#i feel like a failure and i need someone to tell me: is that me? is that just life? does that happen?

[britcision]

I do also agree with OP, although I am gonna throw in a little reframing

TTRPGs and RPGs in general are games; they work based on chance and mechanics which tend not to change based on what would be narratively convenient, because the game doesn’t know what would be narratively convenient

(Notable exception: Abnimals, Travis McElroy’s game which explicitly includes a pool of My Time To Shine dice, which players can add to rolls they think are narratively important.

The dice still don’t care and will still dish you up all failures, but you do get to juice to improve your odds)

And what this means from a narrative perspective is that all the players and the GM need to be ready for big moments to go wrong. For the vital roll to fail, for the wrong character to get the last hit on a BBEG, for a dramatic and impassioned speech to fall flat

And that’s especially a challenge in a short campaign or series of oneshots, where you can’t necessarily just extend and expand the story until the Grand Finale is actually just a Big Character Moment

But it is still a big character moment

As the McElroy’s say… a failure is more interesting than a success

A failure adds free depth, free angst if you’re lucky!

Because… is anyone actually upset and unsatisfied if the story goes too well? If you succeed in a place where a failure might have been more exciting and dramatic?

The key is the kind of story the players (especially western players) are expecting to tell, and will find satisfying… because again, these are games

We go into them expecting or at least intending to win

This means various things for different games, you don’t play Call of Cthulhu for a happy feel good ending where everyone rolls off into the sunset, but you still want to win

It’s a lot more likely for people to feel it was a narratively satisfying story once they’ve gotten the end they wanted, even if some areas fell flat

And trust me, it’s something my players very much also struggle with; it feels bad when we fail something we wanted to succeed on. It feels worse if we built it up to be a big narrative moment… and it doesn’t work

But that is still a big narrative moment

If you’re going to play a game, where chance and mechanics decide the fate of all your dramatic moments, you need to be prepared to tell at least two stories:

- One where it all goes well

- One where it fails

(Maybe one more for a natural 20 equivalent and the stars quake at your passing)

It is hard to lean into failure, but when we do it… what would have been an unsatisfying ending is now just another twist. Free depth and character development, something to wallow in

And we know that those types of stories, even ones where everything goes wrong and the heroes lose, can be so very satisfying

Just look at the prevalence of whump and hurt-no-comfort on AO3

It’s normal and expected to feel bad and dissatisfied when the story doesn’t go the way you wanted it to, but it is your choice to leave that story as something unsatisfying and feeling bad about it

Every unexpected failure is another microwave to toss your blorbo in

Every moment that falls even a little flat is an opportunity for a genre-savvy quip, for a “well that just happened”, for someone to fall to their knees and scream and re-amp the tension

The key is in the player’s flexibility, not the game’s

Even if you are doing a short campaign… you can imply the rest. Let the story not be over, even if your time playing it is.

Let the beaten heroes be ground underfoot, crawl away from the dungeon, have to work and suffer but grit their teeth and know… so long as they’re alive, they can try again

They can have their revenge

(And then you can run the campaign again later, maybe with the same characters a level or two higher than you started last time, and thrive on the new dark and bitter story)

Or let your past characters be an inspiration, either for friends and loved ones who come to avenge them, or to the new heroes who heard their story and heard they failed, but that’s no reason not to try

Prev is also so right about a lot of modern dnd basically expecting the DM to tell a mildly interactive story live to passive players; it’s definitely one a lot of my players came in with, and it’s part of the problem

To tell a narratively satisfying story, you cannot just passively go along and expect the dice rolls to conform to your narrative

You need to actively engage, embrace the rolls as crossroads in the path of destiny, and be prepared to build the narrative no matter which path you take

You don’t go in expecting the right results at the right time to make a satisfying story; you go in knowing where the key moments will be, and what will happen if you succeed or fail

I have told my players several times, and I’ll tell y’all until I die:

I as the DM am not telling the story

I the DM have made the world, the NPCs, the background and setting of events

You the players are telling the stories of your characters, in that setting

There is an overarching plot that the party as a whole will also be telling the story of together… but not only are the players the ones who pick the theme music, you’re the ones who chose the main characters

There’s a reason a prefab campaign will be different for every group that plays it, even with the same GM

Even if you have no idea what’s coming next in the main storyline, you need to know what is coming next for your character

How you want them to grow, what you want them to learn - and then any unfortunate rolls aren’t a let down or a problem, it’s an opportunity.

Sakura has to learn something important about herself and others before she can ever collect a card - which means something usually goes wrong

She tries and fails, and then looks at that failure and learns from it and grows as a person, and that’s what makes the narrative satisfying

Sticking your feet in and sulking if the game mechanics don’t follow the narrative you want will make an unsatisfying story no matter what game you play

Gleefully and enthusiastically stuffing your blorbo into the blender of fate, hitting Purée, and turning every stumble off the narrative path into its own adventure will give you a much deeper, more compelling, more complete story than you might have expected…

But that’s the fun part

The truest mechanism of an RPG or TTRPG has nothing to do what is written into the rules of the game

It’s your own skill at improv, and if you’ve ever been even remotely stage shy, avoided drama class, or thought improv was hard, let me reassure you:

Improv comedy is not the only improv. You don’t have to be funny

And it’s a lot easier than you might think

So long as you know your character, actually really know them beyond the backstory you created… so long as you take the time to think “well what do they do when things go wrong? What would they give to get what they want? What would it take to force them to do the things they’d never do?”

You can bullshit through basically any situation

Because there’s no rule against playing ahead in your mind

Daydream your character into any situation you think might come up, write the fanfiction version of the perfect narrative in your head, and then do the tragic version. Do the slapstick version. The gritty noire version

Because the greatest secret of improv and playing your own character is that you will never be wrong

Only you define success or failure

So long as you know and understand your characters and can be flexible with the mechanics and the story, you can always build a satisfying narrative

This is a lot more work than just being reactive and expecting the GM to tell a story for you, and just rolling dice and “hit big monster” when prompted

That’s what makes the story actually satisfying though; taking ownership of it yourself

The game belongs to the designers

The story belongs to the players, GM and PC alike

There's this idea floating around the general TTRPG space that's kind of hard to put one's finger on which I think is best articulated as "the purpose of an RPG is to produce a conventionally shaped satisfying narrative," and in this context I mean RPG as not just the game as it exists in the book but the act of play itself.

And this isn't exactly a new thing: since time immemorial people have tried to force TTRPGs to produce traditional narratives for them, often to be disappointed. I also feel this was behind a lot of the discussion that emerged from the Forge and that informed the first "narrativist" RPGs (I'm only using the word here as a shorthand: I don't think the GNS taxonomy is very useful as more than a shibboleth): that at least for some TTRPGs the creation of a story was the primary goal (heck, some of them even called themselves Storytelling games), but since those games when played as written actually ended up resisting narrative convention they were on some level dysfunctional for that purpose.

There's some truth to this but also a lot of nuance: when you get down to the roots of the hobby, the purpose of a game of D&D wasn't the production of a narrative. It was to imagine a guy and put that guy in situations, as primarily a game that challenged the player. The production of a narrative was secondary and entirely emergent.

But in the eighties you basically get the first generation of players without the background from wargames, whose impressions of RPGs aren't colored by the assumption that "it's kind of like a wargame but you only control one guy." And you start getting lots of RPGs, some of which specifically try to model specific types of stories. But because the medium is still new the tools used to achieve those stories are sometimes inelegant (even though people see the potential for telling lots of stories using the medium, they are still largely letting their designs be informed by the "wargame where you only control one guy" types of game) and players and designers alike start to realize that these systems need a bit of help to nudge the games in the direction of a satisfying narrative. Games start having lots of advice not only from the point of view of the administrative point of view of refereeing a game, but also from the point of view of treating the GM as a storyteller whose purpose is to sometimes give the rules a bit of a nudge to make the story go a certain way. What you ultimately get is Vampire: the Masquerade, which while a paradigm shift for its time is still ultimately a D&D ass game that wants to be used for the sake of telling a conventional narrative, so you get a lot of explicit advice to ignore the systems when they don't produce a satisfying story.

Anyway, the point is that in some games the production of a satisfying narrative isn't a primary design goal even when the game itself tries to portray itself as such.

But what you also get is this idea that since the production of a satisfying narrative is seen as the goal of these games (even though it isn't necessarily so), if a game (as in the act of play) doesn't produce a satisfying narrative, then the game itself must be somehow dysfunctional.

A lot of people are willing to blame this on players: the GM isn't doing enough work, a good GM can tell a good story with any system, your players aren't engaging with the game properly, your players are bad if they don't see the point in telling a greater story. When the real culprit might actually be the game system itself, or rather a misalignment between the group's desired fiction and the type of fiction that the game produces. And when players end up misidentifying what is actually an issue their group has with the system as a player issue, you end up with unhappy players fighting against the type of narrative the game itself wants to tell.

I don't think an RPG is dysfunctional even if it doesn't produce a conventionally shaped, satisfying narrative, because while I do think the act of play inevitably ends up creating an emergent narrative, that emergent narrative conforming to conventions of storytelling isn't always the primary goal of play. Conversely, a game whose systems have been built to facilitate the production of a narrative that conforms to conventions of storytelling or emulates some genre well is also hella good. But regardless, there's a lot to be said for playing games the way the games themselves present themselves as.

Your traditional challenge-based dungeon game might not produce a conventionally satisfying narrative and that's okay and it's not your or any of your players' fault. The production of a conventionally satisfying narrative as an emergent function of play was never a design goal when that challenge-based dungeon game was being made.

[butnotbubblegum]

using the tags to vent my current emotional state into the void bc ig story feels like a bad plan for this, read at your own risk.

[theflyingfeeling]

yes it's just me whining about the same thing for the billionth time, pls just scroll past nothing new to see here 👋

[medicinemane]

And maybe you'll be like "but if you don't trust businesses, how can you trust welfare?"

I fucking don't. My mom trying to get on food stamps fucked me up because a lady I never met without my permission got my SSN from my mom and started editing my files. My heart still races to this very second whenever I think about it, it kinda messed me up bad and I'll never ever ever see any kind of recourse

And I'm terrified that I'm gonna lose my medicaid just cause I inherited some money from my grandpa

And I've never even applied for disability cause it kinda doesn't matter finding out if I'd qualify or not cause of my depression, when the rules are so restrictive I don't know if I've even be allowed to keep my house

I do not fucking trust these things on a personal level. I feel like out of a lot of people I have the most to fear from them cause I'm on the edge of having things work, and that gets you punished

...but I need medicaid in order to have insurance (and when you strip out the finance side of medicaid, I love medicaid... they're honestly incredible insurance... I just... I just... dental is like 90% of why medicaid is so important to me, ever since I found out this state pays for it I've actually been able to do cleanings which is important to me cause I can't always get myself to brush)

And I think things like disability and food stamps are pretty damn important on a personal level, and honestly are also good for the economy cause they get people spending... it's practically a free cash infusion into the economy, cause these are people who need to buy stuff

There's just so much important stuff welfare does that it's worth dealing with government

No, what I want is more accountability so if someone gets my SSN from a 3rd party like my mom they're held to HIPPA styles standards where that's not ok to access my files without my permission (She changed my fucking address and tried to get medicaid to investigate me for fraud! Never even met me)

Like have some accountability there and in every situation

Secondly I want less punitive focused rules. I'd frankly prefer bezos get on disability than smack down some poor sod cause they got $2000 in the bank or cause their friend lets them live with them for free

If there's gonna be a cut off on these programs, it needs to be a solid step above the poverty line, cause... by definition I assume poverty line denotes kinda the minimum expected income people can reasonably live off of, and if you take away benefits people are gonna lose a chunk of money to covering that stuff themself, so you need a buffer before you kick people off

I don't fucking trust the government for a second, I've actively been fucked by them and on a personal level I avoid everything but medicaid and only that cause everything but the money is pleasant to deal with and I kinda need it (honestly if I was rich I'm not even kidding that I'd rather give medicaid like $400 a month than some insurance company, I sincerely like them as insurance)

But I'd trust them a lot more if they were less punitive, less out to hunt me down and gut me cause someone handed me a fiver or cause I started to get on my feet, and if government employees had concrete rules they had to follow that were actually transparent and enforced

Like 90% of my problems with welfare go away if they're held accountable and there's less "catch the welfare cheats" mentality going around

I don't trust the government in the slightest, but sadly there some jobs it kinda has to do, so I'd just rather force it to be an open book where the public can keep an eye on it and if they step out of line there's consequences (sort of like I don't trust most mega corps but happen to sometimes need stuff from them... did you know literally every cell service provider has been illegally selling shit like your location data to random people like bounty hunters, and the FCC just slapped them with a fine that's 0.02% of their yearly incomes and debated even doing that? I even can offer a source on that)

...I don't trust much of any authority cause they constantly fail me and kinda screw me. Don't trust doctors either, but I still gotta go to them, you know? ...they're just... they're real bad at listening... so many systems need systemic change

(You know who I really don't trust is the cops. I could point to so many examples. My uncle doesn't trust cops either, and he's an ex Fire and SWAT paramedic, he worked with them and we still got into a long conversation where he basically tore into them far better than I can)

(I don't trust authority that's not accountable)

[acaesic]

i really want to finish all my unfinished art before i turn 15 but im so burnt out rn 😭 </3

[gurorori]

im so so sad i wish i could be an adult

[zemnarihah]

btw i think i may be attempting to enter into a long distance relationship w erik.

[actual-corpse]

Therapy is realizing the Scott Box holds all of your insecurities...

[podraje]

A question for writers.

How long did it take you to finish a first draft of a book (I mean a proper book, around +300 pages) and did you have a full time job at the time?

Asking for a friend (Me. I am the friend, who is trying to write the first draft for over 2 years and is in a shithole).

[al-luviec]

I ran out of tag space but oomf had some good notes

smthn easy for today (sorry)

[irndad]

won't you be my sunshine-a.h.

a/n: runner!hotch x sunshine!reader !! sooooo fluffy, first hotch fic of mine so be gentle with me! lots of pining and happy end <3 happy to continue with these two in an au!

Aaron Hotchner is not a particularly emotive man. 

This is a skill he has honed, a cherished quality that was not born of luck or of natural ability, but a skill that he has honed down to a fine tip point. He needs to be, in this job. It’s cost him things, of course, but for the most part, Aaron is happy with his choices. He takes a firm line with people he works with, and does not always let up in his personal life.

The only time this sometimes causes a hitch, is in his romantic life.

Which isn’t to say that he has one. 

There is a woman who reads in the park every morning. Aaron affectionately thinks of this bench as her bench, as it is marked by wisterias and hyacinths on either end of it. It’s something of a ritual, after his runs, that they talk. 

It’s fun. He doesn’t have a lot of space for fun. He’d collapsed on the bench one day after siphoning his anger at a particular case into a difficult run. He’d crashed onto the bench, sweaty and exhausted and hadn’t even seen her there. Which is a bit impressive, as she’s hard to miss the sight of. It is also in equal measure embarrassing. It’s not every day you collapse in front of a gorgeous woman, disturbing her from what is likely a lovely afternoon in the park.

That’s how it started, anyway. She doesn’t run, so each break is punctuated by her company. He’s actually not sure if they’re flirting. He’s not very good at that- the last time he has to he was 17 and so full of unearned confidence, he lucked into a partnership. 

Now, he’s a bit older and a lot more scarred. She’s younger than him, not by much. She laughs with her whole chest at his dry, glib humor- and this is something Aaron had forgotten. The joy of a beautiful, wonderful woman’s company beside you. 

He feels a little out of place next to her. Romance is not something he does. Ever thought he’d do again, really. That’s not to say that this is romance. Their romance is almost entirely hypothetical. He thinks of her at work, which is a monumental development in and of itself. 

“So, how was the paperwork? I know you’ve been taking a little more on since your colleague had a baby. It’s so kind of you to do it.” She asks him on a beautiful August morning. 

He fights off a blush that she remembers what he’s done for JJ. He’s not big on mentioning his own good deeds. Aaron believes that this would cancel it out. Still, her praise is a warm balm to the exhaustion that plagues him. It’s hedonistic, the way he wants her to say more about him. He wonders absentmindedly if she knew everything about him that’s hard to love, she’d still paint him with such a light and warm glance. She’s bright enough, he’s tempted to tell her everything about him just because she asks. 

“It was…alright. My team is excellent. I’m lucky to work with people like them, it makes the process better. I couldn’t ask for more.”

She giggles a little at this, and there’s that roar of affection. 

He feels a sense of ease around her, one that is suspicious for him. He tries not to romanticize, but this connection is hard not to. She’s beautiful- this is obvious to anyone who meets her, a simple truth of her. But Aaron is trained to notice things little factors that show the truth of someone. 

He likes to watch her- it’s a pleasant thing, getting to be in her presence. It’s a little addicting, the way she looks at him. It makes him feel like all of the things he knows to be true of himself- his relative failures, the closed-off nature of his demeanor- are things that not only can be overlooked, but don’t seem to be in her line of sight at all. It’s an honor, to have her doe eyes rake over the sight of him, to meet him with gentle conversation. 

He tries not to notice that she is gorgeous. Aaron has been around beautiful women, of course- this is not something that should surprise him. But there’s something effervescent about her, something that his him wondering if it’s possible that she might feel the same way about him. He knows that he used to be a more attractive man, but now. Well, he’s a bit bruised, both metaphorically and physically. 

It feels odd to even think of this happening. She’s just got a warm, sweet tone and he replays what it’s like when she greets him. She smiles her brilliant grin and sometimes hugs him. It’s embarrassing how much he likes the feeling of it- soft curves against hard muscle and scarred skin. She always smells wonderful, and he wonders how nice it would be to have more of this. 

“I like your new shirt, by the way.” She smiles at him, and his heart jumps. It feels juvenile, but- she’s wearing a new lipstick, it seems. Her beautiful pout looks awfully tempting. 

“I like the lip color,” he tries to compliment back amenably, but that doesn’t stick. Instead, it comes out too earnest. He’s hyper aware of the fact that she’s right by him. She flushes, and Aaron feels a surge of pride. 

“Thank you,” she says, voice softer and flattered, and isn’t that a pretty sound? He’d love to do that for her, make her feel seen, make her feel like she’s as beautiful as she is, “I thought you might like it.”

It’s her directiveness that breaks the seal, he supposes looking back. Because she wore the lipstick for him. That’s just about the only thing it can mean, and he is struck with a particularly sensory fantasy of what it would be like to slot his mouth against hers- he gets the feeling it might be worth it even if he gets the color on his mouth. 

He’s a gentleman, though, he decides after a decidedly ungentlemanly amount of time spend staring at the gorgeous curve of her lips. 

“Would you want to get dinner with me?” He hears himself say it before he’s processed it, and then it’s out into the world. His heart is hammering and he’s blaming on the run, when god, it’s absolutely about how breathtaking she looks, the sunlight reflecting off her hair like a halo. When she beams back at him, she looks particularly angelic. 

It’s then, she leans over and kisses him on the cheek. 

“I thought you’d never ask.”

(Months later, when she is sitting on his kitchen counter and he is standing between her legs, gazing down at her with unabated fondness because he is entitled to that, he reflects on this moment and thinks god, how lucky am I, that I ran past that bench?) 

[teaboot]

Sometimes at work it's not my place to tell people the things I want to say, and I find I often go home at the end of the rougher days to stand blankly in my shower and tell myself over and over what I wish I could pass on.

This accomplishes very little, and mostly just gives me a tension headache, but through it all I think I've narrowed myself down to a few solid things I'd like to tell people the most.

You can't change people. Not permanently, not for anythig. You can support them, encourage them, love them, give them tools and opportunities and resources, but you can't make them change. They can change themselves if they want to, but they have to want to, and they have to want it for themselves, because they're the only one that's certain to be with them forever.

For better or worse, you make your own choices, and blaming bad choices on others doesn't only work to absolve you of responsibility- it also robs you of control. Because if you say you only did something because I did something, then you arent only shifting blame- you're admitting that you cannot control yourself, that you cannot truly make choices for yourself, that other people can control you- and as long as you truly beleive that, you'll keep facing the same problems over and over. You'll keep letting others dictate your choices, because you'll beleive that they can, and you'll never be free.

White knights on horseback are from fairytales. Nobody can help you if ou're not willing to help yourself. To try, to put the dirty work in, to belive you're worth that effort- Act as though nobody is coming to save you. From a struggle, from pain, from bad relationships, from yourself. And when you do save yourself, because you will, because failure here isn't an option if you want to survive, you'll never find another dragon that can keep you prisoner.

Don't say anything to anyone that you wouldn't want them remembering forever.

Doing the right thing in bad circumstances is hard. It's the hardest thing. But if you make the choice to do that hard thing anyways, despite your fear, you'll go on the rest of your like knowing that you're the sort of person who did something.

The present only seems the hardest because the past I over and the future hasn't happened.

There's so much joy ahead of you, the kind you can't possibly understand until you see it yourself.

The responsibility of consequences is often disguised as the power of permission. "I won't do this if you help me", "I'll work on my anger if you do this for me", "I promised you I'd quit, but can I have just one?". The unspoken question is, "Can it be your fault if this goes badly?"

You cant make someone love you the way you need to be loved. Someone can love you very much and still be bad for you, even if you love them very much in return. Two people can love each other very, very much, and try their very best, and still be wrong for each other.

Sometimes being near to someone changes you, even in good ways, and the people you become don't fit together as well as the people you were.

Caring takes work. Even if it's real. Especially if it's real. And the most important gestures aren't the grand, poetic, songs-and-flowers-and-tears moments; they're getting out of bed even though you don't want to. Paying attention to things you don't enjoy. Scrubbing pans, or opening a window, saying "thank-you", or helping carry groceries into the house. The small things fill the big things- without the small, boring, mediocre things, big things feel hollow.

Thrre is honour and dignity in humble work.

If you are a cruel and spiteful person, then you will find every place you visit to be full of the same cruel, spiteful people. This is not because the world is as cruel as you, but because everywhere you are, you will be disliked. This is the curse that comes with being persistently cruel and spiteful.

If you are a kind and ppsitive person, you will repeatedly encounter kind and positive people, because as they grow familiar with you, they will be happier to have you near. This is the reward of being a kind and positive person.

When splitting paths with loved ones, briefly or forever, aim for your last words to always be "I love you".

[aheroonahistorybookpage]

Totally agree. Eddie acknowledges they had issues, tjat they hurt each other, but Eddie also wants to be able to stand in a hardware store, smiling over how enamoured he was by her. He wants to remember the good more than the bad because he thinks they deserve that.

Interestingly, from the time she dies, Eddie doesn't refer to Shannon as his wife from until Season 6 (Cursed). She's always Christopher's mother or just Shannon. Other people do, but Eddie doesn't.

In the handful of times we've seen Eddie cry, two come during conversations with Bobby about her. In Season 3, he's hiding behind the Christopher of it all, but there are slivers that indicate it's actually about Eddie, not Chris. Season 4, it's clear that it's about Eddie and the fact that he's not over her.

I'm of the opinion that one reason Buck & Eddie got so close over the Season 2&3 gap was that, in part for Eddie, it meant he had something other than grief to focus on. He could pretend he wasn't grieving.

But yes, Eddie doesn't let love interests fully in because he's not sure he can handle the grief and heartbreak that might come with it or if he wants to. That's the thing he needs to reckon with if he wants a successful romantic relationship.

hot take perhaps but i don't actually think eddie has shannon or their marriage up on a pedestal at all. every time he ever talks about their actual marriage, he acknowledges that it was a complicated mess. he just loved her. she fucked up, he fucked up, they were young and in over their heads and they didn't know how to be partners and their marriage was a complete fucking mess and they both hurt each other in horrible devastating ways... and he loved her. she's been dead for five years. he's done being angry at her. she's gone, and he loved her.

what eddie needs to contend with about shannon isn't that he's got her on a pedestal. it's that he's so goddamn afraid of being hurt again the way she hurt him that he hasn't been willing to lay his heart on the line like that ever since. that's what needs to change if he's going to be happy.

[blogfordantreacy]

meh

[prythianpages]

'Cause It Was Always You | Azriel x Reader

summary: After eavesdropping on multiple conversations, Azriel finally gathers the courage to confess his feelings to you, thinking he's on the verge of losing you.

word count: 1,741

warnings: I guess angst at the beginning? But I promise it ends with fluff!

a/n: Billie Eilish's Birds of a Feather has been on repeat in my head and it prompted this cute little idea. Also shoutout to @nocasdatsgay for helping me with a codename for Az.

“I fear I’ll love Lapis until the day that I die…until the light leaves my eyes…until I’m in the grave, rotting awa–”

“y/n, you’re drunk,” Feyre had giggled.

“Drunk in love,” you sang in response with a giggle of your own.

And when one of Azriel’s shadows reported the silly little smile on your face, the silly little sparkle in your eyes, he shrunk back into the ones that had remained. His heart sank to his stomach, a cold, heavy weight settling there. 

Because you were in love. 

With someone that wasn’t him.

Azriel told himself that was the last time he’d eavesdrop. And perhaps, that wouldn’t have been a lie, if it wasn’t for the pesky little shadow that followed you around. It enjoyed dancing and flitting around you. Sometimes, it’d make its presence known by weaving through your hair or slithering up your arm. Most times, it’d trail behind you, like a little duckling.

Azriel tried to call the shadow back home but it was unwavering, choosing to linger in your presence instead. The same way he wished to linger by your side. And recently, the inky traitor had gotten into the habit of summoning more of his shadows to your side, weaving an invisible bond between you and him.

Every time a shadow returned to him, it brought whispers of your laughter, the sparkle in your eyes, and the softness in your voice when you spoke of Lapis. Each word you uttered about that male tore him apart, every confession cutting deeper than any blade ever could.

“If you don’t ask Lapis out, Jasper will do it for you and believe me when I say you do not want that to happen.”

“Okay, okay! I’ll ask him out. Tomorrow.”

That was a snippet of a conversation his shadows had reported to him earlier, cutting his morning training short. It lingered with him, haunting him throughout the day. And now, he found himself unable to sleep, constantly turning in his bed.

Azriel’s stomach twists into a tight knot, the storm raging outside echoing his inner turmoil. Tomorrow. He was running out of time.  Fear and perhaps, even pride, kept him from telling you how he truly felt about you. But now, he found himself fearing something even worse. Losing you before he even had a chance to say it…

He didn’t want to wake up one day and regret his silence, regret not telling you how he felt because of pride or fear. He needed to do this for himself, to break free from the shadows of his past. He had failed to confess his love twice before, and the thought of a third failure was unbearable. This time, he couldn’t let fear hold him back. The risk of losing you to someone else was a pain he couldn't endure.

With a deep breath, Azriel steeled himself. He needed to find you, to tell you the truth about his feelings. Before anything between you and Lapis could blossom. He couldn’t let another moment pass without you knowing how deeply he loved you.

Which is how he found himself at your doorstep, in the middle of the night, clothes sticking to him like a second skin as the rain pours relentlessly down on him. His shadows stir in excitement, whispering anxiously as they hear your approaching footsteps. His heart is pounding, so fast and hard that he fears it’s going to explode.

“Azriel?” 

Your voice is still marred by sleep as you blink up at him. That traitorous shadow hovers behind you, peering at him over your shoulder. He glares at it, and it quickly hides behind your hair. You don’t seem to notice it, either unfazed or truly oblivious to the shadow that had been following you around for so long.

“Did something happen?” You speak again, brows furrowing in concern. You step back into your apartment, a silent gesture for him to follow after you and come inside. 

“I–” Azriel begins but he can’t bring himself to finish his sentence. He can’t even bring himself to move as his eyes catch the movement of your arms wrapping around yourself to ward off the chill of the downpour. The nightgown you’re wearing is thin and short. A  glimpse of your exposed skin has a warmth rushing to his face and he’s blushing.

"I—" He tries again but when his eyes meet yours, his heart leaps into his throat, choking off his words. Oh gods, he can’t do this. He’s grateful for the rain as it masks the tears beginning to sting at his eyes. He thinks he’s going to be sick and–

“Are you okay?”

His shadows push him forward, wings shuddering in response. It’s now or never. He can do this. He takes a deep breath, swallowing the lump in his throat.

“I love you.” 

The words spill out in a rush, raw and unguarded. He watches you with bated breath, his shadows whispering every nuance in your expression—from the way your eyebrows raise and your mouth parts as a gasp escapes, to the way your eyes glisten with something he’s too scared to discern.

You’re rendered speechless, the silence that follows feeling like an eternity. Azriel’s wings slump, growing heavy. He clears his throat, averting his gaze. The need to retreat is overpowering what little courage he had gathered moments ago. 

“That’s all I had to say. I should, um–I’ll be leaving now,” he stammers, so unsure and so unlike himself.

“Az–” you start, reaching out to him, but he’s already stepping back into the rain. He doesn’t think he can face your rejection, much less witness the look on your face if you don’t feel the same.

“Goodnight.”

His shadows are like a wall of resistance, fighting against him as he turns to make his leave. He asks them—begs them, even– to swallow him whole. To winnow him away and save him from further mortification. But they refuse. Stay, they insist, tugging and weighing his wings down. 

It leaves him with no choice but to walk away. Every step feels heavier than the last, the rain soaking him to the bone. Listen, his shadows urge as they continue to tug relentlessly at his wings for him to turn back around and face you. 

But he can’t. Not when the Mother has seemed to have cursed him with loving those who could never love him back.

“Azriel!”

His mind screams at him to keep going, to keep walking away. However, the plea echoed in your voice has his chest tightening. His heart overrides his mind, shadows only encouraging him further. He turns around just in time to catch you as you leap into his arms.

Your legs wrap around his waist, arms encircling his neck in a desperate effort to keep him from leaving. His own arms respond immediately, securing you to him. 

“Don’t go.”

Your breath is warm against his neck as you tighten your embrace, and his wings curl around your smaller form in response, wanting to shield you from the relentless rain. He feels you shift in his arms, pulling away just enough to look into his eyes. One hand reaches out, tenderly brushing the dark fringe from his forehead. His breath catches, and you must sense his inner turmoil because you gently smooth away the furrow of his brow with your thumb.

“I love you,” you say, your hand caressing his cheek. Despite the cold, harsh downpour, your touch is warm and soft. A balm to his frayed nerves.

His heart swells with a mixture of disbelief and overwhelming joy. He had prepared himself for rejection, for the familiar sting of unrequited love. But here you were, confessing your love to him with the same vulnerability he had shown you.

“Really?” he whispers, voice thick with emotion, eyes searching yours for any sign of hesitation.

“Really.”

“I thought I was going to lose you,” he murmurs, his voice trembling with relief. “I thought I’d never have the chance to tell you.”

“Lose me? Azriel, you’ve always had me.”

“But you said you loved Lapis? You were going to ask him out–”

“So you were spying on me!”

Azriel’s eyes widen, cheeks flushing all over again and he’s glad it’s dark enough to conceal it. “No–I–not intentionally…my shadows, they…,” he trails off, realizing how ridiculous he must sound.

Yes, his shadow refused to come back to him. But he didn’t stop the others from reporting back to him so with a defeated sigh, he says, “I��m sorry.”

“Azriel,” you giggle and he’s frowning at you, not finding the humor in the situation. “You are Lapis.”

“What?”

“You’re Lapis. Cas is Jasper and Rhys is Amethyst.” You explain, lips curling into an amused smile at the sigh of relief that comes from Azriel. How had he not realized that all those names shared one thing in common? And more importantly, that they were color coded to his and Cassian’s siphons?

“I needed a codename for you so I can gush about my feelings for you without, you know,” you tilt your head toward that nosey, barely visible shadow that had been following you around. Sensing the attention, the shadow dips and hides again, curling around the back of your neck. 

“I fear it’s yours now,” Azriel replies, almost sheepishly.

“Good,” you smile at him. “I’ve grown rather fond of it. Just as I have over its master.”

His shadows take your words as a welcome invitation, swirling and dancing around you both. Azriel’s arms hook underneath your thighs, pulling you even closer to him. Your arms find their place around his neck again.

Then, you're closing the small distance between you and kissing him. Warmth spreads throughout him, reveling in the sweet sensation of your lips against his. The rain continues to pour, but neither of you care. 

When you finally pull away, he leans his forehead against yours, his eyes remaining closed as if in fear that this is all just a dream. You gently kiss his nose, your soft voice reminding him that this moment is real.

“I love you.”

Azriel’s eyes open, looking right into yours. “Until the day that I die,” he tells you, echoing your devotion.

There’s a knowing spark in your eyes as they search his own for answers. It has his lips lifting into a smile that mirrors yours, confirming that he had been eavesdropping on your drunken confession weeks ago.  Your smile widens. 

 “Until the light leaves my eyes.”

This was a better idea in my head but hey, at least I finished it. I also don't know the logistics of having a conversation in the rain but that's the beauty of fanfic, I guess?lol Anyway, I could not get these lyrics out of my head. They were so Azriel coded for me:

I'll love you 'til the day that I die 'Til the day that I die 'Til the light leaves my eyes 'Til the day that I die I want you to see, hm How you look to me, hm You wouldn't believe if I told ya You would keep the compliments I throw ya

the way I keep fixing these lyrics but I think tumblr is glitching or something uggghh, pls ignore the random mismatched sizing

Also just wanted to point out that if Az hasn’t confessed, reader would’ve done it the next day anyway 💀

general tag list: @scooobies, @kennedy-brooke, @sillysillygoose444, @lilah-asteria @the-sweet-psycho

@daycourtofficial, @milswrites, @stormhearty, @pit-and-the-pen, @mybestfriendmademe

[risestarkiss]

Being Baby Blue

Rise Ramblings #313

Leonardo Hamato is…an interesting individual.

As a middle child, he doesn’t have to shoulder the responsibilities of the oldest, nor is he fawned upon or babied over like the youngest. Therefore, he ends up having more of a lackadaisical approach to life.

In his free time, instead of training like Raph, Leo can normally be found reading comic books.

And for good reason! Someone has to be up on the latest issues of Jupiter Jim and his space odysseys.

But, other than being a Jupiter Jim superfan, who is Leonardo Hamato?

If you ask Leo, he's...*takes out a list*: “Primetime,” “First,” “The Best,” “Number One,” “The Champion,” or some other iteration of all of the above.

...Huh. Anyways...

Of course, the first thing Leo would tell you is that he's the team's "Face Man."

As the "Face Man," he’s the one that turns up the charm when they need to schmooze their way out of, or into, something.

He's the face of the group! It's a very important title, right?

Well, in this scene with Hueso, we learn what Leo really feels about his place on the team.

"There's no team with just a face man." "I'm nothing without them."

Hmm. If he thinks that he is nothing without his brothers, then what's the deal with all of this "Number One" and "Champion" talk?

I believe that Leo is exhibiting a form of Reaction Formation.

Reaction Formation is a primitive defense mechanism that involves transforming one's unacceptable feelings or emotions into the opposite.

"Solicitude may be a reaction-formation against cruelty...romantic notions of chastity and purity may mask crude sexual desires, altruism may hide selfishness, and piety may conceal sinfulness."

Leo has been creating these grandiose titles and this larger-than-life persona for himself as a means to cope with his feelings of insecurity, his anxieties, and combat his self-deprecation.

Gee, forming a larger-than-life persona to counteract their suppressed feelings also reminds me of someone else we know…

But, I digress...

Behind the fabrications, his insecurities, who he pretends to be, and who he wants to be, the real Leo is still on display, starting as early as the first episode.

He's attentive, he understands the team's strengths and weaknesses, he assesses situations, he comes up with great plans on the fly, and he is a voice of reason.

These are all the characteristics of a great leader.

However, something happens when he’s actually appointed as such.

There he goes again. He's cocky, arrogant, and act's as if he's unphased even by the prospect of loosing his brothers. If this is Reaction Formation, then what is he trying to mask with these behaviors?

Previously, he was masking his insecurities, his anxieties, and his self-deprecation, but with the faces he pulls when he thinks no one can see them, I want to say the newest emotion is fear.

He is terrified of being the leader and floundering under his new responsibilities. He's scared of the consequences of his actions, and what those consequences may mean for his brothers. However, instead of voicing his insecurities, or communicating with his team, he doubles down and falls back into old habits.

The "Face Man" persona is turned up to an 11, and things get worse and worse until...

His greatest fears have been realized.

He has failed as a leader. He has failed his brothers. He has failed to stop the invasion, and they are all going to die because of his failures.

Now he's faced with the harsh reality of his own mistakes, thus he finally faces himself.

"It's scary to be responsible for the lives you protect, your team...your family. But we do it anyway because that's what it means to be a hero."

He may be speaking to Raph, but he's talking about himself.

His words are his true feelings, the same feelings that have been holding him back this entire time. By opening up, he's able to surrender to himself and let it all go.

And it's the breakthrough we all have been waiting for.

What Leo doesn't know is that through letting go, he's able to become the true face of the group he is destined to be.

He's the face of hope.

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Previous | Being Big Red

Next | Being Purple ○ Part One • Being Purple ○ Part Two • Orange, Baby!

Finale | Being Hamato Yoshi