#if you want to know more about a specific character then read their stories!

[arandomao3user]

(Directed at the third person to send me death threats in this fandom-–)

Die hard Batman comic junkies will be like: TIM IS A PLAYBOY, READ THE COMICS!!!! BRUCE IS A BAD DAD, READ THE COMICS!!! JASON WAS NEVER BRUCE'S SON, READ THE COMICS!!! ZBSIKABAOAMNAHAOANAUSOBSYWJSBS YOU CAN'T HEADCANON THAT!?M? WAYNE FAMILY ADVENTURES IS THE REASON I AM DIVORCED!!!! FANFIC!?!?!?!? YOU CAN'T LIKE BATMAN MEDIA!!! DENIED!!! I SHALL GATEKEEP THEE AS THE DUNGEON MASTER OF MY OWN FANTASY!!!!! THIS IS MY FANDOM >:((( MY MOM SAID NOOOOOO!!!!

Like. Sir. Clam the F-- down and get off TikTok? Sir. Sir. Sir. I read comics, I have read the comics, I owns several physical comics, I have big books. I have small boks. I have Hush, Death In The Family, Death Of The Family, the ultimate Under The Red Hood book, I have three pride month specials shut up I am the queer, I have seventeen Batman movies I have watched religiously, I have read Tim Drake: Robin twice and I have reread Batman #408-409 that I have several theories revolving Jason and Bruce's relationship and also I have an entire site where any Batman comic I want to read is at my finger tips and YOU KNOW WHAT!?!?

I STILL LOVE WRITING FANON, FANON HEADCANONS!!! But my thing is let people enjoy things how they want because if I get one more death threat for enjoying a media that has existed since the 30's than I'm gonna crash out and post a thirty part long series about Tim fighting through a caffeine addiction and being adopted by Jason to get through it, I'll make him sad, and I'll make him date Bernard the entire time. I won't hesitate.

Also, if we stick to JUST the source material of every comic ever than there's two Jason Todd's, one from the circus who's a ginger and dates a girl named Rena (bring her back DC you cowards), and another from Crime Alley who steals tires and dies. Oh, also Batman and Robin have guns but then they stop using them for whatever reason. Also there's like two or three different Talia Al Ghul's but they aren't ever in the same room and we aren't sure which exactly is Damian's Mother or if Damian exists or how many there are and the clones but there's so many Damian's it ain't even funny... Oh, and Tim may or may not exist sometimes or date Babs or be married to her or be insane but that happened in the movies so it doesn't count for whatever reason because we can not combine movies and comics because the LOF (Laws Of Fandom) say so. Also Dick was adopted both before and after Jason but another Jason, like a third one or variant of the second one, who didn't actually die but did die the specifics don't matter!

MY POINT IS THIS IS A SERIES ABOUT AN EVER EVOLVING STORY WITH ALTERNATE UNIVERSES AND DIFFERENT TAKES AND THESE ARE COMICS!?!? These characters were literally designed with a basic outline to be adapted to however the writer sees fit for telling their story. A DIRECT QUOTE FROM SOMEONE WHO WORKED ON THE VERY POPULAR "Under The Red Hood" STORY IS THAT THIS IS JUST FANFIC AND BRINGING JASON BACK WAS BASICALLY A FANFICTION! A "WHAT IF" HE GOT FROM HUSH!

I don't care how YOU enjoy Batman media, and if you care how I ENJOY IT then block me so I don't have to see you telling the world how much bad you wish on people who enjoy fanfiction and certain comics even though you tell us to read the comics but not specific comics because you don't like the characterisation in that comic..? Like. Dude. Don't gatekeep and let people enjoy things how they want, that's all I'm saying, the mindset of gatekeeping a fandom is so 2020 and also 2015 Steven Universe/ Undertale amino... I am not going back to arguing over the gender of Frisk and Chara.

Wayne Family Adventures is also bad a%# and I am not a fan of how the writers wrote Duke, but I can accept it because it's funny and cute and you can't take it from me ♥︎

Thanks for coming to my Ted Talk—

[mariasont]

maria's fic recs

i have realized how most of these are smut & idk what that says about me but alas this are some super super amazing talented people who write crazy cool stories!!!! check them out!!!!! make sure to follow, reblog & comment on these fics if you like them!!! these incredible fic writers deserve it! i will also probably be adding more as i read follow my fic rec page for more @mariasficrecs if anyone mentioned in this post wants to be removed let me know <3

spencer reid

cedar - @parfaitblogs summary: in which compatible bodies does not always mean compatible minds, but spencer reid is all too kind when you're like this, so perhaps you're allowed to forget that for a night. 

this is the fic for the girlies who have loved someone more than they should, more than they loved you back and more than was every healthy. this is the kind of fic that makes you reread certain lines just to punch yourself in the chest a second time. masterpiece in pining, delusion, and tragic devotion. the most gorgeous piece of writing truthfully

in my dream im fixing your crutch - @notlongtolove summary: most nights, spencer wakes to the sound of your sniffles—unlike most nights, he doesn’t have to ask why. the reason is visceral, tangible—staining the sheets when the wound dressing wasn’t tight enough, seeping and pooling right between the both of you where an ocean of your guilt already lies.

this and everythingggg p writes is so incredibly SHATTERING in the best way possible. i truly need everyone to follow rn! and reader everything written by them! but this one specifically wasn't just a fic it was an experience. it's so painful and beautiful and so unfairly written. the duality of intimacy and violence is insaneeeeee like shakespearean level.

into the rose garden; for evermore - @notlongtolove summary: months of hope, weeks of ache. you’ve stayed. you’ve waited. you’ve stayed in the waiting. more pathetic than poetic if you’re being honest. but now, with him standing here with his heart in his hands, it doesn’t feel simple.

might be my favorite fic ive ever read if im being honest. everything about it had me sobbing like a baby. it's not even angst at this point it's a biblical reckoning. p has made heartbreak into a single character, personified pain and i felt every freaking piece of it actually! every single line was freaking perfection & you get to choose your ending!!!!!!! because user notlongtolove is so cool and so creative.

i can do a lot with fifteen minutes - @reidrum summary: in which you and spencer don't make it out the door on date night

i love a sabrina reference (clearly) and this was just the perfect smut fic literally like poetry disguised as desire. i have read a lot of smut (u got me). but nothing compares to a good intimate zipper scene. i will eat it up everytime!!!!!!! and a mirror scene!!!!! double whammy. fantastic 10000/10

hypothalamus - @reidrum summary: in which spencer gets creative on helping you study for your exam

godddddds to have spencer reid talk nerdy to me in bed. so in character. essentially the anatomy lesson of the gods actually. so amazing

sobriquet - @siriuslylantsov summary: spencer reacts to you calling him a nickname for the first time.

so sweet, so fluffy, a love letter to everything good in the world, essentially love seeping into mundane which is my favorite genre!!!! waking up with spencer!! being in love!! angel!!!! i love spencer calling the reader angel girl!!!!! <3

sweeter - @siriuslylantsov summary: in which, you and spencer try out foodplay, through use of whipped cream.

whipped cream!!!!!!!!! i dont have many words other than that! must read

white noise - @brattyspence summary: spencer x reader -- a situationship defined by white noise; a metaphor for how we pacify ourselves and make stupid decisions to experience comfort, even when it hurts

visceral, soul-shattering, gut wrenching agony. that's about it. slow burn destruction that will have you crying. no doubt. this fic literally lulls you into a false sense of security and then u realize that spencer is white noise and that you'd rather have whatever this is than nothing at all. LOL! definitely did not almost kill me while reading. most accurate portrayal of a situationship

chateau lobby #4 - @burymagdalene summary: Whilst trying to navigate romantic relationships after prison, Spencer finds himself in love and caught in an all-too-serious non-relationship with reader. Wanting to break this streak, he asks to spend Valentine's Day properly with a real date. Afterward, they find themselves desperate with trying to express their love for each other.

so as you might be able to tell i have a pattern of reading situationship spence! call me a masochist! but this one had a happy ending okay!!!!!!!! and a reference to father john misty? yes. immediately. i also just love post prison reid because he's so complicated and different but still him and he doesnt think he deserves soft things and soft love and it's so devastating. reading the date literally felt like falling in love in real time. so good.

a closed mouth doesn't get fed - @burymagdalene summary: When reader notices Spencers dark circles and glossy eyes, they store away their pressing need for him in bed. This desire locked away forms into a wet dream that escalates their prior expectations substantially.

one of the best portrayals of sleep-deprived, love-drunk, desperate sex. that's it. that's the tweet. also when he switches the reader's straw like why was that so sweet to me im crying

xoxo - @pathologicalreid summary: in which your daughter goes to the BAU to hand out her extra Valentines

peak domesticity. i love girl dad spence so much it's not even funny. it's everything he deserves. like i can only hope in some alternate au this is the ending reid got <3

to talk is to bare - @esote-rika summary: three times you've never felt enough for Spencer Reid—and the three times he rectified it immediately

one of the most painfully real depiction of navigating self worth in a relationship with spencer. like exactly what i feel like it would be like to be with someone so brilliant and like so unattainable-seeming, while feeling ordinary and yet spencer makes the reader feel so special ugh

in infinite universes - @nereidprinc3ss summary: in which spencer reid picks up uni!reader from a party. you're drunk, and he's in love with you

there is not a single thing (cannot emphasize this enough) that i won't read from nereidprinc3ss okay? everything she writes is actually literary gold. but this one was so beautiful it almost hurts to reid because it's literally a love letter to inevitability!!!!! and the dialogue is so funny and flirty and so spencer and ugh it's so raw and real.

spencer reid & aaron hotchner

unknown territory - @minswriting Spencer walks in on Aaron going down on you. So he watches the two of you have sex.

had to take multiple breathers after reading this! everyone knows i love hotch and reid and even more so i loveeeee a why choose. also everything min writes is so hot, 10/10 recommend checking out her account. "reid, if you're going to stand there and watch, you can at least come in and close the door" hello????????? immediately yes.

aaron hotchner

crazy - @kimstills summary: after one heated and spontaneous night together, aaron can’t seem to get his pretty subordinate (or her pussy) out of his head.

i did in fact read this bad boy like three times because it's that good. it perfectly mirrors hotch's mental state which i love love love. and i just love a smutty fic that has the best escalation of tension, like it builds until hotch physically cannot take it anymore and shewwwww so hot. exactly what i want in a hotch smut fic

savor - @kimstills summary: after being compromised to working a case the next day, aaron decides on savoring your current moment together for when he’s gone.

maddie is just always going to make the hottest aaron hotchner smut. the fact that this idea comes to aaron mid fuck is wild and i love it LOL.

morphine - @luveline summary: you get a good dose, confess your affections, and leave poor, oblivious hotch to fix things up neatly. 

so if you follow my fic rec blog you know i literally reblog absolutely everything jade writes because it is just that fantastic. and this one is just soooo tender and so perfectly in character with hotch. if you are looking for truly amazing characterizations of hotch and reid !!!!! right here besties !!!!

filthy flat-pack thoughts - @alinathinkstoomuch summary: you had taken the day off to get yourself settled into your new apartment, not expecting hotch to show up at your door and offer a hand.

hey so firstly im just obsessed with the title, idk why it scratches something in my brain. and i feel like this fic should be illegal because it's not just smut-adjacent, it's foreplay with no touching, sexual frustration in furniture assembly and poor decisions lolol and again everyone who knows me knows i eat upppppp sexual tension and this fic was just that. there is literally no kisses no sex nothing and it's still one of the hottest fics i've ever read (there is also a smutty part two so go check that out as well)

can't lose when i'm with you - @aureatelys summary: You work as a beverage cart girl at your local country club and your dad ropes you in to make him look good during a business meeting with his new best friend.

dbf hotch is my weakness. the slow burn!!!!!! possessive hotch!!! daddy hotch!!!! this is the gold standard for dbf hotch truly. felt like i needed a cigarette after and i don't even smoke

red light kiss - @aureatelys summary: You haven't had sex in a week, you're stuck in the car with your new boyfriend/boss, and he's wearing that damn Kevlar vest. How could you resist?

hey yeah so i was positively feral after reading this actually. that damn kevlar vest is right. idk how you managed to make a blowjob in a government vehicle feel romantic but you did so bravo

tyrant - @solardrop summary: Hotch lets you take some anger out on him after he disrespects you on a case.

my favorite genre !!!!!!! making hotch shut up by sitting on his face! mhm mhm mhm. absolutely amazing use of free will was you writing this because i've read it at least 5 times minimum. i was forever changed after this

salt & pepper - @dudeitiskarev summary: dad bod and insecure Hotch. That’s it.

everything cat writes is just so crazy good but everyone knows i have such a weakness for dad bod hotch & this is the absolute perfect fic for it.

we can't be friends (wait for your love) - @cerisereids summary: down on your luck after a huge betrayal, you return to live at your father's house with your tail between your legs. you're humiliated, thoroughly convinced nothing good could come from returning home. then you meet aaron hotchner.

there are three parts to this masterpiece and i need everyone to read them all okay? because it's just so good. hotch flustered is my roman empire and grrrrrr this man was literally on his knees for the reader internally through out the whole thing & once again dbf!hotch!!!!! arghhh obsessed

[judenostopwaitkeepgoing]

A Class Analysis of the Crown Villains

Analyzing all of the EN-released Villains from who would be the most to least wealthy in 1890s Victorian England.

A/N: This is just for fun! These characters/stories are not that deep, and I don’t want them to be! I just find it fun and silly to think through what this world would actually look like in history, and maybe you do too! 😊 Spoilers for pretty much every villain on the EN server, so read at your own risk! Also I am not a historian or economist, just a gal with a computer, so take all of this with a grain of salt.

Also, I’m assuming that Ikémen Villains takes place sometime in the 1890s in London, England—the tail end of Queen Victoria’s rule. This estimated time frame is based mostly on Harry’s love of Arthur Conan Doyle and passing mentions of when “he has a new novel coming out.” Doyle was a prolific writer and wrote for a long time, but I wanted to keep the time period specific enough to really think through what the economics would be like.

Wealthiest - Jude Jazza

Originally I was going to put the villains who belong to the gentry (Elbert and William and ... Victor??? Maybe?? haha) at the top of the list, but the more I thought it through, the more it became clear that in order for Jude to realistically carry out some of the actions in his route (which I haven’t finished!) or various story events/collection events, he would need to be so fucking rich. Like stupid wealthy. Like not quite at Jeff Bezos level of wealth, but pretty up there.

And baby started from the bottom now he’s here, okay! The fact that Jude grew up in abject poverty then became a successful CEO of a trading company originally struck me as one of the more unrealistic things in the game (which I do not care about, he’s still daddy), but the more I looked into it, the more I got on board with it. The writers were smart to add a rich benefactor to his backstory, because in 1890s London, that was probably the only way for a poor kid from the slums to receive an education. Wealth disparity was bad in the 1890s, and people were mad about it! Jude’s hatred of the rich and powerful is in keeping with working class (and even some middle class) attitudes at the time. And with the rapid development and expansion of the Port of London (from the completion of the Royal Victoria Dock in 1855 to the Port of Tilbury in 1886), trading was the business to be in at the time. So it’s not impossible that Jude could have just lucked out in a few key ways and worked extremely hard to get to where he is (although he would still probably be considered a unicorn in this time period).

As for Raven Co.’s annual profit: who knows. I’m guessing it’s in the billions in today’s money. I’m unsure what Jude’s salary would be, he is explicitly characterized in his route as a fair boss who pays his workers a living wage, but he’s also like randomly really generous with like Ellis or Kate (i.e. giving Ellis a blank check for Xmas, giving Kate more than enough money to get a dress, etc.) so he’s probably taking home plenty. And considering how smart Jude is, he’s probably pretty savvy about saving and investing his money. He also makes a lot of deals and has a lot of involvement overseas, so I wouldn’t be surprised if he has bank accounts in several countries. The man is committed to building his rocket, okay! I’d say his annual income is in the hundred millions of dollars (in today’s money). But his net worth is probably in the billions.

Lord Elbert Greetia

Okay, now on to our first landed-gentry boy: Lord Elbert. Lord Elbert is most likely the wealthiest member of Crown in terms of generational wealth, with William coming in a close second.

Elbert is a member of the landed gentry or “peerage” and uses the title of “Lord,” which he inherited from his father. Being in this class means that he not only has significant wealth (in literal pounds and assets), but it also means that he has a rock-solid social standing and owns land. Land ownership is a big deal here because it means that Lord Elbert has the power to control anyone who might be living/working on property that he owns. And I’m not just talking servants/staff at his estate, I’m talking residents of any townships or villages on the likely acres and acres of land that he's in control of. So he has a passive income via taxing residents and laborers on his land(s)... forever! Being in this class also makes his wealth a lot more stable and immutable than say, Jude, who is a great businessman but whose income and assets are at the mercy of the market/demand.

Elbert’s character in the game is very stoic (until Kate shows up!), and he has deep trauma from his childhood home, so he doesn’t seem to exercise a ton of the privileges that would be available to him in terms of controlling the people who live on his properties. But, if we’re talking the 1890s here, he would probably have entire villages or even small towns under his economic purview. I think of him as a Mr. Darcy type, probably bringing in about £10,000 a year, or a little over £1.5 million/$2 million in today’s money. This combined with the cost of all of his assets or “beautiful things” that he compulsively collects (artwork, fine furniture, jewels, real estate, etc.) means I’d estimate his net worth to be about $70-100 million in today’s money.

Lord William Rex

I’m only putting William after Elbert because I do think Elbert has more non-cash assets, simply from the nature of his curse which causes him to be greedy. But let’s be clear: Lord William is also loaded. He, like Elbert, is a member of the peerage of the time and owns lots of land/real estate. He probably receives a pretty substantial passive income from all of his properties like Elbert.

I do think there’s one key difference between them: I have a feeling that William would either redistribute some of the income that he gets from any taxed residents/workers on his properties or lower their taxes—he just seems like the type to be about that. So that’s another reason why I think Elbert might have a higher net worth. Still, we find out that William paid for the construction of a hospital in his route, and for a man to do that in the 1890s, he’d have to be pretty freaking rich. I’d say that his net worth is probably somewhere between $50-100 million in today’s money.

Victor???

Big question mark around Victor! I’m putting him here just because he is so connected to the Queen, and unless we learn something different from his route, I’m pretty sure that means he’s at least upper class, if not a (former) member of the gentry/peerage. Or perhaps comes from a wealthier family. He also receives a salary and lodging from the Queen (as do all the members of Crown I think) so he’s certainly getting all of his needs met. He’s also the oldest member of Crown, which just makes me assume he’s had more time to accrue savings. But couldn’t tell you what his net worth is even if you held a gun to my head, this is all just vibes haha.

Liam Evans

Liam grew up comfortably upper class, basically wealthy despite not being a member of the landed gentry. His father owns an estate, or at least did when Liam was a child, and had staff and servants. Because of his mental illness and disfigurement, Liam’s father probably relied entirely on family money after a certain point.

As an adult, and considering he is a successful and popular leading actor at a major theater in London at the time, Liam is doing well for himself! He is now much better off than his father! Good riddance! Actors at the major theaters at the time were typically paid anywhere between 2-25 pounds per week, and Liam was likely on the upper end of that spectrum. Let’s say he takes home 20 pounds a week, which in today’s money would be about 3,200 pounds, or about 4,000 dollars. That’s 208,000 dollars a year before tax! Not bad at all! But, it’s worth noting, that at the time actors were definitely not seen as contributing members to society (especially women/actresses—they were essentially thrown into the same category as sex workers), so Liam’s social standing in the grand scheme of things is definitely lower as an actor than it was probably growing up in an upper-middle class house.

Ellis Twilight + Alfons Sylvatica

I’m throwing these two in here together because they are probably doing well for themselves, but only because they are attached to a super-rich person haha. Who knows what their salaries/wages are or what kind of deal they have with their respective sugar daddies (hehe) but suffice to say they don’t have to worry about money. Alfons is probably more irresponsible with his money, only because of his lifestyle, but even so he’s nowhere near as big of a spender as Elbert so it probably all ends up a wash. And I’m assuming that Jude pays Ellis pretty well because he loves him lol.

Harrison Gray

Okay, this one took some digging! Harry’s dad was a police officer, which in today’s world would mean that his family was pretty well-off and Harry had a comfortable upbringing. Not a member of the upper classes/gentry, but probably solidly middle class. This is also implied in the game, or at least Harry isn’t one of the characters that we know grew up poor.

But, it turns out, police officers weren’t paid super well in mid/late 1800s London! Harry’s dad would probably be on the better-paid side of the spectrum because he was a chief/high-ranking, but the police were a relatively new-ish phenomenon and weren’t considered “high-value” professionals. Harry’s dad likely only took home about 10 guineas a week, which in today’s money is about £1,400 or $1,700, so he was making about $88,000 a year in today’s money (before taxes). Which would be relatively comfortable for a single person today, but for a family in the 1800s would be pretty much living paycheck to paycheck with maybe a couple splurge purchases a year (like for Christmas or birthdays). So Harry’s family wasn’t anywhere near as poor as Jude or Alfons were growing up, but they likely lived quite modestly!

As an adult, Harry probably makes a healthy salary as an editor/proofreader. Publishing was booming in the 1890s, and writers were most often serialized in weekly publications, which meant a steady income for both writers and publishers. I’d say Harry is probably taking home a couple hundred pounds at the least per week, so something in the thousands of dollars in today’s terms. It’s unclear to me what the rules of living in Crown castle are. Like do they pay rent? I don’t think so? Let’s say they don’t, which means Harry gets to save/keep all his wages and only spends on personal stuff. He doesn’t seem like the biggest spender, if anything he reads as very sensible with money to me, haha. So he’s likely got a cozy little net worth building up but nothing crazy. Since wealth stratification is so extreme in this time period (the rich were very rich and the poor were very poor), Harry would probably be making enough to still be looked down on by the upper classes and enough to still be the object of contempt for the lower classes.

Poorest ? - Roger Barel

Doctors today are very well paid, but this was not the case in the late 1800s! Growing up, Roger’s dad probably had an annual salary of about 300-500 pounds a year, or roughly $45k-$80k in today’s money. Not a lot to live on for a whole family now, but this probably went further in the 1870s/80s when Roger was growing up. It’s implied that his family lived relatively comfortably, so I’m guessing that his dad had a good reputation and was sought after for his surgical expertise. He may have even gotten paid to teach in surgery ‘theatres’ of the time. (I haven’t read or looked much into Roger’s route so this might be wrong!)

I’m only ranking him last because he seems to not be formally employed haha. Since Roger is not a publicly practicing surgeon, he is relying on his income (?) and lodging from Crown for his day-to-day expenses. This could be any amount it seems, haha, depending on what he asks Victor/the Queen for. He doesn’t seem like a crazy spender, so he’s probably not complaining. I have no idea what his salary would be, though. It doesn’t seem like Crown bothers with all that, haha.

[invested-in-your-future]

hi there! im coming from your post on mutsumi’s DID in ave mujica, and i saw the point you made about implications of sh regarding sakiko, which i was curious about. i don’t disagree with the idea, but i was wondering where you found those implications?

Hi!

So yeah beyond the specific mindset Sakiko displays and her revisiting important parts of her life just before the Crychic thing happens there are a few clues that can be interpreted that way.

Now, mind you this specifically is from a narrative writing standpoint and is not as applicable to real life because the real life version of this topic is far too complex and sensitive to handle here.

This specifically mentions narrative beats that could be used as indicating a characterization of a single character and the way she interacts with the world—and how the narrative expects us to parse those clues when interpreting the said character's motives.

The topic below is highly sensitive and might be triggering to people affected by it.

The first bigger clue is the book we see Sakiko read for a split second

From the cover art it's easy to figure out that she is reading "Kokoro" by Natsume Soseki.

The book is essentially multiple interconnected character journeys through solitude and trauma as they are either being affected by sh in their life or considering it as a form of escapism from traumatic experiences and self loathing.

The book also has multiple narrative parallels between Sensei and Sakiko and how they handle trauma, their instinct to alienate themselves from others, etc.

There's actually a pretty apt quote from.the book that nails Sakiko as a character:

"His curt and cold ways were not designed to express his dislike of me, but they were meant rather as a warning to me that I would not want him as a friend. It was because he despised himself that he refused to accept openheartedly the intimacy of others."

The character in question also notably wrestles with the thought that his existence spread misery to others.

This ties to The second narrative clue which is, as I mentioned before, the character mindset. We see it in her stairway freakout where her train of thought is essentially this:

"If I wasn't here."

Now the last clue is a bit flimsy but like I said all of these are from purely narrative standpoint and the actual topic of sh is far more complex than fiction often can handle which is why I personally wouldn't ever dare to use it as a topic if I were to write a story.

The third clue is the wording Sakiko picks in her messages and letter to Uika and the way it matches wording that might be used in a very different kind of letter.

Actually reading the messages really helps to understand why Uika is so freaked out.

There are actually other indicators in the way Sakiko has been written but as far as recent episodes go these are the most overt.

Now will that get used somehow in the narrative? Who knows, but there's certainly enough clues in her characterization and I'm narrative writing that Sakiko does have a mindset like that and at the very least grapples with self hate which so far now manifests in her actively sacrificing her own time and wellbeing to help Mutsumi.

Which we all know is not going to work out.

[interact-if]

Our sixth and final edition of the Black History Month Author Spotlight series, features Imani (@themuse-if)!

If you enjoyed this, do keep your eyes peeled for future events!

(I’m so glad I got to know Imani — and The Muse — so a big thank you for taking the time! I have a soft spot for slice-of-life / coming of age games, and I certainly related to the past about using IFs to live out alternate-life fantasies…)

Author: Imani

Hey! Imani here! Something that readers may not know about me is that I sell vintage clothes for a living. I’m really passionate about sustainable fashion, and while I could hop on my soapbox and talk about the evils of fast fashion, I’ll choose not to bore you all. To jump off of that point, growing up I watched a lot of films and tv shows, and I was always drawn to how fashion and costume design could really add to those stories. If you ever wonder why I’m always creating visuals for my IF it’s because it really helps me to picture the characters in each scene that I’m writing and make them feel more tangible.

Games: The Muse (slice of life, romance, school life, university life)

Short blurb: You come from a family of artists and art lovers. Your mother is a passionate curator for a small gallery in the city and your father is a sculptor and painter with a very dedicated cult following. They met when they were just starting out and have built a lovely life for themselves and their two children, you and your older brother Cameron. Your parents have always been super supportive of you and your brother’s dreams and ambitions. They were a great source of encouragement and guidance for your brother on his path to discovering his goal to become a game designer and you on your path to become whatever you choose. Growing up surrounded by such creativity just so happened to inspired you to want to create something of your own. Now that you’ve graduated high school it’s time for you to head off to university! You’ve decided to leave the mid sized city that you call your hometown, and go to the big city NYC! You’ll be attending NYU more specifically, but you won’t be making this move alone you’ll be attending with your best friend Maxine!

Quote from the interview

In December of 2023 I sort of stumbled into the world of Interactive Fiction. I had plenty of experience with more narrative based games, but they all had a visual element, and usually didn’t really have a lot of freedom in building your own character. After reading a few IFs, and loving the amount of control that I had on the narrative as the reader, I was hooked. Not too long after I started conceptualizing what is now The Muse. Working on this project during my slump really gave me a sense of purpose and made my day to day feel much less grim.

Read on for the full interview!

Can you tell me a bit about what you’re working on right now and your journey into interactive fiction? What inspired the game/story you’re currently writing?

So long story short I quit my pretty run of the mill job in August of 2024 and I wasn’t able to find something else until September of 2024. As you can imagine I was pretty depressed. I ran through my savings and it was really tough having to rely on my partner so much.

In December of 2023 I sort of stumbled into the world of Interactive Fiction. I had plenty of experience with more narrative based games, but they all had a visual element, and usually didn’t really have a lot of freedom in building your own character. After reading a few IFs, and loving the amount of control that I had on the narrative as the reader, I was hooked. Not too long after I started conceptualizing what is now The Muse. Working on this project during my slump really gave me a sense of purpose and made my day to day feel much less grim.

How has your identity, heritage/background, upbringing, or personal experiences influenced your storytelling or writing process? OR How does your work feature aspects of your identity / experience?

I grew up in a household that really appreciated the arts. Music, dance, theatre, studio art, I had a little taste of it all. My older sister (much older, we have a 13 year age gap) graduated from an arts high school and then went on to study studio arts in graphic design in university. I always really looked up to her because she was honestly just so cool. She could sing, dance, act, paint, she even played the clarinet for a while. I on the other hand mostly focused on dance from the time I was three until my senior year of high school when I quit. It’s kind of silly dance that I quit right before the start of my last year in high school when I would be transferring to my sister’s alma mater. I think I just felt a little stifled by dance and I didn’t see it as my main priority.

Starting in middle school I had a few English teachers that really got me more into reading and writing and so when this new opportunity came I chose to study theatre instead so that I could take the playwriting and creative writing courses. After graduating I just went to a normal state school and I always wondered what my university experience would have been like if I had gone to an arts university instead. I’m definitely using The Muse to live out all of my art school fantasies.

What’re you excited to tackle/implement/work on next? Or anything you’re looking forward to in the year ahead?

I’m not gonna lie to you, coding is not my strong suit so just getting the prologue complete was a big hurdle in itself. I am super excited to be moving on to the main story though! The characters that I’ve created are all very near and dear to me since each of them have little similarities to me. I can’t wait to properly introduce them all in game.

Another thing that I’m really excited about is collaborating with readers. I really love the input you all bring to the table and learning about some of your MCs and how you all are crafting your own journeys. I’m hoping to get through Book 1- The Muse: Just Getting Started by the end of the year, and that would include both freshman and sophomore year. Fingers crossed!

Do you have favourite interactive fiction games, characters, scenes or authors that you’d like to recommend?

I’m currently waiting with baited breath for the next chapter of Infamous, and I know I’m definitely not the only one. Don’t ask me who I’m romancing though, I haven’t made my final decision yet. (It’ll probably be Orion though he’s just so…you know.)

Any books, music, movies etc. you’re obsessed with at the moment, or which changed your life (or perspectives on something)?

Felicity, Dance Academy, Center Stage, Skins UK, Fame (the show). These are more like forever obsessions/inspirations that really inspired the vibe for this IF. If you haven’t watched Felicity I highly recommend it, honestly the characters are really frustrating but it’s just so good, trust me.

This-or-that segment: (red = Imani's pick)

Coffee or tea?

Early mornings or late nights?

City or countryside?

Angsty or Cozy romances? (Or enemies-to-lovers or best-friends-to-lovers?)  

Steady progress or frenzied binge-writing followed by periods of calm?

Summer or Winter?

First drafts or editing?

Introvert or extrovert?

Plotter or pantser?

Characters or plot first?

Write your own “either-or” pairing: movies or books? (I actually can’t choose, unless we’re talking about books turned into movies. The book 9/10 is usually going to be better.)

[gemini-care-barr]

Also, interesting that green arrow and Black canary aren't on your radar of favorites! Can you indulge as to why? <3

I’ve only listed my top 5 favorites! Those spots and the characters in them are precious, but that doesn’t mean I don’t adore so many characters not listed haha. There’s no particular reason why Ollie and Dinah aren’t on the list, there’s only reasons why the characters I listed are on the list.

Besides, I have way more than 5 favorites and Ollie and Dinah definitely are counted amongst them lol. I think both of them are very cool, admirable, fun, and unique, but I hold them close to my chest and don’t publicly talk about them much for whatever reason (some people can’t get me to shut up about Ollie and Dinah tbh), not even I really know why haha

[sskk-manifesto]

Ep 5!!!

[icewindandboringhorror]

I'm so heavily anti-advertising that all pitches sound goofy silly to me/I can never take them seriously, so I have no idea how I'll manage to to advertise my game even if I do finally finish it soon-ish lol...

[todayisafridaynight]

i feel like the hello kitty doesnt do xanax post whenever i check the minedai tag on ao3 what is the obsession with piss im in agony

why did you just read my mind jesus fucking christ get out of my head youre so right tho this is so accurate and i feel this every day of my life and i feel insane and like im the one perceiving them weirdly so thank you anon for letting me know that im normal

[wardensantoineandevka]

when you have thoughts about a conversation that started just now in the fandom and you type 700 words as just the beginnings of a post because you have an alternate take and it's like, y'know what, lemme draft this and sit on it for 25 to 72 hours because I'm too tired (like genuinely physically fatigued) for this right now, I have a lot of work to finish, lemme get involved later if I still feel like it

[lgbtlunaverse]

I've seen a good number of people ask a question along the lines of "why do characters like Falin and hate Laios when they're so similar?" and i've also seen good analysis on the differences in how the touden siblings carry themselves that would, despite their shared traits, make a person gravitate to one more than the other.

But i feel like we've overseen one very central thing here.

People don't like Falin

Like... the average person in dungeon meshi doesn't like Falin. She was deeply ostrasized by her home village, in magic school she had zero friends before Marcille and the others generally saw her as strange and a bit offputting.

Characters like Namari and Chilchuck like her well enough but not necessarily more than any other member of their party, including Laios. Neither Kabru nor his party think much of her. The canaries don't give a fuck about her. Toshiro's retainers don't see her as anything else than the weird foreign girl their boss has a crush on.

The reason we think everyone loves Falin is because, despite all the indifferent side characters, the 2 most important and central characters of the story are Laios and Marcille. Who are NOT representative of the average attitudes to Falin! But necromancy georg number 1 and 2 are our main eyes into the story and they love Falin so much that it colours our perspective of the whole world.

The only side character who qualifies as liking Falin and not Laios is Toshiro (at least at first, as he ends the story on much better terms with Laios) and that says a lot about his character, with him drifting to the quiet Falin precisely because of her oddness but being both uncomfortable with and deeply jealous of Laios' much more open expression of that oddness. Because he's a repressed guy from a culture where etiquette is incredibly important.

But like I said, that's a specific aspect of him, not to the world at large.

Because there's also people that click more with laios than with Falin.

Kabru, for one, who is initially distrustful of laios but clearly also deeply fascinated by him and drawn to him.

Minor spoilers, and you don't have to read too deeply into this, because I don't think Kabru particularly dislikes Falin or anything. But it's interesting that when he talks about his distrust of the toudens in ch.32 he's talking about them both. But his big friendship declaration in chapter 76 is aimed squarely at Laios, he doesn't say "you and your sister" he says "you"

And Senshi!! He instantly clicks with Laios, well before he does so with anyone else in the party– who he also becomes friends with, it just takes a bit longer– specifically because they bond over their shared special interest in monsters!! Senshi is kind towards Falin and cares for her wellbeing, but he also... doesn't know her. The reason he is even here, helping to save her, is because he and Laios bonded over monsters and he wants to help his new friends out!

Of course, the theme of neurodivergent isolation is very present in Laios' story. I'm not denying that. He does turn people off, without meaning to and unable to fully understand why! But so does Falin. And just like there are people who like her despite of or even because of those traits, there are people who do the same with him.

In conclusion: "Average person loves Falin and hates Laios" factoid actually statistical error. Average person is neutral on both Falin and Laios. Georcille, Laiorg and Geoshiro, who live in the dungeon and think over 10,000 Falin-loving thoughts a day, are statistical outliers adn should not have been counted.

[physalian]

How to Make Your Writing Less Stiff Part 3

Crazy how one impulsive post has quickly outshined every other post I have made on this blog. Anyway here’s more to consider. Once again, I am recirculating tried-and-true writing advice that shouldn’t have to compromise your author voice and isn’t always applicable when the narrative demands otherwise.

Part 1

Part 2

1. Eliminating to-be verbs (passive voice)

Am/is/are/was/were are another type of filler that doesn’t add anything to your sentences.

There were fireworks in the sky tonight. /// Fireworks glittered in the sky tonight.

My cat was chirping at the lights on the ceiling. /// My cat chirped at the lights on the ceiling.

She was standing /// She stood

He was running /// He ran

Also applicable in present tense, of which I’ve been stuck writing lately.

There are two fish-net goals on either end of the improvised field. /// Two fish-net goals mark either end of the improvised field.

For once, it’s a cloudless night. /// For once, the stars shine clear.

Sometimes the sentence needs a little finagling to remove the bad verb and sometimes you can let a couple remain if it sounds better with the cadence or syntax. Generally, they’re not necessary and you won’t realize how strange it looks until you go back and delete them (it also helps shave off your word count).

Sometimes the to-be verb is necessary. You're writing in past-tense and must convey that.

He was running out of time does not have the same meaning as He ran out of time, and are not interchangeable. You'd have to change the entire sentence to something probably a lot wordier to escape the 'was'. To-be verbs are not the end of the world.

2. Putting character descriptors in the wrong place

I made a post already about motivated exposition, specifically about character descriptions and the mirror trope, saying character details in the wrong place can look odd and screw with the flow of the paragraph, especially if you throw in too many.

She ties her long, curly, brown tresses up in a messy bun. /// She ties her curls up in a messy brown bun. (bonus alliteration too)

Generally, I see this most often with hair, a terrible rule of threes. Eyes less so, but eyes have their own issue. Eye color gets repeated at an exhausting frequency. Whatever you have in your manuscript, you could probably delete 30-40% of the reminders that the love interest has baby blues and readers would be happy, especially if you use the same metaphor over and over again, like gemstones.

He rolled his bright, emerald eyes. /// He rolled his eyes, a vibrant green in the lamplight.

To me, one reads like you want to get the character description out as fast as possible, so the hand of the author comes in to wave and stop the story to give you the details. Fixing it, my way or another way, stands out less as exposition, which is what character descriptions boil down to—something the audience needs to know to appreciate and/or understand the story.

3. Lacking flow between sentences

Much like sentences that are all about the same length with little variety in syntax, sentences that follow each other like a grocery list or instruction manual instead of a proper narrative are difficult to find gripping.

Jack gets out a stock pot from the cupboard. He fills it with the tap and sets it on the stove. Then, he grabs russet potatoes and butter from the fridge. He leaves the butter out to soften, and sets the pot to boil. He then adds salt to the water.

From the cupboard, Jack drags a hefty stockpot. He fills it with the tap, adds salt to taste, and sets it on the stove.

Russet potatoes or yukon gold? Jack drums his fingers on the fridge door in thought. Russet—that’s what the recipe calls for. He tosses the bag on the counter and the butter beside it to soften.

This is just one version of a possible edit to the first paragraph, not the end-all, be-all perfect reconstruction. It’s not just about having transitions, like ‘then’, it’s about how one sentence flows into the next, and you can accomplish better flow in many different ways.

4. Getting too specific with movement.

I don’t see this super often, but when it happens, it tends to be pretty bad. I think it happens because writers feel the need to overcompensate and over-clarify on what’s happening. Remember: The more specific you get, the more your readers are going to wonder what’s so important about these details. This is fiction, so every detail matters.

A ridiculous example:

Jack walks over to his closet. He kneels down at the shoe rack and tugs his running shoes free. He walks back to his desk chair, sits down, and ties the laces.

Unless tying his shoes is a monumental achievement for this character, all readers would need is:

Jack shoves on his running shoes.

*quick note: Do not add "down" after the following: Kneels, stoops, crouches, squats. The "down" is already implied in the verb.

This also happens with multiple movements in succession.

Beth enters the room and steps on her shoelace, nearly causing her to trip. She kneels and ties her shoes. She stands upright and keeps moving.

Or

Beth walks in and nearly trips over her shoelace. She sighs, reties it, and keeps moving.

Even then, unless Beth is a chronically clumsy character or this near-trip is a side effect of her being late or tired (i.e. meaningful), tripping over a shoelace is kind of boring if it does nothing for her character. Miles Morales’ untied shoelaces are thematically part of his story.

Sometimes, over-describing a character’s movement is meant to show how nervous they are—overthinking everything they’re doing, second-guessing themselves ad nauseam. Or they’re autistic coded and this is how this character normally thinks as deeply methodical. Or, you’re trying to emphasize some mundanity about their life and doing it on purpose.

If you’re not writing something where the extra details service the character or the story at large, consider trimming it.

—

These are *suggestions* and writing is highly subjective. Hope this helps!

[yourqueenb]

THE TITLE 💀😭 (not a lie in the slightest, I was just caught off guard lmao)

No but in all seriousness, I think I have a bit of a complicated view of Kiara. Imo the issues with her have less to do with her interactions with the other characters as an individual and more to do with how she was treated by said characters, the writers, and fans vs. how the white women of the court were treated — which is why I understand why you often compare her to them and agree that that is pretty much essential to comprehending just how bad the writing for her is.

In an instance where someone is playing chapters with a week in between each one, hiatuses of several months, and give or take a year between each book PLUS all of the retconning throughout, Kiara disappearing for significant periods of time or having minor cameos, and an MC who is not romancing Drake, I think her poor treatment is very easy to miss and it’s equally as easy to take misinterpretations as fact. *I would even say that there is some basis for people to have a less than positive opinion of her if the conversation from book 2 chapter 1 about her and MC’s alliance is one of the factors.

*From what I understand about the fandom at the time of the series’ release, people definitely took the ‘Kiara is a snob’/‘Kiara is so fake’ thing too far. But I think it would be a bit disingenuous to say that she does not come off as rude and snobby in that scene, especially given everything else we know about her. Kiara is intelligent, observant, and calculated. As a diplomat and noblewoman, she values etiquette and propriety. And as a polyglot/linguaphile, she not only has a deep understanding of language but also tends to choose her words and when she participates in conversation overall very carefully. So with all of that in mind, her saying things like “even if MC were someone we deigned to associate with”, ordering Penelope not to “start up on those dogs again”, and pointing out her and Penelope’s high position of honor in response to a disgraced MC asking if they’ll be joining her in the back (which could’ve been meant matter of factly but looks bad within context)…. definitely cuts deep and feels unnecessarily snooty (and patronizing in Penelope’s case). Not to mention the whole “she’s beneath us” comment in response to MC being a bit sarcastic after everything just mentioned.

However, the absolute vitriol many fans had for her along with how eager they were to paint and view her only in a negative light no matter what makes no sense considering all of Penelope, Madeleine, and Olivia’s wrongdoings. Like Kiara doesn’t even come close to being as hateful and malicious as the last two and isn’t fake at all like Penelope. So why do the other three get excessive amounts of grace that they aren’t even deserving of while Kiara gets none and is either actively hated or largely forgotten instead?

If the writers valued and cared for their Black characters as much as they do their white ones and focused on consistency instead of favoritism, then some of the writing for and dynamics between the TRR cast wouldn’t have been as bad. But even then, that would still require entire scenes and chapters to be completely different. And that still doesn’t cover the fans’ eagerness to purposely misinterpret things and project their biases onto Black characters or the writers’ willingness to pander to those fans regardless.

Thankfully, PB didn’t reflect the fans’ view of Kiara as a Jezebel in the writing (which is honestly a bit surprising considering how much they catered to Drake stans and the fact that they have used the stereotype before in other stories as you pointed out). But given this essay and what I remember of this series myself, I just want to briefly point out and comment on some of the other stereotypes and real world experiences I noticed PB perpetuating and reflecting within TRR.

The first is the scene where Drake and MC can prank Kiara by dumping out her hair products. I haven’t read the scene or romanced Drake myself, but I think the inclusion of that at all is… let’s say interesting… considering the fact that attacking Black women’s physical appearance and beauty is often one of the first things non-Black people do when they feel threatened in any way. And of course, the prank seems fairly harmless in the grand scheme of things and is nowhere near equivalent to real life policing of Black hair. However that particular option appearing after the overall rage/jealousy of Drake stans toward Kiara isn’t really something that can be ignored.

The next is all of the questioning, mocking, and challenging of Kiara’s skills and capability. This one especially rubs me the wrong way because it’s such a common microaggression, but I feel like most people didn’t even notice it in the story and definitely don’t irl. Like Olivia is lauded as some sort of badass super spy who Cordonia couldn’t survive without even though she does nothing with any of the intel she manages to get…. But sure, Kiara is the one with delusions of grandeur who needs to prove that she’s as capable as she says she is 🤨

And coming off of that, I think it’s very telling how a lot of the fans take issue with Kiara’s perceived “snobbishness”, but ignore it or find it amusing when Olivia, Madeleine, or anyone else at court acts the same way if not worse. If it were an issue with classism and arrogance in general, then surely Olivia, Madeleine, etc. wouldn’t be exempt from criticism/backlash, right? But they usually are and are even seen as people who deserve to be cocky… so then what could possibly be the issue now??

And once again, I feel compelled to point out how a lot of the time Black people can’t escape the ugly realities of the world that we live in even in fiction. We can’t be too beautiful, too smart, too aware of our accomplishments, or too comfortable in prestigious spaces lest we threaten the inherent superiority of everyone else. Society holds us to a higher standard yet expects so little of us at the same time. And unfortunately, Kiara and many of PB’s other Black characters are indicative of all of this

Drake and Kiara: When You're Fucking Racist

Series - TRR's Alternative LIs - The "Romances" that Didn't Happen

Previous - Hana and Madeleine: When You Reward Your Favourite Bully with One of Her Victims

A/N: Again, apologies for the length. There was a LOT to unpack in this one!! I'm really, really not going to be nice to Drake here. It was harrowing to go through a lot of these scenes again and I honestly don't have the patience or inclination to sugarcoat any of it.

CW: Mentions of gun violence and minimization of trauma. Mentions of racist fan vitriol towards a black character. Examination of the Jezebel stereotype.

Whenever I think about how unhinged the hatred towards Kiara (and especially towards Kiara's attraction to Drake) was, a specific edit comes to mind.

On the surface, it looks quite simple. Kiara in a white wedding dress, Drake right next to her in his blue formal suit. Both of them are smiling at the viewer. The background is a beautiful forest, and the entire picture is bathed in a lovely, muted sepia tone. A sweet, simple wedding scene.

The caption underneath this edit?

Classify under things no one asked for.

Kiara's dream come true!

The tags read "#i barf a little looking at this" and "#i must post to share the suffering". You find out in the comments that the OP created this edit inspired by one of the many fics where Kiara was Drake's stalker, and intended to make her creepy and deranged (but ultimately failed).

The comments are...tbh, things that this fandom has long since normalized and shrugged at when it comes to Drake stans. Multiple puke-face emojis. Multiple gifs signaling disgust. One stan even equates the ship name (Driara) to the word diarrhoea.

"She looks very stalkeresque and white "I drugged Drake so he's marrying me" wedding ready!"

"Well it's close to Halloween so we should expect scary shit"

"THAT is why I made that bitch my Maid of Honor...so she got the message LOUD AND CLEAR...it ain't NEVER gonna happen honey" (right below a barfing gif)

I wish I could say this example of Kiara hatred was the worst of the lot, or even the only one. It wasn't. I'm not sure even an entire essay would be adequate space to explore the sheer levels of vitriol, hatred and double standards dumped on this one character.

Until now, we've seen examples of alternative LIs that were treated with respect. With adulation. Often with kid gloves in case we hurt their poor lill fee-fees. Up until now, no matter what an alternative LI may have done, the LI matched with them wasn't allowed to treat them badly, nor was the MC able to get away with hurting them without punishment.

But in this series, Kiara was, is, and will always be an anomaly.

The Jezebel Stereotype

In most media, black women in particular tend to be subjected to a variety of stereotypes that often have serious, real-world implications. The Mammy, the Sapphire (that over time evolved to what we now know as the "Angry Black Woman" stereotype) and the Jezebel, being the most prominent ones among them. In this essay, I will be focusing specifically on the last.

An article in the Black Then website explains the definition and history of the trope this: "The portrayal of black women as lascivious by nature is an enduring stereotype. The descriptive words associated with this stereotype are singular in their focus: seductive, alluring, worldly, beguiling, tempting, and lewd. Historically, white women, as a category, were portrayed as models of self-respect, self-control, and modesty – even sexual purity, but black women were often portrayed as innately promiscuous, even predatory. This depiction of black women is signified by the name Jezebel."

So it isn't altogether uncommon to see stories where black women are juxtaposed against "pure", "innocent" white/white-passing women, and viewed as lesser. PB hasn't exactly escaped these stereotypes in their stories either - though there are a variety of characters and character types, we can't deny that there was a time when a black woman was made the antagonist, often in ways that were meant to measure her up to the MC/another white woman to her detriment.

(VoS screenshots from the HIMEME YouTube channel, ACOR screenshots from Vika Avey's YouTube channel)

Two very prominent examples of PB using this trope are Scarlett from VoS, and Xanthe from ACOR. There are other black women who serve as antagonists but in a more professional space, but these two particularly are measured on their attractiveness, sex appeal and "purity" in the narrative in comparison to either the MC, or someone close to them.

In VoS, Scarlett Emerson and Kate O'Malley are the sisters of the two male LIs (Grant and Flynn), but their treatment couldn't be any more different. Scarlett's role in the book is pretty short-lived. She's very prominent in the first half of the book as Kate's potential MOH who secretly hates her, before it's revealed in Ch 5 that Tanner was cheating on Kate with her (and that she'd loved him since she was a child). Notably, in that very scene, the MC places most of the blame on Scarlett (rather than on Tanner for choosing to betray his fiancée) by labelling the act as her seduction of him.

Thereafter she is either only mentioned, or has blink-and-you-miss-it appearances in one or two chapters. We see her in the "memory" portion of the bonus scene, but we are never shown what her future is like (even as minor characters like Miss Harleney get one!). Her bonus scene shows us how her bracelet ended up on Tanner's boat, and it is an uncomfortable scene to get through. Tanner berates Scarlett for having sex with him a week before his wedding, but it is she who points out that he asked her to come there! Yet the MC and others view her as the temptress who "seduced" Tanner, as if the man had no mind of his own.

The narrative often juxtaposes her with Kate, the pure, innocent, sweet fiancée (and she actually is! No pretence there) and the fandom lapped it up. There were many demands for Kate to be upgraded to LI status, which eventually resulted in PB allowing us to marry her if we chose. As I mentioned earlier, both Scarlett and Kate are sisters to two of our LIs - but one is made an LI, while no one bothers to even imagine what the other's future entails.

An even worse fate greets that of Xanthe, the sole female antagonist in ACOR. The slut-shaming and disgust over her overt sexuality is far more blatant here. And it is extremely ironic for Xanthe to be viewed in this way, because the MC herself is a courtesan and uses wiles to get men to do her bidding. While Xanthe herself is not perfect by any means - she is depicted as xenophobic and callous, going as far as to mock Syphax when he is sent away to a possible death as a gladiator - the MC's targeting of her goes beyond just her "righteous indignation" and develops into a form of hypocrisy. She has no qualms mocking Xanthe for her direct approach or her skimpy red dress (even though the MC herself wears a skimpy red dress and can seduce a man in a temple not too long after).

The end Xanthe meets is horrific in its implications - the black matron of her scholae (who began by promising the MC herself that "you need do nothing against your will") sends her away to sexual slavery in Sicily, while the black man who was one of the few bastions of morality in the book, escorts her, smiling, to the ship that will take her there. As far as the narrative is concerned, the end was well-deserved...even though PB has had no issues allowing white women to do far worse without any punishment.

We cannot view what ACOR did with Xanthe in isolation. They had built up to it early on - from the MC's reactions towards her, her patrons' dismissiveness of her, the MC's LIs' viewing her with derision and zero respect. The MC - despite her own unscrupulousness - is viewed as the "noble whore" to Xanthe, yet it is clear on even a surface read that there is not much difference between the two women.

The Jezebel stereotype, ultimately, is about dehumanizing the black woman it focuses on, so that her actions and choices are viewed as deviant from what is "normal" - feeding into either responses of disgust and derision, or a desire to objectify her. To some readers, it makes whatever awful or comparatively unfair end they meet, more palatable. Scarlett and Xanthe are not viewed as people by the narrative - especially not the way the MC of their books or even white female antagonists are. No one cares for their backstories, coos over their losses, wonders if they are okay. When they meet their inevitable end, the characters and so many in the fandom alike just shrug and move along.

How does a character like Kiara fit into this? Her smarts and linguistic talents are her most prominent traits, and while she does have feelings for Drake, she never really acts out-of-pocket towards him (more on this later). So at least from what we see in canon, there's very little about her that seems to apply to the Jezebel stereotype. Yet, the fandom is not only inclined, but eager, to view her as one. Kiara's feelings have been viewed in a far more predatory light, perhaps more often than any other female character in the series. Why is this so?

A response I have often seen - on reddit, on Kiara's wiki page, at times on Tumblr too - is how there is a "certain something" about Kiara that people "just don't like". Many players who prefer Penelope to her are often very aware of what she has done, but still insist they like her far more than they do Kiara. On a reddit thread about questioning the logic of having Kiara and Penelope as options for the MC's MOH in TRR3, certain players commented thus:

"I don't know why, I just dislike her a lot. Penelope is fine to me, but Kiara irritates me." (said commenter is an Aerin stan)

"I liked Penelope, I thought she was nice. But Kiara got on my nerves."

In her book, The Sisters Are Alright, Tamara Winfrey Harris makes an eye-opening (to me at least!) observation about how misogynoir works:

"Misogynoir, abetted by dehumanizing caricature, is like water. It fills its vessel, taking many forms, and then overflows, creeping unnoticed into the cracks of things, rotting the foundation. It spreads a belief in Black women’s inherent wrongness." (Italics mine).

Now of course, if I were to ask the current fandom, they would come up with a range of reasons. Some that emerged from fandom myths and became more popular than the truth in time, some from PB's excessive pandering to players that hated her. But the root of it all is in a certain "je ne sais quoi" that makes her automatically unappealing, resulting in those readers leaning towards misreading or misremembering her scenes, misrepresenting her motives, or watering down the impact of worse actions from whiter women. It results in a group of writers (who have thus far gone to the extent of retconning the worst of a white woman's actions just to make her look good) leaning into such readings, even when they're not true.

TRR1 Kiara: Pragmatic Courtier or Backstabbing Snake?

"Kiara is fake", "Kiara is a snob", "Kiara is self-serving", "Kiara promised to be friends with us but dropped us like a hot potato the moment we became unpopular". These are some of the most enduring takes about Kiara in the past few years, and readers who say this usually bring up a vague recollection of TRR1 and 2 as proof. Mostly that "Kiara was our friend" in the first book, and left us hanging at the beginning of TRR2.

Is that reading based in fact, though? Let's take a look at TRR1!Kiara and find out.

We are introduced to Kiara (along with Penelope, and standing next to Hana) in TRR3 when we meet Liam's other suitors. Olivia introduces each woman differently, and the descriptor she uses for Kiara is that she is the "daughter of a diplomat and fluent in ten languages" (note: Kiara never boasts of her linguistic skill, Olivia does. Nor are there any scenes of her looking down on anyone who doesn't speak her mother tongue French, unless of course you accidentally ask her to sleep with you).

Both she and Penelope note immediately that the MC doesn't quite fit in - if the MC questions the women about being allies with Olivia, a woman who calls them "harpies", they view that as an overreaction. When the MC tells the ladies at the Derby about getting lost, Kiara finds her tardiness and inability to fit in, a sign that she cannot keep up with the competition. Until the chapters in Lythikos, Kiara's and Penelope's characterizations are almost interchangeable, personality-wise. It is likely the team envisioned them more as European nobility rather than specifically Cordonian (based on Olivia's introductions), and they are both depicted as poised, refined and aware of their place in court.

It's in Lythikos that Kiara, at least, begins to show a more distinct personality (for Penelope it's after the Regatta). Unlike the rest of the court, who watches Olivia's unwanted kiss on Liam with either mild shock or disinterest, Kiara is angered by what she sees as a very obvious power-play - which gives the MC the opening she needs to gain an alliance.

Now this "alliance" scene of Kiara's is interesting, for two reasons. One is that fandom often uses this scene to establish her "double standards" in TRR2, claiming that Kiara opted to be friends with the MC. Yet nowhere in the scene does the MC or Kiara ever suggest a friendship with each other - they both agree to an alliance. Furthermore, this is an arrangement that benefits the MC more - there isn't exactly anything she contributes (or is expected to contribute) to Kiara from her end. Kiara's promise is that she will put in a good word in the MC's favour, and she upholds that promise throughout the social season.

Another is that among the courtiers, Kiara herself is the first person to identify and respond to the MC's potential if she shows it at the Derby and the tea party (though Hana is also a courtier, I view her strictly as an LI in this context - since her support is by default and is founded on a more emotional basis). Not many nay notice this, but there is a distinction between how Kiara responds to an MC in a successful play vs a failplay...in a way that none of the other suitors do. Take note of the screenshots below:

The top two pictures in this collage are dialogues that feature by default. The bottom two, however, are dependent on branch-coding. They only appear IF the MC has managed to win the approval of the King, the Queen and the press. If you don't succeed in the same, she will not mention your performance in the social season at all, nor will she say anything about the value of your alliance.

That is a far bigger deal than most players of this series realize. It means that Kiara has been watching us closely, and has understood our potential over the course of just three court events. Only two other characters are shown tracking our progress this way: Bertrand (who is our sponsor, so he has to keep track) and Queen Regina (who can guess already her stepson's feelings for the MC, which automatically makes her a person of interest). For Kiara to understand the MC's capabilities, and to openly admit she has potential this early in the competition - it takes a high level of rationality, honesty and pragmatism to come to such a conclusion. Unlike Olivia (who lashes out in jealousy at the MC), Penelope (who has to be told why exactly it's good to have allies), and Madeleine (who dismisses us as competition until it's too late), Kiara actually views the MC with a discerning, impartial eye and an objective approach.

So on the surface, it appears as if Kiara is written by a team that likes her! You could almost be convinced that they thought she was cool but were forced to pander to "crazy Drake stans" in their writing later (which is an argument I have heard often). After all, she's established as beautiful, skilled, smart and observant. You wouldn't do that for a character you don't like, right?

But even as early as TRR1, a disdain for Kiara creeps in from the writing that you rarely see for any of the others.

This is especially apparent when you look at how Kiara's proficiency with language is spoken about. It is supposed to be her most visible skill - Olivia identifies her by it, we see her peppering her English sentences with French words (of course, many may argue that she doesn't exactly sound like an actual French person...but let's remember that her writers aren't exactly very used to the language themselves or interested in doing extra research for authenticity!). As we approach the end of the first book, there are at least two dialogue options that result in people doubting her abilities or mocking her for speaking only English and French most of the time.

In TRR1 Ch 16, Madeleine optionally speaks to the MC over phone (believing her to be a reporter taking her interview) about her thoughts on Kiara. Kiara's tendency to speak mostly in French and English is supposed to be a sign that she "exaggerates her accomplishments". Mind you, this is from the same woman who claims to be the best choice for Cordonia despite her poor strategies and her antagonizing potential allies during the engagement tour (TRR2); who complains if the MC doesn't compliment her for mediocre work as a press sec (TRR3). The MC can also choose to diss Kiara in a similar way, treating Kiara like she is a circus performer and her skills as if they are meant for the MC's entertainment. The only solace I could derive from this dumpster fire of a dialogue option, was that Kiara managed to shut the MC up with her multilingual response.

No other time are we allowed to call a courtier's abilities and skills into question. The MC accepts on faith that Olivia is a badass with great fighting skills. Same with Penelope's ability as a seamstress. The MC is never even allowed to have legitimate complaints about Madeleine's work as press sec, besides maybe that she could "be a little nicer". So the fact that the writers not only have other characters doubt Kiara's talent, but also allow people to mock her about it in all three books...is really something.

Another possible indicator of this disdain is the fact that Kiara is the only suitor who never gets a chance to actually interact with Liam on-screen. Even Penelope, a fellow minor character, can approach and talk to him twice...and her gift to him is shown in Ch 18 whereas Kiara's and Hana's aren't. Despite the fact that Kiara is a potential suitor, the story never allows her to interact with Liam. She doesn't exactly have any interactions with Drake in this book either, but honestly nor does any other couple have much time together besides Liam and Olivia.

Drake and Kiara hardly seemed to be a possibility back in TRR1. Drake himself didn't seem to associate with anyone besides the MC and the group in the first book (and even with the group his interactions were infrequent). Kiara herself doesn't have many scenes that aren't related to the court or to the competition, even once she is no longer participating. The closest she comes to any sort of association besides Penelope, is a friendship with Hana that begins sometime before the Fox Hunt. Drake and Kiara never actually have any scenes together, or interactions, or references. It is likely that the idea to pair them up was entirely a Book 2 thing.

On a fandom level, neither Kiara or Penelope garnered much attention or fan reactions. They weren't noticed much, nor did you see their scenes too often. Probably that is why it was so damn easy to remember Kiara's entire equation with the MC wrong. Why certain stans of the book were able to get away with misrepresenting the relationship between her and the MC in TRR1, to hate on her in TRR2. I will not deny, though, that certain dialogue choices from PB (like "I thought we were friends!" in the Fydelia scene) may have had a hand in those beliefs becoming the "truth".

TRR2 Kiara - Pragmatic Courtier or Backstabbing Snake (Part 2)

I plan to get into the way the Drake and Kiara angle is framed in canon, but before that it's important to tackle that one elephant in the room - Kiara telling the MC the alliance is over. Because very often, people used this scene (coupled with their misinterpretations of Book 1) as their "justification" to hate her. Often, people would choose the ruder options (such as the Christmas card dialogue) and assume that Kiara was rude by default, rather than as a consequence of the MC's behaviour towards her.

Kiara and Penelope are the first to express surprise at the MC's return (and their reactions are shown as representative of the rest of the court). Kiara in fact is shocked that the MC dared to return (which is kinda warranted! Several people in these early chapters view that as a risky move, a gamble that could backfire on her. That's why Bertrand gets her a press secretary). Their scene with the MC immediately follows the MC's conversation with Liam and Madeleine (and mind you, in the option where the MC can tell her she was set up, Madeleine herself voices disbelief of the same. Conveniently, this is never used as a reason to hate her). Both women let the MC know of their change in status, and therefore the change in their relationship with her.

What gets missed overall, is that Kiara is a lady-in-waiting (which is an actual role with specific duties) to Madeleine, which means her loyalty now has to lie with this woman whether she likes it or not. For her to even agree to approach the MC and explain the situation, is a risk. In at least two dialogue options in this scene, she tells the MC straight-up that they will be in trouble if they're even seen talking to her (this becomes a moot point by Ch4, mostly because Madeleine herself is shown talking to the MC and allowing her into conversations in public, once Hana arrives).

Penelope is often viewed in a better light in this scene because of her obvious friendliness and her sadness at no longer being the MC's friend, but once you have the reveal of her being a traitor, her behaviour in this scene seems wildly disingenuous, and I'm surprised more people didn't call her a fake when the reveal came out. She had to know the allegations against the MC were fake when she rushed to hug her, having been an integral part of that fabrication. It makes her lament when she's caught, in the failplay, ("I can't do anything right. You were never supposed to find out!") that much more chilling. She is eager to have the benefit of the MC's friendship and emotional support, without ever being honest about her role in smearing her reputation.

The other was that - no matter what you may choose to think of this scene - Kiara was placing herself at risk to let the MC know it was over. Approaching the MC was the right thing to do, but what is never spoken about is the fact that it was also a brave thing to do. Rather than ghost the pariah of the court and never give an explanation, she tells her honestly what the situation is, and strives to protect her impulsive friend (who could get both of them in trouble) at the same time.

When you view Kiara's actions from that lens - when you look at the facts - suddenly the claims that Kiara was "fake", "a flip-flopper", "a backstabber", "unscrupulous and self-serving", sound pretty hollow.

TRR2: The Drake x Kiara "Romance" Begins...and So Does the Vitriol

So...an interesting thing about the general reaction to Kiara in the early chapters of TRR2. I was new to the fandom when this book was released. There was an annoyance at Kiara when the first chapter came out, but to my surprise it didn't exactly become full-blown hatred until she started showing an interest in Drake in Ch 3.

This book is often used as a reference by Drake stans when they speak of Kiara as an obsessed, stalker-type, sex-hungry woman - often in contrast to their "pure", "innocent" MCs. Basically...the Jezebel. But the five scenes we see of this ship in the book itself tell a completely different story:

1. Drake Helps Kiara Lift A Heavy Beam (TRR2 Ch 3)

Chapter 3 is perhaps the first time we see an indication of Kiara's attraction to Drake on a physical level. The scene takes place at the barn raising, but only if we choose to stay with Drake over Hana for the barn raising activities. Kiara shows up in a rather pitiable state - her friend Penelope abandoned her for thirty whole minutes, leaving her to lift incredibly heavy beams alone. Drake helps Kiara and mildly chides her for not asking for his help, and Kiara stares at his bare chest, mesmerized.

She isn't exactly alone in this - the MC herself ogles at his bare chest at one point (if we go by the lines in the narrative that read "his muscles glisten in the sunlight" which is def from the MC's PoV). This scene was meant as fanservice for stans who wanted to drool over Drake's physique for a bit, and belatedly build up an alternative (at least for all three male LIs, they were trying to do this in TRR2).

The MC can either point out Kiara's obvious attraction towards Drake, or suspect her of being part of the plot. This will not be the last time the MC or the group will view her with suspicion, with little to no basis in fact. In the option that calls attention to Kiara's attraction to Drake, she is shown covertly sneaking a second look at him. Drake is shown with a visible discomfort at even the idea that Kiara could like him, one that only the MC notices considering she is working in proximity with him.

The reaction to this was instantaneous from several Drake x MC shippers. One or two glances at Drake's chest was enough for Drake stans to begin typing posts in capslock, screaming "BACK OFF KIARA HE'S MINE". The excuses given at the time were that the MC didn't get much opportunity to romance him (Drake was trying to refrain from kissing her in Ch 2 because he felt guilty), and largely-inaccurate judgements of Kiara's character. Jealousy of this kind is sometimes seen as the norm when you have a popular ship and a third angle is created, but this was about to take form in some...very disturbing ways in later chapters.

2. Kiara was Once Savannah's Friend/Kiara's long-standing crush on Drake (Ch 4)

A misconception I often see in the fandom (particularly in relation to how Kiara's feelings for Drake aren't given the same level of consideration that Olivia's for Liam is) is that Olivia's are "more genuine", and Kiara's are "mere lust" or "only physical" and this is probably why she's not given as much respect as Olivia was. Even though, tbh, Kiara was far, far more respectful of Drake and his personal space, than Olivia was of Liam in TRR1.

Leaving aside the obvious problems with that train of thought (viewing sexual feelings as "lesser" just because they're not rooted in some intense emotion), this is not even true, and the first part of the Driara garden party scene is proof enough. Kiara says, straight up, that Drake had been "such a good friend to [Liam]. It's part of why I always liked you." (Bold mine). If the MC voices doubts about this (likely incorporated for readers who would question it as a retcon...and it was a retcon since they didn't interact in TRR1), Kiara tells her that she doesn't wear her heart on her sleeve, which actually matches her practical approach to most things. In fact just a few scenes earlier, when the MC questioned her about wanting a husband (when she'd mentioned earlier about wanting to join the ministry), Kiara informs her that it would never hurt to have both. So it makes sense for her character if she's someone who kept her feelings for Drake a secret, especially while in a competition for winning the Crown Prince's hand. But we cannot, in any honest capacity, claim that Kiara's feelings for Drake weren't deep enough, or lasting enough, or genuine enough. At least based on the evidence we have.

Another point this scene brings up is Kiara's friendship towards Savannah. Up until this point, the only people who did reference her were Olivia, Drake and Maxwell - and Olivia's mockery of especially seemed to imply that the ladies of the court weren't very nice to her. Kiara's account is very different from this, and actually quite affectionate ("she was one of us", "she was coming along so well in learning French"). It's not the closest friendship, but Kiara did care enough to tutor her in the language and clearly missed her. It is possible that this scene was positioned to both build up to the alternative romance and foreshadow Savannah's presence in Paris. There is a lot more that could have been done with this angle, but perhaps that is a discussion for another section.

3. Never-Have-I-Ever (Ch 9)

This is a small option in a drinking game - the MC can get to say "never have I ever had a crush on Kiara", and loses, because Drake says she isn't his type (ironically he claims he isn't her type in the next chapter). It's interesting that he does consider her as not as bad as some of the others in that group.

3. Flirting with Drake in Paris (Ch 10)

For five chapters, we don't see any more hints of this romance. We see Drake in plenty, and we see quite a bit of Kiara. But none of it shows them together.

Kiara's scene with Drake at the tea party, is in some ways a continuation of his diamond scene with Savannah. He knows now where his sister is and what her big secret was, but this scene is where he realises how little he actually knew about her, if even her "noblewoman friend" knew she had intentions to go to Paris and he, her brother, didn't. This scene also takes place at what I call a "rest period" in the story - the group has just come out of a high-intensity altercation with Bastien, and it is one chapter before the major reveal about Constantine. So the MC can relax a little, some of the loose ends of previous stories can be tied up, and we get a vibe check on at least two alternative ships.

Drake is rather civil to Kiara in this conversation, mostly because he's trying to get information about his sister out of her. There isn't much he contributes besides this - it doesn't seem to matter much to him that Kiara was a rare friend among the court to Savannah (tho TRR3 would later retcon this), and when she talks about herself he doesn't pay much attention. Kiara does make an attempt at a light flirtation which goes largely unnoticed.

The MC's response when she first sees them goes three ways - a neutral comment about the petit-fours, a "matchmake-y" comment that points to them that they "look cozy", and a "jealous" comment about interrupting them. The third one especially results in Drake inadvertently confirming he doesn't think of Kiara in a romantic light, and Kiara appearing disappointed. Remember, at this point she doesn't see much evidence that Drake and the MC romancing him are an item.

The follow-up conversation with Drake, too, follows along similar lines. The neutral comment just asks him about the information he gathered from Kiara, the "matchmake-y" one points out she has feelings for Drake and the "jealous" one is... something.

The third response is very obviously crafted for the more possessive Drake stans to get satisfaction from dissing Kiara, perhaps in a more aggressive way than the Maxwell stans could. While the Maxwell MC can pass an insult or two to discourage Penelope, the Drake MC will go as far as to tell him he belongs only to her, and can threaten to "push her into the petit-fours".

Ironically, this scene follows a scene with Olivia about her lingering feelings for Liam - and Olivia's grief, the MC's clear sympathy and Liam's concern for Olivia are all by default. There is a certain level of sensitivity the Liam MC is required to have for Olivia that is never once expected of the Drake MC, and that plays out in very dangerous ways in the next book.

This scene, again, brought forth rather violent reactions, and in fact the language of the MC's responses itself seemed to encourage that kind of response. A poster later compiled an entire set of these responses ranging from mocking, to "back off, Kiara!" to straight up demands for murder (I couldn't link to this post because the names of the people involved were included in it, but I do have quite a few of those screenshots for reference).

After this point, you don't see any more scenes where Kiara actively flirts. In fact for most of the second half you see her and Penelope very rarely. So it does feel really wild in retrospect that "obsessed Kiara" became such a popular interpretation, after one checking-out scene, one flirtation and one rather sweet and genuine compliment of him as a person.

4. Pranking Kiara (Ch 17)

A pattern you would have noticed by now is that there is a bit of a mean streak in Drake for Kiara that is either very dominant or latent, based on whether the MC tries to encourage him, or shows jealousy towards her.

And this isn't necessarily an indicator that he can never be interested in Kiara. A distrust for nobility is almost a norm for him at this point, and let's not forget that Drake's first few interactions with the MC too didn't exactly leave her with the best impression of him either. Kiara initially being on Madeleine's side at the beginning of the story could be a factor in some level of disdain too. Such complications could - in a good story - add layers to a potential romance in the future if that was the direction the writing was going for.

Around the MC who doesn't mind them as a pair, he shows a small sliver of an inclination towards Kiara herself. His response if the MC points out that Kiara was flirting with him (Ch 10) is that he doesn't believe he is Kiara's type, not the other way around. In this scene, a drunk Drake who is encouraged to write a "nice note" to her as a prank, can write "your hair is pretty and your French is totally not stupid". Both of these lines present a sign of a possibility that a romance could happen. His behaviour when an MC casually hints at this possibility, is of someone who may like this woman deep down, but show it in very strange ways (akin to the age-old metaphor of the "boy who pulls the pigtails of the girl he has a crush on"). They wouldn't have even needed to show his responses in this way if they weren't trying to hint at a possibility.

His response to a "jealous" MC is to delightedly bask in her possessiveness of him, and to go hand-in-glove with her as she insults or suggests violence on Kiara in any way. Now one could perhaps headcanon this as a behaviour that comes from being unused to female attention focused on him, coupled with his affection for the MC - but when you take into account his behaviour towards Kiara herself in TRR3 as well, there seems to be a blatant lack of consideration or compassion towards her as a human being. Compare this, again, to the way Liam's behaviour towards Olivia is written in canon, and interpreted by the fandom. Liam is expected to be kind to her, even if he's clueless about her feelings or if she is harming him (eg. Even when she kisses him, he cares enough to opt for a reaction that will not publicly humiliate Olivia).

Not so for Drake. He is very happy to follow in the MC's lead, even in hurting Kiara. And in this scene, he pretty much kickstarts it with the suggestion of a prank.

Drake knows where Kiara's room is (thanks to a nameplate on the door, and the familiarity of the hallway, which he likes for the view outside) and wants to prank her. The MC can either accept or refuse. If she accepts, there is one nice option, and two distinctly mean-spirited ones. The first proposes to mess up her book organizational system, and the narrative describes the attempt as "ruining any semblance of order to Kiara's bookshelves". These are materials she likely requires for her career as an aspiring diplomat, or even books she uses to update herself on the world. But to this MC and Drake, her work and interests are little more than a joke.

The second one is not only aggressively mean - it also is an attempt to ruin her personal space with her personal items. Going by the array of haircare the narrative mentions, maintaining her hair is very important to Kiara (I am not equipped enough to speak about black women and their relationship with their hair, but this option did make me very uncomfortable, because of the little I've seen on how essential regular haircare and good products can be for many black women). Not only does the MC suggest using all that product to render Kiara's bed practically unusable, she also insists Drake waste the full bottle of said product. Because, yknow. "It's a prank. Go big or go home". Drake has one moment where he tries to be less mean in this option (when he attempts to use less of her hairspray), but the moment the MC encourages him towards a crueller direction he does not hesitate. In fact, when the MC first suggests this option, he regards her with something approaching awe, and praises her as "an evil genius".

There's a mean streak in Drake here no matter which option you choose. If you do go for the nicer one, he complains at first that it's not exactly a prank and in fact does claim that they "could still put glitter in her cupboard" as an alternative prank. But the other two options encourage the player to give full vent to whatever underlying frustration/enmity/hatred one could possibly have against Kiara, goading a drunk Drake to be merciless towards the things in her room, in her absence.

Maybe, perhaps, one could just view this as a "fun vent" for the "possessive stans". It allowed the Drake MC and her LI the chance to gang up on her, mock her and cause her discomfort through things that were clearly important to her, treat her like the butt of their joke, and get away with it. When you encourage that kind of hatred with your writing, it can go into some very dark, disturbing places. And it did, especially in TRR3.

The overall response to this scene didn't show much, since it was just one small sequence in a larger scene - and most of the focus was on the heartfelt bonding between Drake and the MC when he takes her to his "special hideout" and his reveal about his motives behind calling the MC by her surname.

Many Drake stans, however, took note of this specific section, and took their interpretations in a completely different direction. Questions were asked about why Drake knew about Kiara's room - completely ignoring that he frequented the hallway regardless for its view and her nameplate is literally placed outside her door - and several fans suspected the two to be involved in an affair just on the basis of him knowing where her room was. These suspicions, again, would crop up from the fandom in a more dramatic way in TRR3.

5. Drinks at Homecoming Ball (Ch 19)

This scene takes place in the finale, just before Kiara and Penelope apologize jointly to the MC for their comments in the beer garden.

Drake is, quite predictably, at the bar in this scene. In some ways one could draw a parallel between this one and the "bar" scene between him and the MC in TRR1 - the only differences being that the two were alone in the first, and that he and the MC are free to romance each other now. However this time, the two ladies of the court could also communicate with him about drinks, and he could use his knowledge of alcohol to guess their preferences.

The scene with Kiara is, again, written to be both a possible sign of familiarity and a diss (mostly the second, I think). With Penelope he just vaguely mentions cocktails and focuses on the decoration for the drink - with Kiara he is able to name the specific wine even though in TRR3 he has no idea what tannins are. There are ways one could envision that as a sign that he notices more about Kiara than he lets on.

The diss, of course, comes with his claim that no matter how top-shelf the wine is, it will still always be "old grape juice" (which is a very strange thing to say because most alcohols are fermented from basic ingredients be it fruit or grains - where did he think his high-quality whiskey that he regularly carries around in his personal flask came from??).

Kiara's attempt to impress him is pretty obvious, but the diss isn't something that weighs too much on her mind. There are less indicators here of a dejection if he brushes her aside, unlike the scene in Ch 10 - she just looks a bit surprised he could guess the exact drink she wanted. Kiara in this scene is more likely to shift gears to something more important. In this case, that is apologizing to the MC for what she views as poor behaviour that sprung up under the influence of alcohol, and offering her an olive branch (the specific apology is for her asking the MC if she came to gloat, not for telling her the alliance was over at the beginning of the tour. In that scene specifically she feels she has nothing to apologise for, and I'm inclined to agree for the reasons I stated in that section).

The overall pattern for this ship seems to indicate that it's...kinda there in case the MC doesn't want to pick Drake, but I always feel like they focused a lot more on the jealousy options and didn't spend enough time to see what a possible relationship could look like. They do claim later that Kiara's affections were supposed to be one-sided, but the buildup at least seemed to indicate some small baseline of interest from Drake's end, even if shown in some rather bizarre ways. However, because there seems to be very little respect for this character already, having the MC threaten violence and having her and Drake overreact over what were essentially harmless interactions from Kiara's end really does indicate that the writers didn't mind taking potshots at her whenever they felt like it. Like I've said before, the trashfire that was Kiara's treatment in TRR3 didn't develop overnight.

Smart, Skilled...Disliked?: Kiara and the Writing Team in TRR3

On 25th Sept 2023, PB released a two-chapter series on Storyloom called "Choices Secrets", which involved at least three writers (Andrew, Kara and Chelsa) talking about ideas and plots and backstories that didn't make it to the released book. In one section, Kara Loo speaks specifically about the ending of TRR2:

According to this account, the original idea was to kill off Olivia and possibly use that as a segue into the Nevrakis plot of the book, since her aunt and Justin were the real villains at the end of the series. When they decided to keep her alive in the series, Kara mentions finding "more members of your group get injured, like Drake".

Interestingly, Kara referred to "members" in the plural, and Drake is the only person from the core group to get shot. So it's just as possible that the choice to have Bastien, Justin/Anton and Kiara sustain injuries, was made once they decided to do away with the storyline about Olivia's death.

Olivia got spared because her writers cared for her. Kiara was likely one of the people injured in her stead, and probably the only one out of them (except for the one who was the main villain) who wasn't getting a prominent scene that focused on her being a survivor of the attack until some readers protested (the entire intro of TRR3 was dedicated to Drake recieving tender care from the MC, Bastien gets showered with concern and care from Constantine, Liam and optionally the MC. The MC comes to the estate, makes a perfunctory mention of the injury once and proceeds to emotionally blackmail Kiara into joining the tour. Let's not even talk about Lythikos. That shit warranted its own essay). No matter how much you downplay the situation, the truth is that Kiara got grievously hurt in a terrorist attack and her writers didn't think it was important enough to address.

I often wondered in the beginning, why Kiara was chosen for this. A close friend at the time theorized that perhaps it was done to ensure Madeleine would become our press secretary, because there was no way the MC would be considering her for this position if someone less hostile (like Kiara) was around. Another wondered if we might get opportunities to address palace security through the experiences of the survivors. Being a Drake x Kiara supporter at least by the end of TRR2, I wondered whether it was a coincidence that they both were injured at the same ball, and the possibility of the two bonding over such a painful experience.

Well. Boy was I about to be disappointed.

Because why did Kiara have to be so badly injured, if it was going to amount to nothing? If they weren't even going to address it in her own home? If - after even players who didn't care much for her, noticed the silence around that attack - the best you could offer was a scene that followed the MC and her friends suspecting the victim of this attack??

Had I looked at Kiara's narrative treatment (from TRR1 onwards) closer back then, perhaps I wouldn't have expected so much. It would have occurred to me that maybe they hurt Kiara the most, because they cared for her the least. Kiara is viewed as smart, poised, talented. Madeleine even calls her "one of the more competant courtiers" at some point. But that doesn't always mean that the team that writes her deems her worthy of respect.

For one, the writers tend to lean more into fandom perceptions of her in this book, rather than looking at their own canon. Kiara being a snob is not canon - that is ridiculous considering that she was such good friends with Savannah, and her support of the MC when she fits in well. Kiara acting like her linguistic skill makes her better than anyone else isn't canon either - nor is she obliged to speak in all ten languages on a loop just for the MC's or Maxwell Beaumont's entertainment. Kiara being perpetually mean to her best friend is inaccurate at best - she is often frustrated by Penelope, sure, but she spends far time and energy helping her than anyone else in that court.

Yet the narrative gives both these statements as dialogue options for the MC, where she can bitch about Kiara...but somehow only ever allows the same MC to be nice and caring and loving to Penelope - never once reminding her of the hell she'd put the MC through in the past. And because the fandom expected the Kiara-Penelope friendship to focus only on Penelope, PB got away with having Kiara's "best friend" stay conveniently silent as the MC berated her in her own home. The narrative even threw Kiara under the bus in TRR3 Ch 16, in order to make Madeleine look better in Hana's memories of the TRR2 bachelorette, claiming falsely that Kiara shouted at Penelope so much while drunk, that the latter was brought to tears. There is way more energy spent in painting an inaccurate and negative portrait of Kiara, than there is in showing the truth.

For another, the way the courtiers' and their parents' agreement to join the tour is coded...is extremely suspicious. When you compare both a successful and a failplay, you will find that all the parents have the chance to reject the MC's proposal to join the tour...except for one. Kiara's father, Hakim. In a failplay where you purposely do all the wrong things...out of the entire group of people who are still doubtful about supporting you, only Kiara and Hakim join your tour by default, without any expectation of a reward (Madeleine demands her own department after the wedding). They will be a part of it no matter what you do, no matter your failures, no matter how badly you treat them.

Hakim may have joined mainly to confront his old friend the King, but he still stays on even after Constantine dies. The writers made sure to branch-code things in a way that Kiara and Hakim could never drop out even if the MC was awful to Kiara, and never once acknowledged what it must take for them to do that. After Kiara herself had been fucking stabbed!!!!

Joelle, Kiara's mother, and Ezekiel, Kiara's brother, can reject the offer if they aren't impressed with the MC, but out of these two characters only one is viewed with respect - the one they were going to pair up with Penelope.

The narrative doesn't mind letting the MC mock Joelle for her passionate support of the arts if she doesn't win her approval, and her insistence that it is the sign of a thriving kingdom...and they make her sound petulant and churlish in response to that mockery. This despite the fact that in a successful route, she says one of the most profound political statements in the books:

"Hakim and I don't just want Cordonia to remain stable and peaceful. Those are blessings, naturallement, but our kingdom can do so much more than just survive."

In contrast, when you look at the same failplay, Emmeline and Landon are treated with far more respect from the narrative, even though Hakim and Joelle's plans for the country would benefit Cordonia as a whole. Drake looks up to Penelope's parents as an inspiration, especially if he's going to become a duke. Meanwhile Hakim actually acknowledges Drake and his bravery in a way that none of the other dukes and duchesses did, and Drake never gives a shit.

Emmeline can accuse the MC of not taking their situation seriously, if she does a bad job at the polo match, and the MC only has the grace to look contrite rather than lash out at her. Landon himself is never judged for coddling his daughter the way he does. Their focus on Portavira rather than the country is respected, and the MC not meeting their demands is viewed as her weakness, not an overreaction from their end. They never get the snarky responses Joelle gets, where the MC can outright call her "a handful" in front of her own husband.

And then there is the matter of how PB deals with the problems of all the court ladies.

(Screenshots from the Skylia YouTube Channel)

The period of the Unity Tour isn't exactly an easy time for anyone. The LIs each deal with their own shit, and the ladies of the court themselves have their own reasons for being reluctant to return. The entire point of this tour is to address their specific concerns as well as that of their families', because without the courtiers themselves we wouldn't have as strong a court.

In Madeleine's case, we have to talk to her through a diamond scene and then educate her mother on her ways of mourning lost opportunities, among other things. In Penelope's case we are required to give her complete protection and emotional security, for her to even bother joining the tour (there is branch coding where she can refuse to be a part of the tour at all). Even for Olivia - who is already an ally - the diamond scene encourages us to stand up to her aunt, by letting Olivia know that it is valid for her to lean on others for support without being considered weak.

But for Kiara? The best we can come up with, while in her duchy, is some version of - "You're smart. You'd know that if you left now, people will say bad things about Cordonia and then it would be your fault". You either manipulate her, or insult her as being a useless excuse of a diplomat. As I mentioned in another essay, Kiara's comfort is a non-factor. The gap between the care we were expected to give to Madeleine and Penelope, and what we deign to give Kiara in Castelserraillan (which is...well...nothing), is massive. And this gap would only increase - not reduce - in the books to come.

It might seem a bit irrelevant to talk about this, especially when this essay is about Drake and Kiara. But it's important to take note of this inherent disdain the writers had towards this one character - and people close to her. Because it is only too easy to pretend that the writers "got scared of the crazy stans".

Of course the stans had a huge, huge role in this. Of course their vitriol and racism succeeded in bringing about (what I consider) one of the most disgusting dialogue options in this series...or perhaps in any series. But I doubt those "crazy stans" would have gotten this far, without a team that didn't mind being cruel to Kiara.

When the Fandom and Canon are both Heartless: Drake and Kiara in TRR3

As I've mentioned in previous essays in this series, playthrough divergences truly begin in TRR3 (eg. While the playthroughs acknowledge who you chose as endgame by end-TRR2, you can still access diamond scenes through a small tweak that allows you to romance other LIs). And whichever LI didn't get engaged with the MC had indications of a new romantic possibility coming up. These were scenes you wouldn't find in your own playthrough with that LI as your fiancé/e.

Kiara doesn't appear in TRR3 until Ch 7, when the entourage comes to her estate Castelserraillan. There aren't a lot of Drake and Kiara scenes themselves, and I will get into why, section by section.

1. Kiara Greets the Group at Castelserraillan (TRR3 Ch 7)

Many Drake stans - once they found their MCs engaged to Drake in TRR2 - seemed to be practically giddy at the prospect of showing off their newly-engaged status to Kiara, and hurting her through the news. They were perhaps more excited about this than their upcoming wedding.

Well, they got that chance in Ch 7. In every other playthrough, she still holds the same feelings for Drake, and compliments his suit as Drake awkwardly fails to meet her eye. In his specific playthrough, Drake defiantly shows off his relationship with the MC, and Kiara shows a slight wistfulness before she forces herself to be normal then wishes the happy couple well. You'd think that would be enough to satisfy the stans who had been baying for her blood all of the previous book.

A throwaway line about Drake knowing where Kiara's room was, had already raised the heckles of a whole bunch of his stans. Kiara's "wistful look" in her first TRR3 scene somehow added fuel to that fire. Suddenly, you got to see a raging torrent of posts demanding to know if Drake had had an affair with Kiara. Fanfic had already been written about Drake cheating on the MC with Kiara by this point - and some of those headcanons and fanfic hinged on making Drake the innocent/vulnerable one, taken advantage of by this sexy, obsessed woman who would be either a danger to him or would be juxtaposed with the "pure", "virginal", "perfect" MC. Drake would never be the problem here, and none of the stans screaming over the possibility of Drake sleeping with Kiara would dream of blaming him for it. No, Kiara was predatory, Kiara was obsessed, if anything happened between them it would be likely Kiara's fault.

This is where it's important to note, again, that none of the more obvious signs of the "Jezebel" stereotype seem to be used in canon for Kiara. While cruel in her own way, the TRR MC doesn't exactly slut shame her or believe Drake will be unfaithful to her, Kiara isn't accused of seducing (or even trying to seduce) anyone, and she actually places respectful personal boundaries for herself in her attraction to Drake, that she never crosses. She may indulge in a light flirtation with him, try to impress him or simply talk to him - but you will never catch her forcing her sexual attention on him like Olivia did with Liam. Yet in popular fanlore, even Olivia's feelings were often cast in a far more noble light in contrast to Kiara's.

In her essay, The "Offending" Breast of Janet Jackson: Public Discourse Surrounding the Jackson/Timberlake Performance at Super Bowl XXXVIII, Dr Shannon. L Holland explores the historical and contemporary uses of the Jezebel stereotype in depictions of Black women in popular culture and discourse, especially in contrast to white masculinity (which in these contexts, is often viewed as innocent and blameless - and much of the blame lies with the Jezebel figure). The "Jezebel" stereotype "has come to symbolize both a malign, cunning sexual object and an autonomous, liberated sexual agent" - she is at once an independent sexual being making her own choices, and someone who is "incapable" of reining in her sexual appetite...and is therefore often depicted as not only a threat to the "purer" (and often "whiter" or "lighter skinned") woman, but also dangerous for whoever she is "obsessed" with. And we see this time and again in the discourse around Kiara - the fanfic that depicts her in a range of scenarios (stalker, obsessed lover, abusive girlfriend who will break a bottle over Drake's head, at times even descending into murderer to get the man she wants). Which is how we wound up in a position where Kiara even breathing the same air as Drake was viewed as a threat.

It didn't matter that he was flaunting his love for the Drake MC in that playthrough to send a message to Kiara, or that he stayed silent with the others as his wife badgered her into joining the tour. It didn't even matter that Kiara never got a diamond scene the way the two other women did, despite being the most harmed among the ladies. What mattered was that Kiara existed. Her damn existence was the threat.

2. Cheering for Drake's Victory (Ch 10)

Ch 9 of TRR3 was released to players on April 27th, 2018. Immediately after, a mid-book hiatus was announced, mostly to work on some new art (very possibly the red pandas), work on the wedding, and make changes (such as shifting diamond scenes from character-centric ones to LI specific - they'd already started making changes to LI diamond scenes). The book would return 2 months later, in June.

In a livestream before the hiatus ended, the writers had made it very painfully clear that Kiara's feelings for Drake was one-sided. And by that I mean they really emphasized on the one-sidedness of her affection, almost as if to reassure the panicking stans. This would manifest in any future interactions between the two - both in Drake's single and engaged playthroughs - and any hope that such a pairing would even be hinted at was over. But there was one variation that the team had perhaps neglected to edit out.

A small one-word depiction of Kiara cheering Drake when he wins his duel against Neville, joining his friends to praise him. It really isn't much - just Kiara saying "bravo!" before Savannah rushes up to hug him, which is replaced by a scene of Drake himself going up to the MC and passionately kissing her in his own playthrough. What is definitely striking about this depiction is that Kiara was clubbed with his close friends and his sister, rather than the second group of people that largely represented the larger court (Rashad and Queen Regina) who offer their congratulations.

Given the way the writers wrote any remaining interactions between Drake and Kiara, and the fact that this small appearance doesn't really amount to anything, it is possible that this variation was part of an earlier draft that involved other hints, that the writers failed to notice when they put up Ch 10. If they had, I'm pretty certain it wouldn't have stayed in the book.

3. Leaving Court + Wedding Conversations

Remember how I kept stating in this essay that the narrative was going to take their enthusiastic pandering of the "possessive stans" end of the fandom, to some dark, disturbing places? Well, here we are.

Tbh, the writers could have just stopped showing any interactions between the two, or given Kiara another boyfriend if their aim was simply to show that Drake and Kiara would never be endgame. They had done that with Maxwell and Penelope already...oh. I forgot. They actually wanted us to care for Penelope.

Up until this point, Drake's mean streak re: Kiara was present, but not really as obvious as it gets here. PB takes that cruelty several steps further in these two chapters, starting with Ch 11. Ch 11 was fanservice to the people who shouted abuses and "joked" about killing Kiara in every chance they could get. Ch 12 showed this sentiment at its worst, covered it up with enough fluff so it would be harder for people who liked Kiara to notice...and let those players get away with it.

In Ch 11, Kiara approaches the MC and her group to inform them that she is withdrawing from the tour. Drake is the first to respond to this, remaking at the suddenness of the departure. The MC can speculate on a couple of things, ranging from sympathy (that she might be afraid), selfishness (that she is "bailing out" on the MC) and suspicion (that she is hiding something).

In all three options, a pensive Hana expresses sympathy and encourages the group to "reach out". In all three options, Drake will only view Kiara as a suspect.

Mind you - according to Ch 12, Drake is saying this knowing Kiara was injured at Homecoming Ball...and knowing exactly which weapon she was injured with. Aware that she has gone through an event as traumatic as that (if we go by his "just one step at a time" monologue to Kiara), better aware than most how it would feel...he still opts to act like her motives should be suspicious.

This is further emphasized in the Drake playthrough, through the armory scene that the MC takes with Maxwell.

As I've mentioned in the post on this scene, it is divided into three halves. The first half deals with whoever the MC rejected (either Liam, or Drake in Liam's playthrough). The third is buildup to Lucretia's plans to usurp the throne. The second is supposed to be about the excitement among the members of the court for the wedding, and of course as the only people who come for the tour by default (and Madeleine is already taken for the first scene), Kiara and Hakim are used for this scene!

I will only focus on the Drake version of this scene today. There are a few things you notice straight off the bat:

1. Since this is Drake's playthrough, the narrative seems to do away completely with any lingering feelings Kiara may have had are done away with. In this scene she is quite happy about Drake's wedding - in fact, practically chipper. Literally nothing about her behaviour here serves as a reminder that she once had feelings for him.

2. Drake's response to Kiara attending his wedding ties in pretty well with his earlier default suspicion of her. Unlike Hana who is surprised but also happy that Kiara is attending, he seems to voice it as a doubt or a question. While that makes sense and there is continuity, it's pretty awful that he is allowed to suspect her like this and feel no remorse when the truth about her is revealed.

3. Now as I said in the post, this scene is meant to be a buildup to Drake's ice-palace scene. He speaks about wanting a private, country-style wedding in a natural place there, and Kiara's gentle teasing in this scene is supposed to be an indicator of how much he dislikes the usual fanfare. Okay. Fair enough. You're uncomfortable with the fancy decorations and the insane planning, fine.

4. But it's Drake's attitude towards Kiara in this scene that leaves a bad taste in the mouth (unless you were one of those Drake stans that liked to threaten murder on this character ig). The narrative really went out of their way to make him sound uncommonly angry with her, just for asking about his wedding. He angrily hisses at her to keep her voice down the moment she asks about the wedding, and then lashes out the moment she teases him about his love for the MC and his reluctance to be very public about it in that context. Of course, people who either liked Drake or hated Kiara would downplay this scene - either blaming Kiara for not magically knowing his likes or dislikes, or acting like Drake's behaviour in this scene is no big deal.

And his explanation in the ice palace scene really doesn't cut it as a reason for why he should be this pissed off at Kiara's excitement. There is no real bitterness or resentment tied in with the fancy trappings that are mentioned in that specific scene - it's just that he likes simplicity better. If Kiara doesn't know him well enough to understand that - it's because he has never properly talked to her. She made attempts to converse whenever she could. You can claim he never owed her a conversation - but in that case she doesn't owe him a complete understanding of his wants either. He could have just politely answered the question and changed the subject, or quickly took his leave.

He is well-versed enough in court etiquette by this point that he could have managed to sound civil enough. That he could have made a quick, polite exit. But no, he gave her the kind of anger that one reserves for someone who is kicking a puppy or stealing candy from a child, instead. And it was Kiara's grace that allowed her to view that awful behaviour in a more positive light.

It's pretty clear this scene - and to some extent the framing of the next - was made specifically for those Drake stans who were screaming and throwing tantrums about a possible affair. It was to highlight that there was no way Drake could ever return Kiara's feelings - and the only way they could do that was by making sure he treated her as rudely and inhumanely as possible.

I didn't think it could get any worse than this, when I saw this version of the scene...but then I saw Ch 12.

The Talk

If you were to speak just about fandom reactions to this scene...the responses to Kiara chronicling her trauma after Homecoming Ball, were pretty positive. Plenty chose the middle option "You're suffering from the trauma of the event. You need help", and cooed over Drake's touching little monologue about "taking it one day at a time".

I admit at the time I was fooled too. But one thing did niggle at me as I played both this option, and the "understandably cautious" one (I would later understand that the latter was not very good either - it has a thin veneer of "validating" Kiara's feelings, but it still has the MC and Drake expecting her to put their needs before her own safety and sanity).

Drake was reassuring to an extent in both options, sure. But why were his responses so different? Why was his answer to Kiara so closely tied to whatever point the MC was making, rather than independent of it? After all, he was the one who should be able to better relate to Kiara - wouldn't he have thoughts of his own here? If the MC chose that horrible final option, Drake would correct her and comfort Kiara instead, wouldn't he? Wouldn't he???

It was only when I (reluctantly) pressed that third option ("not as driven as I thought you were") that I understood what Drake's role in this scene was.

He wasn't going to be there for Kiara. He wasn't even sympathetic to her! It wasn't even going to be about two traumatized people connecting over their trauma. Drake was a puppet. He was there to parrot whatever garbage came out of the MC's mouth.

Because in the third - and most horrific - option, the MC is allowed to minimize Kiara's trauma, and mock her ambitions in the face of what she has just gone through. Drake is allowed to agree with her ("sometimes ambassadors have to work in dangerous areas"). Kiara is forced by the same narrative to find value in these words.

And all of this, stems from a scenario where Drake and the MC go in suspecting this woman from the jump. Where Maxwell is happy to make jokes about her being a suspect. Where the only two decent people in this group - Liam and Hana - are conveniently written out of the scene, ensuring that these ghouls can act the way they want around Kiara, and get away with it.

Not once is Kiara herself ever allowed to know that the group suspected her by default, nor is she allowed to go through with her intention to leave court. The very roots of this scene are rotten.

Very often, when this scene in particular is addressed, not many people actually address Drake's behaviour here - or in the previous chapter. Stans will vaguely, and conveniently, blame the group as a whole rather than their favourites. Such a tactic allows them to never name the specific people or specific actions, and therefore the main people involved in speaking to Kiara the way they did never have to be held accountable. This is particularly relevant in the case of Drake.

It was Drake's idea to interrogate her. He was the one constantly harping about her "suspicious behaviour". He was the one aware of what happened to her yet chose to think of her as shady. He was the one who should have known better, yet was absolutely game to minimize her trauma or engage in emotional blackmail. And neither he nor the MC came out of this conversation feeling anything resembling remorse. Because, apparently, they never did anything wrong.

They got what they wanted. At best, Drake and the MC manipulated this woman (again) into returning to their court. At worst, they badgered and bullied her into that decision. Either way, she was going to return, and the narrative was going to pretend that the MC and Drake were great people for making it happen.

I have heard some justifications over the years for Drake's behaviour here. One is that he "tends to act like an asshole to everyone". Another is that Kiara is a noble so he was never going to see her in a positive light. Which is hilarious to me, honestly, because in the same book you have Drake reassure Penelope - the woman who had made the MC the target of a reputation-ending scandal - and comfort her when she sees Madeleine. If this was really about the chip on the shoulder he had for nobility, why was he so kind to Penelope? And if Penelope's mental health warranted a change in mindset and behaviour from Drake's end, why was Kiara not worthy of that as well?

The truth is this. Drake was allowed to express his mean streak to a black woman, bully a black woman (the pranks), lash out at a black woman (the conversation at the Lythikos Ball), suspect a black woman, and finally minimize her trauma if the Duchess he had a crush on wanted to. While being overly protective and chivalrous to the white woman who actually did harm her. No matter what way you spin it, that is what Drake's behaviour - especially in TRR3 - is.

The way the team trampled over this "pairing" post that miniscule hint in TRR3 Ch 7, would make a rampaging elephant look like a ballerina in comparison. They wanted to make it clear after the hiatus that Drake x Kiara would never happen, in any eventuality, in any future, in any universe. And no matter how much we pin this on "crazy stans" (who do hold some responsibility for sure, for their own veiled racism), it's a fact that the writing team was comfortable doing this. They had already found other ways to pile disrespect on their sole recurring black female character - what was a little more?

TRH and Beyond: Taking Away What Was Left of Kiara's Remaining Fanbase

Given all the narrative back-and-forth and shadiness, I'd have to say the end Kiara got in TRR3 was comparatively...decent. Not great...not exactly satisfying...decent.

Her fighting off the assassins at the boutique ("not again...not again!!") was the highlight of that scene. In Hana's playthrough, Kiara was her MOH by default, and the lines the MC could give if you chose her in other playthroughs was pretty sweet. At the end of the book, her father would make Kiara his heir, after her older brother Ezekiel abdicated. There were still things I was always going to hate (such as the fact that we could lie about "having Kiara's back" - we absolutely did not) about the aftermath, but all in all as a fan...I could maybe envision a fairly happy ending for her with what we got.

The next series, The Royal Heir, would debut on June 2019, almost a year after TRR3's own debut. This would be the first series that would go completely LI-divergent, spanning four books. It started out as an attempt to envision the future (and pasts) of the main characters, as well as tie loose ends...but descended into an incoherent, retconning mess with each book.

Kiara doesn't feature much in Book 1, but is pretty prominent in certain chapters like Ch 7 (Savannah's bachelorette), Savannah's wedding, and the Apple Ball in the finale. You'll often find a marked difference between the way she is looked at for most of the book, and how the MC speaks to her in TRH1's finale.

Savannah's bachelorette, for instance, features all the ladies of the court in Texas, with new "country" looks and engaging with Texan culture. Here, too, you see a sign of PB leaning into popular perceptions of Kiara rather than remembering their own writing, when we see how Savannah praises the MC by default but has very little to say about her former friend Kiara. Since Savannah's return to court in TRR3, the team seemed to have forgotten that other ladies of the court weren't very nice to her, and Kiara was the only one concerned for her. They have Olivia act sweet and caring towards Savannah in both TRR3 Ch 17 and TRH1 Ch 7, conveniently forgetting the insults she piled upon Drake's sister in the first book. Savannah never has to talk about Kiara's friendship at all, other than a teasing comment hinting at her French lessons. Savannah was never expected to have any gratitude or affection towards Kiara even though she was the only woman who cared about her in court before she left.

An interesting thing to note in the diamond scene of the bachelorette is the way the courtly ladies' previous/current "romances" are framed. Kiara's, in particular, warrants a lot of discussion. Unlike Olivia (who can address her feelings for Liam regardless of playthrough, if asked, and can actually show some level of resentment towards him for not picking her), Kiara's feelings are addressed only if the MC isn't married to Drake. If she is, Kiara mentions a fondness for "rugged, down-to-earth men" (which the MC and Penelope perceive to mean hunky and muscular), and avoids mentioning his name at all.

There are two very interesting things to note about this sequence. One is the pattern of how, and how far, are Olivia and Kiara are allowed to address their feelings for these men. Not only is Olivia allowed to be open about her feelings and her bitterness (despite Liam actually romancing her in TRR3!), the narrative demands our respect for her position and plight. The Liam MC lauds her honesty and her decision to move ahead, unfazed even by her anger for something Liam didn't even owe her. In contrast, in the Drake playthrough, the writing makes sure Kiara never mentions him by name. And not only that, when the MC and Penelope tease her about her romantic preference, she is shown to stammer and seems downright afraid of the MC.

The fact that there is such a gap in how Olivia and Kiara are allowed to act about the men they love, and the fact that this gap was normalized so much in fandom discourse that it didn't even warrant a discussion, tells us plenty about the fandom too. The fandom position has almost always been that Liam owes Olivia love, appreciation, kindness. And that Drake owes Kiara nothing, not even common human decency. Which is why the fandom wants Liam punished for the high crime of not loving Olivia back. Which is why Drake is allowed to treat Kiara like an irritating pest at his best, and like utter garbage at his worst...and almost no one so much as bats an eyelid.

Since most of the story of TRH1 seemed to revolve around the ranch, the ladies of the court made minimal appearances and most of those were in keeping with patterns established in TRR3 (except for maybe Olivia's spy scenes). Some of their parents - too - feature in Royal Council scenes: Godfrey and Landon are part of this council and are seen during the MC's announcement - no one from Kiara's family, besides her brother Ezekiel who is dating Penelope, make any appearances in this book. Towards the end of the book, however, you suddenly find a scene or two where the narrative is suddenly, and inexplicably, syrupy sweet to Kiara:

(Screenshots from the Skylia YouTube Channel. 1-5 are from Ch 18, during the council meeting. 7-10 are also from Ch 18, at the start of the ball. The last two are from the finale as buildup for the pregnancy photoshoot)

There are indications of Kiara's diplomacy and good advice in other parts of the book too (such as her suggestions for dealing with the foreign royals at the baby shower) but never were the praise and compliments as obvious as they were in the last two chapters of TRH1. Kiara was given a quippy dialogue to spout at Godfrey, who would later be revealed as the murderer of Queen Eleanor. All three of the MC's dialogue options in response would praise Kiara by default (a rarity). King Bradshaw would shower her with compliments too about her talent and expertise. And when Kiara approached us with an offer for a pregnancy photoshoot, the MC could cheerfully say "for you, Kiara? Of course!" as if they'd been bffs from the beginning.

There isn't any obvious reason why we saw this sudden change, but I can make an educated guess or two. A pattern that commonly emerges with attempts to address something that would benefit Kiara, is that the writers often only do it when enough people complain; that was how we got the horrible Lythikos sequence. Midway through TRH1, I managed to put up an essay exploring Kiara's treatment (centered around the Lythikos sequence in TRR3 Ch 12) in comparison to Penelope's and Madeleine's. It did not receive an immediate fandom wide response, but several readers did come away from that essay feeling like Kiara really got the short end of the stick, compared to all the other court ladies. I'm not sure whether that essay had a direct impact, but those three scenes PB added to the finale chapters do make me wonder. Was the team trying to prove to the fandom that they did like Kiara and wouldn't personally sabotage her, either for their own enjoyment or to pander to a section of the fandom?

If they did, then that plan didn't last beyond these two chapters.

Another possibility of course was to give Kiara something slightly positive before they did her dirty - again - in TRH2 and 3. Because in those two books, they managed to first make her - along with the rest of the council - party to a vote (that everyone was involved in, including the LIs!) that would later prove detrimental for the country. They would then have her be the only heir involved in the notorious Coventus Nobilis, which ensured that anyone who wanted to hate Kiara could tie her to her vote in favour of Bartie Sr, without ever asking any further questions. This was a far more successful attempt, because most of the fandom already believed the misconceptions of Kiara's characterization to be truth, and these storylines simply added fuel to the fire.

Kiara's biggest supporters tended to be a section of the Liam fandom, as well as wlw stans who tended to like most of the courtly women. Having her vote for Bartie at the end of TRH2, and her explanations in TRH3 about the "MC's ruling style" (which was really canon's way of making sure she did more a silent diss on Liam) was written specifically to place a serious dent among her fans who liked Liam. And sadly, it worked in part. Because even if one considered Kiara's thoughts on "reactive ruling" accurate, it was a fact that the nobility (she included) would have to be blaming Liam for something that the entire Council voted for, and that Liam and his friends fixed on their own.

Making Kiara the lone person to voice this argument, made her a target in this fandom. I mean, people were ready to praise Madeleine and speak of her as loyal (eagerly ignoring that she was actively involved in the child's kidnapping if you didn't coddle her enough), and badmouth Kiara in the same breath, claiming that Kiara wasn't worth forgiving and people should just get over Madeleine's deeds in the past.

This resurgence of hate didn't just erupt out of nowhere. Once they finished spending two chapters on two-second compliments to Kiara, PB reverted in the next two books to some of their usual patterns with her. For instance, remember how I mentioned that PB had an obsession with never letting Kiara and Liam interact? In TRH, they repeated this pattern, but with the Heir. The only scene Kiara has where she can so much as touch the heir is in the last part of TRH3, if you choose for Kiara to read to her. Penelope is regularly allowed to hold her even though she has often placed this child in dangerous situations (on one occasion, Kiara herself had to stop her) - even Madeleine is given an entire babysitting scene to win her favour. But Kiara is the only lady of the court who is made to stay away or care for the child from a distance.

Kiara's family (besides Zeke, and just because he is Penelope's fiance/husband) is subject to disrespect in this book too. Hakim and Joelle were both conspicuously absent from the pregnancy announcement presscon in TRH1 (where Landon, Godfrey and Bartie Sr somehow featured!!), and future books would either retcon the family or force them to do things the other families didn't have to do. In TRH2, the MC takes a tour of the Great Houses with her newborn daughter, and each house is expected to pledge loyalty to her and the crown in different ways. Hakim is written as "bending to his knees" for the child. This is something only Adeleide and Madeleine - whose house, might I remind you, are considered the house of traitors at this point - have to do. Landon and Emmeline are never expected to express their loyalty to this extent.

In TRH3, the narrative callously pushes the Therons under the bus to make the Ebrim family's reluctance to help the MC make sense - the Therons are now "traditionalists" who frown upon scandals and may not allow Zeke to marry Penelope on the account of her past annulled marriage (this makes no sense when you take a closer look at the Therons themselves in TRR3 - they're a far more balanced, far more progressive family than any of the other Great Houses. They even took Zeke's abdication well!). Furthermore, you'll notice that the framing of Penelope's past with Guy is worlds apart from the disdain the narrative shows for the Therons during the flower festival. It is notable that in the latter, the black women are depicted very negatively - Kiara is shown unable to manage her own competition, Joelle is depicted as pompous and incapable of losing gracefully, Drake gets to take sarcastic potshots at Lerato for trying to charm the MC into voting for her and Drake into convincing her to vote. Meanwhile white people like Landon and Marguerite are presented in a just as humourous but less mocking light (eg. Landon moving his table courteously before flipping it in the flashback).

Even into TRF (Ch12), the narrative gives us choices where we can stand up to people criticizing Landon and Emmeline's parenting ("Duke Landon and his wife raised a kind, generous daughter..."). We are allowed to be far less critical of the Ebrims overall, we are allowed to be more charitable even in the dialogue options for suspecting Landon than we are of Kiara (think of how Maxwell can suspect that Kiara was planning to betray us all along). At the end of the Flower Festival, Kiara is made to appear contrite as the MC can choose to either demand she make this right before the latter can forgive her, or indicate that she never will. Ironically, a Penelope who can choose her fancy wedding over the safety of the MC's child never has to face words that harsh.

You will also notice if you look more closely, that the narrative continues to frame events surrounding Penelope and Kiara in opposing ways. Penelope is perpetually viewed as a victim, and Kiara constantly as a suspect.

We are expected to support Penelope, and to mistrust Kiara. And even though Kiara's feelings had long since become a thing of the past, Drake still maintains his animosity towards her and her family. And like everything else, it is so normalized at this point that you barely even notice it anymore.

In TRH2, Drake is allowed to tar all nobles with the same brush because of Godfrey's actions. Though his statement about the nobility ("We can't trust any of them to have Liam's back...not unless it's in their own selfish interests") is about the entire nobility, it is striking that he says this just before they go to Castelserraillan. The Therons are also the only noble family that Drake makes sarcastic comments about (in reference to Liam informing us that their province is a trade hub, Drake quips that "they are going to want to trade babies with us"). These snide comments he rarely makes about other noble families, and serves as a sharp contrast to how he treats the Ebrims (during Penelope's wedding festivities, he is unnaturally invested in Penelope getting a happy ending with Ezekiel). We can't even claim that his behaviour towards Kiara is in line with his disdain for nobles, because Penelope is proof that he is perfectly capable of showing compassion to most of them!

TRH3 ends with Kiara doing an apology tour of sorts - diplomatic missions aimed at improving Cordonia's international relations. TRF finds almost all the ladies of the court - even Olivia - in very minimal roles, as the focus shifts to the Via Imperii. Still, the narrative makes more references to Penelope than to Kiara, to the extent that the epilogue ends on both the MC and Penelope celebrating their pregnancies (Penelope's first and the MC's second) together.

Overall, you will find that the narrative repeated certain patterns with Kiara - the tendency to find her suspicious, purposely limiting scenes with important characters like Liam (TRR) and the heir (TRH) while the white courtiers get almost unlimited access, the discrepancies in expectations for her vs other ladies (eg. Madeleine is hailed for being "good" even though that is solely dependent on how you treat her. Kiara is largely ignored whenever she does help, and attacked when she is written to support the enemy). Drake - even as a former alternative to her, who should have gotten over whatever nonsense beef he'd had with her earlier - is allowed to make snide remarks about her home and family.

It's pretty clear they could do this because they could get away with it... because most of the fandom made it so easy for them to get away with it.

Fandom

When I look back at how the perception of Kiara in the fandom progressed over the years, I find it half-amusing, half-sad how much of it is rooted more in fanlore, and how little in actual fact. And this is something you couldn't just pin on "crazy Drake stans" - they were the biggest promoters of these lies and misconceptions, sure, but normally analytical, commonsense readers often believed that Kiara was fake and a snob and awful to Penelope too.

I get some of it, given the timing of Kiara and Penelope's scene at the beginning of TRR2. It takes place at a low point in the MC's story, a time when she isn't even sure the LIs want to support her. Coupled with that is the lasting image of Penelope hugging you and complaining about Madeleine, making you feel like she's more willing to give you a sliver of solidarity. Coupled with that, is Olivia's newfound popularity in the fandom - once she emerges in Ch 5 of that book, fans believed they found their wildcard who would stand by them in complete solidarity among the ladies of the court (did they ignore Hana's already massive contributions to the investigation? Yes they did. Yes they did). Madeleine herself is shown giving quotable quotes about female solidarity and Tariq's guilt in TRR2 Ch 7, which - coupled with Justin's high praise of her - made people want to find things to like about her too. Penelope's own betrayal was overshadowed by an expectation to support a person with serious mental health struggles.

Kiara's the only one who doesn't get such backstories or explanations. So at least in the heat of the moment, in reading those chapters between weekly gaps, it makes sense that a false impression of her got somewhat solidified.

But when you build your interpretations out of lies and misinterpretations, how does it become so valid that even the writers bend to it and prefer to show that?

Every fandom has its "crazy stans". And this instance wouldn't be the first or last time they are pandered to. But when the same stans get backed up by the "saner", more commonsense members of fandom; when even neutral readers promote versions of a story without actually looking at the scenes in question - that's when a fandom is in danger of turning a "headcanon" into canon.

Kiara being a horrible friend to Penelope wasn't canon. Kiara being a snob was not canon. Kiara being creepy towards Drake wasn't canon either. Especially when you take the fandom response to Olivia's forced kiss on Liam into account.

And that brings me to another point. I had been asked once why I felt the need to compare Kiara to the other ladies in my defenses of her. It's important, when we speak of the kind of hate Kiara received, to understand how a lot of flaws that the entire court has (eg classism) is often pinned onto a lone person, and how several white female characters could get away with worse behaviour while Kiara alone was slammed for harmless interactions.

This is most apparent when you look at how Olivia's violation of Liam's consent is perceived, vs Kiara's harmless flirtation with Drake in TRR2. Which woman had fans foaming at the mouth and wanting to kill her? Which woman was given dozens and dozens of fanfic and content that depicted her as creepy, desperate, downright obsessed with their man? Which woman got the "oh well, he doesn't owe her anything 🤷🏽‍♀️" vs a "he doesn't love her back?? WHAT AN INSENSITIVE ASSHOLE!!1111"?

Perhaps this Olivia/Kiara comparison is where the fandom's tendency to cast Kiara into the Jezebel stereotype is the most visible. Kiara's very act of talking to Drake sometimes is registered as a threat to those stans, and it reflects in the way they speak of her, the way they speak of their MC's own relationship with Drake in association with her (eg. the number of posts rejoicing at the thought of showing off their "engaged to Drake" status at Kiara's estate), the way they're allowed to dehumanize her and villify her (eg. The edit I mentioned at the beginning). This is often encouraged by their friends who are fans of other characters, and you can see that in sharp contrast, Olivia - despite her actions in Book 1 and her resentment of Liam for not loving her back in other books - is still often viewed with sympathy and respect. Her feelings - still viewed as genuine, even pure. To the point where PB eventually allows Olivia to constantly address her feelings about the MC's and Liam's relationship, while forcing Kiara to not even utter Drake's name in his playthrough.

But you see this with other characters, and in other contexts too. Particularly how Madeleine can be duplicitous, hypocritical, and power-hungry, and it's Kiara who is called these things despite her actual honesty in canon. Madeleine can get away with actually helping Bartie Sr kidnap the MC's daughter in TRH3 without a murmur, in the same fandom where people can curse Kiara for voting for Bartie Sr "to take the child away" (despite her telling the MC and spouse that she was promised they would have custody of the child, therefore the claim that she "voted to take the child away from their parent" is inaccurate).

You saw some of these discrepancies in how Penelope and Kiara were spoken about too - Penelope's crime in TRR2 was considered easily forgiveable, while Kiara's innocence is constantly called into question. Kiara was often viewed negatively for what the fandom perceived as "meanness" to Penelope (when it was in fact Kiara worrying about how Penelope would fare when she wasn't around) while Penelope herself was never expected to be a good friend to Kiara. An interesting thing to note about the fandom response to Penelope and Kiara showed that often when posters wanted to hate on Penelope, she and Kiara would be clubbed together, almost as a unit. This was especially prevalent in TRH3. It was easy to express hatred for Kiara independently, but most posts that showed a dislike for Penelope (besides from specific Kiara stans) would often tie her with Kiara, as if there wasn't much to hate about her otherwise.

It is important to line up whatever hate Kiara gets with the responses to the other women - especially in the face of what the latter are allowed to get away with. In doing so, you get a better sense of what is allowed for a certain subset of women, and what isn't allowed or permitted for black women specifically.

Often, the fans who would not hesitate to call her alone fake, opportunistic and creepy were WOC, and there have been cases where some would use their identity as WOC to shield themselves from the criticism concerning their vitriol. It would often descend into "I don't hate her because she is black, I hate her because {insert inaccurate/false/convoluted justification here}". It didn't matter that much of this information wasn't based in fact, or had a heavy bias that they never applied to anyone else. It only mattered that because they were WOC, somehow that meant that they couldn't possibly be racist. That their unfounded hatred for Kiara had to be legitimate. As if there was no chance that someone who was WOC couldn't be antiblack too.

Overall, it is possible that the fandom did take some of their cues (for their impression of Kiara) from the inherent disdain found in canon itself. But many of them also misinterpreted several things about Kiara, then didn't bother to revisit those biases with a critical eye, or even try to see if they were wrong. And that baseless hatred fed the already-existing disdain that Kiara's own writers had towards her. Resulting in the kind of horrific, racist garbage that we got to see in TRR3, and the constant attempts in canon to pull her down in TRH.

Did Drake and Kiara Ever Have A Chance?

There have been various opinions - from both Kiara fans and haters - for why a Driara ship would never work. He hates nobles, she won't like his disdain for art and culture, he likes the simpler life, she's a snob...so on and so forth. Many people will agree it's not a great ship, but of course with differing opinions on why.

I, however, often wondered at possible scenarios where such a pairing could work. The magic of shipping is often that you can play around with personalities and pair almost anyone, and find enough reasons to explain why they would tick. And in Drake and Kiara's case, personally, I do feel like it's a complicated question to answer - primarily because I feel like the authorial intent at the beginning may have been very, very different to what finally happened in Drake's story.

A lot of Drake's early writing focused on the reasons behind his mistrust of the court and his tendency to view the people he loves who are part of it (eg. Liam and later the group) as anomalies. There are two ways you could take such a story in TRR2 - you could either get him to admit to the flaws in his own thinking (thereby providing a more nuanced insight) and allow him to grow from there, or you could just have him double down on his biases and never change beyond the superficial. The team of TRR - esp the head writers, Kara and Jen who were both v fond of him - definitely seemed to go in the latter direction.

Drake's prediction in Coney Island does indicate that he should let go of the past, and I honestly feel like the sequences where he learned about Maxwell straining House Beaumont's finances to help her, and Kiara and Savannah's friendship, could have been turning points for him if the writers weren't so obsessed with proving him right all the time - even when he was supposed to be wrong. Maxwell and Kiara, in their own ways, were proof that not every noble was the same, nor would every noble treat the commoners around them all the same way. However, the narrative trampled all over this possibility in TRR2 Ch 9, where Drake could optionally claim that the Beaumont brothers (among others) were "just looking out for themselves, no matter the consequences", or later when the narrative had Savannah be grateful to him for breaking her confidence to Bertrand, and have Maxwell try to earn his forgiveness in Ch 12 rather than the other way around. It allowed Drake to be selective about the nobles he admired or defended, while still free to treat certain others like garbage.

I could easily envision a Driara pairing for most of TRR2. I could even see it as potentially salvageable in certain parts of TRR3. But the moment they had Drake readily suspect her, the moment the team thought it would be okay for Drake to even suggest minimizing her trauma...that option was no longer worth seeing. Not for Drake, but for Kiara. Drake would have to be the worst possible guy I could find for her, in such a scenario.

But I could see potential in a storyline that had Drake understand that some of these people weren't the monsters he so desperately wanted them to be. In one where he could hear about Kiara's friendship with his sister, and learn about a whole new side of her. One where he maybe felt insecure ("I'm not her type") and could be reassured by a woman who had likely held a torch for him since they were teens/young adults. One where they could reach out to each other in their pain and trauma, and find solace. One where Drake knew that the family he may be marrying into would respect him, and his father too. There were possibilities there.

It would still take more work - his mean streak for one would need to be reduced by more than a half. A lot of it, of course, was kept for the Drake stans, but it really doesn't add much to Drake's character besides making him a mean-spirited, hypocritical bitch who only targets the lone black woman this way (and Olivia occasionally, if she goads him). If the narrative did want to keep a characterization where Drake acts weird around the girl he likes, they could - but that story would need a lot more work to be palatable.

All of this is to say that regardless of personal bias, there were possibilities there. There was a sliver of potential. And if they wanted to let go of that potential midway, they didn't have to go about that the way they finally did. They could have just worked on creating another love interest for her. They managed to create a brother for her overnight just so Penelope could have a boyfriend; they could have easily done the same for Kiara.

Multiple factors went down that explain why the Driara ship didn't take off. But many of them boil down to one specific root cause - the white women (whether they caused actual harm or not) needed to be protected, needed to be cherished. The black woman who dared to ask for the same things from their pet LI, would be viewed as a threat, a villain, a creep...just for breathing in his direction.

And her writers cared so little, that they took the fanon perception for her and stamped it onto their canon, like it was the truth.

They didn't do any of this for the woman who forced a kiss on a prominent LI. They didn't do this on the woman who betrayed the MC and set her up for assault. They didn't do this to the woman who bullied the lone female LI, and swore to continue doing so till she broke.

They did this for the one woman who was fairly innocent of most of these crimes, actually respected the LI and treated him well.

They did this because they could get away with it. Because they were confident that the fandom they wrote the story for, would let them get away with it. And tragically...they were right.

--

Resources I used to learn about the Jezebel stereotype:

The "Offending" Breast of Janet Jackson: Public Discourse Surrounding the Jackson/Timberlake Performance at Super Bowl XXXVIII by Dr Shannon Holland

Janet Jackson, Justin Timberlake, the Jezebel and white masculinity by Khadija Mbowe (I actually got the recommendation for the first paper from this video essay).

From Mammy to Jezebel: The Portrayal of Black Women in American Cinema from the BlackThen website

[yourcutelittlegayfriend]

No More Chances

✧ M A S T E R L I S T ✧

Yandere Platonic Batfamily x Neglected Regressing GN Reader

In which a sad little child of a Wayne is somehow curse by the fates to live again and again, facing death in the end just to relive their fears, trauma and neglect from their own family.

Will they find away to end this looping nightmare or to live another reset again just to find a good gooddamn ending?.

Warning this Fic will contain:

Suicide and Suicidal thoughts, Death [Mainly Y/N's], Violence, Cursing, Drugs and substances, Guns and other weapons, Family Neglect, Talk about traumas or phobias, out of characters from the DC characters, mixed versions of the Batfamily [Will be mentioned if there are changes or implications of specific depictions of comics, games or other media for DC characters], Typos [ I can edit if there are typos but don't expect perfect or poetic English from me cuz I'm not that great in English ] and lastly This is NOT a Jinx!Reader I only had inspo of jinx and Arcane reference for this they are not fully Jinx because if they are then that would be a different fic now.

EXTRA EXTRA NOTE :

For the love of anything out there if you do not like to consume these type of fics in tumblr, DO NOT message or comment to me about how you don't like to read yandere or even x reader fanfictions in your feed, it's not my fault, I don't control your recommendation or what pops up in your screen, you have fingers SCROLL AWAY.

--- 0 0 0 0 ---

PROLOGUE

Chapter 1 : Dear Mother, Goodbye

Chapter 2 : A New Reset, An Old Story

Chapter 3 : Hello Father, Die

Chapter 4 : Oh Love, Why can't I See You?

Chapter 5 : Poor Goldilocks, Nothing Is Just Right

.......

[ O N G O I N G ]

Headcannons

--- ? ? ? ---

Fate's Chapter Assessment

[ 0 ] ,

No More Chances Q&A [#No More Chances Q&A]

Flasbacks&Babies

Doodles& Hallucinations

BadguyOrNot?

-✧✦✧-INTERTWINED FATES-✧✦✧-

Melody composed by fate [song fic]

Death by Family

Father

Sons

Daughters

Grandfather

✧✦✧ CRACKED VISIONS ✧✦✧

Imma finna rock yo' shit

Black Betty Bam Balam

〖 = ✧ = 〗

A taglist will be made if you want to be updated quickly, I only tag when I reblog a chapter so please comment your @ below thank you so much.

Q&A for No More Chances are open (Don't ask for updates you already know why I don't post much)

[ If you're having trouble finding the chapters for this fic all of them will be tag with #No More Chances or find #Masterlist ] (all images are from mixed media of screenshots, Pinterest, tumblr and google)

[amethystarachnid]

BET

⤷ JAMES B. “BUCKY” BARNES

ᯓ★ Pairing: James B. “Bucky” Barnes x fem!reader

ᯓ★ Genre: romance, angst and fluff

ᯓ★ Request from: not requested but taken from MARVEL bingo

ᯓ★ Story type: one shot

ᯓ★ Word count: 10k (damn this surprises me too)

ᯓ★ Summary: When Bucky Barnes suddenly starts talking to you you don't think much of it and when he asks you out on a date you couldn't be happier, Bucky truly is everything you could ever want in a man, a man that really loves you...At least that's what you thought until you discovered that it was real all just a bet.

ᯓ★ TW(s): mentions of virginity and virginity loss, small mentions of a smut scene

ᯓ★ AU: college au

ᯓ★ Request: not requested

ᯓ★ Comment if you want to be added to the taglist (specify if you want the everything taglist or for a specific character)

ᯓ★ Songs & Superheroes tales - The Game (to make a request, follow the rules on the link!)

ᯓ★ MARVEL Bingo (requests closed)

ᯓ★ Masterlist

ᯓ★ If you are a Charles Xavier fan click on this link!

ᯓ★ English isn’t my first language and this isn’t proof read

The music is loud, pulsing through the walls of the frat house as Bucky sits slouched on a couch, one arm draped lazily over the back. The night is already wearing on him, but he knows he’s going to be here until Sam and Steve call it a night, which—based on the collection of red solo cups by their feet—might be a while.

They’re all trading stories from the semester, voices buzzing with that blend of laughter and cheap beer. Sam is in the middle of recounting his latest dare when he nudges Bucky’s arm, catching his attention.

“Bet you couldn’t last a month with someone like her,” Sam says, nodding toward the corner of the room.

Bucky glances up, following Sam’s gaze until he spots you. You’re perched near the bookshelf, alone and fidgeting with your drink as you flip through a book someone left behind. He’s seen you around campus before, usually with your nose buried in a novel or surrounded by a pile of textbooks. There’s something unassuming about you, something quiet and untouchable. His friends know he’s more the type to go for a party girl—someone loud, someone who doesn’t ask too many questions.

“What, the bookworm?” Bucky scoffs, raising an eyebrow. But his friends don’t let up, and soon Steve and Sam are egging him on.

“You’re always chasing the same type,” Steve chimes in. “What are you afraid of, that she’d actually challenge you?”

Bucky laughs, rolling his eyes. He knows he should shut it down, but their teasing digs at him, scratching at that competitive edge that’s always lurking just beneath his smirk.

“All right,” Bucky finally says, shrugging. “I’ll do it. One month.”

His friends exchange knowing grins, slapping him on the back. But as soon as the words leave his mouth, Bucky feels a strange knot settle low in his stomach—a feeling he’s not used to. He brushes it off. It’s just a game, a challenge. It’s not like he’s actually going to care.

The next day, you’re tucked into your usual corner in the library, surrounded by a fortress of books. You barely notice him when he walks up, leaning against the edge of the table with a casual confidence that doesn’t match the usual quiet of the space.

“Mind if I join you?” His voice is smooth, low enough that you almost have to lean in to hear him clearly.

You glance up, surprised to see Bucky Barnes standing there, a small smile tugging at the corner of his mouth. You’ve seen him around campus—he’s hard to miss with that leather jacket and effortlessly messy hair, the type of guy who always has someone laughing beside him.

“Sure,” you murmur, unsure of what else to say as you move your books aside, offering him a seat. You’re used to people mostly ignoring you here. It’s your refuge, your sanctuary. So when he sits across from you, stretching out as if he belongs there, it feels jarringly out of place.

“You look like you’re buried in work,” he observes, nodding at the mountain of papers in front of you. “What’s got you so busy?”

You hesitate, but something in his easygoing manner convinces you to answer. “Just…assignments. Trying to keep up with everything.” You give him a small smile, your guard still up but feeling oddly curious.

“What’s your major?” he asks, and the question catches you off guard. Most people don’t bother to ask; they assume or don’t care enough to wonder. He listens as you talk about your studies, nodding, asking small questions. Before you know it, you’re telling him more than you intended, falling into an easy rhythm that surprises you.

It becomes a pattern. Over the next few weeks, he finds reasons to run into you—at the coffee shop, in the library, even in the quad between classes. Each time, he stays a little longer, asks a little more, his eyes holding yours with that subtle intensity he wears so well. At first, you’re wary, cautious of his attention. But Bucky is good, easing his way in like he has all the time in the world, his jokes and questions slowly weaving a thread of trust between you two.

And Bucky? He’s surprised at how much he finds himself drawn to you. Each time you laugh, he catches himself watching, feeling something strange and warm unfurl in his chest. There’s a gentleness in you, a quiet intelligence, that keeps him coming back even as he reminds himself this isn’t supposed to mean anything.

But the longer he spends time with you, the more he feels the weight of what he agreed to, creeping up on him every time he catches your smile, every time you look at him like he’s someone worth knowing.

He tells himself it’s just part of the bet. But deep down, he knows he’s starting to cross a line he never meant to touch.

It’s been a few weeks since Bucky started spending time with you, and against every reminder he gives himself, he’s found himself looking forward to it more than he wants to admit. He tells himself it’s harmless—he’s just getting to know you, just finding ways to pass the time. But he knows he’s lying, especially when he starts finding excuses to see you outside of the library or when he catches himself glancing at his phone, hoping for a text from you.

One night, back at the frat house, he’s lounging with Sam and Steve again, half-listening to their conversation when Sam nudges him.

“So, Barnes. How’s it going with the bookworm?” Sam asks with a knowing smirk. Bucky rolls his eyes, trying to brush it off, but Sam isn’t so easily deterred. “Don’t tell me you’re catching feelings.”

Bucky scoffs, forcing a laugh to keep the truth buried. “It’s going fine. Like I said, a month’s no problem.”

Sam exchanges a glance with Steve, a wicked grin spreading across his face. “Let’s make this interesting then. If you really want to win this thing, you’ve got to take it further.”

Bucky’s jaw clenches. “Further?” He has a bad feeling about where this is going.

Steve raises his eyebrows. “Come on, Buck. You’ve been hanging out with her, sure, but we’re talking about actually making her fall for you. Ask her out, and, you know—” He raises an eyebrow meaningfully.

“Sleep with her,” Sam adds bluntly, laughing. “Seal the deal, and there’s two hundred bucks in it for you.”

Bucky hesitates, that uncomfortable knot tightening in his stomach again. He tells himself it’s just a stupid bet. He’s done things like this before—gotten close to people just to prove he could, had plenty of meaningless hookups that never meant a thing. He’s Bucky Barnes, the guy who doesn’t do commitment or complications. But for some reason, picturing it with you makes him feel…off.

“Fine,” he says after a beat, his voice steady, betraying nothing of the uncertainty he’s trying to ignore. “Two hundred bucks. Done.”

The next day, he texts you, his fingers hovering over the keys a little too long before he finally sends, Hey, you free Friday? Let me take you out somewhere nice.

When you see his message, your heart skips a beat. It’s been a while since anyone has asked you on an actual date, and even longer since you’ve felt genuinely excited about someone. Bucky’s been different from the start—warm, attentive, and surprisingly easy to talk to. You’ve caught yourself looking forward to his company, replaying the moments he laughs at one of your jokes or leans in close enough for you to catch a hint of his cologne.

After a second, you type back, Yeah, I’d love to! You add a smiley face, feeling almost giddy as you press send.

The days leading up to Friday drag by, each one marked with bursts of nerves and anticipation. You spend a little more time getting ready than usual, finally deciding on a simple but pretty dress that makes you feel confident. When Bucky picks you up, his usual leather jacket replaced with a dark button-up, you feel a thrill of excitement. He looks genuinely happy to see you, his eyes scanning over you appreciatively as he gives you a lopsided grin.

“You look amazing,” he says, his gaze warm. There’s something softer in his eyes, something that makes you blush.

“Thanks,” you mumble, smiling as you walk beside him. He leads you to a small Italian place tucked away from campus, the kind of cozy, dimly lit restaurant you wouldn’t have expected him to know about. The conversation flows easily between you two, laughter spilling out as you talk about classes, hometowns, and childhood memories.

The night feels magical, almost surreal, and you start to wonder if maybe, just maybe, there’s something real here. Every time his hand brushes against yours, a spark shoots up your spine. And when he reaches across the table, fingers lightly grazing your wrist as he laughs at something you said, your heart flutters in a way that’s both thrilling and terrifying.

After dinner, he suggests taking a walk, and soon you’re strolling through the quiet streets, the chill of the night air making you shiver just slightly. Without a word, Bucky slips his arm around your shoulders, pulling you close. It feels so natural, like you belong there.

“You know, I don’t think I’ve ever been on a date this nice,” you admit, smiling up at him, your voice soft.

He chuckles, though it sounds slightly strained. “Really? I find that hard to believe.”

You shrug, trying to brush it off. “I guess I’ve just never…met anyone like you before.”

There’s a flash of something in his eyes—guilt, maybe, or regret. But it’s gone as quickly as it came, replaced with that charming grin. He steps closer, his arm slipping from your shoulders, and you hold your breath as he cups your cheek, his thumb brushing lightly against your skin.

“You’re pretty amazing, you know that?” he murmurs, his voice low.

You feel like the world has stopped, your heart pounding in your chest. This is the moment you’ve been dreaming of, the moment where everything finally falls into place.

But for Bucky, something sharp and painful twists inside him. He can feel the weight of what he’s doing pressing down on him, can see the way your eyes look at him with such unguarded trust, and it’s enough to make his stomach turn. He’s never felt guilty over a stupid bet before, but right now, the idea of hurting you feels unbearable.

“Hey,” he says softly, his hand still on your cheek. “You trust me, right?”

Your eyes widen, and you nod slowly, too caught up in the moment to notice the tension in his gaze. “Yeah,” you whisper, a small smile forming on your lips.

He leans in, pressing his forehead against yours as he takes a steadying breath. “Good,” he says, trying to keep his voice steady. Because if he’s going to go through with this, he tells himself he has to believe that none of it matters—that he won’t let himself care. But even as he kisses you, his lips soft and warm against yours, he knows he’s lying to himself.

The days after that first date drift into a series of moments that feel surreal, almost like they’re happening to someone else. You find yourself checking your phone at odd times, waiting for his texts, smiling down at your screen whenever his name lights up. Bucky is a part of your routine now, and it feels strange, thrilling even, like there’s this magnetic force that draws you to him despite every bit of caution you try to hold onto.

Every time you’re with him, the outside world fades. He makes you laugh with stories about his friends, leaning in close, his voice warm and low as if he’s sharing some secret just for you. You catch yourself stealing glances when he’s not looking—at the way his jaw clenches when he’s lost in thought or how his eyes soften when he looks at you, a mix of curiosity and something you can’t quite name.

It’s after one of your study sessions at the library that Bucky invites you over to his dorm room for the first time. He tells you he’s got some old movies you’ve probably never seen, and, honestly, he’s right—you’d never pictured Bucky as the type to own black-and-white classics, but that’s exactly what he has, a surprisingly large collection lined up on a low shelf near his TV. He insists you pick one, and soon you’re sitting side by side on his couch, your legs tucked up beneath you, feeling almost shy in the soft glow of the screen.

The movie starts, but his arm stretches along the back of the couch, barely brushing your shoulders. The faintest touch sends electricity through you, but you stay quiet, not wanting to ruin the moment. Then, halfway through the movie, he shifts, glancing at you.

“You can get closer, you know,” he murmurs, his eyes glinting with something mischievous yet gentle.

Your heart flutters as you scoot closer, until you’re tucked into his side, his arm draped around you in a way that feels possessive yet comforting. He smells faintly like cedar and something distinctly him, a scent that’s becoming familiar. Before you know it, your head is resting on his shoulder, his hand absently tracing patterns on your arm, and you feel like you could stay there forever.

Time slips by in a collection of small, perfect moments. There are more dates—little coffee shops tucked away from campus, a bookstore where he buys you a copy of a novel you mentioned in passing, a late-night diner where you both end up after laughing so hard that you can’t breathe. You never expected him to be so attentive, so eager to listen to your stories and learn every detail about your life. He even surprises you with your favorite snack on study nights, tossing it to you with a grin before leaning in close to steal a bite for himself.

One evening, after a long day of classes and a surprise text from Bucky inviting you over, you find yourself curled up on his couch once again. This time, he’s stretched out beside you, one arm tucked under his head while the other rests around your shoulders. His fingers brush against your arm absently, and you can’t help but notice how natural this feels. It’s terrifying, too, the way he seems to melt into your life so effortlessly, as if he’s always been there.

You glance up at him, catching him mid-laugh as he recounts an embarrassing story about Sam, who apparently tried to show off on a skateboard and ended up with a sprained ankle.

“You’re terrible,” you tease, nudging him with your shoulder, though you’re laughing too.

“Oh, come on. It was hilarious,” he insists, grinning down at you. He tilts his head, his gaze dropping to your lips for just a second, and your laughter fades as something shifts between you.

“Why are you looking at me like that?” you ask softly, your voice barely more than a whisper.

He shrugs, the corner of his mouth twitching in a faint smile. “I just…can’t believe you’re real sometimes.”

The words catch you off guard, and for a moment, you’re too stunned to reply. But then he leans down, his lips brushing yours with a tenderness that makes your chest ache. The kiss deepens slowly, each touch feeling like a promise, and you lose yourself in the warmth of his embrace, forgetting every doubt, every insecurity that ever kept you guarded.

As the weeks pass, you find yourself falling harder than you ever expected. Bucky seems to find every crack in your armor, every scar and hidden fear, and instead of pulling away, he draws closer, listening to your stories and letting you into his own in ways that leave you breathless. He’s there to listen on your tough days, wrapping his arms around you and murmuring words of reassurance. He’s there on your good days, too, laughing with you, pressing kisses to your forehead as if he can’t believe his luck.

One night, you’re back on his couch, cuddled up under a thick blanket as a storm rages outside, the rain tapping against the windows. You’re nestled against him, his arm holding you close, and he’s quiet, his fingers tracing patterns along your shoulder absentmindedly.

“Bucky?” you ask, breaking the comfortable silence.

“Hmm?” he murmurs, his gaze dropping to yours, his eyes soft and warm in the dim light.

“Thank you,” you say, your voice barely a whisper. “For everything.”

He frowns slightly, shifting so he can look at you fully. “You don’t have to thank me for that,” he says, his thumb brushing against your cheek. “Being with you…it’s the easiest thing in the world.”

You smile, warmth spreading through your chest, and he kisses you again, slow and soft, like he’s savoring every second. It’s moments like this that make you feel like maybe, just maybe, you’re finally safe with someone, that this is something real.

But for Bucky, each moment with you is a double-edged sword. He’s never felt this way before—this calm, this…connected. Every time you laugh at one of his jokes or lean against him, trusting and unguarded, he feels that awful twist of guilt, the memory of that stupid bet lurking in the back of his mind.

He’s supposed to ask for more. That’s what Sam and Steve were expecting, weren’t they? They wanted him to win the bet, to seal the deal and prove he could pull this off. But every time he thinks about going further, about pushing this relationship into a place where he can’t turn back, he feels that nagging ache, that quiet, gnawing feeling that he’s crossing a line he can’t uncross.

He knows he needs to tell you. He needs to come clean, but every time he opens his mouth, the words get stuck in his throat. You look at him with those bright, trusting eyes, and he can’t bring himself to shatter the way you see him. So he holds his silence, hoping that somehow, he can bury the truth forever, that maybe you’ll never have to know.

One evening, as you’re lying together on his couch, you let out a contented sigh, resting your head on his chest as his hand traces lazy patterns along your back.

“Bucky?” you whisper, your voice soft.

He glances down at you, his fingers pausing as he meets your gaze. “Yeah?”

You hesitate, then take a steadying breath. “I…I think I’m falling for you.”

The words hang in the air, vulnerable and open, and for a second, his face goes still, his eyes widening just slightly. Then, his expression softens, and he tightens his arms around you, his hand coming up to cup your cheek.

“You have no idea how much that means to me,” he murmurs, his voice thick with emotion. But as he kisses you, the warmth of his touch hiding the flicker of guilt behind his eyes, a single thought haunts him.

She deserves the truth.

That night, Bucky barely sleeps, lying awake with the knowledge that he’s in far too deep to ever come out of this unscathed. Every soft breath you take beside him reminds him of how much he’s risking by staying silent. He knows he has to tell you, but he’s terrified—terrified that this fragile, beautiful thing you’ve built together will shatter, that you’ll look at him with betrayal instead of trust.

In the morning, he makes a decision. He’ll find a way to tell you, he promises himself, but he wants one more day, one more memory before he risks everything. Just one last perfect day where he can pretend that none of it was ever a lie.

So he takes you out, leading you down to the pier just as the sun begins to set, casting the sky in hues of pink and gold. You laugh, leaning into him, and he wraps his arms around you from behind, resting his chin on your shoulder.

“It’s beautiful,” you murmur, watching the waves lap against the shore.

“Yeah,” he replies, his voice soft. “It is.”

But as he stands there, holding you close, he knows that the beauty of this moment is fleeting, that the truth waiting in his chest is too big to ignore. And tonight, when he finally gathers the courage to tell you, he knows there’s a chance he’ll lose you forever. But for now, he lets himself savor this last quiet moment, memorizing the feeling of you in his arms, the warmth of your laughter as it fills the air.

For now, he holds onto the hope that maybe, somehow, you’ll understand.

The sunset fades, leaving the world painted in muted purples and blues, but neither of you seem ready to break away from each other. Bucky holds you close, feeling the steady rhythm of your breath against his chest as if it’s his own. He knows he should say something—that he needs to say something—but the words seem so impossible now, tangled up in his chest. The truth would ruin this moment, shatter whatever he’s built with you. And so, he tells himself it can wait just a little longer.

As the evening slips into night, Bucky leads you back to his dorm room, his hand intertwined with yours. You can feel the heat of his palm, the way his fingers wrap around yours as if he never wants to let go. The air feels charged, every touch electric, each shared glance simmering with something that feels fragile and exhilarating. Neither of you says much, as though speaking would break the quiet spell between you.

Once you’re inside, Bucky hesitates. He turns to you, his expression vulnerable, softer than you’ve ever seen it. "You don’t have to stay if you don’t want to,” he murmurs, his thumb brushing against the back of your hand.

“I want to,” you say, the words escaping before you can even think. There’s no hesitation in your voice, only a gentle certainty that makes his chest tighten. The way you look at him, so open and trusting, makes his heart ache with a mix of guilt and longing.

Bucky’s eyes search yours, lingering for a moment that stretches into forever. He reaches up, tucking a strand of hair behind your ear before his fingers trail down to your jaw, cradling your face as if you’re something fragile and precious. Slowly, he leans down, capturing your lips in a kiss that’s softer than any before. It’s unhurried, tender, as if he’s savoring every second.

The kiss deepens, and you can feel yourself melting into him, your heart pounding so hard you think it might burst. His hands move to your waist, steady and grounding, and he pulls you closer until there’s no space left between you. You can feel the strength of him, the warmth radiating through his clothes, and it makes your head spin.

Before long, you find yourselves tangled together on his bed, the world outside fading into nothingness. Each kiss is deeper than the last, each touch laced with a longing neither of you can deny. There’s a gentleness to Bucky’s movements, a quiet patience as he explores the curve of your shoulder, the softness of your waist, as if he’s memorizing every inch of you. He’s slow and careful, constantly looking at you as if to make sure this is what you want.

“Are you okay?” he whispers, his voice rough with barely-contained emotion.

You nod, feeling breathless but certain. “I’ve never been more sure of anything.”

His eyes darken, filled with a tenderness that makes your chest ache, and then he’s kissing you again, deeper this time, his hands skimming over your skin with a reverence that leaves you feeling cherished. You lose track of time, surrendering to the way he makes you feel—safe, wanted, like you’re the only thing in the world that matters.

When you finally fall back against the bed, your bodies wrapped around each other, you’re exhausted yet filled with a warmth that feels all-encompassing. The reality of what just happened settles in, but instead of feeling nervous, you feel at peace, secure in the quiet intimacy that has grown between you.

Bucky shifts beside you, pulling you closer until your head rests against his chest, his arm draped protectively around your shoulders. The steady thump of his heartbeat lulls you into a peaceful daze, and you feel his fingers trace small circles on your back, soothing and grounding.

You’re both quiet for a long time, the silence comfortable as you bask in each other’s presence. Eventually, though, you feel a need to tell him something you’ve been holding back, something you hadn’t planned on revealing but that feels right to share in this moment.

“Bucky,” you begin softly, lifting your head to look at him. He gazes down at you, his eyes warm and attentive, as if you’re the only thing he sees. “I…I want you to know that this was my first time.”

The words hang in the air, and for a moment, you’re afraid he’ll pull away, that he’ll think you were too inexperienced or that you should have told him sooner. But he doesn’t flinch or hesitate. His hand moves up to gently cradle your cheek, his thumb brushing softly against your skin.

“Your first?” he echoes, his voice filled with a mixture of surprise and something that sounds almost like reverence.

You nod, feeling your cheeks heat as you look down, suddenly self-conscious. “Yeah…I wanted it to be with someone who made me feel safe. Someone I trusted.”

Bucky’s chest rises and falls slowly as he takes this in, his expression softening. He seems almost humbled, like he’s just been given something rare and delicate. He leans down, pressing a kiss to your forehead before resting his own against yours.

“You have no idea how much that means to me,” he murmurs, his voice thick with emotion. There’s a vulnerability in his gaze, as if he’s holding back a hundred things he wants to say but can’t find the words for.

You smile, the last traces of your nervousness melting away. “Thank you, Bucky…for making it so special.”

He pulls you close, wrapping his arms around you like he’s afraid to let you go. “I’d do anything to make you feel special,” he whispers, his breath warm against your skin.

You nestle into his chest, listening to the steady rhythm of his heartbeat, feeling safe and cherished in a way you never have before. And as you lie there, drifting between sleep and wakefulness, you wonder if this is what it feels like to be truly, deeply in love.

But as you fall asleep in his arms, Bucky lies awake, his heart heavy with the weight of everything he’s kept from you. He knows he should be content, that he should just let himself savor this night and the closeness you’ve shared. But the memory of that stupid, careless bet gnaws at him, a dark cloud looming over everything.

He runs a hand through his hair, staring up at the ceiling, feeling torn between the desire to protect you from the truth and the fear that he’s already crossed a line he can’t uncross. The realization that you trusted him enough to give him something so deeply personal makes the weight of his lie even heavier, almost unbearable. He swallows hard, tightening his hold on you as he resolves to tell you the truth—soon, somehow, even if it means risking everything.

But tonight, he lets himself stay silent. He closes his eyes, breathing in the scent of your hair, the warmth of your body against his, and allows himself to believe, if only for a moment, that this can last.

The morning sunlight filters softly through the blinds, casting warm, golden patterns across the bed. You stir beside him, your movements gentle as you wake up, and Bucky watches you with a quiet awe, his heart racing as he takes in the peaceful expression on your face. For a moment, it feels like he’s exactly where he’s meant to be.

You blink up at him, your face lighting up with a sleepy smile that makes his chest tighten.

“Good morning,” you murmur, your voice soft and a little shy, as if the night is still too fresh, too beautiful to fully believe.

He grins, brushing a strand of hair from your face. “Morning,” he replies, his voice low and warm. His fingers trail down to your hand, giving it a gentle squeeze, and you squeeze back, a shared moment of silent understanding passing between you.

The morning stretches on in a gentle haze of quiet touches and soft words. Bucky makes you coffee, insisting you stay curled up under his blanket while he brings it over to you, and you laugh, watching him with a mix of affection and disbelief. This side of him—the playful, thoughtful side—is something you never expected to see, and it makes you fall for him even harder.

You’re both lounging on his bed, your legs tangled together, talking in low voices about everything and nothing. He tells you stories about his childhood, tales about him and Steve getting into trouble, and you share your own memories, laughing as he reacts with wide eyes and exaggerated shock.

It feels so real, so natural, that you almost forget about everything outside this room, about the possibility that this could be something fleeting. You feel like you’ve found a place that’s safe, a person who makes you feel more like yourself than you ever have before.

But in the quiet moments, when you catch him staring at you with that far-off look, you wonder if there’s something he’s not telling you, a hesitation lurking behind his gaze. You don’t press, not wanting to shatter the peace between you. But part of you wonders if you’re seeing a glimpse of something deeper, something you’re not yet ready to confront.

As you leave his dorm room later that morning, he kisses you softly, lingering as if he’s trying to memorize the taste of your lips, the feel of your hand in his. There’s an unspoken promise in his touch, a silent assurance that this isn’t the end.

Later that afternoon, you make your way back to the frat house, humming softly as you climb the steps to Bucky's door. You left your notebook there, a little blue book you’re pretty sure you’ll need for your upcoming assignment. You barely slept last night, too caught up in the warmth of his touch, the memory of his whispered words that lingered long after you left his dorm this morning. You’re nervous, too; you feel so much for him that it scares you.

As you approach his room, laughter drifts out into the hallway, low voices filtering through the partially open door. You recognize Bucky’s laugh, the familiar sound stirring warmth in your chest, but the laughter feels different, carefree and loud. And then you hear a familiar voice—Sam’s—cutting through, low and joking.

"Guess she fell for it pretty hard, huh?" Sam’s voice sounds amused, lighthearted, as if he’s talking about something trivial.

You freeze, your hand hovering inches from the door. Something about his tone makes you hesitate, a strange, unsettling feeling creeping into your chest.

"Come on, Bucky," Sam presses, “don’t act all innocent now. I saw you this morning, looking like you just won the lottery.” You can hear the grin in his voice, a laugh bubbling beneath it. “So? How was it?”

Bucky laughs, the sound uncomfortable, but he doesn’t argue. “Yeah, yeah,” he says, his voice casual, light. “It was… good.”

You feel a stab in your chest, a faint panic that tells you to leave, to walk away before you hear any more. But your feet don’t move, and you find yourself listening, every word driving another splinter into your heart.

Steve’s voice joins in, chuckling. “Well, you earned it, man. She had no clue, huh?”

“No clue,” Bucky murmurs, his voice softer now, almost unreadable. You can picture him there, maybe rubbing the back of his neck the way he does when he’s nervous. But the words are there, undeniable.

Sam laughs again, louder this time. “And hey, bet’s a bet,” he says, and then there’s a pause before you hear the unmistakable rustling of bills being exchanged. “Two hundred dollars, as promised. Can’t say you didn’t earn it, though—you even managed to get her into bed. Didn’t think you had it in you, but here we are!”

Your vision blurs, the words echoing in your mind, distorting into something raw and jagged. Every affectionate touch, every gentle kiss, every whispered promise from the past few weeks twists into something ugly, something unrecognizable. You feel sick, the image of Bucky’s earnest smile, his soft words about wanting to make you feel special, tainted beyond repair. Everything you felt for him, the trust you’d handed him so freely, crumbles beneath the weight of their laughter.

Slowly, you turn and leave, gripping the strap of your bag tightly as you make your way out of the frat house. You don’t let yourself cry, not yet, not when you still feel the echo of his betrayal throbbing in your chest, too raw, too painful to acknowledge fully.

Hours later, you’re back in your dorm room, your heart aching as you sit in silence, the truth settling over you in waves. Part of you wants to believe it was a misunderstanding, that maybe there’s an explanation you’re missing. But the memory of their laughter, the casual way Sam handed him that money, makes the truth impossible to ignore.

A knock on your door interrupts your thoughts, and your heart skips a beat as you hear Bucky’s voice calling your name softly from the hallway. It’s just him now, his voice hesitant, almost as if he senses that something’s wrong. You take a steadying breath, steeling yourself before you answer the door.

When you open it, Bucky’s eyes light up, and he steps forward, a soft smile on his face as he reaches for your hand. “Hey, you,” he murmurs, his voice warm. But when he sees the look on your face, he pauses, his smile fading. “What’s wrong?”

For a moment, you can’t bring yourself to speak. You can only look at him, trying to reconcile the gentle, caring person you thought you knew with the man who took a bet to seduce you. You pull your hand away from his, ignoring the confusion in his gaze as he watches you.

“Were you even going to tell me?” Your voice comes out quieter than you intended, a dull ache threading through every word. “Or were you just going to take the money and pretend it never happened?”

Bucky blinks, his brow furrowing in confusion. “Tell you what? I—I don’t understand.”

A bitter laugh escapes your lips, and you look away, wrapping your arms around yourself as if it’ll keep you from falling apart. “Don’t play dumb, Bucky. I heard you. I was at the frat house earlier, and I heard everything.”

He freezes, his face going pale, and you see the truth in his eyes, clear as day. He opens his mouth, stumbling over his words. “Y/N, I—I didn’t… I didn’t mean for you to find out like this.”

The admission twists the knife deeper, and you feel yourself trembling as you look back at him, tears stinging your eyes. “So, it’s true, then? All of it? This whole… this whole thing was just for some stupid bet?”

He reaches for you, his expression desperate, his hands hovering just inches from your arms. “Y/N, please. Just let me explain. It wasn’t like that, I swear. It started that way, but then… then it became real. I fell for you, okay? Everything we did, everything we shared—it was real.”

You shake your head, pulling away from him, the anger and betrayal simmering beneath the surface. “Real? You think that makes this okay? Do you have any idea what you’ve done?” Your voice breaks, and a tear slips down your cheek before you can stop it. “I trusted you, Bucky. I thought… I thought you cared about me.”

His face crumples, and he takes a step closer, his hand reaching out as if to wipe away the tear on your cheek. “I do care about you. More than anything, Y/N. That’s why I wanted to tell you, I just—”

“Wanted to tell me?” you interrupt, your voice shaking. “When, Bucky? After you cashed in your winnings? After I found out on my own?”

The silence stretches between you, heavy and unbearable, and Bucky’s shoulders sag as he looks away, guilt etched deeply into his face.

“Do you even realize how humiliating this is?” you continue, your voice a mixture of anger and heartbreak. “I trusted you with something… something I’d never given anyone. And the whole time, it was just part of a game to you.”

His eyes snap back to yours, filled with anguish, his voice barely a whisper. “It was never just a game, not after the first night. I swear, Y/N, I was going to tell you everything. I just… I didn’t want to lose you.”

“You didn’t want to lose me?” you repeat, laughing bitterly. “You lost me the moment you made that bet. You had no right to… to play with me like that, to make me believe that any of it was real.”

He looks at you, his blue eyes full of desperation, his voice breaking. “Y/N, please. I know I messed up. I know I hurt you, but I need you to believe me when I say I never meant for any of this to happen.”

“Just stop,” you whisper, the weight of it all crashing over you. “You don’t get to do this. You don’t get to make me feel sorry for you when you’re the one who lied.”

Bucky’s face falls, and he drops his gaze, his shoulders slumping in defeat. “I know. I know I don’t deserve your forgiveness. But please, just… give me a chance to make it right.”

Your heart aches, torn between the memories of every gentle touch, every whispered word, and the undeniable truth of his betrayal. Part of you wants to believe him, wants to believe that somewhere in all of this, there was something real. But the pain is too deep, the wound too fresh, and you don’t know if you can ever look at him the same way again.

“I can’t do this,” you say, your voice barely more than a whisper. “I can’t just forget what you did. You hurt me, Bucky. And right now, I don’t even know who you are anymore.”

He flinches, as if your words physically hurt him, and he nods slowly, a look of resignation in his eyes. “I understand. I’ll… I’ll leave, if that’s what you want.”

You nod, wrapping your arms around yourself as he takes a step back, his gaze lingering on you one last time before he turns and walks toward the door. Just as he reaches it, he pauses, his hand resting on the doorknob as he glances back at you, his voice soft, broken.

“For what it’s worth, Y/N… I love you. I know I don’t deserve to say that, but it’s the truth.”

You don’t reply, staring at him with tear-filled eyes as he finally steps out of your dorm, the door closing softly behind him. The silence that follows is deafening, and you sink to the floor, the weight of everything crashing down as you realize that the person you thought you loved never truly existed.

The days blur together in a haze of heartbreak and emptiness. You go through the motions, attending classes, completing assignments, and showing up to study groups, but it all feels mechanical, like you’re on autopilot. It’s as if something inside you has shut down, leaving only an echo of who you were before you met him, before he became the center of your world.

It doesn’t take long for your friends to notice the change. They ask if you’re okay, if something happened, if maybe you just need a break. But you give them the same answer each time—a nod, a small smile, and an assurance that you’re just tired. It’s easier than explaining the mess of emotions tangled inside you, the hurt that seems too big to fit into words.

Late at night, lying alone in your dorm room, you can still feel the warmth of his arms around you, the softness of his voice in the quiet hours when he’d whisper promises you thought would last forever. The memory feels cruel now, tainted by the knowledge that it was all built on a lie. And yet, despite everything, you miss him. You hate yourself for it, but you miss the way he looked at you, the way he made you feel safe, special, as if you were the only person in the world who mattered.

Bucky isn’t doing any better. In fact, he’s a mess. Days have passed, but the guilt, the emptiness—it lingers, gnawing at him, refusing to let him move on. He can barely sleep, haunted by the look in your eyes, the betrayal, the hurt he put there. Every time he closes his eyes, he sees you, hears the way your voice cracked when you told him you didn’t know who he was anymore. And the worst part is, he doesn’t blame you. He knows he did this, that he ruined everything, and now he has to live with the consequences.

Sam and Steve notice almost immediately. Bucky, the confident, charming guy they’d known for years, looks hollow, as if he’s carrying a weight he can’t shake. He barely speaks, keeps to himself, and they rarely see him at the frat house anymore. Instead, he spends most of his time shut up in his dorm, a shadow of the person he used to be.

One evening, as the sun dips below the horizon, Sam and Steve exchange a glance, silently agreeing that they need to intervene. They knock on his door, and when he doesn’t answer, Sam pushes it open, finding him lying on his bed, staring blankly at the ceiling.

“Hey, man,” Sam says, stepping inside. Steve follows, closing the door behind them as they both approach Bucky’s bed.

Bucky doesn’t react right away, his gaze still fixed on the ceiling. But eventually, he sits up, running a hand through his hair, looking exhausted and defeated.

“What’s up, guys?” he mumbles, though his voice lacks any real curiosity.

“We should be asking you that,” Steve says, his tone softer than usual. “You haven’t been yourself lately. Ever since things ended with Y/N, it’s like… you’re a completely different person.”

At the sound of your name, Bucky’s face falls, and he lets out a long, shaky breath. “Yeah,” he says quietly, almost to himself. “That’s because I am.”

Sam frowns, studying Bucky’s expression, the guilt etched into every line of his face. “Look, man, we didn’t mean for things to get this serious. But if you cared about her, really cared… why didn’t you just tell her the truth from the start?”

Bucky shakes his head, his hands gripping the edge of the bed so tightly his knuckles turn white. “I don’t know,” he whispers, his voice breaking. “I was scared, I guess. I knew I’d screwed up, and every time I tried to tell her, I just… couldn’t. I thought I could fix things, somehow, make it up to her without her ever finding out.” He lets out a bitter laugh, shaking his head. “Stupid, right?”

Steve sighs, sitting beside him on the bed. “Not stupid, just… a mistake. A big one, yeah, but you’re not the first guy to mess up. You’re just… Bucky, this isn’t like you. I’ve never seen you like this over anyone before.”

Bucky looks away, a sad smile tugging at the corner of his mouth. “That’s because I’ve never felt this way before. Not like this. I love her, Steve. And I threw it all away over some stupid bet that meant nothing. I hurt her in ways I can’t even fix.”

Sam places a hand on his shoulder, giving it a firm squeeze. “So what are you gonna do about it? You can’t just sit here, wallowing. If she meant that much to you, then maybe you owe it to her—and to yourself—to try and make it right.”

Bucky laughs, but it’s empty, hollow. “And how am I supposed to do that, Sam? She told me herself she doesn’t know who I am. She doesn’t trust me. I don’t deserve another chance.”

Steve exchanges a look with Sam, and then he says, “Maybe. But you can’t just give up without trying. If you really love her, Bucky, you have to prove it. Show her that you’re not just the guy who hurt her, that you’re willing to fight for her. And if she doesn’t take you back… at least you’ll know you tried.”

Bucky sighs, leaning forward, resting his elbows on his knees as he stares at the floor. “I don’t know if she’ll ever forgive me. I don’t even know if I deserve it.”

Sam crosses his arms, his expression softening. “Look, man, I get that you’re hurting. But don’t you think she’s hurting, too? She’s probably out there feeling just as broken, wondering if anything between you was ever real.”

Bucky swallows hard, his chest tightening at the thought. He knows you’re hurting, knows you trusted him with something precious, something he didn’t deserve. And knowing that he’s the reason for your pain… it’s a feeling he wouldn’t wish on anyone.

Over the next few days, Bucky wrestles with himself, caught between the fear of making things worse and the desire to show you that he’s truly sorry, that he wants to be the man you thought he was. He writes and rewrites texts he never sends, shows up outside your dorm but never works up the courage to knock. He’s terrified, but he can’t ignore the way his heart aches for you, the empty, gnawing feeling that only seems to grow with each passing day.

Finally, he decides to try one last time. He doesn’t know if you’ll listen, doesn’t know if you’ll even give him a chance. But he has to try—to give you the truth, no matter how painful it might be.

And so, as the evening sun begins to dip below the horizon, casting a warm, golden glow over campus, Bucky finds himself standing outside your dorm, his heart pounding as he gathers the courage to knock. He knows this is his last chance, that this is the moment that will decide everything. And he only hopes, as he takes a deep breath and raises his hand to the door, that you’ll give him the chance to show you that he’s not the man who hurt you—that he’s ready to fight for you, no matter what it takes.

The knock on your door is soft, almost hesitant, but it’s enough to pull you from your thoughts. You’ve been lying on your bed, staring at the ceiling, trying to find the strength to move forward, to somehow patch yourself up after everything that happened. When you open the door, you see him standing there, his eyes filled with an uncertainty that’s almost heartbreaking. He’s gripping a small notebook in his hands—your notebook, the one you left in his room—and his gaze is fixed on you with a desperation you’ve never seen before.

“Hi,” he says quietly, his voice barely above a whisper.

You don’t reply right away, the sight of him dredging up the familiar ache in your chest. Part of you wants to slam the door and hide, to keep yourself safe from any more hurt. But you don’t. Instead, you meet his gaze, forcing yourself to remain steady.

“Hi,” you reply, your voice guarded.

He shifts on his feet, glancing down at the notebook before offering it to you. “I, uh… you left this. Thought you might need it.”

You take it from him, feeling the familiar weight of it in your hands. “Thanks.”

A heavy silence hangs between you, one that neither of you seems willing to break. Bucky swallows, his face creased with an anxious, uncertain look that makes him seem vulnerable in a way you’ve never seen before.

“Can we… can we talk?” he asks, his voice almost pleading. “Please. I know I don’t deserve it, but I just need to say a few things. If you don’t want to listen, I’ll understand, and I’ll leave you alone. I just… I need you to know the truth.”

You hesitate, but finally, you nod, stepping back to let him into your room. He steps inside, closing the door softly behind him, and takes a seat in the small chair by your desk while you remain standing, arms crossed protectively over your chest.

For a moment, he just looks at you, his gaze heavy with regret. Then he sighs, running a hand through his hair.

“I know you have every right to hate me,” he starts, his voice barely steady. “I know I messed up in ways I can’t even fix. And I know… I know what I did was horrible. I just—” He swallows, his throat tight. “I just need you to know that it wasn’t all a lie. When we started this… when we first got close, I didn’t expect any of this to happen. I didn’t think I’d feel the way I did.”

You look down, his words stirring a fresh wave of pain in your chest. “But it was a bet, Bucky,” you murmur, your voice trembling. “You… you did all of that just to win some money. To you, it was just a game.”

He flinches, guilt flashing in his eyes, and he nods. “I know. I won’t make excuses for it—I was stupid, and I hurt you. But somewhere along the way, it stopped being about the bet. It stopped being a game. And I started… I started caring about you, more than I’ve ever cared about anyone.”

You feel tears prickling at the corners of your eyes, but you force yourself to keep your voice steady. “Then why didn’t you just tell me the truth?”

He sighs, running a hand through his hair again, his expression tortured. “Because I was scared. I was terrified that you’d look at me the way you’re looking at me now, that I’d lose you. I know that doesn’t make it better, but it’s the truth. I tried to find the right time, tried to find the right words, but I kept putting it off, thinking maybe… maybe I could make it up to you before you ever found out.” He looks down, his voice breaking. “But that was stupid. I should’ve just been honest with you from the start.”

You take a shaky breath, feeling the full weight of everything he’s saying. Part of you wants to believe him, wants to forgive him, but the wound he left is still fresh, still raw. “I trusted you, Bucky,” you whisper, your voice barely audible. “I thought… I thought what we had was real.”

He looks up at you, his eyes filled with a desperate sincerity that takes you off guard. “It was real. For me, it was real. And I know that doesn’t change anything, but I need you to know that. I never meant to hurt you, and I’ll spend as long as it takes to make it up to you if you’ll let me.”

You study him for a long moment, searching his face, trying to find some indication of sincerity, something to show that he’s truly sorry. And when you see the remorse in his eyes, the sadness that mirrors your own, you feel something in your chest soften, just slightly.

“Bucky,” you begin softly, forcing yourself to stay strong, “I can’t just go back to how things were. I can’t pretend this didn’t happen. You hurt me more than anyone ever has, and it’s going to take time for me to get past that.”

He nods, his expression resigned, but he doesn’t look away. “I understand. And I don’t expect you to forgive me right away. I just… I just want the chance to prove to you that I’m more than the guy who hurt you. Even if we can’t go back, I want to be there for you, even if it’s just as a friend.”

You let his words sink in, feeling a flicker of hope amidst the ache in your heart. Part of you still longs for what you had, for the closeness you shared, but you know that you can’t rush back into it. If Bucky truly wants a second chance, he’ll have to earn it, piece by piece, day by day.

“Maybe…” You hesitate, feeling vulnerable but determined. “Maybe we can start as friends. Just… friends. No promises, no expectations. If you’re willing to do that, to rebuild things from the ground up… then maybe, someday, I’ll be able to trust you again.”

Relief floods his face, and he nods, a small, hopeful smile tugging at his lips. “I’ll take that. Anything you’re willing to give, I’ll take it. I’ll prove to you that I can be better. I’ll prove that I’m worth your trust.”

You give him a tentative smile, and for the first time in days, you feel a flicker of hope. It’s small and fragile, but it’s enough to remind you that maybe healing is possible.

Over the next few weeks, Bucky becomes a constant but careful presence in your life. He shows up when you need help with an assignment, offers a listening ear when you need to vent about a long day, and joins you for coffee on campus, keeping the conversation light and easy. He respects your boundaries, never pushing for more, never expecting anything beyond friendship. You’re surprised at how attentive he is, how willing he is to wait, to prove that he’s serious about making things right.

Slowly, the walls around your heart begin to crack. You start to feel comfortable with him again, to let your guard down, if only a little. You catch him glancing at you sometimes, a soft, almost wistful look in his eyes, as if he’s seeing something precious he thought he’d lost forever. It’s in these moments that you remember why you fell for him in the first place, why his smile used to make your heart race, why his touch felt like home.

One day, as you’re both sitting on a bench by the campus pond, he turns to you, a hesitant smile on his face. “I know we’re just friends right now, and I’m okay with that. But I want you to know that I’m grateful for every moment I get to spend with you, even if it’s just like this.”

You feel a warmth spread through you, a sense of peace you haven’t felt in a long time. “Thank you, Bucky,” you say softly. “For not giving up. For being patient with me.”

He reaches out, hesitating for a moment before resting his hand on yours, his touch warm and steady. “I’ll wait as long as it takes. I’ll prove to you that I’m here for you, no matter what.”

And as you look into his eyes, you feel a flicker of something you thought was lost—a tentative, fragile hope that maybe things could be different this time. That he could truly be the person he’s trying to be, the person you wanted him to be all along. And though you know there’s a long road ahead, you’re finally willing to take that first step with him, trusting that maybe, this time, he won’t let you down.

The night is alive with music and laughter as you step into the crowded frat house. It’s your first time back here since everything happened, and you can’t deny the nervous flutter in your stomach as you take in the familiar scene. But tonight feels different—Bucky is by your side, watching you with a gentle smile as he guides you through the chaos of people, his hand warm and steady on your arm.

Over the past few weeks, things between you and Bucky have been slowly mending. He’s proven himself time and time again, showing up when it mattered, respecting your boundaries, and never pressuring you for more than you were willing to give. He’s become someone you can lean on, someone who’s earned back your trust bit by bit. And, to your own surprise, you feel something new blossoming between you—something deeper, stronger, and more genuine than before.

When you reach the main room, you spot Sam and Steve near the keg, both of them giving you a thumbs-up as soon as they see you with Bucky. You laugh, rolling your eyes, but Bucky just grins, shrugging as if to say, They’re harmless.

“Glad you came tonight,” he says, leaning closer so you can hear him over the noise. “I was worried you might skip.”

You shrug, glancing up at him. “Well, I figured it was about time I faced the frat house again.”

He chuckles, a warm, rich sound that sends a spark of something familiar through you. It’s the same feeling you used to get when you first met, when you were just getting to know him, before anything got complicated. Only now, it feels even better—because you’re finally on solid ground with him, without secrets or lies standing between you.

As the night goes on, you find yourself enjoying the party, laughing with friends, and even dancing a bit. Bucky stays close, his presence a comforting, steady anchor amidst the noise and chaos. He’s attentive, offering you drinks and glancing over every so often to make sure you’re comfortable. And every time you catch his gaze, you feel your heart race just a little faster.

At one point, as you’re talking with a friend, you feel Bucky’s hand gently touch your arm, and he leans in close, his voice soft and intimate against your ear. “Want to get some air?”

You nod, letting him lead you through the throngs of people until you step out onto the back porch. The cool night air is a welcome relief from the warmth inside, and you breathe deeply, taking in the quiet calm of the evening. Bucky leans against the railing, watching you with a soft, almost nervous smile, his hands tucked into his pockets.

“I’ve been wanting to tell you something,” he begins, his voice low and steady, as if he’s thought about this moment a thousand times. “I know we’ve been rebuilding things, and I know you wanted to take it slow. But, Y/N… being with you these past few weeks, even just as friends, has been everything to me. And I can’t stop thinking about you. About us.”

Your heart stirs at his words, and you feel a warmth spread through you, a sense of longing that’s been building quietly since the day he asked for a second chance.

“Bucky,” you say softly, stepping a little closer. “I… I feel the same. It’s been hard, letting go of the past. But I think—no, I know—I’ve forgiven you. You’ve shown me who you really are, and… I like that person.”

His eyes brighten at your words, and he reaches out, his hand brushing your cheek as his thumb strokes gently across your skin. He leans closer, his gaze searching your face as if to make sure you’re truly ready for this.

“Can I kiss you?” he whispers, his voice barely audible in the quiet night air.

You feel your heart skip a beat, and you give him a small, almost shy nod, your pulse racing as he leans in, closing the distance between you. The moment his lips meet yours, it’s like the world melts away, leaving only the warmth of his touch, the softness of his mouth against yours. It’s gentle at first, tentative, as if he’s afraid of breaking the spell. But as you respond, his hand slips to the back of your neck, pulling you a little closer, deepening the kiss with a quiet, aching intensity.

When you finally pull away, he rests his forehead against yours, both of you catching your breath, sharing a smile that’s equal parts relief and joy.

“Y/N,” he murmurs, his voice full of warmth, “I promise, I’m not going to mess this up again. I want this with you—for real, no games.”

You smile, reaching up to run a hand through his hair. “Good, because you’re stuck with me now.”

He laughs, pulling you into a tight hug, and you bury your face in his shoulder, feeling a happiness you haven’t felt in a long time. You’re finally ready to move forward with him, to start fresh, knowing that this time, it’s real.

maybe I should've made it more angsty? I love angst, request angst people! lol

[potatoesandsunshine]

if you ever think that a fic premise is too silly, just remember that i am already doing the silliest one possible and don't be self-conscious

and i am treating it so so seriously