s what you wish, my love.”

“not yours. mine. and I will make sure to show you that.”

TOMAS’ determination is visible through his movements, unlike the one yours has, his eyes bright with such madness that your heart begins to pound in fear, not knowing whether he sees you as a treat or not – yet, he should, in the end, you’re not his partner in his timeline and he’s here to fight, not spare you just because his soft version gives his heart to you.

“tomas –“ the words leave your mouth, no particular control on it since it just splits out of you easily, to get a reaction from tomas – a good one.

“not your tomas,” he utters, playing with his karambit knife to show the readiness he has, waiting for the exact moment to attack you or defend himself if you take a sudden move, yet, you two agree upon a thing even without knowing it; neither he or you’re brave enough to hurt another, not when you have the love of his version in your timeline – his reason is unknown though. “I am better.”

“maybe you’re, maybe you’re not. it doesn’t matter,” you say, trying to find a feature that has hints of goodness in it by watching him raise one of his eyebrows, clearly curious about the rest of your speech. “for me, my tomas is the best, and he will remain as one.”

he chuckles, “is that so?” he’s more excited than you expect him to be. arms unite on his chest, making him look more dominant than you used to see. “I wonder what he does for you to say that – believe that.”

“he’s not hurting me,” he shuts you down – the thing your tomas will never do, he’s such a gentleman.

“I am not hurting you either,” seeing your relaxed body, he shakes his head, and with a smoke pump, he disappears in sight only to appear behind you, hands hugging you from behind, caging you inside his arms – tight enough to not let you go yet tenderness can be felt as well. he whispers into your ear from his mask, chin touching your shoulder as you take deep breaths because of the proximity you begin to share. other than your boyfriend tomas, you don’t get close with people and since he’s tomas but a more evil version from somewhere else, it feels odd – and excitement mixing within. “but I can’t promise for the future. if you just let me –“

when his fingers find your neck, you push him back, turning around, you take a defense stance, furrowing both at yourself and him – how could he? your tomas would never do things that make you comfortable even in the moments it feels breathtaking. “I should make you regret even suggesting such a thing!”

“no need love,” the time stops for a second, and the heart and soul find the ultimate medicine in the voice of your lover, tomas, whose fingertips touch your upper arms gently, traveling from there until they reach your wrists – his chest touches your back and the remaining marks of his evil version, the ones give you danger, fading away. “at the end of the day, he will not be able to utter any other inappropriate words with you,” staying beside you, he smiles at you – angelic. when he turns to his version, he looks deadly – you have never seen him like this, and from the way he stands, you believe he is determined to make him regret for your sake. “when I am done with him, he will never have the courage to show his face in here.”

“such bigger words from my weaker version,” the other tomas says.

shielding you, tomas bite him back, “I will show you how powerful I can be for my goddess.”

BI HAN’s betrayal still eats you alive, the marks of it have its ghost on your skin and soul; broken pieces, and a wound on the cheek that you got from one of his ice blades he threw to kuai liang whom you intended to protect at any cost, not wanting him to get into a fight with his older brother.

you believed it wasn’t bi han who was speaking – it was his madness that needed to be calmed down – you tried though, you really did but the moment you got hurt, you saw the guilt and concern in his brown eyes before they turned to pure fury as he sought of obedience from all of you.

the brief moment created a bloom in your chest for a spell but it vanished as it came, taking hope into the deepest part of your heart as you watched bi han and kuai liang fight, wishing there wouldn’t be a miscommunication among you all, however, you knew bi han’s obsession with power for lin kuei got more dominant than he felt for you.

it was sad – to see bi han, your bi han, go away from you slowly, not understanding why you don’t agree to be on his side, he feels his own betrayal coming from you – before the fight, he said how he was wounded at your choice – didn’t you love him? he asked and his broken voice now fills your mind as you look at your hands – then, a movement catch your eyes as you wait for the big fight.

“who did this to you?” someone asks – not someone, a voice says, and when his fingertips touch your chin, lifting your head up from where you sit, you see eyes that resemble your bi han. he’s from another timeline, probably in which he doesn’t seek power like the way your bi han does.

tears appear in your eyes, and to hide them, you fend off his gentle touch, not letting him touch the wound directly, “it doesn’t matter anymore.” 

he stays silent, realizing it is bi han, in your realm and he sighs, touching you once again even if you keep as distant as possible you can, not wanting to cry in the middle of a battle area where people go and come as they wait for the upcoming fight. “I am sorry,” he says, and for a moment, you hear the voice of your bi han before coming to your senses.

“it wasn’t you – so, you’re not responsible for saying sorry.”

“but you need it,” he convinces, holding you by the cheek, covering the wound with his palm as if he gives healing through the touch, “and I am here to give it to you.”

you smile, not caring that tears flow into your cheeks, and to his hand – he knows you, not better than your bi han does, but enough to make you sense the comfort you seek within him. “stop talking or I will begin to believe I can beat the bi han’s possession.”

he smiles under his mask, and it reaches his eyes – he looks innocence incarnate. “you will. believe me when I say it, pretty,” he caresses your skin, the free hand positions on your shoulder, giving it a squeeze, “he will learn that there is no greater need except – you, his beloved one.”

💙

[hannie-dul-set]

the ethics of belief — [p.sh].

SYNOPSIS. you’ve been noticing some signs that park sunghoon seems to have a problem with you, and you’re resolute to getting a straight confirmation or denial from him rather than taking the signs as they are and believing in the worst. it’s less troublesome that way. you’d much rather believe what he’d say than spend the remaining two and half-years mulling over something that doesn’t even matter. 

meanwhile, park sunghoon also harbors his own unvoiced beliefs about you and your person. the issue arises when that belief starts to fester under the seams of certainty and doubt— a firm credence denied from the opportunity of validation. 

and that’s when the belief of oneself usually starts to fall apart.

PAIRING. park sunghoon x female! reader. GENRE. college! au, classmates! au, strangers to one-sided enemies/academic rivals to friends to lovers to exes to [redacted], romance, angst, hurt/comfort, humor, drama, inspired by my nth reread of the manhwa “cheese in the trap.”  WARNINGS. swearing, an initial unhealthy dynamic that gets better with time, misogyny, daddy issues LMAO, dishonesty, ulterior motives HUAHA, self-sabotage, talks of insecurities, so much academic dumps and word vomits, the mc’s are political science students that enough deserves a warning, more tba. WORD COUNT. est. 15-20k. preview 2.5k.

TAGLIST. i will be completely transparent and say that i may or may not even get to finish this HAHAHAH nevertheless, if you’re interested, just shoot an ask/dm/reply!

NOTE. i am.....up to something yet again HHAHAHHAHA. was really inspired to write something like this after rereading cheese in the trap!!! it took me while to decide which kpop boy i should subject to my whims this time, and idk why i even bothered mulling it over when hoon was literally the perfect fit for this perfectionist, passionate, paranoid male lead 😔😔. quite different tone than the fics i usually write (quarter life crisis time). anyhow, i hope this piques your interest! enjoy!

preview under the cut.

“YOU’RE SITTING ON THE COUCH, WHEN YOU HEAR A KNOCK. The police have arrived to arrest your spouse— for murder. This accusation comes as a total shock, but their fingerprints were found on the murder weapon. Your spouse insists they’re innocent. Should you believe your spouse, even though the evidence against them looks damning? This, class, is a classic example of an ethical dilemma.”

There is a guy from your major that you’ve recently come to notice.

“Discussed by Alex Worsnip, this question covers the ethics of belief through various lenses, including evidentialism and pragmatism—”

Well. It’s not as if you’ve never noticed him before.

“It was W.K. Clifford who coined the term the ethics of belief in his 1876 book under the same name. He forwarded the evidentialist view of belief in determining the correct, or moral, way of viewing a situation or problem— that is, by believing things based on the evidence at hand. However, this is not the only perspective we can use to anchor our respective belief systems.”

It’s just that for the past two months you’ve known him, you’ve noticed that his behavior around you has been quite…odd, in comparison to the rest of your peers.

“Now, let us go back to the problem I’ve presented earlier. Hmm. Let’s see the attendance list—”

He was the first person you were introduced to during the pre-academic-year-get-together when you came back after spending the previous semester in a government sponsored exchange program to the U.S. In fact, it was very hard not to notice him, considering that the moment you arrived at the event— late, because you had to spend the entire day unpacking your studio the hours prior— he was a new face surrounded by a notable amount of people from your year.

And your first impression of him was simple.

“—is Park Sunghoon present?

(“This is Sunghoon! Park Sunghoon! C’mon, say hi!”

A tall, good-looking, well-off, popular guy who apparently also has a great personality. Sim Jaehyun’s introduction of Park Sunghoon seems to have maxed out on adjectives. He apparently also transferred to this program— Bachelor of Arts in Political Science— at the same time you left for your exchange program. He, after one once-over amidst the crowded scene, is someone you’ve concluded that you’re better off simply retaining as an acquaintance and a classmate because of the very adjectives Jaeyun described him with.

Popular, after only a semester of being here. Carries with him a crowd of people. That’s far too troublesome for you to voluntarily deal with.

So, for your own benefit, the smart decision is simply to never go further beyond being on polite terms with Park Sunghoon.

“Nice to meet you.”

“Ah. Yes, hi.”

“Now, don’t be awkward! Everyone already knows each other except for the both of you. You two should put in the effort to get closer.”

There’s a slight lag to Park Sunghoon’s smile. You smile back, scanning the rented venue for Kim Yeondu— closest friend since first semester and is trying to recruit you into the Strava cult— else you’d be a few minutes, few tequila shots too late from saving her from embarrassing herself on the first unofficial day of the semester. Nam Deokhwan seems to have already gotten the ball rolling and passing around drinks. Choi Nari is yelling at you three to come join for a group photo.

An exhale from you, you tighten your smile and flicker your gaze back to your new acquaintance, who looks like he’s also ready to get this awkward introduction over with. Jaeyun is the only soul in this three-person liminal space that’s even somewhat enthusiastic. 

At last, Park Sunghoon extends out a hand for a shake. “Let’s get along,” he says.

“Sure,” you politely reply.)

“Present, sir.”

Your eyes trail off from your notes, all the way to the other side of the lecture hall, several seats away from you to look at the only individual standing amidst the sea of seated students. “Your spouse has been accused of murder with damning evidence.” Prof Yoon flickers the slide back to the previous one, the question printed on the projector screen. “Should you believe them or not?”

There’s a polite smile on his face— an easygoing yet comfortable air. His posture is as straight as it can get. His profile is something artists would want to transfer onto canvas. “I would believe the evidence presented against my spouse’s testimony, Professor Yoon.”

You click the end of your pen, pointing the inked tip towards the paper with a hum.

“Care to expound?”

Sitting next to you in the hall is Yeondu, who has her eyes locked straight onto Park Sunghoon as he begins his answer. “The phrasing of ‘should you believe’ them rather than would implies a moral obligation of belief. In this scenario, what I’d want to believe does not matter. Even if my spouse had been, for example, loving and kind throughout the course of our relationship, the existence of police-discovered evidence that they had committed the crime of murder would overpower any emotionally-driven feelings of belief that I’d have.” You hear her sigh a little. Dreamily even, with her elbows propped up on the table and palms cupping her cheeks. “Evidence points us towards the direction of the truth, therefore there is no question but to believe in it.”

“Jesus, I have not registered a single word he said, but fuck, he sure sounds hot as hell when he talks smart.”

You laugh a little. You’re not one to deny that Park Sunghoon is indeed smart, handsome, and has the voice of an angel. But none of those are the sources of his difference in his behavior towards you. At least, you don’t think it is.

“Very good, Sunghoon. Your take is a clear evidentialist perspective towards the dilemma.”

A prompt from your professor, Park Sunghoon nods and returns to his seat, eliciting some murmurs from everyone else around. You set down your pen. You straighten your back.

“I’d like to hear if anyone has a different answer.”

You raise a hand.

“Yes?”

All eyes are on you—

“Thank you, sir. While the evidentialist point of view might seem the most rational, I’d like to argue otherwise.” 

—including Park Sunghoon’s

“I do not disagree with the moral burden of who I should believe. And in this case, I should believe my spouse. Not because of love or the fact that we are in a relationship. Regardless of the individual, the principle that everyone is presumed to be innocent until proven guilty beyond rest still stands.” You begin. You direct your attention towards Professor Yoon as you continue speaking. However, your peripheral notices something interesting. “Given that the situation is provided that the evidence is simply presented in testimony by a police officer outside the court, it is still yet to be verified and judged by the court of law. The same goes with my spouse. Therefore, until the law declares them guilty or otherwise for the crime of murder, I would choose to believe my spouse over anything.”

Park Sunghoon had been preparing to raise his hand. And he does. “May I ask her a question?” he asks. Professor Yoon nods at him to go ahead, and— when Park Sunghoon turns his head to direct his attention towards you— it fails to slip under your notice.

That annoyed look in his eyes. Bothered. Discomforted.

“Do you argue that we have the ability to choose what we believe?”

That’s the very reason why you can’t help but notice him more than you’d like.

“We have no control over the beliefs we carry. If we have that ability, then the concept of doubt would not exist, and this dilemma would not exist, either.”

Another round of murmurs arise. You nod and smile. “That’s a good point. However, I still stand with my argument.” What is up with that look of irritation? What is his problem? “We may not be able to control our beliefs at will, but our belief systems are shaped by our principles, morals, and experiences, are they not? My principles of justice alongside the experiences of a healthy and loving relationship would lead me towards believing him above anything else. This is not an argument based on emotion. Upon marriage, a moral obligation towards your spouse is conceived.”

You see him flinch. His brows furrow, a counter-argument already brewing in his mind.

“Should the time come that your spouse is indeed proven innocent, and your belief stood against them, then I’d say that you have failed your moral obligation.”

Unfortunately, the opportunity to fire it is stripped away the moment he opens his mouth. “That is a very good argument. I believe Mr Park Sunghoon has more to say, but unfortunately, we don’t have enough time to discuss things further. You two may take your seats.”

It seems like both you and Park Sunghoon get the similar idea to give each other one last glance before sitting back down. You, offering a smile and a nod of acknowledgement after sharing a fruitful discussion. Him, masking that previous expression of annoyance by mirroring yours, followed by an immediate turn around— head snapping back in front as if he couldn’t bear to look at you any longer.

Seriously. What’s up with him?

Yeondu scratches something onto your abandoned sheet of paper the moment you release a breath and sink back into your seat. Whoa, that was an intense exchange, she wrote. Pay attention, you scribble back with a soft hum. Though, you’re not exactly one to talk because although you’re looking at Professor Yoon and trying your best to listen to her talk, the recently concluded exchange with the man in front has gotten your mind wandering.

“As much as I’d like to hear discussions of other common ethical dilemmas such as the trolley problem, it seems like we only have around five minutes left for today’s class. However, this isn’t our only opportunity for discourse.”

All evidence points towards the idea that Park Sunghoon has a problem with you.

“Next week is the College Field Day, so we won’t be meeting. The week after that, we will be having a debate.”

But you’re not one to jump to conclusions. So until you get a confirmation from Park Sunghoon personally—

“Please see the screen for your groups. I will be posting the guidelines and propositions on our MIS immediately after this class, so please be guided. Once you’ve checked your groups, you may be dismissed. Thank you.”

—you’d much rather hold your suspicions at bay for the time being.

“Ah, fuck me, I’m with Deokhwan! What about you, where’s your— oh! There you are. You’re grouped with Jaeyun and—” It seems like there’s a magnet constantly pulling your vision towards one side of the lecture hall today. Park Sunghoon seems to have read the list at the same time as you did, registered the names listed, and looked over to you at the same time as you did. “Sunghoon! God damn, did Prof Yoon even randomize this? This is crazy. Thank god we’re not fighting against your group.”

At the same time as Professor Yoon takes her leave, the rest of your classmates also slowly trickle out of the lecture hall, while some have opted to remain inside. Park Sunghoon and the rest of the people surrounding him seem to have opted to leave. He already has his bag slung over his shoulder, chatting alongside Jaeyun and Nari and Jongseong and a few others.

You’re still unsure if you’re simply being sensitive, or if he does indeed have an issue with you. Quickly, you gather your things as well. Yeondu shoves her ethics book into her tote bag and locks arms with you. “Anyway, where should we eat? Jiyeon said there’s pork cutlet on the menu today.”

Uncertainties are troublesome. It gets your brain churning more often than you’d like, expending energy more inefficiently than you’d like.

“Do you mind waiting for a second?”

And you’re not very fond of troublesome things.

“I’ll go meet with my group mates first.”

So wouldn’t it make the most sense to just ask him directly?

Yeondu tells you to take it easy, but lets you off with a wave. You march up to the group moving towards the middle aisle dividing two sides of the lecture hall seating. They walk down the pitched flooring, on the way to the bottom of the hall. You cut off that opening. Park Sunghoon’s steps stutter mid-speech at your sudden appearance. Jaeyun releases a surprised whoa. “Park Sunghoon,” you greet. He blinks his widened eyes in response. “Jaeyun, too. Sorry for the interruption. Are you guys heading out for lunch? I was hoping to schedule a meeting time for us first so we could start researching for the debate.”

The initial surprise subsides in the air. Jaeyun breaks the awkward silence with a laugh. “Whoa. You’re way too diligent, dude! Prof Yoon hasn’t even posted the propositions yet.” He nudges his friend for some backup. However, Sunghoon— seeming to only have shaken off his stupor a few moments ago— agrees with you, instead.

“She’s right, Jake,” he says, nudging back his friend, and Park Sunghoon’s eyes trail away from his friend to you, a practiced, polite smile covering his face. “How about we meet later after class at the campus cafe? That way, we’d have more time to sit down for a discussion.”

“Hey, you guys can talk this out later! I’m starving!”

You notice Sunghoon’s smile stiffening for a second. Only for a brief second and you look over to the scene behind his shoulder— a group of evidently impatient and irritated friends, mostly emanating from Nari, who’s leering right at you. You ignore them. You respond to Sunghoon with an expression mirroring his own. “Sure, that’s fine with me,” you say. “My classes end at four.”

“We both finish by four-thirty!” Jayun shutters in, throwing an arm around Sunghoon’s neck, grinning widely with the conversation finally coming to an end. His gaze is already glued to the door. “Alright, we’ll see you later. C’mon, guys. Lunch, lunch, lunch!”

Jaeyun passes you by with a friendly pat on the shoulder. Jongseong nods at you and walks ahead. Among the rest of the group walking past you, you feel one of them bumping into your shoulder, by accident or otherwise, yet even that falls far under your notice in comparison to the first person that passed you by.

It was from the corner of your eye, but you’re sure that Park Sunghoon’s smile disappeared with the roll of his eyes the moment he took the step down and walked past your sight-line.

You caught that. Without a doubt.

“You done? C’mon, let’s go eat!”

Yeondu skips over to you after your mini-meeting, tugging you by the arm out the door, but your mind remains on the two levels of the lecture floor aisle. In spite of the evidence pointing towards Park Sunghoon’s masked distaste towards your person, your personality, your existence— whatever, it’s not the time to ask him about it yet.

Until then, you’ll have to table your judgements and how you intend on dealing with him.

the ethics of belief. © hannie-dul-set, 2025.

[literaryvein-reblogs]

Writing Notes: Anti-Villain

An anti-villain - (unlike their evil counterparts) are not complete monsters.

This makes them particularly hard to hate, despite all their terrible deeds.

In the character’s minds, they have justifiable, noble goals—how they go about achieving those goals is what eventually becomes a problem for the hero.

Their means don’t justify their desired ends.

Every villain has their own morality.

A key principle to remember is that making a decision between good and evil is never really a choice: All humans will choose good as they see it.

Your villain chooses their own good, which to readers, and the hero, appears evil in opposition.

This creates a moral dilemma at the heart of the novel’s conflict.

Types of Anti-Villains

Villainy comes in shades of gray.

One that starts out good. This anti-villain is a good person who has been pushed to the brink of their personal limits.

The one you feel for. A sympathetic anti-villain may do bad things, but they are ultimately a product of their circumstances or environment. They may have had a terrible upbringing, where people acted evil towards them as children making them evil as adults. They deserve to seek different circumstances, and were their means not so terrible, you might root for them.

The one who means well. When good intentions go crooked, and heroic qualities like tenacity and cleverness are aimed at the wrong target, you get your “well-meaning” anti-villain, who often takes things a step too far in pursuit of a noble goal. These anti-villains typically have a plan to save the world, with many, many casualties along the way in the name of the “greater good.” Think of Marvel’s “Mad Titan” Thanos and his plan to clear half the universe in order for the remaining half to thrive.

The one in the wrong place at the wrong time. This designated “villain” in name only typically falls into this category as a result of the existence of the hero. Their acts might be totally justified—vengeance for a loved one, or carrying out the corruption required of them by their job—but the protagonist doesn’t give them a free pass.

Examples of Anti-Villains

Sometimes, the only difference between the “bad guys” and the “good guys” is a point of view.

Carrie from Stephen King’s book Carrie is a sympathetic anti-villain. As a teenager in a small town, she is an outcast because of her beliefs and the way she dresses. Bullies at school make fun of her incessantly, building to the point where she turns her rage into telekinesis (mind power) to kill everyone in her school, then goes on a killing rampage through the town.

While The Joker in Batman is fairly straightforward in his villainy, it’s his tragic backstories—at different points, either driven insane by grief after the death of his wife, or disfigured after a fall into a vat of poisonous chemicals—that makes him compelling to watch. The audience suspects that if they were pushed to the edge of their sanity, they might act in the same way—and that’s all it takes to create an anti-villain worth of the caped crusader.

Anti-Villain vs. Anti-Hero

While an anti-villain might be a villain with some redeeming features, an anti-hero is a heroic character without the conventional charms.

They might do the right thing, but mostly out of self-interest.

They are often portrayed as a principled, but somewhat isolated figure, and their heroism is usually a product of their surroundings and circumstances.

In some narratives, the anti-hero may be subject to a shift of perspective—like the twist in Gillian Flynn’s Gone Girl that reveals the truth about Amy Dunne’s actions—that paints them as an antagonist.

Other examples of an anti-hero include:

Tom Ripley of The Talented Mr. Ripley (1955) by Patricia Highsmith

Huckleberry Finn in The Adventures of Huckleberry Finn (1885) by Mark Twain

Tony Soprano of The Sopranos (1999)

Walter White of Breaking Bad (2008)

Lisbeth Salander in The Girl With the Dragon Tattoo (2008) by Stieg Larsson

Source ⚜ More: References ⚜ Writing Resources PDFs

[hadesoftheladies]

im genuinely fatigued by male heroism in literature. no i do not want a "girl-coded" villain with floppy dark hair, i want an interesting FEMALE CHARACTER GOODDDAAMMNITTTT.

I want to see an eldest daughter fighting for her family's honor. I want to see a girl facing a moral dilemma prematurely, abandoned and decieved by everyone she trusted. I want to see her revolt at the betrayal of her superiors. I want a mother to see what a monster her child has become. becoming a fugitive from her own spawn. I want to see an old woman watch those she loves die because they did not heed her warnings. I want to see old prophetesses outsmart authorities and fight to stop the inevitable. i want a bunch of sisters braving the wild because they are the only hope of a small town. a pathetic heroine who only survives because of luck and charm. young girls with strong limbs because they're used to working in factories and farms, who can run far and leap over fallen trees. who can bat a ball and scale a wall. i want girl gangs, where teenage girls get up to no good until the consequences catch up to them, or not. i want socially awkward queens who lean on the advice of aunty-like advisors, be they witches or muggle. i want to see an older sister be betrayed by the brother she raised and it climaxes in a duel. i want to see the reverse, where the brother she raised becomes her second-in-command, strong and wise because of her and wouldn't betray her for the world. i want genius little girls that are kept in secret towers because of their prophetic dreams. who terrify kings because of their intellect. i want female spies and soldiers who are stupid and devoted. i want an arrogant heroine who gets caught up in a plot bigger than she can handle. a kind girl who inevitably breaks the world and destroys everything. i want her to be destined for doom and glory. I WANT HER TO SELF-DESTRUCT IN THE FACE OF HER OWN POWER. I WANT HER DREAMS AND HOPES FOR THE FUTURE TO INSPIRE A NATION TO CHANGE, ONLY FOR HER TO LEARN THE HARD TRUTH OF THE COST OF TRANSFORMATION. I WANT HER TO WRESTLE WITH THE ISOLATION THAT COMES FROM GREATNESS. TO DESIRE LOVE AND BE TOO SHREWD TO FALL FOR IT.

I AM SO FUCKING TIRED OF BOY ANGST YOU WILL NEVER BE AS DEEP, COMPLEX OR NUANCED AS A GIRL YOU DON'T UNDERSTAND THE HORRORS YOU'RE JUST A PARODY OF WOMEN'S LIVES GET OUT

[metamatar]

i have a question and sorry if it sounds incoherent. why is it so important to marxists to distinguish that marxism is not “moral” or “ideological”? i understand that marxism is grounded in historical materialism and that it aims to understand how existing structures and institutions function with the specific goal of abolishing them in favour of a marxist state, but when it comes to understanding how to move forward past capitalism, how can MLs claim that it’s entirely objective and scientific? isnt the fundamental purpose of marxism (abolishing the oppressor class and putting the proletariat in power) a subjective one, given that it to support that you need to believe that abolishing the oppressor class is desirable in the first place? how would ML “scientifically” help people decide where the line is drawn on subjects like the death penalty and incarceration if its committed by a communist party (given that the decision that the cost of killing/imprisoning people is worth the boon it would give in establishing a communist state is still based on subjective goals?)

i don't think modern marxists should claim they're not ideological. im sure some do, but imo the correct claim is marxism is not idealist. i think some of this confusion comes from a popperian view of science as "neutral" or "objective" outside of time. how the political economy affects the propagation of ideology and the process of science as practiced in reality is very standard marxist analysis now. some of the claim to objectivity is something that most people claim belongs to their favourite philosophical project see the rawlsian veil of ignorance in liberalism. marx is also writing in a world where theological and religious reasoning have a lot of primacy in philosophy and he is drawing a clean break from that by hewing to scientific characterisation of his methods.

idealism, in the kantian sense is a philosophy that argues that our ideals (about say, fairness, justice etc) inform how we organise society. marxism, as philosophical project develops in response to kant and hegel to argue that the political economic base, ie the productive relations of society actually inform superstructure of ideals. to quote marx in the preface to critique of political economy: "it is not the consciousness of men that determines their existence, but their social existence that determines their consciousness."

for clarity's sake the idea that changes in the mode of production (mostly due to technology) transform the relations of production which is the main driving force of history is historical materialism. the analysis of why existing structures and institutions must be abolished therefore has to be grounded in analysis where such structures are considered variously – unstable, internally contradictory etc. if you view historical materialism as true, your theory of change cannot be that you'll change the world because it is unfair (an idea.) you can view the world as unfair as a marxist and talk about it to propagate the necessity of your project but that doesn't actually give you a blueprint on how to change it.

capitalists are oppressors, but marxism doesn't view the problem in their oppressive or evil natures. capitalist economies demand even the most moral capitalist to exploit the proletariat. but! it is desirable to abolish there class relations not merely because they are unfair and exploitative but because these class relationships cause workers to develop class consciousness, recognise their power and abolish capitalism.

on your specific example, i don't think marxism can or should claim their are no moral dilemmas. historical materialism doesn't assert that there are no conflicting understandings of history. walter benjamin's theses on the philosophy of history is imo good reading here.

so i dont think your concern about why it's important for marxists to believe this makes sense, because this is what marxism is. if you don't find this convincing, you're not a marxist. you could be an anarchist, or a social democrat or a radical liberal.

[abbyfmc]

Yandere story idea #31:

As I said, I like the idea of ​​a yandere emperor, and I've done several ideas before, but here I come with another idea, and it's about an empress/consort who is quite calculating and malevolent, as well as power-hungry like the yandere emperor's love interest.

I have seen that in several Chinese palace dramas (especially those set in the Qing Dynasty) there is always a harem of women who serve the emperor in the palace, giving birth to babies from which the future emperor may emerge. This causes some competition between these women and children to achieve a good position in the court.

-Some do it because of pressure from their clans or family of origin. -Some did it because they wanted privileges for themselves or their children. -Some did it because they wanted protection or the respect that was not given to them at a very low rank. -A few did want the emperor's true love. -Some wanted to reach high positions by means of the pressure they exerted on their children, both princes and princesses (although they mostly affected the princes, since the princesses were mostly used as peace treaties or marriage alliances with tribes, kingdoms, towns, etc…). -And some only did it because they wanted power.

So, I like to think that the yandere emperor is once again interested in an empress/concubine who seems to be good but stops being so as she is attacked and mistreated by the others. The contempt, the constant attacks and the evils she suffers are turning her into a power-hungry woman. Darling (reader) uses the crazy love that the emperor feels for her to climb the ranks, get revenge and in the process make her son more likely to inherit the throne, while behind the scenes he kills concubines (and maybe her prince sons) left to right.

And when Darling is confronted about all her crimes, the Yandere Emperor's morality will be put in a dilemma and he will decide what punishment Darling(reader) will face. He won't kill her, but he will probably lock her away in a place where only he has access, although he will be surprised that she doesn't ask for mercy, but instead indifferently tells him: "Yes, I caused all those deaths, so what? Everyone here does the same! If your majesty wants to kill me, do it. I'm just a simple life."

Just like what happened with Wei Yanwan in the CDrama "Ruyi's royal love in the palace", It's just that my punishment for Darling would be that she ends up locked up with the Yandere Emperor forever. He does everything he can to keep her weak and dependent on him at all times, and then take out his frustrations on her both as revenge for all those deaths, and to teach her a lesson in case she wants to escape.

So, what do you think about it?

[ladybirdswritings]

Pretty Thing - Cooper Howard (Ghoul) x Reader

Summary: You're a shiny, pretty prize worth more caps than can be counted on ten hands altogether. There's something special about you, and the Ghoul is determined to figure out just what it is.

Notes: I caved, so here is part 2 <3! Lmk if u love this and I'll write more (feel free to leave me lots of comments and interactions, they motivate me!!)

pt. 1 | A03 | masterlist

pretty thing | 2…

“Please kindly rectify that you did not kidnap this innocent lady and you’re just— borrowing her.”

Their voices were a muffled, incoherent sound. Like ocean waves, rising and falling into pocketed parts of your brain.

“Well sweetie, I could go on n’ lie to you if it helps ya’ sleep better. Then again, I don’t much care how good you sleep.”

The sound of hissing air being breathed in with a moan, and exhaled with a grunt followed those words. The voice was familiar. Sudden, hazy flashes of the Ghoul circling you like a shark reentered your hectic mind. The other voice… it belonged to the doe-eyed brunette.

“Coop, kidnapping is wrong. Besides, what use do we have for another responsibility? What’s left of the NCR would have gladly taken her in as one of their own. Another vault, even, a good one! You’re robbing her of that choice!”

A gruff, deep hum left the Ghoul’s lips.

“Doll, I don’t give a rat’s ass bout’ the NCR. I ain’t no saint, vaultie. Rough economy these days n’ she looks like a useful lil’ thing, don’t she? Besides— she’s in a far better place than the one those underground skillet boys you like to fuck had her holed up in.“

Warmth was encasing your wounded skin, prickling at your senses. It was the most alive you’d felt… the closest you’d been to consciousness in months. Yet, you couldn’t quite pry your gaze apart.

“It’s just wrong…” the brunette whispered after a long moment’s pass.

No matter how wrong it was, well, the Ghoul didn’t much care. He knew well that Lucy would be on her way soon and he couldn’t do much to stop her. Now, he had been a lone wolf for centuries but— there was something about company that made him feel less ghoulish and more— human.

Silently, he liked that.

“You find that tin-lover of yours?” The Ghoul asked, hoping to steer Lucy’s mind away from her moral dilemmas. It worked, because her gaze lit up once more.

“Nope! But I did find some leads. Once we make our way to the city where we were headed, I’ll detour for approximately four days and then if all goes well, I’ll find you again! But with Maximus… doesn’t it sound amazing?”

The city?

“Hm. Guess so. Only thing is, tin-man could be dead by time we get to the city. Now— if I was you, I’d get gone and find him fore’ those roaches start to pick him apart.” There was a mischievous kind of joy at the idea of it, and it was laced proudly in his voice.

Silence again, warmth prickling stronger. Closer.

“But what about you, Coop?”

His laugh was a hoarse, aged and cold sound. As if to say everything his words could not. Lucy understood it immediately. She knew well that the Ghoul could hold his own. He’d done it for 200 and some years, after all. Perhaps she’d grown comfortable working as a team. Perhaps…

But Maximus…

“You’re right. Better to get a head start… what about the girl? She’s high profile. You know those keepers are gonna come right after you and they won’t stop. Us vault-dwellers can be incredibly persistent about the things we are passionate for.”

You couldn’t see it— not while you slumbered, but the Ghoul could only smirk at sweet Lucy’s words. Proud and mangled.

“Oh I know, sweetie. N’ don’t you worry bout’ pretty thing over there. She’s gon’ be well taken care of.”

A threat? A promise? An idea? Perhaps all three— perhaps all at once.

“…right. Look, I grabbed this on my way out. It’s a file— her file. Maybe you’ll figure out what you should do after you read it.”

As if the Ghoul hadn’t figured it out entirely already.

Pretty thing was worth something.

You were worth something. So? He’d do whatever he needed to so to get whatever the fuck made you so special out of you, and he’d drown in caps for it. Enough caps to buy him another century worth of yellow vials. Another century to find his family.

“Mm. Get goin’, MacLean.”

With a nod, she did— bidding farewell to dogmeat and sparing her partner another cautious glance before the sandy dunes engulfed her. Off to the city.

For the second time since you’d met him, you found yourself all alone with the mangled Ghoul. Only, you weren’t strong enough to truly see him just yet…

Pity. Cause he? Well…

He was looking right through you…

🏷️’s @isabellekenway