#i have feelings™

[languagendersex]

whenever i get sad, i just remember sandra bullock exists and i can watch all her movies over and over until eternity

[shalom-iamcominghome]

One of the philosophical/theological differences between judaism and other religions is how we conceive of the consequences of doing bad things.

I just heard someone say, "well jews don't believe in hell, so why don't you-" and just never sits right with me that the only thing that could prevent you from acting in bad ways are the threat of an eternal punishment. The implication that you shouldn't care about the consequences of your actions on the worldly level are astounding as well.

I care about not doing bad because it hurts people - myself included. Even if I did believe in hell... It wouldn't factor into how I live life. I fundamentally don't agree that we should treat this life and this world as a temporary home - a rest stop - where our actions only matter insofar as it affects where you go in the afterlife.

[literaila]

Reader meeting gojo parents when since they’re confirmed to be alive ☹️

the next time gojo satoru claims to be a “grown man” you’re going to pull his annoyingly soft hair and shove him down a sink drain.

this child, this infant—the very same one who got lost exactly one minute after you told him not to wander off—is going to be the death of you.

you’d always thought that you might go out peacefully, in your sleep or lying in a hospital bed. or, at least, heroically. saving some innocent bystander, leaving the world with some witty last remark.

but no.

instead you’ll die of a heart attack. instead you’re going to look for gojo and accidentally wander into some den of cursed spirits and die before you get the chance to pull on his ear at least one last time.

even tsumiki doesn’t get lost this much—and she gets distracted every time she catches a glimpse of pink in a window.

you walk amongst the crowd, looking for long legs and a stupid blind-fold, thinking about how you should’ve brought megumi. he’s more observant than you are—he’ll look for any chance to get gojo in trouble.

namely, this one.

you sigh, dialing his number again. but you can barely hear it ring as you hold it to your ear, you can barely hear the, “it’s gojo, you must feel sorry that you missed me—“ before you hang up. he’s not going to listen to any short of breath voicemail you leave anyway.

he can teleport home, you suppose. it might be nice to have a couple of hours to yourself, to teach him a lesson for once—

(and no, you won’t miss him. that’s a ridiculous suggestion. why would you miss a third child that clings to you, and whines every time you’re not paying enough attention to him, and whispers sweet things in your ear when he’s bored, and follows you wherever you go, and always trails his hand down the small of your back because he knows—

no, okay? no.)

you’re thinking about how gojo satoru is the worst person you’ve ever met—and you’ve had to sit through meetings with the higher ups, so—when you run into someone.

you get your obliviousness from gojo, thank you.

“i’m sorry, i—“ but you look up and you’re met with the same smile you were just cursing out in your head.

though, maybe not quite the same? it’s usually not so pained and he’s usually sticking his tongue out a little bit—

“baby,” he breathes, chest inflating.

you frown. “i thought i told you to stay by me. i’ve been looking for you for, like, fifteen minutes, are you—“

he turns, just slightly, and usually you would pinch his cheek for trying to deflect but… there’s a woman standing there. looking at you—at him—like she’s seen some sort of ghost.

satoru has that effect, you suppose.

“oh, sorry,” you say, stepping so you wave at her. “did i—am i interrupting?”

“no, we—“

“it’s nothing—“

they both stop. and satoru may be blindfolded, as ridiculous as he is, but you can practically see the glance that they share.

the quick look away, awkwardness floating through the air like dust.

you tilt your head, brows furrowing.

satoru doesn’t necessarily like talking to strangers, but the man doesn’t know what social expectations are. and he’s certainly not awkward.

you wrap your hand around his arm, feeling the release of his technique (and yours), as you consider them. “satoru. who’s this?”

“she’s…” he makes a vague gesture with his hand, trying to telepathically communicate with you, and winces again.

you give him another strange look.

but the woman clears her throat, gesturing to satoru. “i am his mother.”

you still, keeping your eyes on satoru. he doesn’t look back towards you, doesn’t nod to confirm or acknowledge her in any way. his head is tilted up, eyes to the sky.

eventually, you look to the woman.

suddenly you see it, like a flash of light. her eyes are blue, and though not as breathtaking as satoru’s, still light enough to be beautiful.

her hair is a glimmering silver and her entire body is tense.

but she doesn’t look like satoru at all, you think. satoru is always smiling, always moving a million miles a minute. he’s gesturing and trying to make you laugh and he’s never nervous, he’s never caught off guard.

except for maybe now.

some hindrance in your mind thinks about how megumi resembles satoru at times—the model of his smirk or the tease in his eyes. you recall tsumiki’s laugh, the mimicry of sound when she’s laughing with satoru.

it’s not biology, you hear, but connection.

the way you mold each other, the tight grip that admiration has on the very material of your soul.

“oh,” you breathe out finally. but you don’t say anything else to her, can’t think of anything you might want to. you turn to satoru, leaning closer to him, hand gripping his arm. “satoru, do you want to—“

he finally looks forward, towering both of you. “this is my wife,” he interrupts, smoothly. “we were just shopping.”

“it’s lovely to meet you.”

the woman is trying to smile but it doesn’t mean much to you. she keeps glancing at satoru—staring like he’s some public attraction, hesitating like he might bite if provoked.

you pull on his arm a little bit, dragging him a step away. you don’t want to ask in front of her—dont want to take that means of distance away from him—but you don’t have a choice.

“do you want to go?” you whisper to him, wishing you could meet his eyes. “we don’t have to stay.”

his mouth opens, then closes. “i’m not—“ he swallows, stopping.

you’re about to say something—to tell him that he doesn’t owe her anything, that he doesn’t have to be afraid—but she clears her throat again and you turn, ready to say whatever you can to get your satoru back.

the one who’s never left speechless, never left not knowing what to say.

“satoru,” the woman speaks, saying his name like she deserves to. like it’s different when it’s in her mouth—a possession no one else can have. “i have to go—we aren’t supposed to be in the city for very long.”

you frown at her and satoru continues to stare at the side of your head.

“here’s my phone number. i would like—love. i would love to speak with you, if you have the time. whenever you want. if you want.”

she holds her hand out to him and you already know that he’s not going to reach out to her.

you already know that even if he did—she would never get past the world of space between them.

so you reach out instead, grabbing it from her. “thank you.”

“no—thank you. i am…” she pauses, looking away, finally. “i am glad you’ve found happiness, satoru. i… have to go. it was nice seeing you,” she blinks at you, a slight bow as she takes a step back. “and meeting you.”

you don’t say anything but wait, watching for satoru as she walks away from the two of you—keeping him safe for just a moment.

and as soon as she’s gone, you turn to look at him, not sure what to say.

it’s not like with your mom—if satoru understands your childhood at all, you’re completely lost to his.

“you okay, baby?” you ask, staying close to him. maybe it’s a defense mechanism—trying to keep him from shutting you out—or maybe it’s so he knows that you’re there.

“i didn’t think i would ever see her again.”

“did she…” his eyes meet yours, even through the fabric, his mouth a straight line. “did she say anything before i showed up?”

he shakes his head. “no. she just stared at me. i—i didn’t realize who she was, at first.”

“that’s understandable.”

“i don’t know why she would be here.” he looks around, seeming to come to, and then finds you again. “did i get lost?”

you laugh, a bit shocked, pushing your forehead into his chest. “ran away, more like.”

his arms wrap around your back, holding you in place. “sorry. i smelled dessert.”

“of course you did.”

he takes a deep breath, then pulls away. “okay. more shopping? did you check out at the gift shop?”

“are you okay, satoru?”

“i’m fine,” he answers immediately. you stare at him, unblinking, and wait. after a moment, he licks his lip. “okay. yeah. i don’t know.”

“that’s okay.”

three years ago, he wouldn’t have said anything to you. two years ago, he would’ve feigned indifference and hidden himself away for a week.

but you’ve learned to move past these walls, learned how to fill the space and not push too hard.

and you love satoru. too much to let him fall away from you, now.

he sighs after a moment, shaking his head again. “she.. she looks different.”

“it’s been at least ten years, right?”

“yeah.”

you wipe his cheek, adjusting his blindfold for him. “do you want to call her?”

“i don’t—“ he frowns, just minimally. “i don’t know.”

“that’s okay. but you can, you know?”

“would you help me?”

“help you dial her number?”

he grabs your wrist, his cheek quirking. “help me talk to her.”

“hmm…” you tap his nose with a finger. “maybe if you beg.”

“this is why i ran away,” he says, just barely pouting.

and that’s how you know you’ve gotten your satoru back. as annoying as he is.

[buggachat]

(random s5 finale musings) tbh I don't think Marinette chose to keep The Secrets™ from Adrien because Gabriel asked her to. I feel like Marinette keeping secrets like that is so consistent with her character; she hates giving people bad news, she hates rocking the boat, she hates upsetting people, she always chooses to keep any 'controversial' information to herself for as long as she can get away with (examples: bubbler scarf, telling Queen Bee she was benched, confessing to Adrien, warning Chat Noir about Scarabella or Rena Furtive, never told Chat Noir about Chat Blanc, etc) that I just totally believe she would've done it either way. She was even already having nightmares about Adrien hating her for finding out she defeated his father, so I feel like Gabriel's request was moreso giving her a go-ahead than it was a primary deciding factor, yknow?

[mildarka]

idk what these are

[ohitslen]

Tending wounds.

[lifemod17]

"I love you too, don't you ever forget that"

🎥: thisphantomlife | x

Riverstage, Brisbane || 11/18/2024

[djevelbl]

Guess what tf I'm watching nowwww

[dustykneed]

i wanted to paint water and then shore leave mcspirk happened... not complaining though ¯⁠\⁠_⁠(⁠ツ⁠)⁠_⁠/⁠¯

been working on this on and off for like... a week and a half i think?? would this have gone quicker if i had used any references at all (yes. the answer is always yes)

[mobius-m-mobius]

Happy Birthday Owen Wilson! ♡ (November 18th, 1968)

[lazylittledragon]

I've been loving ur mombin comics, but where is the other mom? what trans hottie is not paying her child support out here? (this is said with a lot of love and affection, im very curious abt how she got into that situation, if you have thoughts abt it <3)

ajsjhsdfh i wasn't going to answer this because it's explained in the next comic but kudos to you for being the only person to say 'who's the other mom' instead of 'WHO'S THE DAD'

also the way this is worded made me laugh for like 5 minutes thank you so much xx

[allisonjamaica]

1.05 | 1.08

[queruloustea]

i wasn’t feeling so good the other day, and so of course that means i drew some bugs smooching et-cetera. here you go, take them :)

[rin-solo]

*That* scene in Six Hundred Strike is not about vengeance, it's about vulnerability ... because the Vengeance saga isn't about vengeance

To think all of this started because I was trying to determine why it feels so natural to read intimacy into the torture scene in Six Hundred Strike ... See, I'm personally not someone who reads an angle like this into things easily, but this time I found myself doing it too. And I just needed to know why.

It just made no sense for a while, because if you look at it superficially, it shouldn't make sense; it's a freaking torture scene. But I don't know, somehow, I must have felt that there was something there ... and I think I figured it out.

See, the reason why it feels so natural to read intimacy into this scene is because ... it actually is incredibly intimate. Not in an actually sexual way, but more so in a, "Imagine you were suddenly able to read someone's mind, and they yours" kind of intimacy.

It's really easy to just assume Six Hundred Strike is literally about vengeance, but it isn't. Now, please stick with me for a bit because we are going on a bit of a tangent here, but I promise we'll get back to this eventually.

The tangent I want to explore first is (as you've probably seen in the title) that the whole Vengeance saga is, ironically, about the unnecessity of vengeance and how destructive grudges and resentment can be. Think about it:

In Not Sorry For Loving You, Odysseus lets Calypso rant and then walks away without confronting her or accusing her, even telling her what she wants to hear one last time. I already discussed why Odysseus is an incredibly non-judgmental, non-resentful person in my Monster essay, and here is another excellent example of that.

Charybdis (I'm skipping Dangerous because he doesn't encounter any enemies there) is the first "monster" enemy he leaves alive since Polyphemus (Scylla doesn't count because he still "kills" for the sake of getting past her, even if it's in the form of sacrificing his men.) While one might argue that he had no choice since Charybdis is virtually impossible to kill, I think placing this encounter here might be an intentional choice especially since it differs greatly from the way that Charybdis is in the Odyssey. There has to be reason behind this change.

In Get In The Water (my beloved 🫶) we are explicitly shown that Odysseus offers Poseidon (the god who killed his whole fleet and is responsible for most of his suffering) forgiveness. The reason Odysseus has to torture him in the first place is Poseidon's own refusal of this mercy—he's literally torturing Poseidon in order to make him finally release the grudge because he has proven that this is the only way to actually get through to him. It actually shows perfectly that Poseidon's own inability to release his resentment became his downfall in the end, disproving his own "ruthlessness is mercy upon ourselves" motto as his own ruthlessness bit him in the a** this time, as I talked about in this post.

... And there is no resentment or vengeance in Six Hundred Strike either.

On one hand, it's easy to assume phrases like "For every comrade, every one of my friends, almost all of whom were slaughtered by your hand" or "How does it feel to be helpless? How does it feel to know pain?" indicate resentment, but ... not really.

We already know that Odysseus doesn't want vengeance, or he wouldn't have tried to lead from the heart one song earlier.

And then make yourself aware of something else: Not once during any of their encounters is Odysseus actually accusing or resenting Poseidon for anything.

"Almost all of whom were slaughtered by your hand" is an objective fact. It's just true. Someone vengeful may have said "I'll make you pay for all of those you slaughtered" or "All of their deaths are your fault" ... Odysseus just says, "for every comrade". He doesn't specify what he's doing for his comrades ... and it sure as hell isn't that he's (trying to) cause Poseidon pain or harm for them (which would be vengeance.)

For every comrade, he is fighting Poseidon, in order to finally reach his goal. For every comrade, he's doing everything that he has to do in order to get home, and in order to end this feud.

And then we get to the torture scene and it's ... actually so incredibly freaking intimate. Because it's not actually about vengeance, it's not about accusing Poseidon, or making him pay, or suffer more than necessary. If Odysseus were speaking from a genuine vengeance angle, he'd probably sound more like, "You killed my friends, now you pay for it. You did this to me and now it is your time to suffer." But he doesn't.

The torture scene in Six Hundred Strike is actually ... just another, much more extreme, repeat of Odysseus' lines from Get In The Water (my beloved 🫶): "Aren't you tired, Poseidon? It's been ten years, how long will this go? We're both hurting from losses, so why not leave this here and just go home?"

Odysseus tried saying it nicely ... now he's stabbing him with his own trident, hoping, practically begging, that he finally listens and accepts. Just lets them both go home.

And the thing is, this time, he isn't just saying "we're both hurting from losses" ... All you have to do is repeat to yourself Odysseus' entire monologue that he unleashes while he's stabbing him in a calmer, gentler tone and you'll see that what he is actually yelling out at Poseidon are all of the reasons why he is hurting. Sharing with him all of the pain that he probably hasn't shared with anyone ... ever.

"How does it feel to be helpless? How does it feel to know pain?" -> How does it feel to be vulnerable? I've felt vulnerable for so long without anyone to talk to or because no one truly understood me or what I'm going through.

"I watched my friends die in horror, crying as they were all slain. I heard their final moments, calling their captain in vain." -> This is why I am hurting. These are my losses.

"Look what you turned me into. Look what we've become." -> Look what I could be if I actually followed your lessons. Is this what you really want? Why can't you understand the harm that this is causing both of us?

"All of the pain that I've been through ... haven't I suffered enough?" -> Aren't you tired, Poseidon? It's been ten years, how long will this go? We're both hurting from losses, so why not leave this here and just go home?"

"You didn't stop when I begged you." -> I asked you to "Stop this, please" mere minutes ago. You didn't stop. That's why I'm doing this.

"(You) told me to close my heart. You said the world is dark. Didn't you say that ruthlessness is mercy?" -> I'm doing what you said you wanted me to do. Do you really want this? Do you really believe this? Can something like this really be mercy?

The first time I heard this, I firmly believed that Odysseus was actually crying during this part, and honestly, I believe that to this day. The canon visuals don't show us his face and I want to almost say that's intentional.

This whole scene is about vulnerability. Forced vulnerability, in a lot of ways, but raw, real vulnerability nonetheless.

This isn't just a torture scene; it's actually one of the most intimate scenes we've ever seen Odysseus share with anyone on screen. Seldom do we see him this honest in front of others (the vulnerable scene with Circe at the end of There Are Other Ways is the only other example I can think of.) Otherwise, all of his honest, raw songs are his solo songs (Monster, Just A Man, ...)

But here, Odysseus is essentially using the symbol of Poseidon's invulnerability—his trident—to force him into the most vulnerable position that he's probably been in centuries, if not ever ... and at the same time, he is being incredibly vulnerable himself. He's opening up to Poseidon in a kind of absolute way that we have actually never seen him open up to anyone.

... If that is not intimacy in its rawest, most painful, uncomfortable, and yet cathartic forms, I don't know what is.

As if that weren't sad enough... The saddest part about all of this is actually Poseidon's "Monster!" ... Because it tells us without a doubt that he is actually incapable of receiving or understanding those words from Get In The Water (my beloved 🫶). He is incapable of understanding vulnerability. All he can see is the "monstrous" act that accompanies it because that is something he knows and recognizes.

Although I believe, in the end, Odysseus did get through to him, and did get him to drop the grudge, I believe it happened on a kind of subconscious level rather than genuine acknowledgment or agreement. It's further proof of how Odysseus is capable of growth while Poseidon isn't (yet.)

Poseidon remains stuck in his ways, in his "ruthlessness" philosophy, because he isn't ready to acknowledge its flawed nature, essentially making it his own cage that prevents him from growing or moving forward. Meanwhile, Odysseus is walking away, walking ahead.

... Part of me almost wants to claim that he started begging Odysseus to stop so quickly not because of the physical pain, but because of his words. Because the vulnerability forced on him was hurting in a way that physical injuries, even from his own trident, never could. Because deep down, very deep down, he must've ... "felt" what Odysseus wanted him to understand and feel anyway.

Remember how I compared this type of intimacy to the sudden ability to read someone's mind before? I chose this analogy for a reason. What is intimacy if not using the very source of a god's invulnerability, essentially putting yourself into his divine shoes, doing what you know he would do to you ... in order to force him to connect to your mortal feelings and pains, even if he can still not truly understand them?

Here is where we see, for the first time, maybe ever, what even Odysseus and Athena couldn't do (yet), and the core reason why their partnership broke apart: a mortal and a divine genuinely understood each other's perspectives ... saw themselves in the other, even if only for a moment.

Given all that ... there is absolutely nothing I can say against kicking my feet and giggling excitedly over this scene.

[airenyah]

i need to talk about this line here for a second, because it's an attack on me personally. but not the english translation of it, no, it's the og thai line that really gets to me. because he says:

มันโอเค​นะเว้ย ที่จะมีคว���มรักอ่ะ [man - oh-keh - ná wóiie • thêe - jà - mee kwaam rák - àh] it - okay - [particle] • that - will - be in love - [particle]

he specifically uses the term มีความรัก which is more like "to be in love". which means rather than "it's okay to love", this line is more accurately translated as:

It's okay to be in love.

and as someone who really really really struggles with self-acceptance for my own romantic feelings for others, this distinction is really important to me. i can deal with loving others. i love my family. i love my best friend (you really don't go here but hiiii @magsimags i love youuuu 😘 (i know you're rolling your eyes reading this as usual)(i don't care)(i love you)). i love my other close friend. i love my summer camp gang. i love my friend that style reminds me of. i love each and every single one of the friends i've made in this fandom over the past few years (you know who you are 💖). i KNOW it's okay to love. i do it all the time. loudly. as evidenced by the fact that i just HAD to tag my best friend in this post to publically tell her i love her even though she really doesn't care about my thai blorbos, just because i really couldn't NOT tag her to tell her i love her. anyway. i can love. loving is fine.

but to be in love??? that's a whole different story. having (in my case romantic) feelings for someone feels like a heavy burden. it feels humiliating. i hate it. i don't want it. it stresses me out. and the person i have feelings for especially can't ever know about it. see, i will talk about my crushes/romantic feelings, but mostly to family and friends (the better they know the person i have feelings for, the harder it gets for me to admit to it), and even then the word "be in love" won't ever come out of my mouth in my native language. in english it's easier, but in my native language i just can't say it. it feels heavy. it makes me cringe. being in love is horrible.

so when style said "it's okay to be in love" specifically? that was a punch to my gut. because this is a truth i have not yet managed to accept for myself. and if the person i had feelings for specifically told me "it's okay to be in love" so firmly and so earnestly? yeah, i would crumble too

[psychomusic]

oc time again! + her town & culture (heavily inspired by pre-roman italic populations)

she is suri sauthon. her story is linked to my swtor imperial agent, tar'x, but most of her life except for the one year away where she meets him, is spent in a town in the mountains of mirial.

despite mirial being cold and desert, and many cities developing underground, her town flourishes thanks to a force nexus, venerated in the form of an ancient, sacred, alive crystal. the ecosystem of that mountain depended on what "the horned crystal" was capable of giving them, but mirialans couldn't live off of that alone, so they developed trade and some rudimental technology, even if oftentimes it was bought thanks to the highly profitable trade of a plant used to make medicines that slowed down aging and had overall healing properties.

note: everything that's generated by this nexus has these healing properties BUT they have to be processed, except for those who bathed in the waters of the cavity under the crystal - the "real" nexus, but not the worshipped one. the waters were sacred but they were not thought to be miraculous, unlike the crystal, who instead was thought of as the keystone of the ecosystem: without it, everything would fall apart (and that is partially true: the cavity was the "real" nexus but thanks to the crystal, also strong in the force, the properties were spread all over the mountains). those who bathed in the cavity's waters - so, all of the town, who had a sort of baptism there - could eat the plant, make whatever food with it, and not only that plant, but everything generated by the nexus, that, again, had similar properties. this allowed people to live up to normal life-spans without advanced medicines or, much, really. to those who didn't live there, though, after the processing, had incredible effects, slowing down aging - for those who took it regularly - and making people able to live up to half a century more than the average]

originally, there were four tribes of nomads that lived thanks to horned farm animals that decided to settle down into one bigger town and other smaller settlements, to live off of transhumance. this division of the tribes stayed into the political and social organization: every person belonged to one tribe specifically, and had slightly different rituals and culture. for examples, each tribe had their own priests and healers, with different techniques and traditions. the town, tho, was guided by a group of people in the high priesthood, a position you could reach only by having earned the trust of all tribes. those high priests had many roles: they guided the people into sacred processions common to all the tribes, they managed the trading with outsiders, they did the maintenance of the temple of the summit (the one that functioned as casket to the crystal) and created a special liquid to offer the crystal that helps it grow.

this particular temple was important because 1. it was very visible, from every angle of the town, and it became an important identity symbol; 2. it stored the venerated horned crystal; 3. it had the altar where sacrifices were made for the crystals. that altar had a hole connected to the cavity, that allowed the liquids to reach the underground; 4. it had various symbols: statues representing each tribe + the high priesthood, and typical mirialan tattoos carved into the wood of the trees that served as columns for the temple, symbolizing 8 values that who dared to enter HAD to have; 5. it was on the way to an important lake (called "mother lake" because the lake the town was built around to depended on the waters of that other lake) where they traveled to in important processions; 6. it was said that a the wizard who unified the tribes made it with its magic, making the plant grow to hold the temple's roof. this wizard was, actually, a force user, obv.

BACK TO HER THOUGH: she's daughter of one of the high priests, who was in charge of managing the trades with outsiders, and lives in a house on the mountains with her mother and him. her parents are from different tribes (that's one of the things that earned him trust from the 4 tribes): when a child is born from two different tribes, they don't pick one to allign to, but they're usually linked automatically to the one with more relatives in it (in her case, the father's tribe: she had many uncles and aunts on his side while her mom only had one sister).

later, though, she got quite tied to her mother's tribe due to a mysterious illness that only her mother's tribe healer was able to cure. she spent 4 years (from 10 to 14 years old) living with the healer and learned her secrets. to better study, she wrote them down. when she returned home, she studied to become a priestess with her father. at 22 (the average age: you can't become priest before your 20s), she was supposed to take a test and become a priestess, but the healer of her mother's tribe died and the tribe asked her to take her place. she couldn't technically do that, but both tribes estimated both her and her parents and she was allowed to become both. she then decided to try to become a high priestess, and became one at 25 (a quite young age). being part of the council, she tried to convince the various tribe healers to unite their knowledges and write them down, and eventually made it. healers still remained tribe based but they now had an "upper, inter-tribe level" similar to high priesthood.

years later, the sacred horned crystal is stolen from the temple by some Hutt mercenaries looking for a profit. given the trust she has earned from all the tribes and the fact that her father is the high priest that deals with outsiders (and she's been hearing stories and advice about it since she was little), she is the one tasked with getting it back. without the growing crystal, the keystone to their ecosystem, the village would have lasted only a few years. in hrr quest, she meets imperial intelligence agent tar'x laran and, as they "solve the mystery" and fight to have it back, they get closer. they'll get married and have a daughter, Vegoia (who's the only one who actually will get to the plot of my story. this was all background)