#her entire self revolved around it

[feygloom]

big thoughts on how much the entire tadpole / absolute / “oh btw you have to save the world” situation influenced aeris. how she was soo one track minded for years, utterly consumed by the desperation of finding her brother, and ironically, being captured forces her to slow down. to open her eyes when she looks at the world around her. it forces her to become more in tune with herself and just…be.

[fromtheseventhhell]

Imagine being 9 years old and asking your dad about the things you're interested in doing when you grow up and he's like "No ❤️! But you can get married, have babies, and then maybe your sons can do those things ☺️🫶 "

[yameoto]

why do you write/make bots for men if you aren’t attracted to males? (i don’t mean to sound mean or anything i’m just genuinely curious)

you’re good! i expected this question. to me writing bots are like little character studies. having only 2048 charas to set a scene, delve into their introspective and lace headcanon and canon is enjoyable to me on a pure writerly basis. this is a large reason as to why i wrote for challengers so much. i have analysed that movie to pieces and a lot of those pieces can be found in those bot greetings. i honestly just enjoy writing.

i have never chatted with any of my m!bots recreationally for the fact that since i don’t like men, i don’t get anything out of it. a lot of the greetings are overtly sexual because: sex sells.

[individuating]

my #truth:

ep 1 = ep 7 (beatriceless)

ep 2 = ep 6 (furniture)

ep 3 = ep 5 (tools)

ep 4 = ep 8 (ange focus)

[grassbreads]

Actually full disclosure, not to be a fake Mochijun fan, but the reread I finished this week was the first time I've read Pandora Hearts in its entirety since I was a teenager, and MAN it hits different now that I'm not fourteen.

I don't have the brain capacity to get into all of it now, but man. man. Experiencing the back half of Pandora Hearts with adult eyes and comparing that to your teenage half-memories is a wild time.

It's also very funny that my favorite character went from Oz to Gilbert given that I started reading this series for the first time when I was a year or two younger than Oz, and now I'm Gil's exact age.

[litapeanut]

A plague tale: innocence, a surprising homage to darkness

At first the plague was seen to be the source of all the protagonist and her family’s sufferings, and as the story progressed, the protagonist tries her utter most to defeat the “darkness” by finding a “cure” for her brother. However, late in the game both siblings find out that SPOILER ALERT the vermin associated with the plague can be used to their advantage as a crucial weapon in the quest of fighting the antagonist (not just metaphorically but also reflected in the gameplay).

A plague tale: innocence presents a nuanced understanding of trauma: instead of stressing the necessity of eliminating darkness in order to pursue absolute clarity, it suggests that darkness isn’t simply a malefic force to be eradicated, but rather a driving force to be mastered for your use. To really conquer darkness, you understand it; and understanding (while not being complicit) is a complex matter. 

In contrast, most of mainstream media’s stories about “good vs evil” celebrate the narrative of “the good” ultimately triumphing over “the bad”, with a reductive moral code (in the same manner, the portrayals of anti-heroes are also oversimplified). However, as a woman in her late twenties, I can tell from my limited life experience that real life is more complicated in which “the bad” won’t be eliminated forever, and sometimes you’re seemingly overpowered; the states of “good” and “bad” are relative and fluid. 

Comparatively, the belief of “great art comes from suffering” is also debatable. While some well-meaning people argue that suffering isn’t necessary and should’d be used to justify the oppression people suffer from, it’s also insinuating that suffering “can be avoided”. I’d argue that for those (myself included) who’ve experienced some sufferings, be they systemic or interpersonal, physical or mental, none of us chose to suffer, in fact, nobody chooses to suffer. After being trapped in an inescapable circumstance, what we can do in the aftermath is to understand our pain and trauma, and gain power from that knowledge in order to move on. Even though not all accomplishments stem from misery, for us, “suffering can produce great art”, for it's our way to cope with darkness and the fleeting state of life.

[anaalnathrakhs]

i WILL show up to the trial day for the preparatory class tomorrow no matter how much i dont want to and after that i guarantee NOTHING

[princesssarisa]

In the past I've shared other people's musings about the different interpretations of the myth of Orpheus and Eurydice. Namely, why Orpheus looks back at Eurydice, even though he knows it means he'll lose her forever. So many people seem to think they've found the one true explanation of the myth. But to me, the beauty of myths is that they have many possible meanings.

So I thought I would share a list of every interpretation I know, from every serious adaptation of the story and every analysis I've ever heard or read, of why Orpheus looks back.

One interpretation – advocated by Monteverdi's opera, for example – is that the backward glance represents excessive passion and a fatal lack of self-control. Orpheus loves Eurydice to such excess that he tries to defy the laws of nature by bringing her back from the dead, yet that very same passion dooms his quest fo fail, because he can't resist the temptation to look back at her.

He can also be seen as succumbing to that classic "tragic flaw" of hubris, excessive pride. Because his music and his love conquer the Underworld, it might be that he makes the mistake of thinking he's entirely above divine law, and fatally allows himself to break the one rule that Hades and Persephone set for him.

Then there are the versions where his flaw is his lack of faith, because he looks back out of doubt that Eurydice is really there. I think there are three possible interpretations of this scenario, which can each work alone or else co-exist with each other. From what I've read about Hadestown, it sounds as if it combines all three.

In one interpretation, he doubts Hades and Persephone's promise. Will they really give Eurydice back to him, or is it all a cruel trick? In this case, the message seems to be a warning to trust in the gods; if you doubt their blessings, you might lose them.

Another perspective is that he doubts Eurydice. Does she love him enough to follow him? In this case, the warning is that romantic love can't survive unless the lovers trust each other. I'm thinking of Moulin Rouge!, which is ostensibly based on the Orpheus myth, and which uses Christian's jealousy as its equivalent of Orpheus's fatal doubt and explicitly states "Where there is no trust, there is no love."

The third variation is that he doubts himself. Could his music really have the power to sway the Underworld? The message in this version would be that self-doubt can sabotage all our best efforts.

But all of the above interpretations revolve around the concept that Orpheus looks back because of a tragic flaw, which wasn't necessarily the view of Virgil, the earliest known recorder of the myth. Virgil wrote that Orpheus's backward glance was "A pardonable offense, if the spirits knew how to pardon."

In some versions, when the upper world comes into Orpheus's view, he thinks his journey is over. In this moment, he's so ecstatic and so eager to finally see Eurydice that he unthinkingly turns around an instant too soon, either just before he reaches the threshold or when he's already crossed it but Eurydice is still a few steps behind him. In this scenario, it isn't a personal flaw that makes him look back, but just a moment of passion-fueled carelessness, and the fact that it costs him Eurydice shows the pitilessness of the Underworld.

In other versions, concern for Eurydice makes him look back. Sometimes he looks back because the upward path is steep and rocky, and Eurydice is still limping from her snakebite, so he knows she must be struggling, in some versions he even hears her stumble, and he finally can't resist turning around to help her. Or more cruelly, in other versions – for example, in Gluck's opera – Eurydice doesn't know that Orpheus is forbidden to look back at her, and Orpheus is also forbidden to tell her. So she's distraught that her husband seems to be coldly ignoring her and begs him to look at her until he can't bear her anguish anymore.

These versions highlight the harshness of the Underworld's law, and Orpheus's failure to comply with it seems natural and even inevitable. The message here seems to be that death is pitiless and irreversible: a demigod hero might come close to conquering it, but through little or no fault of his own, he's bound to fail in the end.

Another interpretation I've read is that Orpheus's backward glance represents the nature of grief. We can't help but look back on our memories of our dead loved ones, even though it means feeling the pain of loss all over again.

Then there's the interpretation that Orpheus chooses his memory of Eurydice, represented by the backward glance, rather than a future with a living Eurydice. "The poet's choice," as Portrait of a Lady on Fire puts it. In this reading, Orpheus looks back because he realizes he would rather preserve his memory of their youthful, blissful love, just as it was when she died, than face a future of growing older, the difficulties of married life, and the possibility that their love will fade. That's the slightly more sympathetic version. In the version that makes Orpheus more egotistical, he prefers the idealized memory to the real woman because the memory is entirely his possession, in a way that a living wife with her own will could never be, and will never distract him from his music, but can only inspire it.

Then there are the modern feminist interpretations, also alluded to in Portrait of a Lady on Fire but seen in several female-authored adaptations of the myth too, where Eurydice provokes Orpheus into looking back because she wants to stay in the Underworld. The viewpoint kinder to Orpheus is that Eurydice also wants to preserve their love just as it was, youthful, passionate, and blissful, rather than subject it to the ravages of time and the hardships of life. The variation less sympathetic to Orpheus is that Euyridice was at peace in death, in some versions she drank from the river Lethe and doesn't even remember Orpheus, his attempt to take her back is selfish, and she prefers to be her own free woman than be bound to him forever and literally only live for his sake.

With that interpretation in mind, I'm surprised I've never read yet another variation. I can imagine a version where, as Orpheus walks up the path toward the living world, he realizes he's being selfish: Eurydice was happy and at peace in the Elysian Fields, she doesn't even remember him because she drank from Lethe, and she's only following him now because Hades and Persephone have forced her to do so. So he finally looks back out of selfless love, to let her go. Maybe I should write this retelling myself.

Are any of these interpretations – or any others – the "true" or "definitive" reason why Orpheus looks back? I don't think so at all. The fact that they all exist and can all ring true says something valuable about the nature of mythology.

[kithj]

agree with all of your points here, but in response to anon... why does genderlocking a character mean that character's story then has to be about their gender? why does every female character have to have her story revolve around the oppression and misogyny she's faced within society? why do genderlocked trans characters only get to exist if we get to dissect their relationship with gender rather than just letting them... exist?

obviously, if you've read my work then you know i enjoy writing and reading about these things myself, but i really raise my eyebrow at anon's implication that certain people can only be in a story so long as it directly relates to their identity, or else it's "gender-neutral." men and women and nonbinary people are allowed to be included in any story in any genre, and their inclusion in that story shouldn't be limited to just their identity, and their identity also shouldn't be discarded when it's not. this goes doubly so for characters of color-- there are a lot of bipoc authors that voice this exact concern due to publishing limiting their work and only allowing them to tell stories that revolve entirely around their identity and the struggles they face because of it, versus white authors who have free reign to write about whatever they want.

limiting ourselves to only depicting certain people in this way is the opposite of what we should be advocating for. yes, everyone should always do research when it comes to writing a character outside of their own experience & you as the author should be aware of the way that character's identity may impact their relationship to the narrative you want to write, but reducing them to nothing more than that in the text can be just as harmful as ignoring it completely.

sometimes you do choose a character to be a certain way because you want to explore something in the narrative with them-- i did this with all of my characters in Blood Choke. but other times genderlocking happens just because it's what feels right! while there are some moments where gender is touched on in The Northern Passage, that is not the focus of the story (or the characters) at all. but i can't imagine depicting Clem, Merry, or Noel any other way. and sure, allowing gender selection may expand your audience, but for me, personally, i don't write solely to appease the largest audience. i write the things i want to write, and i like genderlocking for all of the reasons Harris listed and more. and to be clear, i also like the gender-selection mechanic! that's why Lea is still selectable; just like with the others, i can't imagine depicting them any other way. and Lea has just as much of a complex relationship with their gender as the other 3 characters-- they are not "gender-neutral."

i just really push back against the idea that player choice hinges entirely on whether or not a player can choose the genders of the other characters. like Harris said that is not the only thing of value in these kinds of stories, and there are so many other ways to approach interactive fiction than just romance/romance options, and i think it's a shame more people don't give certain IFs a chance because of something as silly as genderlocking.

Look, about the gender-locked thing, it's a nice idea. If you do something with it.

If you lock a certain character to a given gender, you can tell a story that relates to that gender. You can talk about and explore what gender is and how it affects the lives of people in your universe, what social roles are expected of them, how they relate to their bodies, how other people see them and how it affects the way they feel.

But, being honest, that's not your wheelhouse. You write gender-neutral stories, in which it might be acknowledged, but it doesn't influence the lives of your characters at all. You can write a gender-neutral story with gender-locked characters, certainly, the fact that not every single character of your previous games was gender-selectable is proof of that, but why would you? What there is to be gained, in narrative terms, with such a decision? It's more trouble than it's worth, given the climate of our community overall, where choice is valued immensely.

Now, if you want to try something new, if you want to write something completely different, then go ahead. Seize the opportunity. Just beware it's more complex than it first appears.

Mm, I don't think I agree that it's "more trouble than it's worth", or that NPC-gender choices are the main/only aspect of the value of player choice, but I think I understand what you're saying.

I'm not sure if "what is there to be gained" is rhetorical but if not here are some examples:

-it's easier to write specificity about characters' genders (whether it's solely acknowledging, or also influencing characters' lives) if it's not branched three ways

-eg it's easier to write two people of the same gender talking about some shared/differing experiences when it's set rather than it being a single section of a much wider set of branches

-I'd enjoy including romanceable characters who are canonically nonbinary rather than them being only that way under some circumstances (the last time I did this - or having all non-selectable romances - was in Blood Money, which was a long time ago now)

-it's easier to subvert or lean into various gender expectations and such when there's a single thread to write

-a lot of players have said they feel a fixed character is clearer in their mind; I don't always find this myself (and can find fixed characters also feel unclear, depending how they're written) but I've seen it said a lot

I am pleased with some of the specificity I put into Honor Bound (mostly for trans and nonbinary PCs and NPCs) so I do feel confident that I can do that side of things with selectable characters.

In general I think there are pros to both approaches, so it's interesting to think about.

(this ask is referring to these posts!)

[thebibliosphere]

I was just playing gotham knights again and noticed some passive dialog regarding Babs having a back brace, which is at least acknowledging that there was damage done, but I'm a little sad for the loss of some really cool disability representation. What are your feelings on her (and on a similar note Batman's) miraculous recovery from paralysis in DC?

I think Gotham Knights handled her disability fairly well, considering this is a universe where magic, nanobots, and puddles of evil green goo that can heal the dead exist. All things considered, it would have been very easy for them to either erase it entirely or just handwave and say, "She worked really hard and got better," as previous iterations of the canon have done.

Because she did work hard and get better, but the hard work is ongoing because they depict her issues as chronic.

She's got a limp (it's the most obvious in her Talon suit with no cape in the way), which means she can't rely on speed or high kicks like the others can (I mean, she can kick, but it's her slowest motion, and until you max out her suit, it's the most liable to get her thrown to the ground), so she falls back on precision and her tech.

Jason punches for maximum pain, Dick moves with dizzying speed, and Tim's gonna sneak up on you and drop you like a rock, but Babs is going for the pressure points with ruthless precision. Not to mention her drones.

The conversation with Tim, realizing she might need help boosting her suit to compensate for her pain/strength issues, is a nice little way of making the player aware that she's got these ongoing problems because, honestly, a casual observer could mistake her back brace for athleisure wear if they didn't recognize the shape of it. It's also a good way of throwing in some exposition about how she's still going to physical rehab and that her PT would like her to "wean off" her back brace, but because her PT doesn't know her actual job as a vigilante, Barbara admits she can't and is essentially finding ways to manage her own care and create her own accommodations. Accommodations which they are all shown to be willing to help with.

It's a nice little touch when superhero narratives tend to revolve around self-sacrifice to the point of self-destruction. Alfred giving Dick into trouble for pushing himself too far and hiding injuries is a nice touch, too, even if it's like trying to bail water on the Titanic with a teacup.

I also like that not only do you see her wheelchair lurking around the Belfry—along with the disability adaptations they put in place, like the ramps, the wheelchair elevator, and the desks that move up and down to wheelchair height—but that she also still uses her chair from time to time.

[ID a screenshot from Gotham Knights showing the Belfry. Light streams in through a giant clockface, showcasing a bank of computer screens. In front of the screen, Barbara Gordon is using her wheelchair as Dick Grayson stands behind her, probably making a bad pun.]

Whether she's using it because she's tired or simply because it's more comfortable than the computer chair is never revealed. Nor is it brought up or commented on. It's just something that's normal for Barbara to do, and I like that. I like that it's normal. It's not a part of herself she's trying to erase. She works with it, not against it.

Is it perfect? No. Do they outright erase her disability like so many of the comics are guilty of? Also, no. I'd argue that, in fact, they kept her disability. They just changed the nature of it.

Barbara now has a dynamic disability, one which fluctuates and requires different management based on her day-to-day (or night) activity. She's in active treatment for it and will be for the rest of her life. Are some of the physical feats she achieves realistic for someone with an injury of her nature? Not really, but again, this is a world where nobody stays dead, and there are zombie assassins coming out of the walls. I'll take the attention to detail and care they put into her story any day over the "Willpower Fixed My Spine" narrative we could have gotten.

As for Bruce getting healed by magic, again, it's Batman. Comic book logic is wibbly-wobbly at the best of times, and realistically speaking, they couldn't leave Batman paralyzed. His whole deal revolves around being stealthy and punching the shit out of people. He wouldn't be Batman anymore, and frankly, I don't trust the comic writers as far as I could throw them to handle that right.

By contrast, the Gotham Knights writers handled Barbara with much more care and nuance than I ever expected. And I'm thankful for that.

---

*I also like that both Dick and Barbara are often shown wearing joint braces. Dick's are especially reminiscent of the way gymnasts and people with hypermobility tape their joints to reduce pain and prevent injuries. It's a nice little touch. They're not invincible. Their bodies hurt. They're just like me but with money and much bigger problems like giant killer robots and zombie assassins.

[badass-queer-couples-battle]

Sword gays showdown, round 4 of bracket three

Propaganda:

For Adora:

Finding the sword kicks off the whole show. She transforms into a giant magic lady and is now in charge of saving everyone from the  big bag guys (which she used to be a part of). A bunch of stuff happens, but eventually her identity is now tied to having the sword. She is fully convinced that w/o the sword (and therefore She-Ra) she’s worthless. This culminates in having to destroy the sword or the world ends. She’s super depressed bc her whole self worth was tied to the sword and being she-ra. On the way to save her gf, she turns into way cooler she-ra (her own version of it that is not controlled by the sword which was made by her colonialist ancestors). Her sword is now part of her identity instead of her identity revolving around the sword. 

lesbian chosen one who was given a sword that activated her powers and made her into a living weapon, but she destroyed the sword to save her planet - and then made her own sword with her magic and saved the entire universe

For Ballister:

he could tell when his sword was switched out for a fake, graduated top of his class so we know he's a good fighter, also the scene where he's fighting is hot because he's so confident with a sword in his hand, also he's gay

A canonically gay, disabled, South Asian man takes down the government with his genderqueer shapeshifter sidekick/adopted daughter! He has a swordfight with his ex-boyfriend! in which he defeats about 20 knights singlehandedly! 

top of his knight class this man is a master swordsman

(Movie) He has used a sword since he broke into the Institutes training ground and ended up becoming a knight

He has very divorced vibes with Ambrosius and he uses a sword.

He's a legit knight! So, it's in the fine print.

According to the Nimona movie, Ballister here has been practicing the art of sword fighting since childhood to earn the trust of the city and he was SO CLOSE to becoming a knight. He's also definitely not dating another one of his knight mates (?). Nope. Not at all. This movie is super straight /s I think he also beats an entire army of knights with nothing but his sword and a chaotic good shapshifter so that's pretty cool. He's also south Asian, has a prosthetic arm he made himself and is honestly such a goofy guy (in a good way ofc) if that's anything.

[chosos-mascara]

jujutsu kaisen

✿ smut ✧ fluff * angst

one shots

i am currently in process of reworking some of these. i will reblog once complete. i have taken a few works out of this list to be re-written entirely, but they are still on my blog somewhere.

satoru gojo

with me ✧ summary: as you find yourself awake at night, you wonder if it’s time to confess to captain gojo. (pirate au)

gojo's bride 5.4k words summary: as part of the ryomen clan, your life revolves around organised crime. when your father tells you you're destined to marry naoya zen'in, you're left with little choice but to run.

morning after ✧ summary: after sleeping with Satoru for the first time, you wake up to him making you breakfast. just a cute little comfort drabble tbh!

new years kiss ✧ summary: gojo devises a plan in which you can share a new year's kiss in secrecy.

when flames dance 2.4k words ✿* summary: as prince gojo's bride is chosen, you're left to experience one last night within his chambers.

suguru geto

all my love, suguru * multiple part series summary: after an unexpected night spent with your close friend, you find yourself pregnant, and unable to tell him so. will you be able to come to terms with this news, or will it destroy the delicate relationship you’d had left?

choso kamo

red,blood ✿ 10.8k words summary: bitten by a stranger, you notice an extreme aversion to food - instead craving one substance above all. moments from taking a life, choso brings you back to normalcy; with only one issue. it's choso's blood that you crave.

christmas tree ✧ just you, choso and his little brother yuji decorating the christmas tree!

toji fushiguro

mornin' ✧ 0.7k words summary: waking up beside toji!

wedding night ✿ 1.4k words summary: after an arranged marriage to unite your clans, you're left alone in a hotel room with your new husband.

kento nanami

two lines 0.8k words ✧ summary: after finding out you're pregnant, you contemplate what to do.

megumi fushiguro

reunion 2.1k words ✿ cw:spitkink

yuta okkotsu

a piece of advice 2.6k words ✿ summary: after you offer condom advice to yuta, you put forward a second suggestion.

yuji itadori

blood ✿ 3k words summary: you don't understand why your boyfriend won't come over while you're on your period. the secret he's been keeping from you surfaces as he's faced with the iron scent he loves - yuji is a vampire.

sukuna

the proposal*✧✿ 5.5k words summary: an evening within a club owned by sukuna had ended in a late night conversation, the beginning to a secret friendship between yourself and your sister's boyfriend. only, when pining over one another for so long, you can't keep yourselves from the truth; you were in love.

maki zen'in

girl ✿ summary: after maki arrives in your home riddled in self-doubt, she learns your true feelings toward her.

[wwooyology]

Please Come Back | K.SN

「prompt」 : wake up 「pairing」 : bf!sunoo x fem!reader 「word count」 : 1.2k

「synopsis」 : after a huge argument, you ran out of the apartment in a fit of rage, and sunoo stayed behind; that was until he got word that you had been in a lethal car accident, resulting in you fighting for your lift with no sign of recovering.

「genre」 : angst

「warnings」 : cussing, brief mention of arguments, car accident, death, self-blame, lmk if I missed anything!!

「notes」 : this was written at like three in the morning while I'm fighting for my life to keep my eyes open so hopefully it turned out alright.

masterlist ─ navi. ─ angstober list

“Can you pull your head out of your ass and take a look at the real world? It doesn't revolve around you, y/n!” Sunoo hissed, anger boiling hot in his veins as he glared at you.

Matching his glare with one of your own, you scoffed in disbelief, “You know what, Sunoo? Fuck you!”

With that, you stormed out of the house, refusing to listen to another word that would leave his lips. That was probably the worst decision that you could have made in your life and, quite frankly, your last.

In the span of an hour, you had been involved in a car accident with a drunk driver and was rushed to the hospital.

In the span of an hour, Sunoo received the call that nearly made his heart stop in his chest. You were critically injured and currently undergoing surgery that could mean a matter of life or death.

Dropping his phone, he quickly made his way to the hospital, surprised that he hadn’t been pulled over in the process. Once he got there, he rushed into the hospital and to the receptionist's desk, asking them for you.

“The patient is still currently in surgery,” The nurse explained to the blonde with a solemn expression because things weren’t looking too good for you.

Sunoo then asked which operating room and pointed him in the right direction. Running off, he stopped in front of the door, pacing back and forth. You had to be okay, right? This was just a simple surgery, and you would come out alive.

Right?

‘It was just a stupid fight. Why did it escalate so far?’ He started to beat himself up over the argument, praying that you would make it out of this and he could make it up to you.

After what felt like hours, the operation light finally turned off, and the door slid open. Sunoo quickly rushed up to the doctor, asking how you were, to which they gave him a look filled with pity.

“We’ve done everything we can, but she’d be lucky to make it through the night.” The doctor informed the younger male, who nearly collapsed to his knees right then and there.

Nurses quickly rushed over to help hold him up, but Sunoo wasn’t worried about them. He quickly grabbed the doctor's arm and looked at him with pleading eyes.

“Can I see her?” His voice shook as he tried his best to keep the tears that had built up on his waterline at bay, but as the seconds ticked by, it was proving more and more difficult to do so.

The doctor agreed before moving to the side and allowing Sunoo to walk into the room. As soon as he walked into the room, the tears he fought so hard to stop started flowing down his flushed cheeks. 

There you were, lying in the hospital bed. A multitude of wires and tubes connected to your body, and god, did you look so, so lifeless. If it wasn’t for the faint beeping of the heart monitor, one would think that you were just a corpse lying there. The sight caused Sunoo’s heart to hurt, a sharp pain shooting throughout his entire body.

He couldn’t stop the tears. All of the overwhelming grief and anger hit him like a freight train. There was no way he could process all of the emotions at once. His fist connected with the solid wall next to him in the blink of an eye.

It hurt, god, it hurt like hell, but even when he looked down at his now busted knuckles with misty eyes, he didn’t even think twice before punching the wall once more. A cry fell from his lips as nurses rushed in to keep him from doing any more damage to his hand.

He wept and shouted, all of the pain coming out in anger until he tired himself out and just sat on the floor of the room. His eyes never leave your motionless figure as you lay in that bed.

Once he finally gained enough strength, he pushed himself to his feet before stumbling over to your side. Gently grabbing your hand, he dropped back down to his knees as more sobs racked from his body. He begged and pleaded with you to wake up. To yell at him once more for being such an asshole and that you would be just fine.

“I’m so so so fucking sorry, baby. Please come back to me.” He cried, fingers tightening around you as he studied your face.

Even as he sat by your side for the next few hours, he continued to blame himself for your situation. Blaming himself for blowing up at you for asking a simple question. Cursing himself for letting the fight spiral out of control like it did.

“I know I’m an idiot, but I swear when you get out of here, I’ll do anything to make it up to you, just–” He was cut off by a hiccup as tears fell endlessly from his eyes, “Just come back to me. Please.”

Those next few moments felt like they happened in slow motion. The heart monitor that had been reading your shallow heartbeat suddenly fell flat, and your whole body went still. A loud alarm rang around Sunoo as he panicked, calling for the doctors to rush in.

“Get him out of here!” They shouted as the nurses tried to pull Sunoo from the room, but he refused to move. Watching as they started CPR and trying to bring you back.

The ringing in his ears was so loud that he couldn’t hear anything else, tears blurring his vision once more. Even if it brought upon an unimaginable pain, he couldn’t tear his eyes away from the scene in front of him.

“Time of death; 2:49 am.” Those words echoed in Sunoo’s mind as he watched them move away from your body.

He refused to believe it; you couldn’t be gone. You couldn’t have just left him like that. No, this was just some sick and twisted joke that you were pulling to get back at him for arguing with you.

Rushing over to your motionless body, he grabbed your shoulders and shook you like a ragdoll, “Come on, y/n, this isn’t funny anymore. The prank’s over. Ha ha, very funny.” He laughed dryly as he continued to shake your body. “Wake up, please. Please wake up. I can’t do this without you.” His cried echoed all around the room, the doctors and nurses averted their gazes in pity, some crying tears of their own.

“Don’t leave me, please, I’m sorry.” He sobbed, dropping down to his knees at your bedside.

“I’m sorry, but she’s gone.”

“NO!” Sunoo shouted at the doctor with a teary gaze, “she wouldn’t leave me like this. She just wouldn’t.”

The doctors allowed him a few moments with you in silence before ultimately dragging him out of the room as he kicked and screamed. Then, even after he was removed, he continued to plead with you to come back.

“I’m sorry I’m such an idiot.” He hiccuped as he looked up, tears flowing from the corner of his eyes. "God, just give me one more chance.”

But he knew it was too late for another chance. You were gone, and the last words he said to you were out of anger. Something that would eat at him until the day he died.

All because of a petty argument.

@wwooyology | Do not steal, plagiarise, translate, or repost any of my work

𝖉𝖎𝖘𝖈𝖑𝖆𝖎𝖒𝖊𝖗 : ᴛʜɪꜱ ɪꜱ ɴᴏ ᴡᴀʏ ᴀ ᴛʀᴜᴇ ʀᴇᴘʀᴇꜱᴇɴᴛᴀᴛɪᴏɴ ᴏꜰ ᴀɴʏ ᴏꜰ ᴛʜᴇ ᴍᴇᴍʙᴇʀꜱ. ᴛʜɪꜱ ɪꜱ ᴘᴜʀᴇʟʏ ꜰɪᴄᴛɪᴏɴ ᴀɴᴅ ꜰᴏʀ ᴛʜᴇ ᴇɴᴊᴏʏᴍᴇɴᴛ ᴏꜰ ᴛʜᴇ ʀᴇᴀᴅᴇʀ ᴀɴᴅ ɴᴏᴛ ᴛᴏ ʙᴇ ᴛᴀᴋᴇɴ ꜱᴇʀɪᴏᴜꜱʟʏ.

[deconstructivesurgery]

so many thoughts about the wizard today. one of the first things gale ever says to you when you rescue him initially is that he's sure he'll be able to repay you many times over- immediately trying to appeal to you and your group by promising that he's useful. essentially, that he's worth bringing along. where most of the others you pick up early game- like shadowheart and lae'zel- automatically assume that working together is advantageous for both parties, he's already concerned that he'll be left behind- deemed dead weight instead of a companion. he's also undoubtedly already trying to get into everyone's good graces as much as possible to soften the inevitable blow of admitting to being a fucking nuclear bomb, but I don't think that's the sole reason he tries to appeal. he also wants to be liked just for the sake of it. we're talking about a dude who has like -2 friends and spent a year locked in his house with only Tara for company (love her, but still. point stands.), he's fucking lonely as hell.

so, he starts cooking for everyone- offhandedly mentioning that the "hand that feeds is the hand that's loved". if you romance him, or hell- even just become his friend, he does his best to impress you with magic and illusion. eventually he convinces himself he should try to become a god- not only to satisfy his own need to become powerful enough to finally make him feel sufficient- but because it's the ultimate way to become appreciated, to be *useful* to the world in a way he never was before. he could be a god that actually answers when you call, he swears- a god that would never use and discard people the way he was discarded. (it's a horrible idea, but he's still hellbent on it for the sake of being someone worth appreciation in his eyes)

his entire sense of self revolves around being good at something, and using that skill to serve others to "earn" their affections, and it shows the whole way through.

[just-my-latest-hyperfixation]

Copy that

Written for @steddiesmuttyseptember, week 3

Prompts: Lingerie & Sneaking Around

Words: 1,273

Rated: E

Tags: Office AU; Janitor Eddie; Junior Boss Steve; Secret Relationship; Semi-public sex; Steve in lingerie; Groping; Manhandling; Dirty talk; Dry humping; Inappropriate treatment of office equipment

Notes: Set in the same universe as this one

Eddie can tell what kind of day it'll be the second he walks into the office. Chrissy looks up from the files she's organizing on the reception desk and smiles ruefully.

“Hey, Eddie,” she calls. “Good thing you're here. The copy machine on the second floor is broken.”

“Jesus,” Eddie groans as he hands over her usual styrofoam cup of coffee. “It isn’t even nine yet and there’s another copier literally one floor above that. Did that not occur to those corporate dumbfucks?” 

She giggles and draws a breath to reply, but is interrupted by the phone on her desk ringing. 

“I bet that's Steve again,” she sighs.

Eddie’s stomach does a weird little flip. 

“Harrington Junior? I thought he was in New York this week.” 

She shrugs. “His conference got canceled. Listen, can you go check on this? I don't know why he needs those copies so urgently, but this is the fourth time he's called about it.”

As he steps into the elevator, Eddie wonders why he keeps putting up with this shit. He isn't being paid enough to deal with entitled tie-wearers who think the entire universe revolves around them. 

The second floor is still mostly empty, only a few miserable employees settling into their cubicles. At the sound of Eddie’s boots thudding closer, Steve steps out of the copying room, frowning and flushed pink with annoyance. 

“Yeah, whatever,” Eddie says. “I’m here now, aint’ I? No need to get your panties in a twist.” 

“Finally,” he snaps. “Do you have any idea for how long I’ve-”

Something twitches across Steve’s face, something that looks suspiciously like a smirk, but it’s gone as quick as it came as he grabs Eddie by the elbow to steer him into the copying room. 

While Steve clicks the door shut behind them, Eddie walks over to the copier. He peeps into the gap between the machine and the wall, sighs, and bends down to retrieve the pulled plug. 

“Seriously?” he asks. “Again? You need to start coming up with new excuses, because this is getting-” 

And that's as far as he gets before two large hands shove him against the machine and a warm, slick tongue pushes past his lips. Eddie hums a half-hearted protest and tries to pull out of the kiss, but Steve growls and grabs his face in both hands to hold him in place. The copier rattles as he wedges a leg between Eddie’s thighs. 

“Woah, princess,” Eddie gasps as those lips leave his mouth, blazing a hot trail down his jaw and throat. A look towards the door reveals three large cartons of paper stacked in front of it, but he doubts they'll withstand one or two hearty pushes. “Hold on. There's people out there, anyone could-”

“Better make it quick then,” Steve says, breath leaving warm puffs against the hollow of his throat. The seams of Eddie’s overalls groan dangerously as he yanks them off his shoulders. “If you'd have been here sooner, we wouldn't be in this situation. Now c’mon, or are you scared?” 

Eddie growls. Steve’s self-satisfied grin only serves to fuel his rage as he spins them both around and bends him over the copier. 

“I'll show you scared, you little brat,” he says, nudging Steve's legs apart and pinning his arms behind his back with one hand, the other opening his expensive leather belt with practiced motions. He bends and bites down at the base of that long neck, just long enough to feel Steve’s answering moan rattle in his own chest, then straightens back up and yanks Steve’s dress pants down in one violent motion. 

And then he freezes. 

Lace.

Steve Harrington's glorious ass is covered in shiny, delicate lace. It stretches over it in a pattern of pretty flowers and little hearts, golden skin and dark moles shining through the see-through fabric. 

It is red. 

Jesus Christ on a fucking motorbike. 

“What's the matter?” Steve asks. He's craning his neck to take in Eddie’s reaction, face unbearably smug and flushed as red as the lace of his panties. “You planning on doing something or are you just gonna stand there and catch flies?” 

“You might wanna get going soon,” Steve singsongs. “There’s people out there, y’know?” 

He rolls his hips, grinding his ass against the rapidly growing bulge in Eddie’s overalls. His pants slip further down as he does. There's garters. Red, lacy garters hugging thick, muscled thighs and Eddie is not going to survive, is he?

“Oh my God, you're such a slut,” Eddie mutters, and surges in. Steve moans again as he fists a hand into the hair at the base of his neck, pushing him face-first onto the copier. Eddie has a fleeting thought that it's simultaneously lucky and a pity that the thing isn't plugged in because man, those copies would be something to look at. 

“God, baby,” he growls, yanking Steve’s head up by the hair, forcing his back into an obscene arch. “You're gonna kill me one day, you know that?” 

“Hope not,” Steve gasps, fingers digging into the edge of the machine for dear life. Glass creaks and metal rattles as Eddie rocks his hips, grinding their bodies together. “I really like your cock.” 

Eddie laughs, the words igniting a firework of want low in his abdomen. Steve shivers under him as he blankets him with his weight, pressing him down against the hard surface of the machine so that he can whisper right into his ear. 

“Oh, yeah? That what you want, princess? Well, be my guest. I’m gonna stuff you so full, you’ll feel it all day. You gonna walk out of this room and back to your stupid meetings, and all you’ll be able to think of is how good it felt, getting fucked by me. How all you wanna do is go back and take my cock again, you greedy little-” 

“Steve? You in there? What is wrong with the door?” 

Steve is out from under him and on his way to the door before Eddie manages to fully process his shock. 

“Hold on a sec, Tommy! I think it’s stuck.” 

Steve smiles while he pulls up his pants and fixes his hair, like he has all the time in the world. Eddie is so busy bemoaning the loss of the panties and garters that it takes him a second to remember his own disheveled state. He has hardly shrugged back into his overall sleeves and pulled the zipper up when Steve shoves the boxes out of the way and Hagan from Sales stomps into the room, a stack of papers in hand and a scowl on his face. 

“Oh, sorry,” Steve says, full of genuine regret. “The copier’s broken. Eddie and I were just looking into it.” 

Steve shrugs exasperatedly. “I know, right? Looks like someone needs a refresher course on how to treat company property.” 

“Man, does anything in this company work?” Hagan grumbles, stalking past Eddie to flip open the lid of the machine. “Who the fuck did this? There’s cracks all over the place!”

Hagan groans, slamming the lid shut and turning back towards the door. “Whatever, I’m using the one upstairs. Oh, by the way, your dad wants you in his office. Something about New York?” 

“On it,” Steve calls after him. “Thanks for letting me know.” 

As he brushes past Eddie and out of the door, he shoots him a coy smile. “I guess we'll need to conclude this meeting later. Come to my office around lunch?” 

Eddie really, really isn't getting paid enough for this shit. Luckily, the job comes with other benefits. 

More smutty September

[cece693]

Brooding Edward (Edward Cullen x M! Vampire Reader)

I got a comment some time ago asking for more Edward Cullen fics, so I came to deliver :) Hope you guys enjoy it.

Summary: You don't know when your dislike of Edward turned into adoration, but you did know that you didn't like how close he was getting with the human, Isabella Swan.

tags: scheming Edward, jealous reader, hater to lover, making out, Bella used as a pawn in Edward's plan, mentions of Bella x Edward

Forks was a dreary town, always dripping with rain and cloaked in mist, a far cry from the places I’d roamed over the centuries. I’d arrived here on a whim, seeking nothing more than a quiet place to blend in, disappear among the mundane, and watch as the world turned on without me. But I wasn’t completely alone here. There were others of my kind, tucked away in the dense forests.

The first time I laid eyes on Edward Cullen, I knew immediately what he was—beautiful, yes, but also cold and distant, a façade of perfection wrapped around a soul that seemed perpetually weighed down. We didn’t speak much at first, just acknowledged each other as predators passing in the same territory.

But the more I saw him, the more I realized how irritatingly complex he was.

He wasn’t like the others—his siblings, his parents—who seemed content with the life they had carved out here, blending in with humans, attending school like everything was perfectly normal. Edward. had this air of constant torment, like he was wrestling with demons none of us could see. It grated on me. The self-imposed suffering. The way he would sit in class, staring out the window like the weight of existence itself was crushing him.

I couldn’t stand it.

“Edward’s always been like that.” Alice once told me when I asked why her brother seemed more brooding than the rest of them. She smiled, almost fondly, as if his moodiness was something endearing, but I couldn’t wrap my head around it.

“You mean miserable?”

“He’s complicated.” she explained, and for some reason, that word irritated me even more.

Complicated. Right.

The more I was around him, the more I was drawn to observe his every movement, his every interaction. And it only made my disdain grow. Edward had this way of pulling people in without even trying—his impossibly good looks, the air of mystery that seemed to cling to him like fog, his quiet intelligence. Everyone wanted to know him, to understand him. But he kept everyone at arm’s length.

He was a contradiction—mysterious yet aloof, compassionate yet disconnected. And I couldn’t stop watching him.

It became a sick habit of mine, this strange fascination, though I told myself it was just that. I would catch glimpses of him in the halls at school, his expression always distant, as if he were somewhere else entirely. He rarely laughed or even smiled—everything seemed so goddamn serious to him. His siblings would joke around, ease into their lives here, but Edward? He remained on the outskirts, as though he couldn’t let himself relax, couldn’t let go of whatever it was that tormented him.

There was something maddening about it.

It wasn’t until Isabella Swan came into the picture that everything shifted.

She was new, fragile, and completely unaware of the supernatural undercurrent running through Forks. But Edward saw her. And it wasn’t just passing interest. I noticed it from the beginning—the way his gaze would linger on her in class, how his jaw would tense when she got too close to any of the other students, or how he disappeared for days after their first encounter, struggling to keep himself in check.

I remember the first time I heard them talking, watching from a distance, seated in the cafeteria among the other Cullens. Edward’s voice was soft but strained, his gaze locked on hers like she was the most precious thing in the world. The intensity in his eyes, the way his entire being seemed to revolve around this human—it was unsettling.

"She’s different." he told me once when I couldn’t stop myself from asking why he was so fascinated with her.

"Different?" I echoed, unable to keep the disbelief out of my voice. "She’s human, Edward. She’ll die in a blink of an eye. What happens then?" He said nothing, just stared off into the distance, as if the very idea caused him more pain than I could understand.

It was then that the slow burn of jealousy began to fester inside me, though I couldn’t name it at first. The fact that Edward, who seemed indifferent to everything, had suddenly fixated on this girl—this fragile, breakable human—made something inside me twist. I was used to seeing him as distant, untouchable, yet here he was letting his guard down for someone like her.

I wanted Edward’s gaze on me. His intensity. His focus. The realization hit me harder than I expected, and it wasn’t long before that jealousy bubbled over into anger.

One night, the tension reached a boiling point. Edward had just returned from dropping Bella off, his face drawn, like always, but with something else in his eyes that I couldn’t ignore. Satisfaction. The kind of satisfaction that came from spending time with her. The kind of satisfaction I wanted him to feel when he was with me.

“Isabella this, Isabella that.” I sneered, my voice cutting through the stillness of the forest. Edward stopped in his tracks, his expression hardening as he turned to face me.

“What’s your problem?” His tone was cold, guarded.

I stepped forward, closing the distance between us, my chest tight with the jealousy and frustration I’d been holding in for too long. “My problem is that you’re throwing everything away for her. And for what? She’s nothing special, Edward.”

His jaw clenched, his golden eyes flashing dangerously. “You don’t know her. You don’t understand.”

“Understand?” I laughed bitterly. “What’s there to understand? She’s human. You’re a vampire. End of story.”

“It’s not that simple,” Edward hissed, stepping closer, his presence looming. “It’s never been that simple.”

I stared him down, anger boiling over into something sharper. “You think I don’t see what’s happening here? You’re losing yourself in her. You’re forgetting who you are, what you are. She’s going to be your downfall.”

He glared at me, and I could see the storm brewing behind his eyes. His hand shot out, grabbing the front of my shirt, pulling me roughly against him. “You’re wrong.”

Before I could snap back, Edward’s lips collided with mine like a strike of lightning, fierce and demanding, with none of the hesitation I’d come to expect from him. The initial shock froze me for only a second, but then the fire that had been building inside me for so long erupted, and I grabbed him by the collar of his shirt, yanking him closer, forcing the kiss deeper.

His body pressed hard against mine, the coldness of his skin a sharp contrast to the heat pulsing through me. This wasn’t like anything I’d imagined—there was no softness, no careful exploration—just raw, primal need. His lips left mine briefly, trailing down the line of my jaw, his breath cool against my skin as he whispered, “You think I’m hers?” His voice was low and dangerous. “I was never hers.”

I gripped his shoulders, shoving him back slightly, forcing his eyes to meet mine. “What the hell are you talking about?”

He smirked, that infuriating, knowing smirk that sent another wave of frustration and heat crashing through me. His eyes darkened, the gold-flecked with something more primal, more dangerous. “My relationship with Bella means nothing to me.”

I tried to shove him away again, but he held firm, his grip on me unyielding, his body pressing me back against the rough bark of the tree. “Bullshit,” I growled, but the anger in my voice was already fading, replaced by something I didn’t want to admit. “You’ve been obsessed with her—”

“Lies.” he interrupted, his lips hovering over mine, so close I could kiss him again if I leaned forward. “I needed her to push you, to make you feel what you’ve been ignoring for months.”

My mind reeled. “You’re saying this was all some kind of game?”

His smirk widened, but it wasn’t cruel—it was victorious. “Not a game. A plan.” His fingers trailed lightly over my collarbone, sending sparks through me, and I hated how easily he could get under my skin, how quickly he could break down the walls I’d built. “I’ve been waiting for you to realize it, to stop fighting me.”

“Fighting you? You never said a damn thing.”

“I didn’t need to. I knew you’d come to me eventually.”

The kiss that followed was harder, more desperate, and I couldn’t stop myself from pulling him closer, the fire that had been smoldering between us now raging out of control. His hands roamed over my body, each touch stoking the flames higher. I couldn’t think, his presence overwhelming every sense, every thought.

“I'm yours,” he growled against my lips, his voice rough and possessive. His hands slid under my shirt, cold fingers tracing over my skin, leaving a trail of fire in their wake. “Not hers.”

The words hit me like a punch, and I grabbed his face, pulling him back just enough to meet his gaze. “Say it again.”

His eyes bored into mine, that same victorious glint dancing in their depths. “I’m not hers. I’m yours.”