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crljhnn · 2 years ago

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The older Jefferson

Pairing: Rodrick Heffley x fem!Reader

Summary: After Rowley announces that his older (half-)sister, who lives quite far away and has never met the Heffleys, is going to visit him over the break Susan invites his family over for dinner. Her not being what Rodrick expects, he starts crushing, which results in him trying to impress her - failing horribly.

No physical description; No use of y/n

Word count: 1.9k

Warnings: None

A/N: Hi, just a quick warning that English isn’t my first language and that this is also the first time I’ve ever written a longer text in English that isn’t a school assignment. I also don’t fully understand Tumblr yet, which makes me honestly a bit anxious to post.

[This and a gender-neutral version are also posted on AO3]

“Why haven't you ever mentioned that you have an older Sister?” Rowley and Greg were sitting on the Heffleys living room floor - Rodrick occupying the whole space on the couch - playing a video game. Well, Greg was. It was a single-player. He promised they would take turns, but by now Rowley had been over for about two and a half hours and hadn’t even had the chance to touch the controller yet. He gave up on asking and settled on just watching about 45 minutes in.

“I talked about her before. Multiple times actually.” That is true. Rowley looks up to his sister a lot “Also, she is technically my Half-Sister. She’s been living with her Dad for longer than I remember. Normally we are the ones flying over to visit during summer break, but she hasn’t visited since she was a little Kid, and after her school schedule finally allowed it, we thought it would be a good idea if she, for a change, came here instead.”

“It sounds like you two get along great!” Mrs. Heffley walked in, holding a laundry basket under one arm while carrying Manny with the other.

“We do! I can’t wait to show her my room and have her around for the entire break! I have so much planned out already, it's gonna be so much fun! Best summer ever!”

“That sounds lovely Rowley, I wish Greg was so excited to hang out with Rodrick, but they just won't get along.” Susan sighed, throwing a pitiful glance at her two oldest, who simultaneously let out a laugh hearing this.”

“Yeah, never gonna happen.” Greg says, “I would rather spend the whole summer in school than voluntarily hang out with this idiot.”

“My Sister is actually around the same age as Rodrick.” Rowley buts in. Greg doesn’t understand how this is relevant, but it probably adds to his mother's yearning for her two oldest sons to get along. Rodrick lets out a laugh hearing that.

“I can’t wait to meet them. Just imagine an older, female version of Rowley. That’s actually fucking hilarious!”.

“Watch your language! Also, I'm sure she is wonderful.” Gregs Mom loosens her lecturing stance, turns around, and smiles at Rowley “I would love to have you and your family over for dinner sometime. It has been a while since I’ve seen your parents and I would love to meet your sister.”

“That sounds great Mrs. Heffley. I will ask my parents as soon as I get home!”

That brings us to about a week later, when the Jefferson family, including their oldest daughter, is standing in front of the Heffleys House, ringing their doorbell.

Rowley has been telling you all about his best friend Greg for years, which made you somewhat excited about finally meeting him. However, you can’t say that the picture your brother painted is entirely positive, finding him rather irritating in many of the stories you were told over time. You aren't too mad though, assuming it is normal for young, teenage boys to act like jerks every once in a while. Not everyone can be such a sweetheart as Rowley. Overall you're glad your brother managed to maintain such a long-lasting friendship.

And then there was Rodrick. You've heard rather interesting stories about him as well. In the beginning, you found those quite amusing, that was until you realized that Rowley was genuinely terrified of him. Not the best first impression someone could make on you. Influenced by seeing your younger sibling grow up to be such a sweet and genuine person you tend to be a bit protective from time to time.

You hear some hushed voices from inside, and you can identify one of them as female, reminding someone to behave. Then the door opens and a woman, who you assume to be Mrs. Heffley, kindly smiles at you. Your suspicion is confirmed a second later when she introduces herself and shoos you into the house, before continuing to greet the rest of your family.

Crossing the threshold you can now see a man standing slightly behind Greg's mother. He introduces himself as Frank, making quite a kind impression on you. Then he leads you into the living room to meet his sons.

The two older ones hardly even notice you at first, too occupied with arguing and rowing with each other.

“Boys!”, their father speaks up, successfully catching their attention. Rather comically their gazes fall from their father to you, their eyes widening and their mouths dropping open. You were not what they expected. While Greg looks just shocked, you would describe Rodricks state as mesmerized.

He recovers fast, pushes Greg off of him, stands up, and puts on what he hopes is a charming smile. Extending his hand he starts to introduce himself.

“Hi, I’m-”

At least he tries to.

“Rodrick. I know. My brother has told me one or two rather interesting stories about you”, your smile is sharp. He gulps, his confident smile turning sheepish, cursing Rowley in his head. You are not what he expected and you are definitely not anywhere close to being a female carbon copy of your, in his eyes, embarrassing younger brother.

He normally wouldn’t consider himself the kind of person who has a type, but from now on, if someone asked, he would probably revert to describing you. You were just ethereal, everything about you was attractive to him. The way you walked, talked, and carried yourself, but also your clothing and hairstyle. Your pretty face just rounds up your whole appearance, making you all the more alluring.

He had to get on your good side. While a family dinner, especially with Greg present, may not be the best opportunity, he could ask Rowley to put in a few good words for him. That kid was easily influenced (or intimidated). Still, making the best possible impression over dinner wouldn’t cause any harm either.

You turn to the other boy who has been silently watching the exchange. Now that your attention is on him he starts feeling nervous as well. Your expression, however, turns a bit more friendly.

“And you must be Greg.” he nods. You introduce yourself and lastly say hello to Manny who is sitting on the floor playing with some figurines. By now the others have entered the room, causing Susan to start leading you all to the dining table.

You’re seated between Rowley and Greg, across from Rodrick, which results in quite frequent eye contact. On one side you really want to intimidate him a bit. This could maybe make your brother's life a bit easier, at least for the time being. On the other side, you do want to make some conversation, maybe throw in a bit of (family dinner appropriate) flirting or at least find out if he’s single.

It’s really hard to hold a grudge against someone who is entirely your type.

While you’re conflicted, Rodrick, on the other hand, is sweating. Nervously fidgeting in his seat. You didn’t seem as irritated with him anymore, if the eye contact was anything to go by. Was this his chance to redeem his shitty first impression? He cursed his brain for failing to come up with something cool to say.

Since when is it so hard to talk to girls? Is it getting hotter in here? What impresses girls? What does he normally brag about? His band! That’s it. Now he just has to bring it up somehow. Maybe he can bribe Greg to ask him about it. No, that’s too risky, he can’t count on Greg to not fuck this up. He is just going to casually bring it up ‘I’m in a band by the way, pretty sick huh?’ ‘Do you like music? Cause I’m in a band’ No that’s stupid everyone likes music… ‘Which kind of music do you listen to?’ That’s good, he should bring up the topic of music first, that’s a normal conversation topic. After that step two is to bring up the band. That’s easy, he got this.

Now he just needs to wait till your attention is on him again and then he can smoothly lead the conversation in the desired direction. He has to calm down, he can do it.

Breathe in.

Breathe out.

Your eyes meet again.

“I’m in a band!” He speaks way louder than intended, his voice is squeaky, and in the middle of the sentence he has the most embarrassing voice crack imaginable.

Silence.

The sole attention is now on him. All he hears is Greg's snickering which causes him to kick him under the table.

“Ow!” That was not Greg's leg. He looks up to see you looking at him with a questioning expression.

That’s it. He fucked up. His chances were already low, but he still managed to shrink them even more, making them most likely completely vanish. Great. His ears were ringing, all he can hear is Greg's quiet laughter in the background.

“I'm sorry I didn’t mean to kick you, I-” he starts his apology but loses track of what he is trying to say when he sees your expression change. You're clearly trying to suppress a smile, but it's not working at all.

“You’re adorable.” Rowley chokes on his food, and Greg's laughter abruptly stops

“Rodrick? Adorable?” That’s it. Greg gives up on ever trying to understand girls. How can his stupid older brother embarrass himself like that, then kick the poor girl under the table and still be perceived as adorable by her, especially since she is so much out of his league?

Rodrick however, was still not functioning properly.

“So that band, is its name by any chance Löded Diaper?”

“Yeah.” He is proud of himself for speaking at an appropriate volume without stuttering. “How do yo-”

“I saw your creepy white Van in front of the house. What’s up with that, kidnapping little kids as a side hustle?” You are still smiling, and with your stupid joke you somehow manage to relax the atmosphere a bit, the adults going back to their conversation.

Rodrick too is now smiling, looking at you with an expression you could only describe as lovestruck, even though you just insulted him.

He is contemplating making a joke about how the space in the back could be quite useful for more than just trapping kids but decides against it, fearing to make it awkward again. Getting nervous about taking too much time to come up with an answer he instead lands on “No only kidnapping pretty girls like you.”. As soon as the words leave his mouth he regrets it, realizing it's in fact not a funny and flirty thing to say, but honestly rather creepy.

At the end of the evening, Rodrick has messed up flirting with you multiple times, however, it’s his luck that you find his desperate attempts to look cool to impress you weirdly endearing. Not that he realizes that. Calling Rodrick confused, questioning why you were still talking to him, would be an understatement.

He certainly doesn’t know how he can have messed up so many times and still end up finding a little note with your number on it in his pullover hood after you left.

#rodrick heffley x reader #rodrick x reader #rodrick heffley #fem!reader #diary of a wimpy kid #fluff #first meeting #oneshot #x reader #reader insert #fanfic

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theminecraftbee · 11 months ago

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Afterwards, they do a race. They don’t talk about it, but it’s there, between them still. Something settled between them. Cleo doesn’t know how to say it; they never know how to say things like this. Still, they need to, so they wait until Ren’s race is over and then hike through the jungle to go sit on top of Etho’s base and wait for him to show up as well.

He doesn’t. He’d gone to their base. Instead of just showing up for each other, they have to somewhat awkwardly coordinate over text which base to meet at. It forces everything to feel more real.

When they finally meet up, it’s in the shopping district, leaning against the button. A dangerous game in theory, but Cleo’s not fully convinced it can explode at this point, so.

Cleo breathes. They’re both quiet for a moment.

"Okay, so like, are we doing this?" Cleo says.

"I don’t really know, uh, what this is," Etho says, "but I… care about you. I think. So I think we’re doing that."

Cleo nods once. "You know I don’t fall in love, right? I’m not going to fall in love with you, I don’t do that. Might say something about loving you, but it’s not the same thing. Different sense of the word. It’s different, loving people and falling in love, got it? And I won’t do that second thing. I’m never going to do that second thing. I don’t--"

"Okay. I know," Etho says.

"Do you?" Cleo asks.

"I mean, not entirely, but I’m frankly surprised we’re having this conversation in the first place. I never expected you to be in love with me."

"But I’m not," Cleo says. "I’m attracted to you, and I love you as like, a companion and friend or whatever, but I’m not in love with you. I’m. Ugh. I wish I knew the right words. I just--I also don’t let go of things so if we’re doing this you’re going to have to get used to that real fast. Me not being in love with you but me not letting you go, both of those things."

"You're attracted to me? Aw, Cleo," Etho says.

"Don't be an ass," Cleo says.

"Sorry, sorry. It's just, geez, this is--a heavy conversation, huh?"

Cleo sighs. "We'll work on the deflection."

Etho rubs the back of his head and looks away. "Uh, in that case. If I'm maybe a little in love with you--"

"I can't--I can't reciprocate that, Etho," Cleo says, and their voice cracks as they do.

"I know," Etho says. "I just want to make sure it's okay, then."

"You can't help that, can you? Just like I can't help that I still sort of want to kill anyone who hurts you."

Etho seems to think about it for a while. Cleo resists the urge to fidget. She's a zombie. She shouldn't have the urge to fidget; she should be too dead for that. Besides, it's hardly like it's a secret she doesn't fall in love, exactly. It's just... it's only relevant sometimes. Feeling like, as she watches Etho and Bdubs dance around each other, she's on the outside looking in. She'd kill to hold their hands, to protect them, hell, even to kiss them--but that's different. She just can't summon the same emotion of... she doesn't know.

Martyn had almost gotten it, for all he didn't get anything else, in the end. Scott was never going to fall in love with her in the first place, for obvious reasons. Whatever attraction she and Pearl have going on, it's definitely not love.

But this...

"Okay," Etho says.

"That's it?" Cleo says.

"I mean, does it need to be anything else?" Etho says. "It's not like we can just... not do this. I think it's too late for that. Whatever 'this' is. I'm in love, and you aren't, but we'd both be pretty upset to lose this, right? So I'll... figure it out."

Cleo swallows. They feel small. "Will you? Do you understand?"

Etho shrugs. "I understand that it's you, and it's you that this happened with, not anyone else."

"Okay," Cleo says. "Okay."

"Is it okay if I kiss you? Just to try it, I mean. Not like, as a--this is a bad time, actually, I don't want to try to make any kissing we do romantic, I mean, you just told me this won't be romantic, I--"

"Yeah, sure, you can kiss me," Cleo says, and he leans in to kiss them. It's nice. A little soft for what they'd want, really, but nice. He leans back. He looks them in the eyes.

"I get it a little more now."

Cleo is baffled. "How? Kissing is just like, a thing we did? How does that have anything to do with any of the rest of this."

Etho laughs. "I definitely get it a little more now. What do you want to tell the others? I know they're definitely gossiping."

"Ugh. Can we just, like, not?" Cleo says. "I don't want to have to explain it."

"I'll just be confusing then, got it," Etho says, and Cleo can't help but laugh themselves.

"This is why you're my favorite," Cleo says, and they think maybe this will work out okay, after all.

#secret life smp #trafficshipping #hermitshipping #a bee fic #cletho #zombiecleo #ethoslab #yeah this one is ALSO pretty overtly shipping even though it’s also overtly aromantic #idk man. definitions are blurry. lines are blurry. I’d call this shipping even if it’s not about being in love.#anyway. bi aro cleo is a headcanon I’m increasingly attached to so I thought I’d write this for yall.#don’t know how to explain it more than. I think it suits them.#I know this is out of my wheelhouse but I felt like I wanted it out there yeah?#anyway I’LL GO BACK TO THE FANON SWAP PROMPTS SOON JUST NEEDED THIS WRITTEN FIRST

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raven-at-the-writing-desk · 7 months ago

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Quick world lore question; does the game ever specify what kind of potions/poisons exist in twst? Like, since it's technically a fantasy world, would things like health/stamina potions like you'd see in rpg's exist? Or would it be closer to reality, like home remedies and basic pharmaceutical stuff?

I'm only an EN player and I havent read all the pomfiore student's vignette's so if they answer this there then im sorry for the bother ; ;

Potions aren't talked about in the only Pomefiore students' vignettes! (In fact, if we're talking just strictly Labwear vignettes... Vil and Rook's don't really focus on potions at all; only Epel's sort of does.) There isn't actually a ton of lore about potions, and in the times when they do become relevant, the writing tends to focus more on the ingredients and/or the preparation process rather than what kind of potion would be produced. For example, the entire Labwear series of vignettes frequently brings up rare or dangerous plants that require the application of magic in order to safely harvest, such as the mandrake and the lantern blossom.

I wasn't able to check all vignettes (since that would be like... what, probably a few hundred at this point? If not that, then at least over 100.), but there's definitely mentions of potions with various effects. From all lab vignettes alone and combing through the main story, here's what I could glean:

transformation/transmutation potions (prologue, book 2, Beans Day, book 6, etc; this is probably the most often mentioned type of potion)

voice-changing potions (Leona Labwear vignette)

color-changing potions (Epel Labwear voice line)

plant growth potions (Epel Labwear voice line)

sleeping potions (Silver Labwear vignette)

awakening potions (Silver Labwear vignette)

magic enhancing potions (book 2)

breathing underwater potions (book 3)

a potion that changes one part of your body to that of an animal's (book 3)

itch-relief potion (Lost in the Book with Stitch)

potion that heals burns instantly (Jamil Labwear vignette)

On the subject of poisons, no specific kinds are mentioned as far as I'm aware. There's a Poison Refining class (Cater Labwear vignettes), but we don't really get specifics. When poisons are talked about, it's usually in reference to the Fairest Queen or the Pomefiore dorm leader being skilled in making potent poisons, or it's Kalim talking about the many attempts on his life and unnamed poison antidotes. There may be more mentioned in other places, but at this time I don't have the capacity to check every single event and vignette. If you know of any more that aren’t listed here, please let me know and I can update the list!!

It should also be noted that "potions" can also be used for other purposes. This includes creating special effects for movies (mentioned in Vil's Labwear vignettes) and enhancing the effects of skincare (book 6, Azul Ceremonial Robes, etc.).

You'll notice that the effects of these potions can also be achieved via regular spellcasting. (In fact, we see Adeuce practicing color changing magic in Floyd's Labwear vignettes + Vil using color changing magic to help himself hide from paparazzi, etc., Jack's/Malleus's/Azul's UMs also allow them to do things without the help of potions.) Because of this, I believe that potions are meant to be an alternative way of spellcasting without actually needing to use magic. This makes already prepared potions usable by mages who don't want to expend energy/build blot as well as by NON-MAGES.

Within the world of TWST, there is an occupation known as the “medical mage”, who appear to combine magic and medicine into their practice. Furthermore, what is called “Potionology” in EN is written as 魔法薬学 (literally, "magic pharmaceuticals") in JP, implying that there is, in fact, an intersection between magic and medicine. This is similar to how "technomancy" is described to be the cross between magic and technology.

In terms of a "healing potion", there are instances which show that a magic potion may heal or at least speed up the body's natural healing process. For example, in 7-68 of the main story, Baur gives Lilia something to drink to help him with the dire blow he just took. It doesn't appear to restore him to full health though, as Lilia states he still needs rest afterward. In EN, they use the term "potion" but in JP they use "薬" (kusuri), which is "medicine". Baur qualifies the character with "魔法" (maho), which is "magic", so the term he's using is "magic medicine". This is probably the closest thing to a "healing" potion that we know of in the TWST lore.

So technically, yes, TWST has "healing potions". I wouldn’t say there is one blanket cure-all potion though; based on what we know of potionology and how it’s very similar to irl chemistry classes, we can assume that there are generalized “healing potions” but that there must also be far more specialized and targeted ones, similar to medicine irl or non-enchanted or non-magic infused medicine. This is supported by Riddle mentioning a potion that instantaneously heals burns, implying that there is no “cure-all”.

I would imagine that, like transformation potions, “healing potions” would have to be highly regulated since they’re basically a drug 💀 (There would probably be OTC types too, given proper governmental approval!)

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pastorfutureletthembe · 18 days ago

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Checkmate ♚

Apparently a temporary AR (Otome) game is coming soon and the artwork for it is just breathtaking! It is also full of details I want to explore OF COURSE. My brain is doing tetris things again, oops.

Looking for a senseless meta about chess pieces? You're in the right place, come on in~

>> Chess Theme

White vs Black

The first topic is obviously the chess theme. Of course, this part is to be taken with a grain of salt since the pieces aren't correctly disposed on the board. However, the characters themselves are walking on their respective squares except for Vein (because he's all powerful and he's above your stupid rules. Probably). Notably, Liu Xiao himself seems to be leaving a white square. And if there is any meaning to it, I'd like to believe it makes a gray character out of him.

Now, what can we say about the chess pieces themselves?

White: rook, pawn, knight

Black: rook, mystery piece, king

Each character is paired with a chess piece.

The most reassuring clue to me is that a white piece has been given to Xia Fei. Which, there is a fat chance this makes an ally out of him. He might be only a Pawn ♙ for now. For those who are not familiar with chess, a Pawn can only move ahead, never back, one square at a time. It has some cool moves too but it depends on the game you want to play. If the path is open, a Pawn can reach the other side of the board, turning it into a Queen ♕. If a Pawn can only move ahead in small range, a Queen literally rules over the whole board. She's quick, vicious and dangerous once she has enough space to move as she pleases. Of course, he can also be a mere Pawn, a tool to manipulate Lu Guang and Cheng Xiaoshi.

[Edit: since I always turn mine into Queens because I like to inspire fear and admiration from my brother, a Pawn can also turn into a Rook, a Bishop, or a Knight. I like to think of Xia Fei as a Queen but it's very interesting that he could turn into either Vein/CXS, Liu Xiao or Lu Guang by the end of Yingdu Chapter. ]

Cheng Xiaoshi and Vein both getting paired with a ♖ Rook ♜ could mean they use the same kind of power or are equivalent in some ways. Rooks have a large range, can move horizontally and vertically, ahead or back. They are better used when paired with other pieces, though, cause a lonely Rook ♖ is an easy pray. I think the main focus here is the similarity more than the piece itself. Lu Guang seems to be the one being punished and haunted, but Vein probably offered his power to Cheng Xiaoshi (or Lu Guang, according to the last Yingdu Chapter PV). My personal theory is that Vein mirrors or shadows Cheng Xiaoshi's shape because he is the source of his power. Vein's position, if there is any relevance to it, keeps Lu Guang's Knight ♘ from moving at the center, his natural and most efficient position.

Toppled King

Liu Xiao has two pieces by his side, a King ♔ and a mystery piece. The merch revealed the later to be a Bishop ♝.

Note that only amateurs tend to topple the King. It is regarded as some kind of pop culture-only approach to chess. Because of this, let's take a look a what an actual checkmate is (where we don't get to step on the vainquished).

Checkmate is any game position in chess in which a player's king is threatened with capture and there is no possible escape. In chess, the king is never actually captured. Checkmating the opponent wins the game. The player loses as soon as their king is checkmated. In formal games, it is usually considered good etiquette to resign an inevitably lost game before being checkmated. (cf. wikipedia)

If Vein, the current character we might recognize as the ultimate villain of the season, is only a Rook ♜, equivalent to Cheng Xiaoshi, who does the King ♔ represent? My personal opinion is Time, Fate itself. The song "Mastermind" supports this theory, and Lu Guang himself really is defying the natural order to save Cheng Xiaoshi, after all. It would make perfect sense. Stopping the clocks at a tournament is the sign of surrender. So basically, the game is over when one gives up and stops when the King has nowhere to go.

The character of Liu Xiao is given a lot of care in this specific artwork. He actually always stood out, since his very first appearance in the season 2 artworks, walking past Lu Guang and Cheng Xiaoshi's portray, looking away from us. Here, again, he's not interested in the audience, focuses on the photograph of what fans reckon as Lu Guang from "Dive Back in Time".

The truth is, he's playing the long game, he has no time to spare, and he regards people as puppets. There has been theories about him having a hidden agenda, independently of Vein, using/working with Li Tianchen and Li Tianxi for his plan. His intervention in "Trial Train" speaks volume of his strategic mind, "they wanted to escape but didn't realize I blocked the exit a long time ago". Also, one hundred years wouldn't be enough to escape.

This merciless sharpness makes the Bishop perfect for Liu Xiao. Funny story, the Bishop ♝ is not actually a priest, but it represents a war elephant. Historically, the war elephant's main use was to charge the enemy, break their ranks, and instill terror and fear. That's fitting.

Another possibility regarding the toppled King could be that it refers to Liu Xiao's background. The fallen piece could be a resolved situation but the motivation behind Liu Xiao's intent to manipulate the timelines. Perhaps he played this game before and lost. Does Lu Guang know him or is Liu Xiao a mere stalker? Did they play this same game together or against each other?

There's a lot that can be speculated but it is hard to say what these pieces represent for now. As I said before, this read is based on popular imagery of what chess is, not on the actual strategy on the board itself. Secondly, these three new characters we have yet to meet, they don't have a defined role in the canon, not until Yingdu Chapter finally aires.

>> Tokens

Each character is giving a object. I guess it might be relevant to the type of gameplay the AR game will offer but for the sake of this meta, we're still gonna try to understand why those in particular.

Cheng Xiaoshi has a camera. I don't think it deserve further analysis, his powers exist through the lens after all.

Xia Fei has a clock. Guess the time? 10:10. For those unaware, it is a very recurrent time. Put the promotional poster aside, I recommend you pay attention to the time on the clock in the Studio, above Lu Guang's head, right before the gang gets a ominous call from Xu Shanshan's phone at the end of 1x09. If it should mean anything about Xia Fei himself: I won't say it enough but, really: DO NOT TRUST HIM. Or, you know, perhaps he's doomed: it is worth mentioning that except for Xia Fei's Pawn ♙, each character is affiliated to a piece which can move forward and backward on the board.

Liu Xiao has a gear. I find this one intriguing because, so far, this object has belonged to Cheng Xiaoshi's imagery (cf. "BREAK!"). For someone on an ambitious project such as controlling timelines, he is giving a small tool that cannot be used on its own, is part of a machine. Could be relevant to the way he does things, never getting his own hands dirty, working through others. Or it could be that he's himself just another player, played by Fate. Or perhaps, he has the missing piece that Lu Guang needs to save Cheng Xiaoshi, who knows?

Vein is already using his own item: the pipe. He's the only one owning his object and aware of it.

>> The Case Study of Lu Guang

Because of course, our favorite character is actually the shadiest of all, I will dedicate a whole section about him specifically. Why do I insist on calling Lu Guang shady? We know and we see his chess piece is white. But you have to take a closer look to make out the White Knight ♘. The value of a Knight ♘ is equivalent to the Bishop's ♝. But ultimately, its worth less than Cheng Xiaoshi's Rook ♖.

L shaped path

Moving only in an 'L' shaped path, Knights ♘ are the most effective from the center of the board. This is because they get a broader reach in all directions from the central part.

Now, this is very important. Why should it be a mystery that Lu Guang's piece is a knight? What is a Knight ♘? The answer resides in the mechanism of his maneuver.

Part of the idea of the knight maneuver is to flank. And since the Knight is not a horse but a man on a horse, the odd maneuver reflects the knight's ability to guide the horse he's riding (to an extent). In other words, since the Knight comprises two entities (the man riding the horse), the move should sensibly consist of two parts as well, to reflect the added agility of the athletic horse. Conversely, the Knight has access to a maximum of 8 squares (as opposed to the "equal" Bishop's maximum of 13) because the horse is still an animal with a mind of its own.

Note that if you place a Knight ♘ somewhere on the margins, its efficacy will diminish exponentially. Additionally, if he only moved two squares, straight or diagonally, the Knight ♘ would always be restricted to the color squares that he started the game on.

Lu Guang being the Knight ♘ doesn't only means that he moves unconventionally. It is reflective of his duality. Perhaps, the fact he's using his power and Cheng Xiaoshi's. There is another aspect of him we could address here:

Burning Palace

youtube

For one thing, "BURNING PALACE" brings back the theme of strategy board game with the checkers this time (you see black pieces falling). It also introduce the Four Heads from playing cards. The fact they bothered to mention it implies a Fourth character.

Xia Fei: ♠

Liu Xiao: ♣

Vein: ♦

The fourth color ♥ is missing and I'm secretly convinced that it's Lu Guang's color.

Enygmatic Tokens

The portray behind Lu Guang is Lu Guang himself, from "Overthink". This image appears in the first bridge, when the lyrics goes "how did my sight got stolen once more?", superposing Lu Guang's face with mysterious shapes, erasing his eyes/power. This particular line comes to confirm what we already know: Yingdu Chapter isn't a resolution, let alone a happy ending, but a repeat of a tragic event in an unchangeable node. The end is the same, once again. Lu Guang's hope and happy ending has been stolen once more. And STOLEN also implies that there is an intent behind this failure.

A portray is still a photograph though, and it can be used to dive back in time.

What is the most curious to me is the familiar eagle on Lu Guang's chest. Eagles belongs to Cheng Xiaoshi's imagery so why does Lu Guang is wearing them here?

An interesting take would be that Yingdu Chapter isn't actually from Lu Guang's perspective, but from Cheng Xiaoshi's, diving in a picture taken by Lu Guang. This would be some kind of plot twist and would definetely makes the big reveal easier but not less painful.

I'll probably make a whole meta about this symbol at some point but in the meantime, I'll let you know the eagle is associated with strength, power, wisdom, and freedom. The eagle's ability to soar high in the sky was believed to be a symbol of divine protection and spiritual guidance. Additionally, eagles are tied to the sun. Some people see them as signs of a bright future on the horizon. As a symbol of light, they embody both the intensity and heat of the sun as a fearsome force of nature and the warmth and benevolence of the heavens.

This positive symbolisms are deeply rooted in Cheng Xiaoshi's nature, but if Yingdu Chapter actually brings us back to one earlier repeat, we can assume that Lu Guang had initially a brighter outlook on his mission.

The glasses are back and I'll say it again: once is weird, twice is a coincidence and thrice it's a pattern. The portray shows Lu Guang without eyes but his item is a pair of glasses. Might be a subtile hint of denial there. As far as glasses go, pink is a peculiar color. It helps to 'voir la vie en rose', as the french says: "look at the world through rose-coloured glasses." Meaning, being delusional.

Might it be the eagle or the glasses, I'd say they're both representative of Lu Guang's state of mind at the time: hopeful.

[Edit: I recommend you take a look to these threads regarding this very same artwork: | X | X | X | I don't agree with everything but it's always cool to have other perspectives.]

#link click #shiguang dailiren #时光代理人 #lu guang #cheng xiaoshi #meta #liu xiao #xia fei #vein #yingdu chapter

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rubberduckyrye · 4 months ago

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You know I've seen quite a few people say they're wanting to make v3 rewrites lately--and as someone who is actively working on one by myself, I feel like I should give some advice. I know I'm nowhere NEAR done with Twins AU, but I've made a ridiculous amount of progress and I think these things have greatly helped me out personally

So here are my tips for making a V3 rewrite and actually making it stick/not to burn out before the first chapter!

This is important. Don't try to please everyone. You will never please everyone. Write this for yourself, and you will find an audience. People can and will hate your fic no matter what you do. Don't try to please them, they are not your target audience-- so Write this story for, first and foremost, yourself. It'll feel so much more rewarding if you do I promise.

V3's main theme is extremely muddied due to how the narrative was and how open ended the game was left, and from my own research, no one can agree on what V3 was trying to say about truth and lies, or Reality and Fiction. If you want to rewrite this story, you're going to need to narrow down what you want your rewrite to say about the themes presented.

PLAN THE EVIDENCE AND MURDERS AS THOROUGHLY AS YOU CAN. I think not knowing what I was going to do for the cases and trials really scared me for the longest time until I essentially sat myself down and fleshed out all of the cases for Twins AU. Make evidence lists, do research on how your murder cases might go, the works. It's a lot of work but I personally followed this post and also made an evidence list to help me out plot out the murders for Twins AU. This is also a great way to flesh out your protagonist as well, since you get to explore their note-taking style and what kind of language they'd use for taking notes and if they have opinions about certain things.

Write a summary of each character in the story. DR games have a big cast and V3 has an even BIGGER cast than usual, so it's good to write down summaries for all of the characters. I also suggest really studying each character too, even if you plan on changing a character to better suit your tastes (or to get rid of offensive material.... looking at you Angie) you still want to keep the core of their character intact for fans of that character.

Speaking of characters, make sure to try and remember to write each one as a human being, even if they aren't human (Kiibo for example). Develop them, give them quirks and flaws, motivations and wants and desires and dreams. Even if you hate a character, doing this much character study will help you keep them in character and keep their motivations reasonable and understandable.

If you don't have a good grasp on a character, study harder. Don't go looking for other people's interpretations or try to be a crowd pleaser. Make your own interpretation, and that interpretation becomes special to your rewrite.

If you plan on changing a character, for the love of GOD do your research first. Don't go accidentally making Angie into a worse racist caricature of Pacific Islanders Please and Thank You. Actually, just do a ton of research in subject you think might be relevant to a character or the plot--like Gonta and how ableism prevails in his story. Like how Shuichi has anxiety up the wazoo and how Maki has learned helplessness. Study and research hard.

Pace yourself--I don't think people realize how GIANT a V3 rewrite project is--remember that this game is extremely long and you cannot write this in a single month. Once all of your planning is done, write a reasonable amount for it each day. For me, I'm able to crank out 2k a day because I type absurdly fast, but most people would probably want to start at maybe 500 words a day.

If you're not having fun, step back. You might be burnt out and need a break, or maybe the scene you're writing is just not working. Take time to assess your own feelings and do what is appropriate to resolve them.

Don't feel too discouraged if you need to rewrite a whole scene--it happens to the best of us and sometimes things are just not working. It's not lost progress to retry--consider the scene you are replacing as a rough draft you need to remake. I've had to erase huge 1k chunks due to this.

Reward yourself for big accomplishments! When I finished the prologue, I threw myself and my editor ( @trans-shuichisaihara ) a pizza party, and I plan on doing something like that again, albeit probably cheaper. Reward yourself for huge milestones! Hell, I owe myself at least one treat for two chapters I've written, but tbh I've been having so much fun just writing that doing so is rewarding within itself. That doesn't mean external factors can't help, so if you finish a chapter and you're proud of it, buy yourself a treat for working so hard!

If you got a friend who likes editing/beta reading, invite them to beta read for you! They can help you find errors and typos that you might've missed. If you plan on editing your fic, I highly recommend reading your writing out loud to help you find weird sentence structures and awkward phrases. This should have the bonus of making it easier for people who use screen readers/just prefer audiobooks to enjoy your fic as well!

EDIT! Here are two more:

It's okay to be scared writing something new! Getting out of your comfort zone is going to happen with a giant story like this, and maybe you're going to flop at the best parts. That's perfectly fine!!! You can always edit it later--or even just call it "good enough" and move on! This is fanfic for fun, not a professional project you're making money off of. It's okay if things are less than ideal and incredible imperfect. An imperfect story is at least written. That's better than not writing it at all.

For the love of everything that is holy, remember that the characters should be people--and remember that their talents do not make up their entire personality. Their talents should not solely dictate what they wear, how they act, or the worst offender in this fandom--how their executions go. When writing a character Execution, think instead of what would be the worst way for that character to die--that is to say, what would bring them the most despair upon their death. DR1 and DRV3's executions all play with the despair of the blackened in each execution (with DR2 being noted to heavily miss the mark and to be the set of executions that are the most disappointing to Kodaka, from what I've been told.) So if you're stuck on writing a new Execution, try to think about what each execution from DR1 and DRV3 does to play with the despair of the blackened. What about their executions are giving them despair in their final moments? Do they at all relate to their talents, or are they completely separate from their talent? Study them, and you'll be able to use that information to write your own unique executions that are miles better than most of the fan made executions out there.

And I think that's my advice for now! Happy writing, everyone!

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olderthannetfic · 1 month ago

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Ok serious question for anyone who's done D/D or has been into RP'ing. Let me ask the question first: How can you best break up a relationship in a D/D campaign without hurting the other's feelings too bad?

Story: I've been in this D/D group for some time now. DM asked if we wanted to be paired up with different NPC's or with each other, it could become plot relevant or it might not. Reason was because some of the players are newbies and seemed interested in playing a bit of romance or a "bond pact"* since the campaign has a romance plot run through it.

Two of the newbie players decided they'd play romance between their characters. Call them Alfi and Melli, just to have names.

Recently Melli mentioned being slightly uncomfortable with the idea of the romance between Alfi and her character, because Alfi kept making comments outside of the D/D game, using Melli's name and alluding to romance. Melli is now asking how to best tell Alfi she'd like to just not do the romance, and maybe either stay single, ask the DM for an NPC to romance, or something else, because it's a bit too much for her.

-Example: My love, Melli! / Me and Melli are going a adopt child. / Me and Melli are going to get married! -Note: The main problem is that Alfi isn't sticking to the D/D romance, and is bringing it into the real world and involving Melli as a person.

It was also noted that Alfi has been kinda playing outside the plot, or being completely uninvolved. Eg: Here's a puzzle do it. The rest of the group will be trying to solve the puzzle, while Alfi makes their character do nothing, or just completely leave the scene.

One infamous scene was us trying to catch a cultist from escaping so we could question them. Alfi basically stood right in the cultists path so could have helped grab the cultist quickly, instead Alfi had their character ignore the plot literally just leave the room. As in literally just... leave, and let the chase finish up between the rest of the party, before coming back like nothing happened, and then making weird comments about one of the NPC characters. Apparently the DM intended for it to be a less than 2 min run and grab, and instead we had to spend 15-20 min running after the cultist.

I'm not experienced here, but it sounds to me like the DM needs to talk to Alfi about a whole range of things. I'm sure that will be awkward, but not doing it will let this get worse.

Alfi is clearly not playing in the spirit of things. That could be due to social cluelessness. It could be an attempt to push boundaries and see if the group is easy to impose on. It could be backseat driving and disapproving of the DM's decisions. It could be "I'm bored when we aren't doing campaign things that are all about me". It could be genuine and unreciprocated interest in Melli. There could be plenty of different things going on.

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3liza · 2 years ago

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thank you for speaking rational thought AS AN ARTIST into the ai debate. i get so tired of people over simplifying, generalizing, and parroting how they’ve been told ai works lmao. you’re an icon

some of the worst AI art alarmists are professional artists as well but theyre in very specific fields with very specific work cultures and it would take a long and boring post to explain all the nuance there but i went to the same extremely tiny, hypefocused classic atelier school in San Francisco as Karla Ortiz and am actually acquainted with her irl so i have a different perspective on this particular issue and the people involved than the average fan artist on tumblr. the latter person is also perfectly valid and so is their work, all im saying is that we have different life experiences and my particular one has accidentally placed me in a weird and relevant position to observe what the AI art panic is actually about.

first thing i did when the pearl-clutching about AI art started is go on the Midjourney discord, which is completely public and free, and spent a few burner accounts using free credits to play with the toolset. everyone who has any kind of opinion about AI art should do the same because otherwise you just wont know what youre talking about. my BIGGEST takeaway is that it is currently and likely always will be (because of factors that are sort of hard to explain) extremely difficult to make an AI like Midjourney spit out precisely wht you want UNLESS what you want is the exact kind of hyperreal, hyperpretty Artstation Front Page 4k HDR etc etc style pictures that, coincidentally, artists like Karla Ortiz have devoted their careers to. Midjourney could not, when asked, make a decent Problem Glyph. or even anything approaching one. and probably never will, because there isn't any profit incentive for it to do so and probably not enough images to train a dataset anyway.

the labor issues with AI are real, but they are the result of the managerial class using AI's existence as an excuse to reduce compensation for labor. this happens at every single technological sea change and is unstoppable, and the technology itself is always blamed because that is beneficial to the capitalists who are actually causing the labor crisis each time. if you talk to the artists who are ACTUALLY already being affected, they will tell you what's happening is managers are telling them to insert AI into workflows in ways that make no sense, and that management have fully started an industry-wide to "pivot" to AI production in ways that aren't going to work but WILL result in mass loss of jobs and productivty and introduce a lot of problems which people will then be hired to try to fix, but at greatly-reduced salaries. every script written and every picture generated by an AI, without human intervention/editing/cleanup, is mostly unusable for anything except a few very specific use cases that are very tolerant of generality. i'm seeing it being used for shovelware banner ads, for example, as well as for game assets like "i need some spooky paintings for the wall of a house environment" or "i need some nonspecific movie posters for a character's room" that indie game devs are making really good use of, people who can neither afford to hire an artist to make those assets and cant do them themselves, and if the ai art assets weren't available then that person would just not have those assets in the game at all. i've seen AI art in that context that works great for that purpose and isn't committing any labor crimes.

it is also being used for book covers by large publishing houses already, and it looks bad and resulted directly in the loss of a human job. it is both things. you can also pay your contractor for half as many man hours because he has a nailgun instead of just hammers. you can pay a huge pile of money to someone for an oil portrait or you can take a selfie with your phone. there arent that many oil painters around anymore.

but this is being ignored by people like the guy who just replied and yelled at me for the post they imagined that i wrote defending the impending robot war, who is just feeling very hysterical about existential threat and isn't going to read any posts or actually do any research about it. which is understandable but supremely unhelpful, primarily to themselves but also to me and every other fellow artist who has to pay rent.

one aspect of this that is both unequivocally True AND very mean to point out is that the madder an artist is about AI art, the more their work will resemble the pretty, heavily commercialized stuff the AIs are focused on imitating. the aforementioned Artstation frontpage. this is self-feeding loop of popular work is replicated by human artists because it sells and gets clicks, audience is sensitized to those precise aesthetics by constant exposure and demands more, AI trains on those pictures more than any others because there are more of those pictures and more URLs pointing back to those pictures and the AI learns to expect those shapes and colors and forms more often, mathematically, in its prediction models. i feel bad for these people having their style ganked by robots and they will not be the only victims but it is also true, and has always been true, that the ONLY way to avoid increasing competition in a creative field is to make yourself so difficult to imitate that no one can actually do it. you make a deal with the devil when you focus exclusively on market pleasing skills instead of taking the massive pay cut that comes with being more of a weirdo. theres no right answer to this, nor is either kind of artist better, more ideologically pure, or more talented. my parents wanted me to make safe, marketable, hotel lobby art and never go hungry, but im an idiot. no one could have predicted that my distaste for "hyperreal 4k f cup orc warrior waifu concept art depth of field bokeh national geographic award winning hd beautiful colorful" pictures would suddenly put me in a less precarious position than people who actually work for AAA studios filling beautiful concept art books with the same. i just went to a concept art school full of those people and interned at a AAA studio and spent years in AAA game journalism and decided i would rather rip ass so hard i exploded than try to compete in such an industry.

which brings me to what art AIs are actually "doing"--i'm going to be simple in a way that makes computer experts annoyed here, but to be descriptive about it, they are not "remixing" existing art or "copying" it or carrying around databases of your work and collaging it--they are using mathematical formulae to determine what is most likely to show up in pictures described by certain prompts and then manifesting that visually, based on what they have already seen. they work with the exact same very basic actions as a human observing a bunch of drawings and then trying out their own. this is why they have so much trouble with fingers, it's for the same reason children's drawings also often have more than 5 fingers: because once you start drawing fingers its hard to stop. this is because all fingers are mathematically likely to have another finger next to them. in fact most fingers have another finger on each side. Pinkies Georg, who lives on the end of your limb and only has one neighbor, is an outlier and Midjourney thinks he should not have been counted.

in fact a lot of the current failings by AI models in both visual art and writing are comparable to the behavior of human children in ways i find amusing. human children will also make up stories when asked questions, just to please the adult who asked. a robot is not a child and it does not have actual intentions, feelings or "thoughts" and im not saying they do. its just funny that an AI will make up a story to "Get out of trouble" the same way a 4 year old tends to. its funny that their anatomical errors are the same as the ones in a kindergarten classroom gallery wall. they are not people and should not be personified or thought of as sapient or having agency or intent, they do not.

anyway. TLDR when photography was invented it became MUCH cheaper and MUCH faster to get someone to take your portrait, and this resulted in various things happening that would appear foolish to be mad about in this year of our lord 2023 AD. and yet here we are. if it were me and it was about 1830 and i had spent 30 years learning to paint, i would probably start figuring out how to make wet plate process daguerreotypes too. because i live on earth in a technological capitalist society and there's nothing i can do about it and i like eating food indoors and if i im smart enough to learn how to oil paint i can certainly point a camera at someone for 5 minutes and then bathe the resulting exposure in mercury vapor. i know how to do multiple things at once. but thats me!!!!!!!!!!!!!!!!!!!!!!!!!!!!

#ai #asks #blog #this post is bugged and keeps changing itself and moving the Read More around #if you see multple versions thats why

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yuri-is-online · 6 months ago

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Reading the Room at a 5th Grade Level: MC's Curse and Taiga's Memory Issues???

Hi. My name is Yuri and I am an idiot. You see, when I downloaded Tokyo Debunker and I saw what happened to the MC I was confused. "Why did everything go red?" I asked myself. "It's like we were in another dimension!" I unhelpfully said at some point probably. Well I finally googled the name of the station the MC said "was not her usual stop" and guess what? I should have done that way fucking sooner because it's related to a Japanese urban legend, much like Takeru in Episode 2. And helps me with what I noticed yesterday while I was re-reading the Hotarubi episode.

This post contains spoilers for Hotarubi's Episode, viewer discretion is advised.

When the MC is contacted by the spirit who allegedly curses her she is riding the train home from a concert. She receives a text message from someone with a spider lily profile picture, in English their user name is "Mina." Before we are confronted by Mina, the conductor announces that the train's next stop is Kisaragi Station, a station that dear reader, does not exist. It's also extremely famous! But I am not smart or up to date on horror things so I didn't know (⁄ ⁄•⁄-⁄•⁄ ⁄) so sorry if this is all stuff you guys already knew.

Kisaragi Station

The original post about Kisaragi station was, as best I can tell, made on a site called 2chan, which is a Japanese anonymous forum. I was able to find a post about it on r/nosleep from 2019 which claims that people started posting about it on reddit in 2010, and another post on Quora translating a thread that was posted to twitter. There are a few common themes to the urban legend, but there are three I find particularly relevant to our situation.

The station is believed to be on the border of our world and the "other world." It is possible to leave the station, we will get into how in a moment, but attempting to leave it by following the train tracks will get you killed. Especially if you attempt to cross through the train tunnel, that will take you across the point of no return. The original post describes hearing the sound of drums and bells, similar to a Japanese festival, that get louder the closer you get to the tunnel. Accepting rides from people in the vicinity of the station will also kill you. Cell service is active in the area, but you aren't able to find location information and people will not be able to find you. The anomaly on the train we see isn't tied to Kisaragi Station as far as I can tell, and I have been combing through various yokai to see if I can find anything like it but so far I haven't had much luck.

Back to how to leave the station, you have to light something on fire. Specifically something that causes smoke. Paper seems to be the most common suggestion. It's a small detail, but since the game starts with us seeing the school on fire I thought it was an interesting thing to note.

I added Taiga into the title of the post as in the translated twitter thread, the concept of memory loss the longer you stay in Kisaragi is brought up. We never actually see Taiga leave the station, and the MC only leaves it because Haku does something with his artifact. In Episode 5 Haku says he was not using his stigma to put the children's spirits to rest, implying that spiritual energy adn stigmas are different powers he can use. I am going to propose something kind of crazy at the end of this entire post about Haku, but for now just dealing with the facts presented in game he specifically says he "cordoned off" the area. Does he mean that he took the train to Kisaragi station? Or was MC always going there? And if he was the one responsible for doing that then uh. How did Taiga leave the station and get back to Darkwick? Was he trapped there and did he wander around for a long time, doing permanent damage to his memory in the process? Or am I over thinking this and he lost track of the anomaly and lit something on fire so he could leave. I like the idea of him lighting the station on fire and the ghosts asking him to leave, but that's probably not what happened lol

Red

When the train reaches Kisaragi Station in game, the color pallet swaps to red. Much like it does in Episode 5 when MC receives a certain visitor:

We learn later on that this is Zenji, and that Zenji is dead. MC seems to be reacting to his presence and I would like to think that the color choice is deliberate. If we go back to Episode 2, Takeru only has light amounts of red shading around him in his comic panels, when he kills the streamer and when Alan beats the shit out of him are two that immediately come to mind. Interacting with him does not turn the world red like interacting with Zenji or Kisaragi Station does, further strengthening Leo's conclusion about him being a Talupa and not a ghost as this red tint seems to be used for when MC is interacting with the spirit world. Which I am once again asking, how did Taiga get home from Kisaragi Station? Did he carjack a Taxi ghost?

This raises some questions about the anomaly that cursed MC. Is it a ghost and is it something unique to Japan? And if neither of those things are true then why was Haku there? I can think of two reasons for him to be there: the first is if he is there to keep an eye on Taiga for Cornelius/the Institute because Sinostra is on probation but they need him (he was specifically assigned this mission because of how aggressive he is) or it was meant to be a Hotarubi mission because it fit their criteria but Haku couldn't handle it so they arranged for Taiga to come along with him. That last thing is sort of countered by Haku saying that he doesn't think Hotarubi would be able to help with the MC's curse, but he could be lying about that I suppose.

Anyway who wants to hear my really stupid out there reason for why Haku is there-

The Part of the Show Where I do a line of coke Cope

So hear me out, what if Haku's stigma is time travel. So in this post on the subreddit donsaadali suggested that the powers you pick from in the personality test are powers the ring could give MC. I had the thought before that maybe it was a list of stigmas that the various characters had completely forgetting about the time travel line. But it does sort of fit with my line of thinking: make people follow my orders? That's Jin. Elemental powers? Towa. The others: extreme luck, never having to sleep, shapeshifting, and gravity control aren't ones that we have concrete information about but I am tempted to say that "extreme luck" could be Taiga, as turning things into ammo struck me as a quality of his artifact and not his stigma but I'm not really convinced of that. Anyway, if Haku can time travel, he could go back in time, pick up MC, and bring her back to Darkwick even if that's not what happened in the first place and Taiga was the one who brought her back the first time! But why he would do that is lost on me. Well not completely lost, I do think he wants to "help" her but with what and why is not something I have a theory on just yet.

To be clear, that was just me spitballing. I do not really think that Haku's stigma is time travel, there isn't enough evidence for me to think that. I do think that if there is a timeloop going on he is probably aware of it, but again. I don't know why.

Sources

Translated original post (x)

The above post also has a youtube video linked at the top if you want an audio version of the post and some other train related stories

Translated Twitter thread (x)

Shitty r/nosleep post (x)

#tokyo debunker #tdb #tdb theory #tdb spoilers #tokyo debunker spoilers

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defectivevillain · 1 year ago

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judgment by the hounds

pairing: Loki Laufeyson & Reader (can be read as platonic or romantic; reader's race is ambiguous and gender/pronouns are unspecified)

summary:

Loki is captured and held in S.H.I.E.L.D. captivity. However, he doesn’t attempt to break free right away. Instead, he bides his time by waiting for something—or, more accurately, someone.

You’re an FBI agent called in by S.H.I.E.L.D. to interrogate their newest prisoner, Loki Laufeyson.

word count: 5.6k | ao3 version

warnings: blood, injury & gore typical to SotL; manipulation & mind games

I thought about writing this as I was reading Silence of the Lambs — I imagined questioning Loki & having a similar dynamic with him during his temporary imprisonment. There aren’t any explicit references to SoL in here, but I wanted to include it as a fandom tag because Hannibal & Clarice’s dynamic really inspired this fic.

This is not canon compliant, and there will likely be some discrepancies. Just pretend this is an alternate timeline. :>

The title of this fic is from I’m Your Man by Mitski. The lyrics “I’ll meet judgment by the hounds… People always gave me love… Others were never to blame after all… You believe me like a god, I’ll betray you like a man” felt pretty relevant to this fic.

The reader is racially ambiguous, gender is ambiguous, and pronouns aren't used. warnings: canon-typical violence and gore (typical to SotL)

thanks anna (@pinocchiospissrock) for the beta! (any remaining mistakes are mine.) luv u and so excited to see u soon!!!! <333

If you told your younger self that your criminal investigative work would earn you a conversation with the legendary Nick Fury, the Director of S.H.I.E.L.D., your younger self would have laughed. The mere thought would be preposterous. Fury is the face of the entire organization, and the founder of the Avengers! What would a mere FBI agent like yourself do to even earn a moment with him, let alone a full conversation?

Apparently, you’re becoming somewhat renowned for your investigative work. You’ve always avoided the press—otherwise you would have noticed your name cropping up in cases with big profiles in the public eye. You would’ve noticed that you were slowly starting to get more and more credit for your accomplishments; you would’ve been able to connect the dots between Nick Fury—desperate for information and willing to do anything to get it—and you—an FBI agent rising in the ranks for important work with the Behavioral Analysis Unit and Jack Crawford.

Despite these recognitions, however, you can’t quite believe that you’re being flown to the S.H.I.E.L.D. headquarters in New York City to speak with Nick Fury. Truly, this feels like some kind of fever dream. As you’re escorted through the high-level security installments on the ground floor of the building, you can’t shake the feeling that you’re not meant to be here. This must be some kind of mistake, you’re thinking to yourself, even as you’re given a visitor ID badge. You’re led into a glass elevator that rises to the twentieth floor, through a cold stone hall and even more security installments. Eventually, you come face-to-face with a nondescript wooden door. The security guard knocks on the door and opens it for you, revealing a clean and modern space with black leather furniture and an array of windows (bulletproof and likely very durable) overlooking the street below. There is a figure seated at the grand desk in the center of the room. Nick Fury looks up at the sudden disturbance, his brown eye immediately assessing your form before moving to the guard in the doorway. He nods and the guard steps out of the room, closing the door behind them.

“Agent, have a seat,” Fury offers. It’s an order, not a simple statement. You comply immediately and Fury raises an eyebrow. For a long moment, tension settles in the air as Nick Fury unsubtly scrutinizes you. Fury puts a contemplative hand on his chin and stares at you. Despite the eye patch covering his left eye, his menacing gaze is enough to send a shiver down your spine.

“I’m sure you’re wondering why you’re here,” Fury remarks vaguely. You nod. “I need you to do something for me.” You raise an eyebrow. When he continues, any confidence you gained from the notion of him requesting something of you promptly fades from existence. He tells you about a god with a penchant for mischief that borders on cruelty—about a devastating attack on New York City that left thousands injured and hundreds dead. You had heard about the attack on the news, but you had too much going on to truly process what you were seeing. Fury tells you that this trickster, a Norse god by the name of Loki, is currently in S.H.I.E.L.D.’s most secure containment. It’s clear S.H.I.E.L.D. is desperate for information, otherwise they wouldn’t be bringing you in for something like this—this is far above your pay grade. Norse gods were never mentioned in your training at Quantico.

“Loki has been largely uncooperative,” Fury continues, immune to the emotional whiplash you’re currently experiencing. “We needed to try a different approach.” He looks at you after that. “And we need more information. Can I count on you to do this?” You take a slow breath in. Do you really have a choice?

“Yes, sir,” you respond. Fury regards you for another second, before evidently deciding that your answer is satisfactory. He then hands you a device, which appears to be a pass that allows you entrance into the high-security cells. It’s an effective dismissal. You take it and murmur a word of thanks, before stepping out of the room. With the security guard’s guidance, you’re able to learn the location of the high-security prison and you take another elevator ride. When the doors ding, a giant metronome sounds off in your head. You can’t go back now, you think to yourself as you cross the threshold of the elevator and step towards the reinforced metal door with a fingerprint and retinal scanner. You glance at the guard, who nods and urges you to continue. Somehow, in the brief time that you spoke with Fury, your information must've been registered in the system—as your name appears on screen after it scans your finger. You then lean down and allow the machine to scan your retina, before a blue light flashes once. You frown at the door, before seeing a screen flashing on the left side. You press the pad Fury gave you to the screen and the door clicks, swinging open ominously.

You take a step forward and leave the door open, expecting for the guard to follow you. They shoot you a disbelieving look and take a step backwards, letting the door fall shut. You’re left alone in a hallway reminiscent of a steel prison. As you slowly walk down the narrow path between iron bars, you feel hard gazes boring into your very skin. Someone jeers at you. You keep walking until you reach the solitary cell at the end of the hall. For the first time since entering the space, you allow yourself to look up—only to look into the glimmering green eyes of Loki Laufeyson.

Safe to say, Fury neglected to mention that Loki would be the single most intimidating individual you’ve ever had the misfortune and displeasure to meet. Staring at him through the thick walls of glass, you’re suffocated with a sudden, intense dread. Even if Fury hadn’t given you any background on him, you’re sure you still would’ve been able to surmise this man’s maleficence and cruelty. He has long dark hair, sharp features, and a positively malevolent grin on his face.

“Hello,” you murmur guardedly. The thick walls of glass aren’t enough to ensure you of your safety—that attentive gaze cuts straight through your skin and sinks deep into the bone. The god raises an eyebrow at you, pausing for a moment to allow you the opportunity to turn tail and run away. You very nearly take the gifted opportunity, before you remember that information on the invasion could save lives.

“Are you lost?” Loki asks, regarding you with as much respect as someone regards a pebble beneath their feet. Your hands are ever so slightly trembling from your sides and you stuff your hands in your pockets, suddenly feeling the need to keep yourself occupied.

“No,” You eventually reply. You decide to introduce yourself, before raising your eyebrows at the god in return. You resist the urge to ask him to introduce himself. You know who he is, and you would likely end up insulting him with the question anyway. Unfortunately, you’re going to have to be very careful around him. The slightest word or provocation would lose the information for good. Why are you being called in for this, again?

“What could possibly have possessed Fury to send a mere agent such as yourself to speak with me?” The god questions, echoing your very own thoughts. You take a deep breath and try to steel your nerves.

“I’m a criminal investigator,” you respond, once your tongue is no longer ironed to the roof of your mouth. “I’ve spent most of my life studying how criminal types think and what motivates them. I want to ask you a few questions.”

“Interesting,” Loki hums. He doesn’t seem the least bit intrigued; rather, he appears incredibly bored. “And you think this Midgardian experience is enough to grant you a conversation with me? You know nothing of who I am and what I am capable of.”

You want to be surprised, but you expected something along those lines. A brief white-hot fury overtakes you as you remember the tension in Fury’s shoulders, the withdrawn tone in his voice, how he seemed to expect you to fail. Everyone is expecting you to fail. “I know enough,” you respond, before you can contemplate the consequences of doing so. In truth, Fury had given you Loki’s file earlier. He also left you with a few words of warning. You manage to tear yourself away from your conversation with Fury and focus on what you viewed in Loki’s file. The information comes to mind within seconds. “You caused quite the scene in Germany. I suspect that was the intention.” There is no acknowledgement that he’s even listening to you, save for the intense gaze that seems to be dissecting you for his own amusement.

The words slip from your tongue before you can stop them. “You’re the adopted son of Odin and Frigga, and the brother of Thor. Your real father is Laufey, the Frost Giant King. You’re the God of Mischief. And you’re a constant thorn in the side of the Avengers and Nick Fury.”

“Those are just the facts,” you conclude. You’re met with nothing but silence. There’s an undercurrent of expectation in the air, as if he’s waiting for you to continue. You grit your teeth. Somehow, you have his attention now. It would be best if you didn’t lose it. “As for my first impressions… You’re manipulative, obviously. Cunning and clever. Selfish, extremely controlling. You derive pleasure from other people’s pain. You enjoy being the chessmaster—manipulating your pawns and discarding them the moment they’ve fulfilled their purpose.”

“Beneath all that, you’re frighteningly human. Jealousy, envy, a visceral desire for Odin’s approval, and a thirst for power… You delight in your darkest urges and scorn any of the ones that come close to resembling even a hint of genuine emotion.”

“Now will you answer my questions?” You finish.

Loki’s head is down now. His shoulders are shaking and for a second, you think he’s crying. Then he raises his head, revealing a twisted grin on his face. “No one has possessed the courage to talk to me in such a manner in millenia,” the god remarks, his hands clasped behind his back. He takes a step forward and inspects you through the glass. You remember your fear from earlier. “Who are you, exactly?”

“I’ve already told you,” you answer. You’ve done this song and dance before, and you have enough experience to know nothing good comes from giving a criminal your name. In the few rare instances in which it seemed that they simply wouldn’t give in, you would give a fake name. You weren't foolish enough to try that with the God of Mischief, though. “Besides, that doesn’t matter. I’m here for information.” You repeat for what feels like the umpteenth time.

“Oh, I’m well aware,” Loki says, studying you with scrutiny. Your skin crawls. Everything about this feels like a horrible idea. Not for the first time, you question why you were called in for this assignment. “I’m not allowed visitors otherwise—on account of the last one being found in his home with his throat slit.” There’s another flash of amusement in his eyes.

“Fun,” you remark flatly. Your heart is racing out of your chest, but you know not to show your apprehension. Fear is Loki’s game. “Seriously, though. I assume you want to get out of here in the next millennium.” You remark.

“Au contraire,” Loki replies. It takes you a few seconds to process what he says, and several more seconds to recall the translation: ‘On the contrary.’ You wait patiently for the god to continue. “You don’t really think I’ll be released, do you? And don’t bother pretending otherwise—you don’t have the power or authority to make promises here.”

“I’m not sure why you’re entertaining conversation with me in the first place, then,” you reason. You feel lost in this conversation, admittedly. It’s taking an unhealthy amount of mental energy to keep yourself afloat in these verbal traps.

“Maybe I’m bored,” Loki drawls. In the fluorescent lighting beaming down on him, he looks every bit as royal as he is rumored to be. “Maybe I’m waiting for you to let your guard down, for your mental defenses to fade away and corrode into nothingness before my control slips into your psyche, forcing you to be a spectator as I pilot your body and mind.”

You stare at him for a moment, heart hammering away in your chest. Somehow, it’s that sentiment that cements the reality of the situation. You’re not qualified enough for whatever the hell this is. You’ve interrogated loads of criminals before, but they’ve never posed a legitimate physical and mental threat to you in the same manner that Loki does. You find yourself genuinely fearing for your safety as you stare at Loki’s glittering green eyes.

As your heart races and you take a few steps backwards, you catch a sudden blur in your peripheral vision, before you’re struck with white-hot pain that flares up the left side of your face. You blink dazedly and bring a hand up to your left cheek, only to find blood splattered across your skin. There’s a jagged fragment resting on the floor near your foot—evidently the cause of the wound. You turn to the left, only to find the man from before clutching at the bars of his cell with ferocity—a crazed look in his eyes as he stares at you. Your gaze then falls to the porcelain toilet in the corner of his cell, with a notable chunk missing. That must’ve been where he got the shard. The side of your face is burning, hot blood trickling down your cheek. You press the back of your hand to the wound in a futile attempt to stop the bleeding. Unsurprisingly, the wound doesn’t magically heal or stop bleeding. You grimace and set off down the hallway, intending to leave and find a first-aid kit. Just as your palm flattens on the door, Loki says your name.

You pause, your cheek stinging. You feel Loki’s gaze at your back and you know you probably don’t have the luxury to continue walking away. Yet… you can’t bear to turn around. You open the door and walk away, unaware of the furious expression on Loki’s face. The security guard’s eyebrows climb up their face as they see the blood trickling down your face, but you simply hand them the keypad and walk away.

You have nothing in lieu of information and a fresh, jagged cut on your cheek. You don’t expect to be called to the high-security cells again any time soon—not after that complete and utter failure. You leave S.H.I.E.L.D. headquarters that day with a bandage on your cheek and wounded pride. The conversation with Loki keeps you up that night in your hotel room, as you turn over every statement in your head. There’s a notable disconnect between Loki’s words and his actions. Furthermore, if he’s truly so powerful, then why is he still contained? You know S.H.I.E.L.D. is well-equipped to handle villains, but Loki is a Norse god. Surely he could snap his fingers and transport himself somewhere else? If that’s the case, you can’t help but wonder why he hasn’t escaped yet.

You avoid work the next few days to fully recover from the physical and mental injuries acquired that day. It’s nice to have some free time, but it is still somewhat dampened by the knowledge that you didn’t get any information from Loki. Fury is going to be, well, furious.

Safe to say, you don’t expect to see Nick Fury on your doorstep one morning, a troubled expression on his face. You greet him and try to invite him in, but he remains outside. His dissecting gaze flits about your face, searching for something. “It’s been an interesting day, Agent,” he evidently decides to say.

“How so?” You ask. Fury glances to his left and right, before taking a small step forward and leaning closer.

“A prisoner in the high security area was murdered,” he murmurs, “He was found in his cell. It seems he was fed his own tongue before he choked and suffocated to death. Miggs. Awful guy, but… we had intended on getting more information from him.” Fury shakes his head. Meanwhile, you’re reeling. There’s no way the victim was the same prisoner who assaulted you earlier. That would be a truly troubling occurrence—one you’re not quite sure you could put down to coincidence.

“Anyway… I need you to speak with Loki again.” Fury continues, his expression serious. He raises an eyebrow upon seeing the slight shock that must be showing on your face. “You seem surprised.”

You nod. “I was under the impression that our conversation didn’t go well,” you decide to respond honestly. Fury seems to appreciate the truthfulness, although his eyebrows furrow and he takes a deep breath.

There’s a beat of silence. “He’s refused to speak with anyone else we’ve sent,” Fury explains, “Since your last visit, he’s been exceptionally…Well. He asked for you specifically.”

What was Fury going to say just then? And, more importantly, did you even hear him correctly? Did Loki really ask to speak with you, even after the tense conversation you had? You’re immediately suspicious.

“Listen,” Fury breaks off, looking conflicted and resolved all at once. “For whatever reason, he’s different with you. I’m not sure why, but whatever the reason, we need to take advantage. Loki has valuable information about the attack on New York.”

“In reality, he asked for you a few days ago,” Fury continues, after a few moments of uncomfortable silence. You look over to him in surprise. “I refused. But… since then, he’s been extremely disagreeable—and we’re running out of time.”

“I’ll try to speak with him,” you answer. That’s the best you can promise. You certainly can’t promise that it’ll be a productive conversation, or that you’ll get any information from him. Indeed, the last discussion you had with Loki, it felt as if you were disclosing more information than he was. Still, the prospect seems to be good enough for Fury.

“Thank you, Agent,” he nods, returning the keycard that grants access to the high security area. You take a deep breath and follow him back to his car, steeling your nerves as the city buildings pass before your vision. Once you reach the headquarters, you walk down the halls and head to the elevators. Fury and you part ways as he gets off the elevator, and he leaves you with a brief nod.

It only takes a few steps in the hallway of the high-security cells for you to notice that something’s missing. A cell is empty—the same one that Miggs had occupied before. You feel dread coiling in your chest, yet you can’t stop yourself from taking a step closer and getting a better look at the empty cell. There’s blood splattered all across the ground—although it appears as if someone tried to clean it, since it bears a closer resemblance to dark brown than red. The sheets of the mattress are clean and the cell looks entirely untouched, save for the stains across the floor and the noticeable chunk missing from the toilet.

Your attention is captured by the cell—so much so that you forget your company. “Ah, what a pleasant surprise,” Loki remarks, sending your heart racing as you remember his presence. You take a deep breath and tear your eyes away from the evidence of Miggs’s death. As you break the distance between Loki’s enclosure and you, you can’t help but shake the feeling that he had something to do with the death of Miggs. You don’t have any proof, but the awful feeling stirring in your gut certainly makes you question what you thought you knew.

Loki clears his throat pointedly and you remember yourself. “You asked for me,” you then answer cautiously.

“Yes, but I wasn’t sure if Fury would oblige,” Loki drawls, regarding you with mild amusement. You’re not sure what he thinks is entertaining, so you just pretend not to have noticed his smug grin. “He doesn’t seem to care for me much.”

“I’d argue most of us don’t,” you hear yourself blurt out. You really need a better filter, especially in a conversation as important as this one. If you want information from Loki, you’ll have to be nicer to him. Despite that thought, Loki is staring at you with the same amusement as before. There’s no sense that the insult even registered.

“And yourself?” The god asks, once again reminding you that you’re the one at the mercy of the conversation. You grit your teeth and try to remain calm, despite the overwhelming feelings of inadequacy that threaten to send you down the hall.

“What about me?” You raise an eyebrow.

“You said most of us,” Loki says, “Does that include you?”

You don’t bother to dignify that question with a response. “What do you want?” He doesn’t respond and you resist the urge to exhibit any signs of your growing impatience. “You asked to speak with me—I’m assuming you want something.”

“I have information you want,” Loki states, his eyes boring into yours and sending a prickling sensation down your skin. His intense gaze is unnerving, and you feel as if you’re being intensely scrutinized. “You have information I want. I propose a trade.”

You’re not surprised by the remark, save for the idea that you have something he wants. “I’m not quite sure what information I could give you,” you frown, shifting your balance slightly to keep your body occupied. You cross your arms over your chest and pretend you don’t feel entirely vulnerable in front of Loki.

“I’ll be the one to determine that,” the god says. His next statement is entirely unexpected. “Now, tell me about yourself, your childhood.”

“What?” You choke out. “About myself? I don’t see how that’s relevant.” You break off. Loki’s gaze is focused on you with burning intensity. You take a shuddering breath in and try to summon some information that isn’t dangerous for you to disclose. “I’m a criminal investigator—have been for years. I’m from around here, grew up here.” You end up settling for a mix of ambiguity and omission. Loki seems to pick up on it regardless.

“Don’t lie to me.” His gaze is dark and dangerous. It suddenly feels as if the temperature dropped in the space around you. You’re pinned under the god’s watchful eyes. “I think I deserve more than that, don’t you?” You can’t find the words to answer. You have, once again, severely underestimated Loki’s capabilities.

“Very well, then,” Loki murmurs some time later, after it’s clear that you’re unwilling to give him more information. His posture is effortlessly casual, but you know it’s just a façade. “I can start for you. You worked as a criminal investigator for years in your hometown, until you decided to become an FBI agent. With more responsibility came more criminals, and closer calls. Even so, you began to gain notoriety for your cases. Your name appears in more and more press coverage. Meanwhile, Nick Fury grows increasingly frustrated with me, with the lack of information. He sees you on the morning news and finds his perfect solution. He calls you here to New York, tells you that he needs you for this pivotal role. An exaggeration, of course.”

“You agree with his offer—surely, you don’t have any other choice. Meanwhile, Fury promptly forgets your existence, until he needs you once more. A tool in a toolbox is all you are to him. Why else would he send you to me? He doesn’t have faith in your abilities, Agent—he just needs bait.”

You know it’s true, but it still hurts. Truthfully, you had suspected the same thing; something about the Norse god speaking on your thoughts cements them in reality. Indeed, why else would Fury have called you in? There are plenty of high-ranking officials that would’ve been better suited for such a task.

“You come in here and provoke me,” Loki continues, as if you aren’t even there. He seems entirely in his element as he paces about his cell. “I attack you, then break out of captivity. A group of agents lurks outside to interrupt my eventual escape. The whole thing is laughably predictable, really.” Your eyes widen as you realize just why the security guard lingered outside the door. They aren’t guarding the door—it’s secure enough on its own. They’re guarding you, waiting for you to fail and for Loki to escape. The thought sends a shiver down your spine.

“And, of course, you have a visceral desire for Fury’s approval,” he continues, repeating what you said to him mere days ago. You feel as if a bucket of ice cold water was just dumped all over you, making you shiver and question everything you thought you knew. Are you really so formulaic? Have you been lured into a false sense of confidence these past few years? You try to grapple with these questions, while the god stares at you. “Am I ‘in the ballpark,’ as you mortals say?” There’s a sharp grin on Loki’s face that deeply unsettles you.

It takes you several moments to collect your composure and find the words to say. “I think you know you are,” you respond, ignoring your heart pounding out of your chest. It’s unnerving that Loki could glean that much about you in such a short time span. Despite his obvious attempt at mockery, you know that you need to answer his questions if you want information. You keep silent and wait for Loki to continue.

“Now, you still haven’t given me anything,” Loki reminds you, dispelling any hope that he may have forgotten. You feel extremely restless and steadily avoid his gaze, even when you feel his eyes practically tearing holes through your form. “So, I ask once more: what was your childhood like?”

You can’t afford to argue this time—not if you want information. The glint in Loki’s eyes grows brighter with each tidbit you give him. At his request, you tell him about your past—everything from your childhood home to the relationships you have with your family. Time becomes fickle and you don’t realize you’re oversharing until you glance down at your watch and see that far too much time has passed. “That’s more than enough,” you interject some time later. You don’t feel as if you can truly grasp the severity of your actions just now. Even so, you know that you’ve given him too much ammunition. You pinch the bridge of your nose, feeling a headache developing. “It’s your turn.”

“Very well,” Loki responds, his lips parting to reveal a crooked smirk. The expression on his face confirms your suspicions that he was planning on continuing the conversation until you stopped him. “I will answer two of your questions.” You feel your heart drop.

“Two?” You exclaim in disbelief, “You must’ve asked me a hundred just now-”

“I didn’t force you to answer any of my questions,” Loki reasons. Unfortunately, he’s correct in that regard—you should’ve been more wary. You let your guard down and he was content to take advantage of it. “Now, do you want information or not?”

You grit your teeth. Damn it. Two questions is a very insignificant number. You try to remember what Fury told you mere minutes before. “He’s been extremely disagreeable… and we’re running out of time.” You can’t afford to slip up here.

“Fine,” you say. The look on Loki’s face doesn’t change, but you can still sense arrogance radiating off of him. “Why?” You decide to ask.

“You’ll have to be more specific,” Loki drawls, continuing to pace about. He looks completely and utterly bored. “Why does one do anything?” You resist an eye roll.

“Why did you do it?” You rephrase. You don’t need to specify for Loki to understand what you’re referring to: the attack on New York, the Chitauri invasion. Surely, knowing his motivations would help S.H.I.E.L.D. prevent instances like it from happening in the future. Besides, you’re not sure what else to ask. As has been established, you don’t think you’re the best fit for this task of vital importance.

“I was seeking revenge,” Loki answers without hesitation. His unblinking gaze is beginning to unnerve you. “Is that what you’d like me to say?”

“I’d like you to tell the truth,” you assert, unable to hide some of your irritation. The god picks up on it and smiles infuriatingly, as if your annoyance is entertaining. Perhaps it is entertaining to him. You take a deep breath and remind yourself to keep calm. It would do you no good to get riled up. You have one job: collecting information.

“The truth,” Loki remarks languidly, tearing you from your thoughts. His answer comes without hesitation. “I was bored.” Boredom. Boredom pushed him to wreak havoc on the city, causing hundreds of casualties and inordinate bloodshed. Loki was motivated by a lack of fulfillment. The thought is extremely disconcerting. On the one hand, you’re not sure what you were expecting. On the other, you had been looking for a more clear-cut, legitimate reason to contextualize his actions. You weren’t planning on excusing his crimes, but if he provided something that seemed to somewhat justify his reaction, you would’ve been able to get more information and also deduce a clear motive to these kinds of attacks. Perhaps that was your error in thinking, though: Loki can’t be a predictor of a pattern. He is wildly unpredictable, and trying to predict him will both waste your time and result in more frustration.

“One more question,” Loki reminds you tauntingly. You grit your teeth, pushing past your irritation. The god seems to enjoy emphasizing the differences between you and him—your mortality, your weakness.

You try to think a little harder. Admittedly, a particular question has been weighing on your mind throughout most of your interactions, burrowing into your subconscious and refusing to let go. After a few moments, you decide to verbalize it. “Why haven’t you escaped yet?”

The god laughs. “Haven’t I?” Loki asks in response. A shiver rolls down your spine. You watch warily as he takes one step forward, then another. From what you’ve seen, the god will often pace about his cell. However, his current movements make it seem as if he has a purpose, an endgame. Loki’s eyes flash. He takes another step forward and his foot crosses the threshold where the glass is supposed to be. Loki grins and crosses the entirety of the boundary, before looking at you with a truly malicious smile. He’s free from captivity.

You can’t even take a step backwards before the god is there, extending a hand to your temple and pressing his fingertips past your skin, into your very being. And suddenly, you’re a child again. Everything you told Loki is rushing through your head all at once. You’re trapped in vivid memories. The world around you is blurred with childlike joy and hope. Your surroundings all seem to fall away; despite your knowledge that you aren’t a child anymore, you can’t escape this onslaught of memory that Loki seemed to force on you.

When Loki removes his hand from your temple, you nearly choke on your breath. There’s an excruciating pain running through your head—strong enough to make you lose your balance. Despite the fact that you’re horribly outmatched, you still try to get away from him. You’re not sure what the God of Mischief wants, but you doubt it’s anything good. This interest—as Fury said—that he’s cultivated in you… It’s dangerous.

You should be dead right now. Surely, were you any other S.H.I.E.L.D. agent, your corpse would be slowly decaying on the ground in front of you. You heard whispers of what Loki did to some of the agents that spoke to him before you. One of them was directly admitted to a mental hospital—unable to ground themself in reality. The thought shakes you to your core.

You take another step backwards, only for him to match your retreat with a step forward. Your balance is growing more and more unsteady as you try to fight against the vertigo threatening to send you tumbling. Your vision is oscillating between painful sharpness and indiscernible blurriness. “What do you want from me?” You manage to spit out through the pained haze.

“Everything.” Loki answers. Before you can push him away, he’s bringing a hand to your temple again. Your mind explodes with energy and you feel your eyelids fluttering shut of their own accord. You try your hardest to remain conscious and you manage to catch glimpses: Loki’s hand slipping from your temple as you fall to the ground, Loki carrying you out of the building. You’re stuck in the recesses of your own mind, with no hope for escape. Eventually, you’re forced to succumb to the darkness lurking in the corners of your vision.

It may strike you all as strange that Loki stays in captivity rather than escaping, but I think I can justify that with a multitude of reasons. First of all, he's immortal—time passes differently for him. While a mortal may agonize at the thought of being trapped in a capsule for an indefinite time, Loki is entirely unbothered by it. He knows that he has the ability to escape; the question then becomes when he will escape, not if he will escape. Second, Loki has a reason to stay: the reader. He is interested in the reader [the nature of this interest is up to you]. He enjoys the conversations they have, especially when they’re under the false guise of him being trapped and in a position of need. The God of Mischief isn’t one to rush things. Anyway, that’s how I justified these choices to myself. *shrugs*

I desperately wanted to add something like this, but I couldn’t find an authentic moment for it… It may seem a little out of character, too… So I’ll throw it here and walk away:

“You should put some ointment on that,” Loki suggests, looking pointedly at the scar on your face. “Don’t Midgardians care about that sort of thing? Quite foolish, in my opinion.” “How is that foolish?” You ask. “Scars are proof of conquest,” Loki responds. “Of course,” you sigh.

#loki x reader #loki x gn reader #loki laufeyson #loki x male reader #male reader #gn reader #x male reader #nb reader #etc

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